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USER`S MANUAL - Soundart Chameleon

1. A L input z Licomp Output mixer SILin gt mo ixer omp Dly o SJ L input j ano i duction gate R input L comp i gt Rmod Mixer Com DI i Rin D p y o N R input jain reduction gate noise Noise X gt noise osc Osc o osc 1 24 channels L mix L signals avilable for meters and monitoring Left ch 1 Left ch N L signals avilable for meters only 5 xX e gt e 7 S RmixL L bank gt gt amplifier attenuator filter amp ier eime TX general filter block L output Dyn Dly gt dynamics processing block fae m R output general processing blocks D Dh general p g ii gt L mix R Right ch 1 Right ch N a a e Se gt lt te gt e Rmixr Rbank filter amp filter amp R gt monitor Figure 8 2 LEFT RIGHT PARALLEL SERIAL EQs par ser This mixes the two modes above with a parallel graphic type EQ on the Left channel and a serial parametric EQ on the Right channel This is useful for dual mono processing applications and more odd stuff too LEFT RIGHT SERIAL PARALLEL EQs ser par Again this mixes the above modes with a serial parametric type EQ on the Left channel and a parallel graphic type EQ on the Right channel Of course these EQ modes simply define the routing as each band can be any type of filter you choose fro
2. 50 Cmp gt Gat gt EQ EQ ser ser 1 1 D gain I D thr I D rat Description 2 i D mku I G thr I D slw Compressor gate and 3 band parametric EQ 3 1 freq 1 slope 1 gain You can use this as a voice channel or 4 2 freq 2 width 2 gain elsewhere that needs its own dynamics and 5 3 freq 3 slope 3 gain EQ treatment 6 In level In L lvl In R lvl 7 8 51 Cmp gt Dly gt EQ ode at R R r 3 EQ ser ser 1 1 D gain I D thr I D rat De ptio 2 I D mku I G thr I D slw Compressor gate delay and 3 band 3 1 freq 1 slope 1 gain parametric EQ Like above but this time 4 2 freq 2 width 2 gain with delays added 5 3 freq 3 slope 3 gain 6 In level In L Ivi In R lvl 7 Ditime DI feed DI d w 8 Infiltrator User s Manual 127 52 MB 5 medium 53 MB 5 Hard ode 5 Multiband Five band Multiband compressor Use on a stereo mix to individually compress different frequencies Medium and hard default flavours 54 Test tone di Mode 1 EQ ser ser CO N YO 1 eA WI N fr Set RIC1 Osc Freq Disabled RTC 2 Osc Vol RTC 3 Noise Vol De nite Test tone preset for your maintenance uses You can bring in a noise source too if you add delays and use the Osc volume and pitch to bring the sound in and out you can get some pretty
3. EQ ser ser 1 Osc if Description 2 Osc 1 shp Simple synth with adjustable osc1 3 frequency for creating a beating effect 4 5 6 7 8 4 xBass Synth ode at R r r 1 EQ ser ser 1 Osc2f LFO 1 amt LFO 1f Descriptio 2 Osc1 shp 1 freq Fat bass sound with subtle complex LFO 3 movement to create life in the sound the 4 same controls as eVolvSynth above but this 5 time using sine waves at more subtle lower 6 settings 7 8 5 RezoPad 1 LP bias LP f pan LP q Description 2 Ditime DI feed DI d w Monophonic synthesizer with a resonant 3 DO time DO feed DO d w quality Uses a separate 24dB oct LPF for 4 LFO1f LFO2 f LFO amount left and right 5 6 7 8 6 DarkPad ode at R R r 1 EQ par par 1 LP bias LP f pan LP q Descriptio 2 Ditime DI feed DI d w Monophonic synthesizer with PWM and 3 DO time DO feed DO d w slight S amp H stereo filter modulation Uses a 4 Osc PW Osc2 PW LFO amount separate 36dB oct LPF for left and right 5 Check out the bass end with the Modulation 6 wheel 7 8 Infiltrator User s Manual 119 7 Tekoid Vox EQ ser ser Feedback Colour LR Description Complex delay FX where Input Delay and volume and controlled by a sinewave LFO while filter freq is controlled by another sine LFO The inputs are ring modulated with the Osc too Alien voice INIAN AJIwWIN 8 Springroom 2 EQ ser ser DI time
4. Table 8 5 Group Page Parameter Value Comments Setup MIDI Flt Lf mode OFF This sets the filters MIDI control mode Mod MOD responds to controller messages Mono MONO mutes all filters except number 1 and maps Poly its cut off frequency over your keyboard Gate monophonically Duck POLY does the same as MONO but you can play it polyphonically GATE means each filter is assigned a key and all are muted as you press it the filter opens DUCK means the opposite all the filters are open and as you press a key the corresponding filter is muted Rf mode OFF See above Mod Mono Poly Gate Duck Lf ch OFF This sets the channel that the Right filterbank 1 16 responds to base Rf ch OFF This sets the channel that the Right filterbank 1 16 responds to base 78 EQ Mode Group Page Parameter Value Comments Lf lo key E 1 D9 This sets the range of keys the filters are assigned to in the Gate and Duck modes by setting which key filter 1 is assigned to Then the other filters follow sequentially up the keyboard Rf lo key E 1 D9 See above Env att 0 0000 The filters can have an envelope to control the 10 0000s way the filter responds to MIDI playing This controls the Attack time the start when the key is pressed Env sus infdB 24dB Envelope sustain level or hold level Env rel 0 0000 Envelope release time movement once you let go 10 0000s of the key Vel gt att
5. i Fam Le Batts Wl A i bandi band2 4 banda i band i bands Mulbband decomposition filtar In normal multiband applications values of q may range from 0 5 0 7 7 2 1 2 SETUP Info Table 7 3 62 Parameter Comments Page Setup Info DSP usage 0 100 Here you can see how much DSP is being used by this configuration See page 62 for more info on DSP usage Multiband Mode 7 2 2 7 2 3 Group L Band INPUT Since Infiltrator is a sound shaping tool the inputs are naturally where it all actually starts In Multiband Mode the input section is very simple There is a level control for each input and that s it All the waveform synthesis ring modulation capabilities and so on have been deactivated to make this a straightforward mastering dynamics FX tool Unlike the other modes there are no compressors across the inputs because you are obviously going to compress the signal later on These levels are not stereo linked and so care must be taken to make them equal when necessary Table 7 4 Group Page Parameter Input Left Level infdB 24dB Right Level infdB 24dB L BAND R BAND The next two groups are where you set up the bands that the signals are split up into With Frequency linking ON in the setup common menu above you can adjust the settings for the Left channel and the Right will automatically match it and
6. NAMING seidscscssievcsssscaedessestseestessevessnsuesceivaaesspsesoasenteasaccuseans sqenctiassenenaasqussiaatese 52 6 Before We Move OM sesessesssosesoesesoessoosesocsssosesoesesosssocsesoesssosssoese D 6 1 How the Manual Splits Up esssoseessoocsessoccesssoccessooceessoecesssoess DA 6 2 Changing Mode ssssesesssoccessoocesssoccesssoccessooceessoosesssoecesssoeee DD 6 3 Changes to the Front Panel Controls ccssssssccsssssseeeees DO 6 3 1 THE REALTIME CONTROLLERS 7 M ltiband Mode es cicssecccsaescecasdeaseseeeasvencicsoucssteastonstecsvencuacsuarsteasuenseec DB 7 1 Working with a Multiband Compressol cssscccssssrereeee DS 7 2 The Mode Groups sess cianicasdevnisandeondsnnscdebsansecssscnnkesstsersesssservasescessOO TZ Ny SETUP iinan 7 2 2 ANPUT cscs stessiecc 7 2 3 L BAND R BAND e TAA RZ LR DYNAMICS o recsnnes uurnaan noae aia DD ADEN I E ET E EA Tae OUUTE SAER ATA SE NAOC T2 METERS eannan en E E AA RNANA 7 2 8 REALTIME CONTROLLERS PDA HNODUIATION cceisrcsareesnavessncus cm heuenasveseesaciteesd be daha ha sanssiasdvitla ences 8 MEQ Modemin snenia ian ee a ete sot hats ae sy 8 1 USING the Filters bevises neds socetexceeeetivsced eeaacet ntlivenathtauactentevarecaieesel Z 8 1 1 STEREO PARALLEL GRAPHIC EQ Dar Ppat sssssssccccssssssssssssstesssseeeeseceessen 72 8 1 2 STEREO SERIAL PARAMETRIC EQ Ser S f ssssssssccscssssssssssssssssssssseeeeeceess
7. You can use this group to call up accurate meters that fill the whole screen You can cycle between many different meter types to show clearly what is happening in the system Again the schematic for Multiband Mode in section 7 1 1 shows all the signals available for metering First you can set up the meters in the config page Table 7 10 Group Page Parameter Value Comments Meters Config Decay 0 00 10 0s This sets how responsive the meters are by controlling the jumpiness Mode Log dB Set the meter scaling method If you are working Linear with extremely subtle settings switching to linear will help see the peaks more clearly Group1 Global You can set up two custom meters that track a L bank signal of your choosing The corresponding custom R bank meters are available both as popup meters and on the Meters pages with the legends 1 and 2 To select first you choose the group it is in Channel1 2 1 5 If you choose L bank or R bank you need to then choose a channel Sig1 2 L input These are the global group signal options in R input Multiband Mode global L mix L L mix R R mix L R mix R L output R output Filt Comp L bank These are options within a specific bank and R bank channel If you then press PART UP you will see the meters taking up the whole screen You press PARAMETER UP and DOWN to cycle between the three main meter types 1 Full screen left to right meters
8. reduction gate noise ul Noise _ i Bee noise osc Osc t osc 1 24 channels i i Lana Ana mix naisi Analysis fiter u J iS U gt j Rana analysis Aol le R e R signals avilable for meters and monitoring cman a signals avilable for meters only r L output gt amplifier attenuator Dyn Dly e ZA general filter block 4 1 24 channels R output s Dyn Diy o 7 envelope detector s 4 24 channels 7 7 mixer Synth isy V mix syn src r L A general processing blocks pa R R syn synthesis gt R e gt monitor Figure 9 1 Infiltrator User s Manual 91 9 2 The Mode Groups 9 2 1 92 SETUP The rest of this chapter will go over the different options you have in Vocoder Mode group by group In the next table you can see an outline of each of these groups In order they cover the process from start to finish You start with general settings go on to set up the mix of INPUT signals including the internal synthesiser then the ANALYSIS and SYNTHESIS set up the Analysis and Synthesis FILTERBANKS and finally the OUTPUT mix Following this group you find the METERS section followed by the REALTIME CONTROLLER set up the settings for the LFO MODULATION robots and finally the DELAYS for echoes and chorus effects Table 9 1 Group Comments Setup This is where you set up the mode basics such as name number of filters MIDI control and s
9. Di USER S MANUAL soundart Chameleon Vocoder and Filterbank Effects Application revision 2 12 2003 soundskin version 1 0 www soundart hot com Copyright 2001 2003 Soundart www soundart hot com Soundart makes no warranty of any kind expressed or implied with respect to the contents or use of the material in this document or in the software and hardware it describes and specifically disclaims any responsibility for any damages derived from its use Hardware and Software may contain design defects or errors known as errata which may cause the product to deviate from published specifications Soundart reserves the right to revise and modify the topics covered in this document periodically which are subject to change without notice This document may be reproduced and distributed freely provided no alterations of any kind are made Soundart software is subject to the terms of the Soundart Tools Software license Third party software is subject to the terms of their respective owners license Third party trademarks and registered trademarks are property of their respective owners Preface This manual was written to help you to become familiar with Infiltrator the multifunctional filterbank FX and vocoding machine for the Chameleon It will also aid experienced users with routine tasks To avoid confusion the terminology used in this manual is based on the Infiltrators parameter names Acknowledgements Are Leistad the brai
10. aligned to the left VALUE VALUE UP and VALUE DOWN keys and or BIG DIAL All the other buttons described above are for navigating around the soundskin With VALUE UP DOWN and or the BIG DIAL you actually change the value of a parameter The current value of the parameter you have navigated to is shown on the lower line of the Display The LCD display tells you where you are as you navigate the upper line shows the Group name and the current page separated with The lower line shows the current parameter name and its value The familiar display convention described on the previous page is almost completely constant throughout the soundskin telling you where you are and Infiltrator User s Manual 33 what you are doing It is quite intuitive and you can get used to it very quickly However there are four exceptions to this display standard When using the main Homepage that appears when you fire up the soundskin this is really a whole Group within Preset Mode that only has one parameter in it what preset you want to load So it does not show you group and page details in the top line as there are no other pages in this group and we wanted to keep it as clean as possible The freed space now makes it easier to read important under stage conditions etc and to allow space for MIDI input and output meters see section 4 1 When you access a popup meter in Edit Mode which can appear on the upper
11. it is made available for inspection and direct editing you can hear the effect as you edit it This is the stored RTC proper as used by the global RTC edit mode chosen in the global system menus see section 4 4 1 86 EQ Mode There are extensive options for RTC target assignments depending on what group you have chosen You can control global parameters such as Input levels and Oscillator frequencies or parameters that belong to individual filters within a bank such as Q and fdelta Global parameters also include the list global modifiers that allow you to alter parameters across all filterbanks simultaneously such as filter frequency Table 8 16 Signal Group Targets GLOBAL RTC global group possible assignments from within the system in EQ Mode general filters OFF In level In L Ivl In R Ivl L level L freq L notes L cents L fd L q L bw L gain L stereo R level R freq R notes R cents R fd R q R bw R gain R stereo oscillators and LFO controls Osc Vol Osc1 Vol Osc2 Vol Osc note Osc cent Osc1 f Osc2 f Osc 1 shp Osc 2 shp Osc 1 fm Osc 2 fm Nois Vol LFO1 f LFO2 f LFO3 f LFO1 amt LFO2 amt LFO3 amt dynamics blocks only input left shown here but list will also show same for input Right dynamics block and the output L R blocks too IL D gai IL D att IL D rel IL D knee IL C thr IL C rat IL E thr IL E rat IL D Lok IL D slew IL D mku IL G att IL G rel IL
12. Noise or Monitor sources are marked by a this means that the corresponding signal source is switched OFF and needs to be activated before you will hear it Commonly the vocoder output would be just the Synthesis bank but you can use the system how you please If you are using the vocoding process for a kind of straight FX mix back in the unprocessed Exciter and Carrier signals to create a dry wet mix Table 9 14 Group Page Parameter Value Comments Output Mix Ana bank infdB 24dB final output level for Analysis bank Syn bank infdB 24dB final output level for Synthesis bank Exciter infdB 24dB Mixes into the original Exciter and Carrier sources Carrier infdB 24dB from the inputs Osc infdB 24dB Mixes into the main output the internal waveform Noise infdB 24dB sources directly Monitor infdB 24dB For setting the level of the monitor feed from within the system Pan Ana bank L100 R100 Same as above but for Left Right panning control Syn bank L100 R100 Exciter L100 R100 Carrier L100 R100 Osc L100 R100 Noise L100 R100 Monitor L100 R100 DynamicsL Mode OFF Dynamics Block controls comp See section 2 1 2 for more details Gte cmp Master Volume infdB 24dB The final MASTER OUTPUT Infiltrator User s Manual 105 9 2 8 2 OUTPUT Monitor The monitor controls follow on from the list of outp
13. Really short delays can create Right in 4 00000 s chorus and comb filtering effects Left out feedbk inf 0 00dB This feeds a portion of the delay output into itself Right out again The closer to zero the feedback the longer the echoes last and you approach a guitar like feedback loop Filter Bypass These simple filters can be used to brighten or LP med darken the sound as it is echoed The filter types HP med are LP light Bypass the filter is not active HP light LP med smooth roll off low pass HP med smooth roll off high pass LP light shallow low pass HP light shallow high pass Freq 50 20 000Hz This sets the point above or below which the sound is filtered depending on the filter chosen dry wet d100 w100 Dry no effect Wet effect only Infiltrator User s Manual 89 Chapter Vocoder Mode 9 1 Using a Vocoder The basic outline of the function of the vocoder has been discussed in sections 2 1 3 and 2 2 3 The vocoder consists of the two processing banks one Analysis bank Left and one Synthesis bank Right The input to the Analysis bank is called Exciter L and the input to the Synthesis bank is called Carrier R The Exciter and Carrier inputs each have a ring modulator and a compressor expander gate available for effects and signal conditioning There are lots of things that can be done by using various sound sources for the Exciter and Carrier The possibilities in
14. S mix Svu lo Svu hi Silent Voiced Unvoiced Direct ana bank Filter These are monitoring options within a specific syn bank Amp bank and channel 106 Vocoder Mode 9 2 9 METERS 9 2 9 1 FULL SCREEN METERS Group Meters Page Config Config cont You can use this group to call up accurate meters that fill the whole screen You can cycle between many different meter types to show clearly what is happening in the system See schematics in sections 9 1 and 9 2 5 above for metering signals available in Vocoder Mode First you can set up the meters here Table 9 16 Parameter Value Comments Decay 0 00 10 0s This sets how responsive the meters are by controlling the jumpiness Mode Log dB Set the meter scaling method Linear Group Global You can set up two custom meters that track a Ana bank signal of your choosing The corresponding custom Syn bank meters are available both as popup meters and on the Meters pages with the legends 1 and 2 To select first you choose the group it is in Channel 1 24 If you choose Ana bank or Syn bank you need to then choose a channel If you choose global this will show a to remind you this is not used Signal L input These are the global group monitoring options R input global Exciter These are the specific signals that pass through the Carrier complex vocoding architecture and the SVU Noise module You can choose to
15. can create highly unusual filtering compression echo effects that operate on different frequency bands simultaneously This is actually the simplest and most accessible mode and so is the first one that we will cover in the manual working our way up to the full blown vocoder system Introduction All this we hope makes for quite a unique piece of hardware The three REALTIME CONTROLLERS on the front panel can be configured in loads of different ways to give you hands on performance control of internal parameters They do not change the underlying values but rather apply positive or negative percentage multiplications that you can define very precisely One controller can be configured to control up to 8 parameters at the same time even with completely different amounts and polarities For instance you could make a Dj filter preset to have all sorts of subtle positive and negative value changes take place under the hood with the turn of one dial for dramatic filtration effects that take you way beyond the classic 24 pole low pass sweeping sound This is a very powerful tool and many of the factory presets take full advantage of this system What s more there are three LFOs that can be assigned to modulate any of the REALTIME CONTROLLERS like automaton robots that grab the knob and move it for you which as you can imagine can make the device go wild and allows you to create all sorts of time based filtering FX
16. indicators See the meters section of chapters 7 8 or 9 for more detail Signal chain with 12dB headroom Thanks to the Chameleons 24bit signal path dynamically there is plenty of room to play with before the outputs See section 5 2 for more details MIDI control There are extensive playing control and modulation facilities for remote performance and sequencing of the synth filters and compression controls The filter banks in Parallel mode can be controlled from the keyboard with a variety of ducking gating and frequency mapping techniques Even though the MIDI controller messages only send 128 steps while many of Infiltrators parameters are vastly more detailed we have still come up with a few ways to allow you MIDI control over the guts of the machine Note that with certain parameters there may be a slight stepping effect at times because the MIDI controller resolution is so much lower Internal storage of 99 user presets We have created over 50 presets for you to explore The rest are for your creations Dynamic allocation of DSP resources Infiltrator allows different configurations to utilize the hardware fully While this means you can get the most out of the machine at all times you will of course reach a maxed out alert if you try to activate functions that require more power than there is spare See section 5 1 for details Infiltrator User s Manual 31 Chapter The Display and Navigation Nex
17. together before sending it to the main outputs L input Infiltrator Multiband mode Infiltrator User s Manual L input R input L L bank R Output mixer R bank monitor L output O y R output e m 2 R input Rin o 1 5 channels L mix L Left ch 1 Left mix eo gt filter comp signal avilable for meters and monitoring eo _ Delay _ R RmixL N aa 0o signals avilable for meters only gain reduction gate y amplifier attenuator salt 4 general filter block Left ch N L oe Delay R dynamics processing block I pu Ly gt general processing blocks L mix R Right ch 1 Right mix eo Te Delay ef R RmixR 6 6 Right ch N u e Delay l R T Figure 7 1 7 2 The Mode Groups 60 The rest of the chapter will go over the different pages and parameters you find in Multiband Mode group by group A short description of each group is in the next table In order they generally cover the process from start to finish You start with general SETUP go on to the INPUTS then the FILTERS the DYNAMICS control of each band the DELAY FX parameters and finally the OUPTUT mix Following this group you find the METERS section
18. 01Hz 25Hz The speed of the LFO cycle phase 0 359Deg You can set the phase wave Saw Here you choose the waveform that the LFO will Tri create See Appendix B for more details about the Square wave types and how they work Sine S amp H target Rtc1 1 Here you set the RTC to be controlled by the LFO Rtc2 1 Rtc3 1 Rtc1 2 Rtc2 2 Rtc3 2 Rtc1 8 Rtc2 8 Rtc3 8 amount 100 100 This sets how much the LFO moves the RTC by LFO 2 See above LFO 3 See above 88 EQ Mode 8 2 8 DELAYS Infiltrators delay FX blocks all act in exactly the same way In EQ Mode there are two pairs of delay FX one on the inputs and one on the outputs However all the controls are put here in one group for convenience You can use the delay for chorus effects dub echoes metallic reverb like spaces and more Table 8 18 Group Page Parameter Value Comments Delay Setup In L Mode ON These activate the in and out Delay Blocks OFF In R Mode ON OFF out L mode ON OFF Out R mode ON OFF In Link OFF These link the stereo FX together L R ctl Out link OFF L R ctl Gbl t 4 00000 These are global modifiers for adjusting all the 4 00000 s delays simultaneously The underlying delay Gbl fb 96 0 96 0dB values for delay time feedback filter frequency Gbl f 9 99 9 99 Oct and dry wet mix will be adjusted by these Gbl d w 200 200 amounts Left in time 0 00000 Sets the delay time
19. 100 MIDI velocity is used to control the filters envelope 100 attack volume level and q settings Vel gt vol 100 100 vel gt q 100 100 Key gt att 100 Keyscaling across the MIDI keyboard is used to 100 control the filters envelope attack volume level Key gt vol 100 and q settings 100 Key gt q 100 100 Lf vel gt vol 100 This sets MIDI velocity to the filter band volume 100 Rf vel gt vol 100 This sets MIDI velocity to the filter band volume 100 Lf pw gt f 100 This lets MIDI pitch bend alter the Left filterbank 100 frequencies Rf pw gt f 100 This lets MIDI pitch bend alter the Left filterbank 100 frequencies Infiltrator User s Manual 79 8 2 1 5 SETUP MIDI Mod Group Setup These parameters control how incoming MIDI messages are sent to different controls for the filters This gives you in depth control of filter parameters from your sequencer Listed here are the parameters for the Left filters Lf The Right filters Rf parameters are identical Table 8 6 Page Parameter Value Comments MIDI Mod Lf att src OFF Sets the MIDI controller message number assigned c0 127 to Filter attack with names Lf att amt 100 How much the MIDI controller adjusts the filter 100 attack Lf dec src OFF Sets the MIDI controller message number assigned Cc0 127 to filter decay with names L
20. 100 control the attack time OSC volume OSC 1 and 2 Infiltrator User s Manual 77 Group Page Parameter Value Comments Key gt Vol 100 shape settings 100 Key gt Shp1 100 100 Key gt shp2 100 100 PWheel gt f 100n MIDI Pitchbend is used to control the OSC tuning in 100n spans of semitones notes Fmod src OFF You can choose the source MIDI controller message Cc0 127 number for adjusting the OSC frequency with names modulation control Fmod amt 100 The amount this controller will change the 100 frequency modulation control Smod1 src OFF You can choose the source MIDI controller message Cc0 127 number for adjusting the OSC 1 Shape control with names Smod1amt 100 The amount this controller will change the OSC 1 100 Shape control Smod 2 src OFF You can choose the source MIDI controller message Cc0 127 number for adjusting the OSC 2 Shape control with names Smod2 amt 100 The amount this controller will change the OSC 2 100 Shape control 8 2 1 4 SETUP MIDI Filt These MIDI settings allow you to control the Filterbanks via MIDI only while in Parallel mode You can map the bands across the keyboard for ducking and muting performance control and apply controllers such as pitch wheel and velocity to parameters You can create some great performance filters with this that respond to touch
21. 2 14 BandEcho 3 ode a D D D 5 Multiband 1 Dly Time Dly Feed Dly d w Descriptio 2 in level Dly Fcut By using the multiband mode to split the 3 sound up into bands and then the 4 individual delays on each band to create 5 different delay effects complex filtered 6 delays can be created 7 8 15 MetalRoom Ch Mode Set RITC1 RTC 2 RTC 3 5 Multiband 1 Diy Time Diy Feed Diy d w Description 2 In level Dly Fcut Another Multiband delay FX this time with 3 short enough delay times that it creates a 4 Spatial effect 5 6 7 8 16 SteRezo ode a D D D 20 EQ par par 1 In Level Reso Descriptio 2 Clgain Cl ratio 20 parallel filters set to resonate with high 3 CO gain CO thr CO ratio Q at different intervals here they are setto 4 Dly Time Dly Feed Dly d w major thirds all the say up the spectrum 5 6 7 8 Infiltrator User s Manual 121 17 Rezo 12 m 1 In Level Reso Description 2 Cigain Cl ratio Resonator that can be played by MIDI The 3 CO gain CO thr CO ratio first filter cut off point is taken and spread 4 Dly Time Dly Feed Dly d w across the keyboard 5 6 7 8 18 Rezo 24m ode at R R r 8 EQ par par 1 In Level Reso Descriptio 2 Clgain Cl ratio Another resonator that can be played by 3 CO gain CO thr CO ratio MIDI The first filter cut off point is taken 4 Dly Time Dly Feed Diy d w and spread across the keyboard T
22. Dyn Dly O 5 L mix R Rightch1 Right mix eo o lai ER RmixR R bank A _ OR w Right ch N i ight ci gt i mA al gt gt monitor Figure 8 1 8 1 2 STEREO SERIAL PARAMETRIC EQ ser ser This allows you to set up the filters in a chain This is the opposite of what is happening above and is exactly how a Parametric EQ works The filters are set up in series meaning the entire signal passes from one band into the next one at a time In an EQ set up like this each band boosts or cuts a particular part of the signal as it goes This is what is usually found on a mixing desk the EQ knobs in a line one above the other You can sweep each EQ band up and down the frequency range to locate the sound you want to boost or cut within the signal before passing it the next band It is useful to picture it working like this in your head as you are editing the whole signal passing from one filter to the next Infiltrator User s Manual 73 8 1 3 8 1 4 74 The following schematic diagram is a more accurate version of what we have seen in section 2 2 2 previously All metering and monitoring points are indicated along with all routing options You can see the signals passing through the filters in a chain Infiltrator Serial EQ mode
23. InClvl Osc vol Nois vol it s up to you You can use the RTCs to shape 4 S stereo Osc2 vol A freeze this vocoding based stereo patch quite a lot 5 Osc cent Osc1 shp Osc2 f 6 Aatt A dec 7 8 27 Vocoder 1 28 Vocoder 2 ode a D b b 18 Vocoder 1 Alevel Aq Sq De ptio 2 Osc note A notes S notes 18 band vocoders for external carrier 3 inCivl Osc vol Nois vol Vocoder 2 uses the SVU detector for 4 S stereo Osc2 vol A freeze noise on consonants 5 Osc cent Osc1 shp Osc2 f 6 Aatt A dec 7 8 29 MoogVC 1 1 A level Aq Description 2 Osc note A notes S notes Vocoder with a configuration similar to one 3 InClvl Osc vol Nois vol of the good old ones Osc noise and SVU 4 S stereo Osc2 vol A freeze can be enabled using the editor 5 Osc cent Osc1 shp Osc2 f 6 Aatt A dec 7 8 Infiltrator User s Manual 123 30 VC norm 17 31 VC wide 17 32 VC narrow 17 33 VC invert 17 Vocoder 1 A level Aq Sq Description 2 Osc note A notes S notes Vocoders for external carrier oscillators and 3 InClvl Osc vol Nois vol noise can be used too The spectrum is 4 S stereo Osc2 vol A freeze normal widened narrowed or inverted as 5 Osc cent Osc1 shp Osc2 f indicated by the names 6 Aatt A dec 7 8 34 VCbridge17 ode at R r
24. L R avg L R ctl the Left Right pairs use the same settings Note that a L R max stereo image that is being compressed will lose its stereo definition with this setting as well as OFF L R avg the gain reduction is based on the average peak envelope for the Left and Right channels This gives the smoothest sounding stereo linking L R max the gain reduction is based on the peak envelope for the loudest of the Left and Right channels This ensures that the loudest channel is always fully compressed In all modes except OFF the Left and Right channels are controlled simultaneously Both channels are available but is doesn t matter which one gets adjusted C look OFF This sets the maximum lookahead time for the compressors The 0 00001 whole signal will be delayed and then the individual Dynamic 1 00000s Blocks can each listen in on the signal early MB Mode OFF This sets up the general mode for the Dynamics Blocks comp Gte cmp Infiltrator User s Manual 61 Group Page Parameter MB olap MB q Value 9 99 9 99 oct 0 50 10 00 Comments The frequency bands of the multiband decomposition filter have adjustable crossover overlap When set to ve values the filters will overlap at the crossover points When set to ve values the filters will underlap at the crossover points Normally this might be around 0 25 dap 0 25 q 0 5 arabica Tii hi hi f
25. PAGE UP and DOWN to cycle through the 5 bands As well as the individual controls you also have global controls for adjusting parameters across all the bands at the same time in proportion to each other You will either add an amount of gain or dB setting or multiply the individual settings of each band such as ratio by a percentage value Note that like the REALTIME CONTROLLERS this will not change the underlying value of a particular setting if the global setting is in effect you will simply see a l next to the values of individual blocks to remind you Although it depends how you want to work it is probably best to use the global settings at the end of the process once you are happy with the set up of each band to nip and tuck the overall settings shown below such as ratio or makeup gain They can also be used to just check out the effect of broad changes Table 7 6 Group Page Parameter Value L Dynamics Gbl C gain 24 0dB R Dynamics 24 0dB or Catt 0 1000 0 L R Dynamics C rel 0 1000 0 C Knee 12 0dB 12 0dB C thr 60 lt B 60dB C ratio 0 1000 0 E thr 60 lt B 60dB E ratio 0 1000 0 C look 0 1000 0 C slew 0 1000 0 C mkup 60 lt B 60dB G att 0 1000 0 G rel 0 1000 0 G hold 0 1000 0 G thr 60 lt B 60dB Multiband Mode 7 2 5 DELAYS Infiltrators delay FX blocks all act in essentially the
26. REALTIME 2 3 These two knobs can be used to zone in very quickly on the value you want REALTIME 2 is for coarse control and covers the entire range of values turning from left to right So if you know that you want a value that is in the middle of a vast parameter range simply move this knob to the middle REALTIME 3 is a fine tune control Its control is relative whatever position it is in turning it to the right will increase the values and to the left will decrease them It is possible that you will want to lower a value with this knob and find that it is all the way to the left but you can easily use the coarse tune to bump the value a bit lower so that you can use the fine tune to raise the value instead turning it to the right Next these buttons have changed their function too SHIFT Switches the popup meters ON and OFF as indicated by the SHIFT LED PART UP Cycles popup meter types PART DOWN Resets popup meters peak indicators or cycles popup analyser modes Remember that the behaviour of some of these controls and functions depends on how they are configured in the Sys Config page see section 4 4 1 they can be turned OFF for safety Infiltrator User s Manual 57 Chapter 7 Multiband Mode All the menus and lists below reflect what you will find in Multiband Mode As soon as you change mode you should refer to the relevant chapter Multiband Mode has been set up specifically for stereo or dual
27. The major additions are attack and decay parameters that adjust the times of each channels envelope detector There is again also one special page gbl which is the page for the global modifiers that acts on all Analysis channels at once This makes it possible to perform subtle or drastic changes relative to the programmed parameter values across the vocoding process without having to reprogram each channel The global controls are accessed using the special page number gbl The parameters names correspond to those in the individual channels The modifier values show above are all in their neutral states where they have no effect on the channels parameters For levels the change is in dB for times and bandwidths the modifier is a percentage and for tuning the modifiers are semitones and cents When editing a specific parameter for a single channel a will be shown if a global modifier is in effect for that parameter This means that the value shown is only the base value and the value that will be in effect is be modified as set by the corresponding global modifier When using extreme settings for the global modifiers the results may also be extreme E g setting the notes modifier to near the minimum or maximum values will usually cause the filters to bunch up at the lowest or highest frequencies Vocoder Mode Group Ana bank These global modifiers are laid out in the following table followed by the individual f
28. To help with editing and making the most of this monster soundskin there are extensive metering facilities for tracking almost all internal signal levels There is also an audio monitoring facility that can be used to actually listen in on these internal signals These are really useful tools to have at hand while working So in the end as well as all sorts of classic and brand new vocoders Infiltrator can create everything from performance tools such as weird echo monosynths and sweeping DJ filtration patches to detailed quality stereo mastering tools If you like serious sonic experimentation Infiltrator really might just find its way into the heart of your studio and live rig Infiltrator User s Manual 3 1 2 Background The earliest analogue vocoders were not really made for musical use at all but rather for telecommunication purposes such as voice scrambling and compression and like many interesting technologies they were developed during the WWII years The inventor of the vocoder was Homer Dudley His work was presented at the World Fair by Bell Systems in 1939 During WWII a vocoder was used for scrambled transmissions between Roosevelt and Churchill Like so many audio technologies despite their initial purpose their sonic properties would soon make them interesting to quite a different audience Initially the musical application was to accompany vocals with additional harmonic content and even crude attempts to correct off ke
29. User s Manual 51 implementing continuous moving control You should just be aware of how hard the Chameleon is working to do these amazing feats as far as we know this is the only channel vocoder around with full filterbanks that can be adjusted like this in realtime 5 4 4 NAMING 52 Firstly the naming convention for the RTCs is as follows RTC x y where x is the number in the set and y is the set itself so RTC 1 4 means the first RTC in the fourth set The RTC sets There are up to 8 sets of 3 RTCs that can be assigned to control parameters You cycle through the RTC sets using PART UP and DOWN once you are back in Preset Mode where the RTCs return to being performance controls and not the trio of data selection wheels they are in Edit Mode You can choose to operate all the RTCs independently or create multis where two four or eight RTCs are operated at once by one knob So you could create a complex DJ filter that controls 4 parameters maybe two filter types at the same time with varying degrees of cut off resonance EQ peak and fdelta changes You can even name your multis specifically see section 7 2 8 Here are the modes laid out visually Single mode each RTC controls its own parameter RTC 1 1 RTC 2 1 RTC 3 1 RTC 1 2 RTC 2 2 RTC 3 2 RTC 1 3 RTC 2 3 RTC 3 3 RTC 1 4 RTC 2 4 RTC 3 4 RTC 1 5 RTC 2 5 RTC 3 5 RTC 1 6 RTC 2 6 RTC 3 6 RTC 1 7 RTC 2 7 RTC 3 7 RTC 1 8 RTC 2 8 RTC 3 8 Some Mor
30. Y N Comments Use VALUE UP and DOWN to select Yes or No If you choose Yes pressing EDIT will confirm the save and the display will briefly indicate that the system is being saved to FLASH After choosing Yes or No Infiltrator will revert back to the Homepage Infiltrator User s Manual 45 Display notes means the current preset is dirty edited but not yet saved If you do not want to save the system set up just navigate away from the Sys Save Setup page 4 4 6 INFO Infiltrator displays information about the Infiltrator Soundskin and the Chameleon Table 4 7 Group Page Parameter Value Comments Sys Info Ver 1 0 App Infiltrator Mod Chameleon 1 For your information Sno Serial no 46 Preset Mode Chapter Some More Things 5 1 Dynamic Allocation of DSP Resources In each mode there are features that can be switched ON or OFF This will consume more or less DSP resources i e processing power and memory Also each processing channel consumes a certain amount of DSP resources such that adding or removing channels will affect the DSP resource usage Infiltrator will use this fact to allow you to select the desired functions and number of processing channels and therefore use the available DSP resources to the max The current DSP resource usage can be seen as a percentage of the available resources on the Preset Info page If an attempt to switch on a fea
31. all these system parameters first so that you get a feel for the system and because these menus and parameters remain the same at all times Once you enter the other mode Edit Mode things get more complex as the menus alter depending on what architecture mode you have selected Note that saving is handled differently in Infiltrator than in other Soundart soundskins so again it is advisable to read up on how it works section 4 4 4 if you can t wait We will also cover some concepts common to the different modes such as the meters internal levels and DSP usage A short chapter then follows on and the changes in navigation once you enter Edit Mode and some advice on changing the configuration mode vocoder EQ Multiband of a preset The last sections chapters 7 to 9 can be thought of as independent branches each following on from the end of chapter 6 They will deal with what you find in Edit Mode Each of the configurations that you can choose for a preset changes the layout and menu options slightly as touched on in the introduction Infiltrator User s Manual 7 So Multiband EQ and Vocoder Modes will be presented in their own chapter as although they share many similar menu systems and parameters they are sufficiently different to warrant a separate section of the manual each You will of course find much overlap between them and the chapters that describe them and as you learn your way round one mode you will understan
32. bank or Syn bank you need to then choose a channel It will show if you have chosen the global group and therefore don t need to choose a channel Rtc various Then you choose the parameter se table below for all the options rte 3 amt 1000 1000 Here you set the ve or ve amount that the RTC will adjust the underlying parameter value by rte 3 value 63 63 This is the memory of the position of the front panel knob it is made available for inspection and direct editing you can hear the effect as you edit it This is the stored RTC proper as used by the global RTC edit mode chosen in the global system menus see section 5 4 1 110 There are extensive options for RTC target assignments depending on what group you have chosen You can control global parameters such as Input levels and Oscillator frequencies or parameters that belong to individual filters within a bank such as Q and fdelta Global parameters also include the list global modifiers that allow you to alter parameters across all filterbanks simultaneously such as filter frequency Vocoder Mode Table 9 20 Signal Group Targets GLOBAL RTC global group possible assignments from within the system in Vocoder Mode general filters OFF In level In E Ivl In C Ivl A level A freeze A att A dec A freq A notes A cents A fd A q A bw A gain A stere
33. choose the filter type you want As you change to an EQ type the menus change to fit as shown below order 2 4 6 8 This sets the steepness of the filter curves Freq 20 20 000Hz This sets the frequency at which the filter note E 1 D9 operates often known as the cut off You can cents 50 50 choose to set its value in Hz or by MIDI note and cents Changing one setting will reflect in the other e g 445 4 Hz A1 21 cents fdelta 0 00 This spaces the filter poles out around the centre 10 00 octaves frequency for higher order 4 6 8 filters to create wider and or multiple peak filters See images below With nearly all the different filter types the last control you have is q Table 2 2 Parameter Q Value 0 50 999 00 Comments Sets the resonance or cut off point feedback creating a sharpening of the sound the dotted line in the diagrams above Here you can have really extreme settings Normally a value of around 1 7 would be sufficient for a DJ filter With Bandpass filters this controls the width of the band however with the filter set to EQ type you have these controls instead of f at q Table 2 3 p ara ofo qd 0 Bandwidth 0 01 10 00 oct This sets how much the EQ affects the surrounding frequencies Gain inf 24dB This sets the gain applied to the selected frequency area and with LoShelf and HiShel
34. control and a threshold level setting each If both the low and high band signal levels are below their set thresholds or both bands are silent the detector assumes the silent state and feeds the silent mix to the output mixer Unless silent based on the instantaneous energy in each of the two bands the detector decides on one of the voiced or unvoiced states The derived state activates the corresponding Synthesis source mixer and the activated mix is fed to the Synthesis bank The same thing happens in SVU mode but with some added features to give more precise detection The amplitudes of the low and high bands are smoothed according to the slew parameter for each The two smoothed bands are then used to derive an estimate of the current mean frequency This mean frequency estimate is subjected to a hysteresis window to stabilize the detected state When the mean frequency is below or above the set low high division frequency subject to the hysteresis the voiced and unvoiced states are detected If both the low and high band are below their set threshold levels or if both bands are silent then the silent state is detected Furthermore the SVU detector drives the Synthesis automixer That is as opposed to the simple SVU detector that just switches the source signals in and out the automixer performs smooth in out fades of the sources instead The fade rates are programmable for each state The automixer also offers some
35. current group page and parameter When compressor linking is enabled they will usually be a pair of popup meters showing the Left and Right signals in context For the global compressor controls the analyser mode is used in context to show all bands together Here is a description of the meters you will come across Table 8 14 Legend Meter Comment Inl input level Left Main input levels Inr input level Right FI filter output Left What goes into the Dynamics Block Fr filter output Right Dynamics Block gain reduction Left Gain reduction across all five banks t Dynamics Block gain reduction Right l Dynamics Block gate level Left The gates opening and closing Ir Dynamics Block gate level Right cl Dynamics Block output Left What comes out of the Dynamics Cr Dynamics Block output Right Blocks ol final output Left Master output Or final output Right Al Amplifier Left These are the channel output Ar Amplifier Right amplifiers in the serial EQ Infiltrator User s Manual 85 8 2 6 REALTIME CONTROLLERS Here you set up the front panel REALTIME CONTROLLERS RTCs for hands on control When editing the RTC assignments you can quickly test them by pressing EDIT to go to system mode where they will immediately work as they are programmed to Then a single press of EDIT have you right back into editing mode for further tweaking i e there
36. filtered depending on the filter chosen dry wet d100 w100 Dry no effect Wet effect only 7 2 6 OUTPUT 7 2 6 1 OUTPUT Mixing Once you are happy with the filtering and dynamics settings the output mixer is used to create the final stereo mix of the processing banks and any other available elements The usual level and pan controls are provided for each source In this mode all you can do is simply mix the results of the processing with the original unprocessed sound from the inputs and mix in the monitor channel for selective auditioning of signals within the processing banks Infiltrator User s Manual 65 Group Output Normally with mastering you would not mix back in the original but you can see this option as a kind of dry wet control for the more FX oriented settings you create using the delay FX Table 7 8 Page Parameter Value Comments Mix L bank infdB 24dB Sets the final output level for the output of the two filterbanks R bank infdB 24dB L input infdB 24dB Mixes into the output the original unprocessed input signals R input infdB 24dB Monitor infdB 24dB For setting the level of the monitor feed from within the system Pan L bank L100 R100 Same as above but for Left Right panning control R bank L100 R100 L input L100 R100 R input L100 R100 Monitor L100 R100 Master Volume infdB 24dB The MASTER VOLUME CO
37. followed by the REALTIME CONTROLLER set up and finally the settings for the LFO MODULATION robots Table 7 1 Group Comments Setup This is where you set up the modes basics You can name the preset change to another architecture mode if you wish determine the number of channels and the general settings for the multiband compressors link the stereo and look at the DSP usage readout Input Here you set the overall levels for the Left and Right inputs In Multiband Mode there are no other options here L Band Here you set up the bands that the signals are split into You can R Band determine the level pan phase and frequencies of the bands as well as activate and deactivate a monitoring system unique to this mode for listening to one band at a time L Dynamics Depending on whether you have linked the compressors you will either R Dynamics be able to deal with each one separately or their settings will be united or L R under one set of parameters L R Dynamics Here you have total control Dynamics over the extensive parameters for each of the compressors Delays Here you can set up the delay FX for each band Output Here you can mix together the levels coming from the two filterbanks the two original inputs and the monitor channel that taps signals from throughout the chain Meters You can use this group to call up meters that fill the whole screen You can cycle between many different meter typ
38. line while editing to help you see what your signals are doing When displaying meters on both lines using the Meters Display page When prompts and warnings may temporarily use one or both lines to let you know something In the chapters that follow we have laid out all the groups pages parameters and their possible values in tables that show this hierarchical menu structure clearly 3 3 The Different UI Mode Button and Knob Functions It is important to note that unlike the other Soundart soundskins to date many of the Front Panel controls change function completely depending on which of the two modes you are in This mainly refers to all the other controls aside from the GROUP PAGE PARAMETER and VALUE navigation and editing buttons For instance the REALTIME CONTROLLERS are used for performance control only in Preset Mode Once you enter Edit Mode they become a trio of data selection wheels designed to help you quickly reach the values you want for the different parameters With parameter ranges that smoothly run from 0 00001 to 9 99999 this is quite important You would not want to sit there scrolling away with the ENCODER all day see section 6 3 for more There will be more on the exact functions of each control in the two modes later 34 The Display and Navigation 3 4 The Location Memory Feature Like many rack units Infiltrator has a page location memory and will always remember where you have been So if
39. meter will always show you the meter type you have chosen See section 7 2 7 for more details Popup time 0 1 10s You can set how long it takes for the popup meters to appear once you have arrived at a parameter which allows you see the text in the upper LCD line while you navigate with the popup meters enabled 42 Preset Mode Group Page Parameter realtime Value ON OFF Edit Comments In Preset Mode the REALTIME CONTROLLERS are configured as performance controllers for manipulating internal parameters You can turn these OFF for on stage safety or you can select from two different modes ON means that the controllers will apply their positive and negative manipulations to the underlying parameters but that their positions are not saved with the preset Use this when you want them strictly for performance controls EDIT means that their current positions can be frozen along with the rest of the preset data so that when you return to the preset the controllers are left in the exact position they were before If you like to feel for new sounds and settings you can view this as a kind of editing system with certain caveats see section 5 4 1 for more details Param slew 0 10 All parameters except filterbank parameters can be slewed to allow smoother transitions from one value to the next E g as the RTCs have a resolution of 128 if you
40. noises Therefore it is advisable not to make mode changes until you are more used to the architecture It is easiest to start with a preset that already is in the desired mode if you want to create a new patch In any case the VOLUME should be turned down when changing preset modes When you change preset mode setup common see section 7 2 1 you can browse the list of modes without selecting so that you can jump directly to another mode carrying over some of your settings Instead of changing right away the mode name will flash instead Once you find the mode you want to enter press EDIT to confirm the change This is the same as the preset selection browse mode on the homepage Note that on a mode change Infiltrator has to reconfigure its architecture and this requires that some parameters automatically change e g the number of channels will have to be reduced for some modes and some parameters in the unused channels will be automatically be reset etc This is necessary to maintain integrity of operation However Infiltrator will always work to preserve as many parameters as possible between modes Infiltrator User s Manual 55 6 3 6 3 1 56 Changes to the Front Panel Controls In Edit Mode some of the functions of the front panel buttons have changed EDIT MODE EDIT go to Preset Mode or confirmation Yes RTC3 fine PART UP cycle up through the pop up meter types RTC 2 coarse PART DOWN Reset
41. open for the set hold time and then the gate release time will set in Infiltrator User s Manual 17 2 1 3 18 THE VOCODING BLOCK This is the special vocoding process as two sounds pass through the banks of filters they are cross Synthesised by the Vocoding Block so that one sound can alter the spectral shape of another The high flexibility in programming and routing here allows the emulation of almost all of the classical vocoder architectures The Analysis filterbank Left is used to split the Exciter signal Left input into narrow frequency bands The Vocoding Block tracks the strength of the signal in each band or extracts the spectral envelope as vocoder speak goes Meanwhile the Synthesis filterbank Right splits the Carrier signal Right input into similar narrow frequency bands Each band has its volume controlled by the corresponding amplitude envelopes in the Analysis bank All the bands of the Synthesis bank are mixed down to form the output of the vocoder The result of this is that the Exciter signal Left imparts its spectral envelope or varying harmonic content onto the Exciter signal Right Or in other words one sound is being played by another sound What happens technically can be classified as a form of spectral transformation or convolution but to us this is just vocoding The most common use of this is to use vocals for the Exciter and an instrument for the C
42. panel have the functions shown in the following diagram PRESET MODE EDIT go to Edit Mode or confirmation Yes PART UP cycle up through the Realtime Controller Sets PART DOWN cycle down through the Realtime Controller sets Realtime controllers 8 sets of 3 SHIFT Bypass Figure 4 1 EDIT To enter Edit Mode where you can edit the currently selected preset The LED next to the EDIT button will light to indicate the change of mode Note that unlike other Soundart soundskins Infiltrator will not ask you if you want to save your edits when you enter and then exit Edit Mode This is so that you can easily flip between the two modes adjusting parameters in the global set and preset specific set without interruption When you are ready you must save manually For details on saving see section 4 4 4 Infiltrator User s Manual 39 In Preset Mode the EDIT key is also used to execute Y N selections or confirm the selection of a new preset while using the Browse preset selection method The LED next to it will flash whenever you need to confirm something SHIFT Switches ON OFF Bypass The LED next to the SHIFT button will light to show bypass is ON along with a small b on the Homepage upper line A warning screen will temporarily show up whenever you change mode to remind you that Bypass in ON as well PART UP and DOWN These are used to cycle up or down through the REALTIME CONTROLLER sets available see belo
43. particular preset and make adjustments to its parameter set up All of these adjustments are saved with each individual preset As every preset is either in Vocoding EQ or Multiband Mode it is here while editing that you will find the menus and parameter sets morphing to fit the chosen processor flavour This is why the final chapters will each cover the slightly differing Edit Mode architectures separately 3 2 Finding The Parameter You Want Once you enter the Edit Mode or System pages outlined below you will find a lot of parameters to control However navigating them is quite easy with parameters grouped together into logical menus which you can browse through to access and modify parameters The menus always have the following structure GROUP GROUP UP and GROUP DOWN keys The group buttons move you between the main sections within a Mode The name of the current group is shown in the upper left line of the Display PAGE PAGE UP and PAGE DOWN keys Within each group outlined above there are usually several pages to navigate through that contain subsets of parameters for dealing with one particular aspect of the mode The page name is shown on the right of the upper line PARAMETER PARAM UP and PARAM DOWN keys Once you have chosen a group and gone inside a particular page you can then select from a list of parameters for adjusting The name of the current parameter is shown in the lower line of the display
44. pop up meters RTC 1 ENCODER multiplier peak indicators or cycle through changes the resolution graphic meter types of the ENCODER for quickly editing values onscreen SHIFT pop up meters ON OFF Figure 6 1 THE REALTIME CONTROLLERS In Edit Mode these knobs become a trio of data selection wheels designed to help you quickly reach the values you want to set up for the different parameters With parameter ranges that smoothly run from 0 00001 to 9 99999 this is quite important You would not want to sit there scrolling away with the ENCODER all day Do spend a moment getting used to how these three controls work together with the ENCODER and VALUE buttons as they allow you to very rapidly edit your presets with total ease REALTIME 1 This sets a multiplier to be used by the ENCODER to speed up editing of high resolution parameters This means if you use a multiplier of say 4 the numbers will increase 4x as fast A parameter with values of 1 128 would go 1 4 8 12 16 and so on The highest multiplier you have is 100 Set to this you can travel through long parameter ranges quickly Useful numbers like 10 and 50 are also made easier to pick out from the list WARNING If the multiplier is set to a high value sudden jumps in volume can occur if you are changing a gain parameter Be careful and keep an eye on what you are doing If in doubt run RTC1 all the way to the left to set the encoder multiplier to 1 Before We Move On
45. setting up different sounding filter banks are endless So are the routing and mixing opportunities that enable the vocoder to emulate the architectures of nearly every classic channel vocoder Every filter in each bank is fully stand alone and separately programmable in detail All of the input oscillator and noise signals as well as the Silence Voiced Unvoiced generated signals are available for use in any of the internal source mixers This allows uses beyond normal vocoding and opens up territories of undiscovered sounds For the technically minded Infiltrator does not use an FFT method Only huge banks of real filters can give the sound the realtime response and the programmability that is Infiltrator s mission to provide 90 Vocoder Mode The following schematic diagram gives a detailed look at the architecture of Infiltrators Vocoder Mode also showing the signal monitoring and metering points The SVU modes when active add to the complexity of this system as the diagrams in section 9 2 5 will soon show Infiltrator Vocoder mode no SVU exciter Lcomp Output mixer Lin Lin gt Rmod Comp Dly e I exciter gaino carrier reduction gate R comp Rin R in Rmod Comp Diy O l carrier I gaind
46. the Exciter signal AGCs are normally used to reduce a signals strength but in the Infiltrator SVU we need the opposite gain control i e it is a simple expander SVU caveats Adjusting the SVU detector can be a bit like adjusting a carburettor for those of you who have tried that In other words it may be fiddly and it may not work quite like you hoped This is a natural heritage from the analogue circuits that it mimics and it must be said that this method of consonant Synthesis is not necessarily optimal but the old analogue vocoders had it and so Infiltrator has it In many cases the filter banks will respond well to consonants without using the SVU detector maintaining good intelligibility and more natural sound However note that the SVU detector can also be used for other purposes e g it can be set up to work like a ducker Preset VCducker does exactly that The filters are not working only the SVU detector The carrier R signal passes straight through to the outputs But if there is any input at the exciter L then the carrier signal is cut and the exciter passes instead Infiltrator User s Manual 99 Here are the parameters for the SVU detector Table 9 8 Group Page Parameter Value Comments Ana SVU SVU Mode OFF This sets the mode for the detector SVU Silence Voiced Unvoiced detector SVU Freq 16 10 000Hz The frequency point at which the signal is split to be monitored for hi frequency and low frequ
47. them in series meaning they take the signal filter it and then pass it on to the next filter for further processing in a chain INPUTS FILTERBANKS OUTPUTS LEFT Serial filters up to 24 in a row EH Balance all signals levels and pan going into are set for the the system filterbank they pass outputs and also through left and for the original right dynamics RIGHT Serial filters post delay blocks then on up to 24 in a row input signals to the delays dynamics Synth block for waveform noise generation and or ring modulation Figure 2 6 Infiltrator User s Manual 27 2 Alternatively you can choose to run them in parallel meaning every filter takes the whole input signal in at the same time filters it and then you mix the results back together again for the output 28 INPUTS Balance all signals going into the system they pass through left and right dynamics blocks then on to the delays FILTERBANKS LEFT Parallel filters up to 24 side by side a 1 I RIGHT Parallel filters up to 24 side by side OUTPUTS levels and pan are set for the filterbank outputs and also for the original input signals 5 Synth block for waveform noise generation and or ring modulation Figure 2 7 The other two modes are mixtures of the above serial on the Left channel and parallel on the Right or vice versa At the inputs y
48. through the options for setting up a preset in Vocoder Mode Each of these chapters can be read as if it starts after this one As there are many overlapping features between the modes they have simply been repeated in each chapter to stop you jumping backwards and forwards too much throughout the manual For those of you who are new to some of these concepts it would be advisable to start with the Multiband Mode to get a feel for the way things work as the other modes just add more and more features But for those who want to dive straight into Vocoder Mode and EQ Mode go straight to those chapters after reading the next bits on mode changes and how the buttons work while editing in Edit Mode 54 Before We Move On 6 2 Changing Mode As outlined in the general introduction Infiltrator can operate in several different modes each covered in their own chapter They each represent a certain configuration of the processing blocks But once you enter Edit Mode to work with a preset you can change its mode at any time However this should be done with caution Users may want to do planned modes changes like e g carry over filter bank settings from the Vocoder Mode to an equalizer mode which is really what the mode changing protocol is useful for But beware that under certain circumstances which are too varied to sum up here changing preset modes could cause extreme variations in the output signal in some cases there may be very loud
49. to the signal and simply cut out anything that falls below a threshold Every Block even has lookahead capability a process whereby the system introduces a delay of up to one second into the whole chain so that the Dynamics Blocks can have a sneaky look at what is coming up so it can work even better at catching peaks In a realtime live situation a lookahead of a few milliseconds won t be noticed while still making a difference while in a mastering situation it doesn t matter if two track playback is delayed slightly Onscreen single letters are used to identify the sections C for compressor E for expander and G for gate For some parameters that are common across the components the letter D for dynamics is used There are always options to link the Left and Right Dynamics Blocks for convenient stereo editing where necessary With this active changing the values on the Left will update the Right and vice versa When you first turn ON linking the settings of the Left will be copied to the Right You will be prompted for a Y N confirmation before linking becomes active hit EDIT to execute These are the controls you have for the three parts of the Dynamics Blocks How it Works Table 2 5 Parameter D mode Value OFF Comp comp gte Comments OFF the compressor expander and gate are OFF comp the compressor and expander are enabled comp gte the gate is enabled too C gain infdB 24dB T
50. use this group to call up accurate meters that fill the whole screen You can cycle between many different meter types to show clearly what is happening in the system see diagrams in section 8 1 above for metering signals available in the EQ Modes First you can set up the meters here Table 8 12 Group Page Parameter Value Comments Meters Config Decay 0 00 10 0s This sets how responsive the meters are by controlling the jumpiness Mode Log dB Set the meter scaling method Linear Group1 Global You can set up two custom meters that track a L bank signal of your choosing The corresponding custom R bank meters are available both as popup meters and on the Meters pages with the legends 1 and 2 To select first you choose the group it is in Channel1 1 5 If you choose L bank or R bank you need to then choose a channel Sig1 L input These are the global group signal options in R input Multiband Mode global Comp L Comp R Osc Noise L mix L L mix R R mix L R mix R L output R output Filt Amp L bank These are options within a specific bank and R bank channel Group2 Same as group 1 If you then press PART UP you will see the meters taking up the whole screen You press PARAMETER UP and DOWN to cycle between the three main meter types 1 84 Full screen Left to right meters showing signal 1 and 2 default as the inputs MIDI monitoring including channel and
51. using the Global modifiers can make changes across the entire range of filters The global modifiers look like this followed by the individual filters 1 24 parameters Table 9 13 Page Parameter Value Comments Gbl Level 60 60dB Modifies all filter level settings Notes 100 100 Modifies all filter notes settings Cents 50 50 Modifies all filter cents settings Fdelta 0 0 1000 0 Modifies all filter fdelta settings Q 0 0 1000 0 Modifies all filter Q settings Bw 0 0 1000 0 Modifies all filter bandwidth settings Peak 24 24dB Modifies all filter peak settings Stereo 0 0 1000 0 Modifies all filter stereo width settings 1 24 Level infdB 24dB Adjusts the incoming control signal from the analysis bank for this band Mix vol infdB 24dB Sets the level of each band before they are all mixed back together for the output Mix pan L100 R100 Stereo imaging Phase L R This is for changing the bands phase If in doubt L R leave them in opposites L R 1 L R L R 2 L R 3 L R and so on Filter LP HP etc etc Filter controls continue from here as outlined in section 2 1 1 etc etc etc 104 Vocoder Mode 9 2 8 OUTPUT 9 2 8 1 OUTPUT Mixing The output mixer is used to create the final mix of the processing banks and any other available elements The usual level and pan controls are provided for each source If the Osc
52. vice versa If it is OFF the processor can be used as two mono devices Remember you can turn ON and OFF linking between the compressor settings too with various different linking methods Table 7 5 Page Parameter Value Comments 1 5 Lo f 20 000HZ Here you set each bands frequency range They Hi f 20 20 000Hz are interactive in that they will never cross if you raise the hi f for band 1 the lo f of band 2 will raise with it as they are locked together The symbol and the top or the bottom means that the filterband is open ended Monitor Normal you can use this parameter to quickly solo or mute Mute each band Solo If any of the bands are in solo mode an S is shown in the display after the to indicate this Mix vol infdB 24dB Sets the mix down level for the output from each band Mix pan L100 R100 In a normal stereo application the pan controls are usually set to hard left for the Left bank and to hard right for the Right bank but you have the choice here This is part of the output mixer mentioned above Phase L R This is for changing the bands phase If in doubt L R leave them in opposites L R 1 L R L R 2 L R 3 L R and so on Infiltrator User s Manual 63 7 2 4 64 L R LR DYNAMICS This group is where you actually set up the Dynamics Blocks for each band as described on page 24 Each one can be configured independently You use
53. while in Edit Mode While browsing around the parameters they can show you context sensitive meters for quickly seeing what is happening For instance while browsing compressor parameters the contextual meters will show the gain reduction By pressing PART UP you can cycle through the meters outlined above as well using PART DOWN to reset any peak overload indications or to cycle through the graphic analyser mode types when you reach them The contextual meters you see will vary with the current group page and parameter When compressor linking is enabled they will usually be a pair of popup meters showing the Left and Right signals in context For the global compressor controls the analyser mode is used in context to show all bands together Here is a description of the meters you will come across Table 9 18 Legend Meter Comment Inl Input level Left Main input levels Inr input level Right FI filter output Left What goes into the Dynamics Block Fr filter output Right Dynamics Block gain reduction Left Gain reduction across all five banks t Dynamics Block gain reduction Right l Dynamics Block gate level Left The gates opening and closing r Dynamics Block gate level Right cl Dynamics Block output Left What comes out of the Dynamics Cr Dynamics Block output Right Blocks ol final output Left Master output Or final output Right Infiltrator User s Manual 109 9 2 1
54. will lead you into all sorts of unexpected places We had a lot of fun creating these presets so here is a brief run down on each one to give you some idea how they were made The tables show the RealTime Controller assignment where available and the RTC names in italics mean that a multiplier is in use that changes multiple parameters at the same time and we have named it ourselves Remember that as you change preset you will need to turn ON the Realtime controller sets by pressing PART UP 1 Thru ch Mode 5 EQ par par Description bypass preset where the input signals appear directly at the output mixer and the filterbanks are turned down Set N a CO NI ON U1 w RTC1 RTC 2 RTC 3 Disabled 2 eVolvSynth ch Mode 1 EQ ser ser Description Strange evolving monosynth that has a life of its own Here the three LFOs are each using a Sample and Hold S H wave to adjust RTCs that control internal parameters such as Osc 2 frequency which is frequency modulating Osc 1 it all gets quite weird at times N RTC1 Osc 2 f RTC 2 RTC 3 LFO 1 amt LFO1 f N By 0CO NI ON G1 AJW 118 Factory Presets Explained 3 Boss Synth Set
55. you leave a particular group while displaying a certain parameter within a certain page as you return to that group it will show you what parameter you were looking at before This is very useful when you are trying to adjust two different parameters in different groups pages at the same time Once you have navigated to them you will find that you can toggle between them easily The downside to this is that you leave a trail of locations that change dynamically which can also throw you off balance as you keep track of your location in your head The most obvious of these is that as you enter and exit the two modes what you see on entering can constantly change But like all technology you just need to spend a little time developing familiarity with the soundskin to get comfortable with the way it behaves Note that in a way that is impossible in the other Soundart soundskins you can toggle between global system and individual preset parameter menus instantly This makes things much quicker for experienced users but can lead to some momentary confusion as to what mode you are in A simple guiding rule for this is to look at the LED next to the EDIT key which is lit in Edit Mode You can also see that the word Sys is always on the left of top line in all the system pages of Preset Mode As the only other screen in Preset Mode is the homepage this sys rule of thumb is quite useful to remind you where you are along with the LED
56. 0 REALTIME CONTROLLERS Group Realtime Page Setup Here you set up the front panel REALTIME CONTROLLERS RTCs for hands on control When editing the RTC assignments you can quickly test them by pressing EDIT to go to system mode where they will immediately work as they are programmed to Then a single press of EDIT have you right back into editing mode for further tweaking i e there s no need to save the preset for this Note you can also view and edit the current last RTC knob positions So here are the parameters for setting all this up Table 9 19 Parameter Mode Value OFF Single Multi2 Multi4 Multi8 Comments Here you choose from modes described above You can turn this on at anytime and it will link the RTCs together as outlined You can also name the sets for ease of use Multi1 12 Set the name Using the same method as naming a preset you can name your multi set ups here in order Since there is a possible maximum of 12 multisets 3 RTCs x 4 multisets there are 12 multiset names available The first three multinames are for RTC 1 3 in the first multiset the next three are for RTC 1 3 in multiset 2 You only need to name as many muiltisets as you actually have in use Set1 8 rtc1 3g Global Ana bank Syn bank Here you select the parameter to be controlled First you must choose the signal group it is in rte 3 ch 1 24 If you choose Ana
57. 25 2 2 1 MULTIBAND MODE This mode is the simplest of the three The Filtering Block splits the Left and Right signals into a maximum of 5 frequency bands on each side using a decomposition filter system made up of HP and LP filters see section 2 1 1 You have control over each bands frequency range the global resonance q and overlap for the filters There is no waveform synthesis or ring modulation options as the Waveform Block has been deactivated It then runs the output of each band through its own independent Dynamics Block up to five on each side followed by a Delay Block You can then condition accurately the levels of each band of the frequency spectrum individually and add delay FX You can stereo link the system or create a totally independent dual mono processor INPUTS FILTERBANKS OUTPUTS LEFT F1 splits the 5 signal into F2 up to five bands for separate dynamics F4 and delay dynamics levels are set FX for the processed Levels for filterbank Left and Right outputs and also for RIGHT F1 the original splits the input signals signal into F2 up to five dynamics F4 dynamics delay and delay FX dynamics delay ul ul Synth block disabled Figure 2 5 26 How it Works 2 2 2 EQ MODE EQ Mode is for using the filters as processors in their own right for creating a wide variety of effects There are four different EQ Mode configurations 1 You can choose to run
58. 3 5 Quick and Full Level Editing As Infiltrator is a very detailed and somewhat complex soundskin there are many esoteric parameters that may only be used by advanced users and then only sometimes So we have set up a QUICK level that only shows the most common useful and standard parameters for editing The others are not turned off simply hidden By default the menus system in Infiltrator is set to FULL display level where all parameters are displayed for editing as you scroll through the groups and pages QUICK level only changes the menus you find while editing in Edit Mode System pages always remain the same Changing to QUICK level will make using Infiltrator much simpler whether you are an experienced user who wants rapid access to the basic tools available or a relative beginner who is working out how it all works You can change level at anytime in the system config pages where you set up the user interface See section 4 4 1 Throughout this manual all parameters are shown in the tables as if working at FULL level The parameters that are only available at the FULL level are marked Infiltrator User s Manual 35 So if you are using the QUICK level and you want to look up a parameter in this manual remember to skip over the parameters in the tables that are marked with as they are only displayed at FULL level 3 6 Some Symbols and Their Meanings Periodically you will see certain symbols appear onscreen alon
59. A modern computer should have no problems but if you are experiencing troubles with SysEx dumps try changing this setting Infiltrator User s Manual 43 4 4 3 MIDI DUMP Group Sys Here you can perform MIDI system exclusive Dumps for storing your presets and system configurations as a MIDI file using a sequencer You simply choose the type of data you want to send to the sequencer put the sequencer in record and hit execute The data will stream over to the sequencer and once it has stopped you can save this as a backup MIDI file of your work At any time you can play this file back to the chameleon with Infiltrator loaded and your settings will be returned as long as bulk Rx is set to ON Note that Infiltrator will happily send the SysEx data in the background while you carry on working and will flash the LEDs above the RTCs in sequence to show it is still sending Table 4 4 Page Parameter Value Comments MIDI dump select what All presets Here you can select what type of data you want to you want to Edit Buffer send dump 1 99 All Presets will send everything Edit buffer will send the current snapshot state of the current preset Your other option is to choose from one of the 99 presets in memory and send that Execute dump Y N Use VALUE UP and DOWN to select Yes or No Remember you can still navigate away at this Stop Dump point If you choose Yes press
60. CK d cctxcsnsicoositbacisd ceeeansieeissacrcsmtigaasasct aioe eae 11 2 1 2 THE DYNAMICS BLOCK Watts cc he kaie seh neni ss NE eds er Nec t keene 16 2 1 3 THE VOCODING BLOCK jist ne han biceacedeh ciiledaniehdndacadseae ah talesaaadsne 18 2 1 4 THE WAVEFORM BLOCK lt s cssssinsssnsscoccssbnsnos snsctosissasnycsnnnstuassbeseslareydienessvensusseoes 19 DAS THE DELAY BLOCK yeei a n ane REA 23 2 1 6 THE MIXING BLOCK S si isccssiendettevseatin coersaA ey aerate teeatecaaee 24 2 2 The Different MODS cies csssewsccarsowseccesoecsvasceocecarsvadeocecoussovevncdvs 25 2 2 14 MULTIBAND MODE 2 atch Sid ast hod thi he ne hate oo ais 26 75 A080 8 SR esseen inan aens e RO a a POE 27 223 7 MOCODER MODE eter ttre Destin ereere e EE EEE ESA 29 2 3 More General Goodies ccssccccsssscsscsscsssscssseecssssessseeees 31 3 The Display and Navigation eseessoecesssoccesssoceessoccessoocesoocsessooeseso 32 3 1 The Different User Interface MOdes csscccsscsssscecssseeees 32 3 2 Finding The Parameter You Want essesssoceessoccesssoccessooceessoe 33 3 3 The Different UI Mode Button and Knob Functions 34 3 4 The Location Memory Feature sessessocsessooceessoccesssoccesssoceess 35 3 5 Quick and Full Level Editing ssoseessoccesssoccessoccesssoccesssoeeeso 35 3 6 Some Symbols and Their MeaningsS esesssocsessoscesssoceessoocseso 36 4 Preset Modensissssssetiseosseetseodascseo
61. DI feed DI fcut DO time DO feed DO fcut Special effect using the input and output delays to create low and high delays with short times Each has a different filter and time to create stereo space Try using the RTCs to change the shape completely CO NI OO 1 AI WwW N fr 9 Granulator EQ ser ser 1 Volume Colour Pitch Description 2 DelTime Del Feed Del filt Heavily ring modulated and filtered FX to 3 create very dirty and nasty sound 4 5 6 7 8 10 EchoSwirl 1 ode at R r r 1 EQ ser ser 1 F Bias BP f pan Reso Descriptio 2 Ditime DI feed DI d w Swirling stereo effect where the left and 3 DO time DO feed DO d w right filters are modulated separately by 4 LFO1F LFO 2 f LFO amt two interacting Sine LFOs Noise is added to 5 the input signal to accentuate the swirls 6 7 8 120 Factory Presets Explained 11 EchoSwirl 2 Ch Mode Set RTC1 RTC 2 RTC 3 2 EQ ser ser 1 F Bias BP f pan Reso Description 2 Ditime DI feed DI d w Variation of the above less noise different 3 DO time DO feed DO d w movement and simpler delays 4 LFO1F LFO 2 f LFO amt 5 6 7 8 12 BandEcho 1 13 BandEcho
62. FF L R ctl the Left Right pairs use the same L R ctl settings L R avg L R max L R avg the gain reduction is based on the average peak envelope for the Left and Right channels This gives the smoothest sounding stereo linking L R max the gain reduction is based on the peak envelope for the loudest of the Left and Right channels This ensures that the loudest channel is always fully compressed In all modes except OFF the Left and Right channels will be edited simultaneously by changing either one C look OFF This sets the maximum lookahead time for the 0 00001 compressors The whole signal will be delayed 1 00000s and then the individual dynamic blocks can each listen in on the signal early Infiltrator User s Manual 93 9 2 1 2 SETUP MIDI Group Setup Just like in EQ Mode now you have extensive MIDI set up parameters Table 9 3 Page Parameter Value Comments MIDI Base rx ch OFF These parameters set up a base receive and 1 16 transmit channel for the preset that other Base tx ch OFF parameters can reference base making 1 16 switching MIDI channel for the many parameters in a preset easy LFO reset OFF Keyon This resets the LFOs on every MIDI keypress Ctrl mode OFF This sets how the MIDI controller messages are Abs interpreted Abs means it will assume absolute Rel control of parameter ranges and REL means that it will change the values relative to where it i
63. G hid IL G thr delays DI time DI feed DI fcut DI d w DO time DO feed DO fcut DO d w L bank R Bank RTC possible assignments from within a specific filterbank and channel Depending on what channel and side you choose parameter will show as L1 vol R4 vol etc OFF Vol freq note cents fd q bw gain slope The RTC screen that pops up while you use then will display info about the parameter being modified and if there is an LFO applied to control it Infiltrator User s Manual 87 8 2 7 MODULATION Once you have your RTCs set up to control internal parameters you can attach one of these LFOs to control them automatically Think of these as robots that come and grab the knob and move it for you They cannot be applied directly to internal parameters and can only control RTCs As a compliment the RTCs can be assigned to control the speed and depth of the LFOs so that you can use the RTCs to tweak the LFOs that are tweaking the RTCs as you can imagine it can get seriously cool sounds once you apply this to the internal parameters Table 8 17 Group Page Parameter Value Comments Modulation LFO 1 LFO mode ON It is advisable to set up everything else first before OFF turning the LFO ON because if you cycle through the targets with the LFO ON it will adjust those parameters as it passes although it will put them back where it found them Freq 0
64. I control for the preset here 8 2 1 1 SETUP Common Here you set up the basics for the Preset such as its name mode number of channels stereo linking and so on Table 8 2 Group Page Parameter Value Comments Setup Common n Select character Here you set up the presets name You use VALUE name to edit UP DOWN to choose which of the 10 characters to edit and the ENCODER to select the letter number or symbol you want PART DOWN will add a space Mode Vocoder Here you can change the mode that the preset is EQ ser ser in Once you change this all the menus and EQ par par parameters in Edit Mode will change to reflect the EQ ser par new mode It is advisable to use this function only EQ par ser once you have become used to the system See Multiband page x for advice on mode changes Channels 1 24 In EQ Mode you can set up to 24 bands on each side F link ON Here you link together the frequency selectors of OFF the two filterbanks The Left settings will be copied to the Right and once it is ON changing either side will affect the other simultaneously C link OFF L R ctl the Left Right pairs use the same L R ctl settings Note that a stereo image that is being L R avg compressed will lose its stereo definition with this L R max setting as well as OFF L R avg the gain reduction is based on the average peak envelope for the Left and Right channels This gives the smoothest sound
65. ISSUES Secondly another important thing to note is that the physical resolution of the knobs on the Chameleon is lower than the extremely high resolution parameters used throughout Infiltrator As a result the RTCs and also MIDI controllers often give an approximate control over wide parameter ranges This would result in a stepping effect and would be most noticeable if you set up an RTC or a MIDI cc to control an oscillator freq from 20 to 20 000Hz It would take 128 steps to go from bottom to top Because of this there is a slewing parameter in the global system controls that will actively track the parameters you modify and smooth out the transitions More straightforward designs of synths and filters or systems that only use one or two complex filters can afford to apply plenty of smoothing all over to get round these issues but Infiltrator has to be able to do so much work across so many bands for the vocoding work that it is simply not possible the smooth everything out all the time So here the slewing smoothing works on the same principal as note stealing on polyphonic synths The last element to need smoothing will steal it form the oldest This can lead again to subtle artefacts but in many practical uses this is not noticeable But it is important to know what Infiltrator is up to 5 4 3 PUSHING THE SYSTEM TO THE LIMITS A third aspect of the RTCs implementation to note is that with Infiltrator you have realtime control o
66. LFOs so that you can use the RTCs to tweak the LFOs that are tweaking the RTCs as you can imagine it can get seriously cool sounds once you apply this to the internal parameters Table 9 21 Group Page Parameter Value Comments Modulation LFO 1 LFO mode ON It is advisable to set up everything first before OFF turning the LFO ON because if you cycle through the targets with the LFO ON it will adjust those parameters as it passes although it will put them back where it found them Freq 0 01Hz 25Hz The speed of the LFO cycle phase 0 359Deg You can set the phase wave Saw Here you choose the waveform that the LFO will Tri create See appendix B for more details Square Sine S amp H target Rtc1 1 Here you set the RTC to be controlled by the LFO Rtc2 1 Rtc3 1 Rtc1 2 Rtc2 2 Rtc3 2 Rtc1 8 Rtc2 8 Rtc3 8 amount 100 100 This sets how much the LFO moves the RTC by LFO 2 See above LFO 3 See above 112 Vocoder Mode 9 2 12 DELAYS Infiltrators delay FX blocks all act in exactly the same way In Vocoder Mode there are two pairs of delay FX one on the inputs Exciter and Carrier and one on the outputs However all the controls are put here in one group for convenience You can use the delay for chorus effects dub echoes metallic reverb like spaces and more Table 9 22 Group Page Parameter Value Comments Delay Setup In L M
67. N ri N j BP Vo BP BP V BP i TAN fi k Ao our OU e A BP with low q settings H l i i oe er oe ee i J BP BPM BP BP s a a eb oe he BP with high q settings Figure 2 3 Infiltrator User s Manual 15 2 1 2 16 THE DYNAMICS BLOCK The Dynamics Block used here is a feature loaded compressor expander gate combo that can accurately condition the sounds as they pass through Infiltrator Whenever you find a Dynamics Block within the system it will always be the same set of features and controls It is used to condition a signals volume level Excessively loud parts can be brought under control quieter passages can be made even quieter and signals below a certain threshold can be cut out completely You can use this processor for everything from transparent level conditioning of signals within the system before and after the main processing to creative effects and production techniques using the Dynamics Block as a sonic effect in its own right The three Dynamics Block components are Compressor The compressor basically listens to the input signal and when it reaches a certain point in volume the threshold it starts to pull back the volume by a certain ratio Expander The expander will do the opposite It listens to the signal and when it falls below a certain threshold it will push down the volume towards silence even quicker again at a certain ratio Gate The gate will listen
68. NTROL 7 2 6 2 OUTPUT Monitor The monitor controls follow on from the list of output parameters above This is for tapping a signal from within the processor for auditioning while working You can use this for all sorts of things to listen to a band before and after it passes through a particular Dynamics Block or for checking what the original input sounds like without disturbing any of your mix settings You can choose to mix the monitor in with the output or to solo it for individual auditioning The schematic above shows all the points where the signals can be tapped for monitoring Table 7 9 Group Page Parameter Value Comments Output Monitor Mode OFF You can either mix in the signal to the main output Mix or solo the monitor for listening in isolation Solo Volume infdB 24dB This sets the monitors volume Group Global To select the signal you want first you choose the L bank group it is in see section 5 3 R bank Channel 1 5 If you choose L bank or R bank you need to then choose a channel If you choose global this will show a to remind you this is not used Signal L input R input These are the global group monitoring options global L mix L L mix R R mix L R mix R L output R Signal output L Rbank Filter Comp These are monitoring options within a specific bank and channel 66 Multiband Mode 7 2 7 METERS 7 2 7 1 FULL SCREEN METERS
69. able for studio maintenance applications such as TestTone The noise generator has its own dedicated multimode 2 pole filter that can be used to colour the noise It can also be slaved to the OSC for midi playing Table 2 6 Parameter Value Comments Mode OFF This turns the Noise generator ON If this is OFF all ON other places where the Noise signal is available for mixing in will be marked to remind you it is unused and to turn it ON here Level infdB 24dB This sets the basic volume level for the signal leaving the Noise generator Filter Bypass You can filter the noise signal with its own LP dedicated filter that is more or less the same as HP one of the main filterbank filters It is however fixed at 2 pole and has no fdelta control Once the filter type is chosen i e not bypass the relevant parameters will appear next in the list as outlined in section 2 1 1 above How it Works 2 1 4 2 THE OSCILLATOR Page Osc1 Both oscillators are mixed together to create one signal source referred to as osc elsewhere in the system As well as for Synthesis and vocoding they can be used for test tone generation and studio maintenance The two oscillators are identical in features and controls It is found in the input group of Vocoder and EQ modes The complete parameter set for oscillator 1 is Table 2 7 Parameter Value Comments Mode OFF Thi
70. ach other Finally in Vocoder Mode you have extensive mixing options for setting up the mix of signals that arrive at the Analysis and Synthesis banks in the Filtering Block Like EQ Mode you can ring modulate the inputs with each other and or the Waveform Block But you can also fine tune the different mixes that make up the Silence Voiced Unvoiced detector section of the Vocoder Block see section 9 2 4 for more At the output Here you can mix the filterbank outputs with the original unprocessed inputs and Waveform Block signals should you wish to do so not in Multiband Mode where the Waveform Block is deactivated In the case of an FX type preset this can be seen as a dry wet mix option At the output you can also call up a special monitor channel which can tap its source from just about anywhere in the system so that you can check on the signals aurally as they pass through the Blocks This monitor system can be mixed in or solo ed for individual auditioning How it Works 2 2 The Different Modes So here s a little more detail about what the modes are actually doing with these processing blocks Each preset or patch can be in one of the three main modes in order of complexity 1 Multiband Mode 2 EQ Mode with four stereo variations Ser Ser Ser Par Par Ser Par Par 3 Vocoder Mode The general architectures and their potential are outlined in the following sections Infiltrator User s Manual
71. al Waveform Block to create monosynth tones ring modulation sources noise effects and so on to put through the filters Table 8 8 Group Page Parameter Value Comments Input Left Level infdB 24dB Here you set the main level coming from the physical input Rmod OFF You can ring modulate the input using these Noise sources to create metallic and percussive tones Osc Right in Rmod amt 0 100 Ring modulation amount setting Noise infdB 24dB These controls mix in the noise and Osc waveform generators with the Left input that you have set up see below Osc infdB 24dB D mode OFF Here you turn ON the Dynamics Block for the Left comp input Gte cmp Continuation of Left input Dynamics Block Menus as outlined in section 2 1 2 Right Same as Left except that rmod source is Left in instead of Right in Noise In this page you find the Noise set up parameters outlined in section 2 1 4 Osc 1 In this page you find the Osc 1 set up parameters outlined in section 2 1 4 Osc 2 In this page you find the Osc 2 set up parameters outlined in section 2 1 4 8 2 3 LBANK R BANK This is the group where you actually set up the way each filter behaves With PAGE UP and DOWN you can cycle through the list of filter channels Each one is a filter in its own Right and can be completely configured independently in the manner outlined in section 2 1 1 However if you want to make glo
72. alternative mixing paths for the silent voiced and unvoiced signals as well as an AGC Automatic Gain Control for the unvoiced signal Vocoder Mode Infiltrator Silence Voiced Unvoiced detector freq Automixer slew trim threshold deviation hysteresis State svu hi I svu henv Or TUE Ps l Smix gt silent im aG k hi i S IN i gt x a svu lo svu lenv V mix voiced SVU n OHA LO lo v IN AGC e U mix gt gt unvoiced PX svu lref svu href age bias AL 5 ae signals avilable for meters Infiltrator Silence Voiced Unvoiced detector Source mix selector state S mix silent freq i slew trim threshold svu hi L svu henv l SFG J N we m Vmix gt gt voiced exciter om SVU SS eene AGC svu lo svu lenv 4 U mix gt unvoiced nre Aarne E Fe L u 4 signals avilable for meters Figure 9 3 The unvoiced AGC can be used to control the level of the unvoiced signal The unv bias is the steady state level of the unvoiced signal When unv agc is above 0dB the unvoiced signal will start to follow the energy level of the high band i e the synthesized consonant follows the level of the consonant in
73. alue This way it is easy to see what RTCs you have assigned and also which ones are in use More about RTCs in section 5 4 Preset Mode 4 4 The System Group By pressing GROUP UP from the Homepage you enter the system group Sys and can adjust the global settings save your work and view system information Here is a table of the different pages within this group Following this there are sections on each of these Pages Table 4 1 Group Sys Page Config Comments This is where you set up all the general system user interface settings such as Full Quick editing level Menu Wrap MIDI config Here you set the global MIDI settings such as Thru ON OFF program change channel MIDI dump Here you can perform MIDI system exclusive Dumps for storing your presets and system configurations as a MIDI file using an external sequencer Save Pr To This is where you save your preset You manually navigate to this Page and choose the destination slot before going ahead with the save Save Sys This is where you save your global system settings such as those found in this section Info System information such as the soundskin version 4 4 1 USER INTERFACE CONFIGURATION Infiltrator has a highly customisable user interface It is possible to personalise it to fit your way of working These are your options in the Sys config page Table 4 2 Group Page Param
74. and delay many new effects can be achieved with totally different delay FX over different parts of the frequency spectrum So your bass and mid frequencies could be echoed like a dub track while the upper frequencies are metallic sounding due to a extremely short delay effect with a filtered echo trail that disappears upward with different settings on the Left and Right Try out presets Spring room and Band echo1 The delays are made available depending on the preset mode They are organized in a Left and Right bank and these can be stereo linked for easy editing of equal stereo settings DELAY BLOCK in feedback Figure 2 4 Infiltrator User s Manual 23 2 1 6 24 THE MIXING BLOCK S To balance the signals that come and go through all these processes you of course have extensive detailed stereo mixing controls at the start and at the end of the chain This is really a set of various mixing processes but it is useful to think of them as blocks for the purposes of understanding the Infiltrator architecture At the inputs Your options vary depending on what mode you are in which is described in detail later on Again the simplest is Multiband Mode where you can simply set the input level for the audio to be compressed through the multiband compressor All other input types are disabled Then there is EQ Mode where as well as the inputs you can add the internal synth and ring modulate the sounds across e
75. are using a RTC to control the Osc Frequency it will smooth out the signal so that there are no steps occurring as you sweep from 20hz to 20 000hz Here you can set how fast the slewing is Lower number Faster less smooth slewing but there are some instances where faster slewing is preferable If you are changing many parameters simultaneously Infiltrator will allocate the slewing power to the most recent change This parameter may need to be adjusted if you hear artefacts in the signal See 5 4 3 below for more details on pushing the DSP system to its limits 4 4 2 MIDI CONFIGURATION Group Sys This is where you set up the global MIDI parameters These remain the same for all presets Additionally every preset has its own MIDI configuration settings Table 4 3 Page Parameter Value Comments MIDI Config Preset Ch 1 16 MIDI Program Change messages on this channel will set the current preset to the came value Thru ON This will send a copy of the input MIDI stream OFF directly to the output SysEx ID 1 127 If you have more than one Chameleon you can any define the SysEx ID here so dumps made will only be heard on playback by Chameleons set to the same SysEx ID Bulk Rx ON This allows Infiltrator to listen to bulk SysEx dumps OFF You can turn it OFF for safety Bulk Speed Fast Older computers such as Ataris cannot deal with Slow faster streams of MIDI SysEx This option is for them
76. arrier and so the instruments sound can be spoken with the voice or the voice can be played by the instrument depending on how you see it In addition to the Analysis and Synthesis banks there is a silent voiced unvoiced detector that is primarily used to generate or regenerate consonant sounds by adding noise to the Carrier signal when a consonant is detected in the Exciter signal It does this by monitoring the high frequency content of the Exciter However the function of the SVU detector is quite flexible and it can be used in many other ways Note that in Infiltrator any channel can be mapped to any frequency window you like and you have lots of control over the way the spectral envelope is applied Uniquely to Infiltrator you also have realtime control over the filterbank parameters This can create some seriously cool sounds This will all be covered in Chapter 9 in detail How it Works 2 1 4 THE WAVEFORM BLOCK This is a monophonic waveform generator featuring Noise generator with dedicated 2 pole filter Two oscillators with frequency modulation and cross modulation with sources from within the whole input system Pulse Saw Tri and Sine Saw Noise waveforms with shape control to allow a wide range of waveforms It also has a MIDI control page for setting up the following Portamento Not available version 1 0 MIDI playing modes and base key Amplitude envelopes for shaping the volume over time MIDI cc assi
77. bal changes to a particular value across all channels you will find the global page gbl at the start of the list where changes like this can be made to all filters simultaneously So if you want to turn up the level of every channel in the whole filterbank you only need to turn up the global level This is useful once you have set up all the filters and you want to just make fine tuning adjustments Remember that when you go and look at parameters within the specific channels again those that have been adjusted using a global modifier show a I sign to indicate that the underlying value has been modified The number itself will not update this is similar to what happens when using the RTCs So first in the list you find the global modifiers below and then you will find each filter on its own channel Infiltrator User s Manual 81 Here is a table of the global modifiers you will find Table 8 9 Group Page Parameter Value Comments L R bank Gbl Level 60 60dB Modifies all filter level settings Notes 100 100 Modifies all filter notes settings Cents 50 50 Modifies all filter cents settings Fdelta 0 0 1000 0 Modifies all filter fdelta settings Q 0 0 1000 0 Modifies all filter Q settings Bw 0 0 1000 0 Modifies all filter bandwidth settings Peak 24 24dB Modifies all filter peak settings 8 2 4 OUTPUT 8 2 4 1 OUTPUT Mixing The output mixer is used to crea
78. but they are nearly always the same They are 1 Filtering Block Full 24 channels Left and 24 channels Right multimode filters 2 Dynamics Block Feature packed compressor expander gate combos 3 Vocoding Block Analysis Synthesis plus sophisticated SVU detecting 4 Waveform Block Monophonic waveform generator 5 Delay Block Filterable delay FX 6 Mixing Block For setting all levels with in the system to within 0 1dB 10 How it Works 2 1 1 THE FILTERING BLOCK The filters used in Infiltrator are highly accurate multimode 8 pole digital filters They are principally used for splitting the Left and Right signals into different frequency bands up to 24 each side but can also operate as bands of EQ for EQ is just filtering and then boosting or cutting the volume of the different frequency bands or even just as a powerful one band filter for sound sculpting and performance fun Every band channel on either side is a fully functioning totally definable independent filter in its own right and can be set to one of the following types Infiltrator User s Manual Lowpass Filters out frequencies above the cut off point Highpass Filters out frequencies below the cut off point Bandpass Filters out all sound above and below the filter Bandpass2 A constant peak gain makes bandpass2 less peaky than the standard bandpass filter Notch This creates a dip in the spectrum around the cut off point Allpass Skews t
79. carrier gand 6 reduction gate noise Noise 72 L o X noise osc Osc o X osc 1 24 channels i i Lana svu Ana mix na sro Analysis fiter Ki L e i F i detector esas T Rana ana bank S mix lent an l SR oO JR Za x m silent a signals avilable for meters and monitoring Sais eo ost envelope z signals avilable for meters only direct Dyn amplifier attenuator general filter block mooo unvoiced unvoiced 114 24 channels MEg e oe A Dyn Diy envelope detector rey AG S 1 24 channels mixer Synth level L L syn ae V mix voiced voiced N syn sre fan i O L 4 pas gt j Se gl syn bank general processing blocks e ET lor p R pi N BY gt monitor Figure 9 4 100 Vocoder Mode L output e gt R output e gt Here are the source mix options you will find when SVU is off i e only the Voiced mix Table 9 9 Group Page Parameter Value Comments Syn Voiced Mix Exciter infdB 24dB Here you set the mix levels of all the c
80. ch you have assigned it Noise OFF This ties the noise generator to the osc for MIDI Osc Slave playing Osc Porta TBI This glides between notes Env att 0 0000 This sets up a simple amplitude envelope for 9 9999s controlling the shape of the synths sound Env sus inf 0 0dB Env rel 0 0000 9 9999s Vel gt att 100 MIDI velocity is used to control the attack time 100 OSC volume OSC 1 and 2 shape settings 94 Vocoder Mode Group Page Parameter Value Comments Vel gt Vol 100 100 Vel gt Shp1 100 100 Vel gt Shp2 100 100 Key gt att 100 Keyscaling across the MIDI keyboard is used to 100 control the attack time OSC volume OSC 1 and 2 Key gt Vol 100 shape settings NOT ACTIVE IN VERSION 1 100 Key gt Shp1 100 100 Key gt shp2 100 100 PWheel gt f 100n MIDI Pitchbend is used to control the OSC tuning in 100n spans of semitones notes Fmod src OFF You can choose the source MIDI controller message Cc0 127 number for adjusting the OSC frequency with names modulation control Fmod amt 100 The amount this controller will change the 100 frequency modulation control Smod1 src OFF You can choose the source MIDI controller message C c0 127 number for adjusting the OSC 1 Shape control with names Smod1 amt 100 The amount this controller will change the OSC 1 100 Shape control Smod 2 src OFF Yo
81. d more about the others as well We will start with Multiband Mode as it has the simplest architecture Therefore it is the obvious place to start getting to know Infiltrator Then we will cover the others Of course if you are just interested in the other modes then just jump straight to that chapter as each one can be read independently But if you are new to all this then it is best to go through chapter by chapter as the EQ and Vocoder Modes are more flexible and therefore more complex Although the manual often gives examples of normal use feel free to try anything there are no rules In fact many of the presets and abilities of Infiltrator have been discovered by us through the improper use of its unusually open architecture 1 3 2 MANUAL CONVENTIONS Secondly you should know about some manual conventions LCD display texts are presented like this We will also present the menus in tables that show the menu hierarchy along with a commentary alongside that explains each parameter and its value ranges E g here are the system pages MIDI configuration menus note that pressing for instance PARAMETER UP will take you down the list Preset Ch Thru SysEx ID Table 1 1 Group Page Parameter Value Comments Sys MIDI Preset Ch 1 16 MIDI Program Change messages on config this channel will set the current preset to the came value Thru ON This will send a copy of the input MIDI OFF stream directly
82. dB Carrier infdB 24dB Noise infdB 24dB Osc infdB 24dB Infiltrator User s Manual 101 Group Ana Page Automix Finally these are the controls for tuning the automix that cross mixes these three source mixes together depending on the detected state Table 9 11 Parameter Value Comments Voc gt syn inf 24dB Voiced mix to synthesis bank Unv gt syn inf 24dB Unvoiced mix to synthesis bank Unv gt dir inf 24dB Unvoiced mix direct to output of synthesis bank Unv gt bias inf 24dB The bias level of the unvoiced mix before AGC is applied Unv gt agc 0 1 96 0dB How much the high band energy will affect the AGC level of the unvoiced mix SIn gt dir inf 24dB Silent mix direct to output of synthesis bank V time 0 0000 Time for voiced mix to fade in out 1 0000s U time 0 0000 Time for unvoiced mix to fade in out 1 0000s S time 0 0000 Time for silence mix to fade in out 1 0000s 9 2 6 ANA BANK 102 The Analysis bank filter settings are accessed in this group For this group the PAGE UP DOWN buttons will change the channel number that is being edited In other words each page represents one channel The channels number runs from 1 to the number of channels selected in the Setup Common page section 9 2 1 Editing the filters parameters is more or less identical to how it is laid out in section 2 1 1
83. e Things Multi2 the RTCs are set up in pairs of parameters like this where the upper RTC has the control RTC 1 1 RTC 2 1 RTC 3 1 RTC 1 2 RTC 2 2 RTC 3 2 RTC 1 3 RTC 2 3 RIC 3 3 RTC 1 4 RTC 2 4 RTC 3 4 RIC 1 5 RTC 2 5 RTC 3 5 RTC 1 6 RTC 2 6 RIC 3 6 RTC 1 7 RTC 2 7 RIC 3 7 RIC 1 8 RTC 2 8 RIC 3 8 Multi4 the RTCs are now in sets of four again with the upper one having control RTC 1 1 RTC 2 1 RTC 3 1 RTC 1 2 RTC 2 2 RTC 3 2 RTC 1 3 RTC 2 3 RIC 3 3 RTC 1 4 RTC 2 4 RTC 3 4 RTC 1 5 RTC 2 5 RTC 3 5 RTC 1 6 RTC 2 6 RIC 3 6 RTC 1 7 RTC 2 7 RIC 3 7 RTC 1 8 RTC 2 8 RIC 3 8 Multi8 one knob can turn eight parameters simultaneously controlling them all from the first RTC RTC 1 1 RTC 2 1 RTC 3 1 RTC 1 2 RTC 2 2 RTC 3 2 RTC 1 3 RTC 2 3 RTC 3 3 RTC 1 4 RTC 2 4 RTC 3 4 RTC 1 5 RTC 2 5 RTC 3 5 RTC 1 6 RTC 2 6 RTC 3 6 RTC 1 7 RTC 2 7 RTC 3 7 RTC 1 8 RTC 2 8 RTC 3 8 You will read more about how to set up these sets later Infiltrator User s Manual 53 Chapter Before We Move On 6 1 How the Manual Splits Up Now that we have covered Preset Mode and other important common concepts we can move on the Edit Mode where you can finally set up your presets This is where the Manual will soon split into three paths 1 Chapter 7 will take you through the options for setting up a preset in Multiband Mode 2 Chapter 8 will take you through the four different ways to use a preset in the EQ Modes 3 Chapter 9 will take you
84. e you can browse through the possible where you destination slots using VALUE UP DOWN or the want to save ENCODER You will be shown the current slot by it to default At this point you can still easily navigate away as you have not chosen to save yet This means that at any time while working you can browse the possible locations for the preset without losing your unsaved work or entering the Y N save dialog screens Save Preset Y N Here you have now entered the saving dialog Use VALUE UP and DOWN to select Yes or No Again you can still navigate away at this point If you choose Yes pressing EDIT will confirm the save and the display will briefly indicate that the preset is being saved to FLASH After choosing Yes or No Infiltrator will revert back to the Homepage Display notes means the current preset is dirty edited but not saved means the destination preset is equal to the current preset Note that the current preset can be saved even if has not been edited This can be useful for copying presets between slots 4 4 5 SAVE SYSTEM Next in the system pages you will find the dialog for saving your system preferences All the global settings are saved here It is much the same as the Save Preset Dialog except that you do not have to choose a destination You simply find this page and choose Yes or No and hit EDIT to execute Table 4 6 Group Sys Page Parameter Save Setup Value
85. ech This is most often achieved by using filters to split the Exciter into a low frequency and a high frequency band Then the energy in each band is measured and if the high frequency band has the most energy then a consonant is assumed and the detector is in the unvoiced state In practice the rate of energy change is sometimes measured to establish whether the high frequency energy has the characteristics of a transient or not Some vocoders also had a silent state which is when there is no energy in either the low or high frequency bands The silent state is used to switch in a silence fill in signal if desired Infiltrator User s Manual 97 98 The following illustration shows how the low and high band amplitude envelopes might look for the spoken word VOCODER Note the transient in the high band where the consonant C is spoken T High band gt 1500Hz Low band lt 1500 Hz V O C O D E R Figure 9 2 The detector in Infiltrator supports the silent voiced and unvoiced states and is implemented in a way such that it can mimic several types of analogue voiced unvoiced detectors There are two modes of operation a simple and a more advanced detector These are called SVU and SVU respectively In SVU mode the Exciter is split into a high and low band by a selectable frequency The amplitudes of the low and high bands are smoothed according to the slew parameter for each The two bands have a level trim
86. ee 73 8 1 3 LEFT RIGHT PARALLEL SERIAL EQS Dar Ser ssssccsssssssssssssssssesesseeeeeesssee 74 8 1 4 LEFT RIGHT SERIAL PARALLEL EQS SeL Pat sssccsssssssssssssssssssesssseeeecesssee 74 8 2 The Mode GIOUDS csccccsetsececosocsscconssedecncososoxonesesocoderenaseenseceseeede 7 D Ara SEMI E EE A ESEESE 76 822 UNPU snam e E EE NS UREN 81 8 2 3 L BANK R BANK acca aeeet usta core eicea vests moart lactate ten trn eeatt 81 Bled AOU TPN A EEE rie EEE E 82 BUG METERS n rann tas E AE ne asic na oon 84 8 2 6 REALTIME CONTROLLERS chia crcskaxictand a Cetentlint San cteat Sacast Ndant Larch 86 8 2 7 MODULATION nirean nitie RAE 88 A Da NN T 89 9 VocoderMode sssssssisssssssisoesesoisessses son soossesssesssoesssesvsossss ssessse ssass s DO 9 1 Using a Vocodef sssssseseessoccesssocesssoocesssoccessooceessooseessoesessssese J0 9 2 The Mode Groups eessseesessooccessooceessoccessooccessooceessoocesssoccessssese JZ o SETUP seach den deeds alata fen els heed RSTO Sean A IAIA INPUTS err E A iycaitiat te 9 23 ANALYSIS eninin KA 9 2 4 THE SILENCE VOICED UNVOICED DETECTOR 9 2 5 SYNTHESIS 9 2 6 ANA BANK 9 2 7 SYN BANK 9 2 8 OUTPUT 9 2 9 METERS Sash iarnnectueri ads 9 2 10 REALTIME CONTROLLERS 4a sae salen dcrcrastcssuads dart seleh veda acts datsiaeelns ea Oil MODULATION oveni E troaey aaae cauerea ueaaatic ODDS DELAYS siesta eda Ghent aaa aaah aaa aN A Loading SOUNCSKING cccssssccccsssssccccssssscccs
87. ee above Infiltrator User s Manual 71 Chapter EQ Mode 8 1 Using the Filters EQ Mode is for using the filterbanks as sound shaping tools in their own right You have many different options for configuring the 48 filters Each filter can do its own thing it s totally up to you Once you add REALTIME CONTROL with LFO modulation you can get some really nice effects going Remember like Vocoder Mode you have Dynamics Blocks and Delay Blocks at the Left and Right inputs and outputs and you can also mix in at the inputs the internal Waveform Block to create monosynths ring modulation sources noise effects and so on to put through the filters As outlined previously there are four ways you can configure the filter banks 1 Stereo Parallel graphic EQ par par 2 Stereo Serial parametric EQ ser ser 3 Left Right parallel serial EQs par ser 4 Left Right serial parallel Eqs ser par 8 1 1 STEREO PARALLEL GRAPHIC EQ par par For each input up to 24 filters can operate in parallel meaning they can each simultaneously take the whole signal input process it and then mix it back in with the others For instance if you set the filter type to BP you get the classic graphic EQ the kind with all the vertical sliders side by side on a row Each band is usually static and you use a high number of bands to allow you control over the whole hearing range Each band slices out a
88. ency content Deviation 0 000 1 000 The nervousness of the detector Hyster 0 00 The stability of the detector 10 00 Oct Lo Slew 0 00000 How fast the low band is tracked 9 999995 Lo Trim inf 24dB General trim level for the low band Lo Thr inf 24dB Threshold level for low band detector Hi Slew 0 00000 How fast the high band is tracked 9 999995 Hi Trim inf 24dB General trim level for the high band Hi Thr inf 24dB Threshold level for high band detector 9 2 5 SYNTHESIS Just as the analyser needs a signal to analyse the synthesizer needs a signal for the Synthesis or resynthesis process For the synthesizer there are in fact three source mixers because when the SVU detector is activated you can set up three distinct mixes of Carriers that are triggered by the silence voiced unvoiced states to be fed into the Synthesis bank for total sonic control of the consonant Synthesis If the SVU detector is not in use only the Voiced Mix is active and for normal vocoding applications this will probably use the Carrier input which is the Right input on the Infiltrator Vocoder mode SVU exciter som Output mixer Lin gt Lin I eo Ered comp re gt exciter gaind carrier 7 a ae gate 5 R comp Rin i _ Rmo omp Dly Rin ie gt
89. ent editing levels for speed and simplicity or deep control Extensive metering and monitoring of internal signals Internal storage of 99 user programs with over 55 factory setups Dynamic allocation of DSP resources allowing different configurations to utilize the hardware fully Delay FX on the inputs outputs or in multiple bands for highly unusual frequency dependent delay FX Introduction 1 3 About This Manual IMPORTANT Before we go any further we should point out a few things that make navigating this manual clearer 1 Layout 2 Manual conventions 3 The front panel controls 1 3 1 LAYOUT As there are so many different things this soundskin can do we have split the manual up into distinct sections to explain the whole thing piece by piece The introduction you have just finished is to present briefly the philosophy features and architecture of the soundskin The next section will also go into all this in much more detail It is seriously advisable to read this material to get an idea how Infiltrator has been conceived and designed and know what to look out for before you dive in It is quite different to many other rack units out there Chapter 2 then deals with basics on navigation and the display Then follows Chapter 3 on Preset Mode preset selection the global system parameters and how to customise and configure the soundskin to suit your working methods how to save and so on We ll cover
90. er being modified and if there is an LFO applied to control it Multiband Mode 7 2 9 MODULATION Group Modulation Once you have your RTCs set up to control internal parameters you can attach one of these LFOs to control them automatically Think of these as robots that come and grab the knob and move it for you They cannot be applied directly to internal parameters and can only control RTCs As a compliment the RTCs can be assigned to control the speed and depth of the LFOs so that you can use the RTCs to tweak the LFOs that are tweaking the RTCs as you can imagine it can get seriously cool sounds once you apply this to the internal parameters Table 7 15 Page Parameter Value Comments LFO 1 LFO mode ON It is advisable to set up everything else first before OFF turning the LFO ON because if you cycle through the targets with the LFO ON it will adjust those parameters as it passes although it will put them back where it found them Freq 0 01Hz 25Hz The speed of the LFO cycle Phase 0 359Deg You can set the phase Wave Saw Here you choose the waveform that the LFO will Tri create See Appendix B for more details about the Square wave types and how they work Sine S amp H Target Rtc1 1 Here you set the RTC to be controlled by the LFO Rtc2 1 Rtc3 1 Rtc1 2 Rtc2 2 Rtc3 2 Rtc1 8 Rtc2 8 Rtc3 8 Amount 100 100 This sets how much the LFO moves the RTC by LFO 2 See above LFO 3 S
91. es Realtime Here you set up the front panel REALTIME CONTROLLERS for hands on control Modulation Here is where you can activate the LFO robots to automatically move the REALTIME CONTROLLERS for you You can probably get some rather strange results using these with a multiband compressor Multiband Mode 7 2 1 SETUP 7 2 1 1 SETUP Common This is where you set up the fundamental parameters for the mode such as its name Table 7 2 Group Page Parameter Value Comments Setup Common n Select Here you set up the presets name You use VALUE UP DOWN to name character to choose which of the 10 characters to edit and the ENCODER to edit select the letter number or symbol you want PART DOWN will add a space Mode Vocoder Here you can change the mode that the preset is in Once you EQ ser ser change this all the menus and parameters in Edit Mode will EQ par par change to reflect the new mode It is advisable to use this function EQ ser par only once you have become used to the system See section 6 2 EQ par ser for details about mode changes Multiband Channels 1 5 In Multiband Mode you have a maximum of 5 bands you can split the signal up into F link ON Here you link together the frequency selectors of the two OFF filterbanks The Left settings will be copied to the Right and once it is ON changing either side will affect the other simultaneously C link OFF Compressor linking L R ctl
92. eso Descriptio 2 In level In L Ivi In R lvl 3 notch filters in series are used to remove 3 3 frequency bands 220Hz 880Hz 1760Hz 4 The RTCs can adjust all 3 bands and will 5 keep them 2 octaves apart 6 7 8 46 BP Gate 12 m Set Description Disabled Here the filters are arranged so that you can play them on your keyboard From A4 A5 on MIDI channel 1 you can open the 4 5 24dB oct filters individually as a gating 6 7 8 system has been applied 47 BP Duck 12 m 12 EQ par par De nite Here the filters are arranged so that you can play them on your keyboard the opposite way to above From A4 A5 on MIDI channel 1 you can close the filters individually as a ducking system has been applied Disabled INIAN Bl Ww rN 126 Factory Presets Explained 48 PEQ st 3b EQ ser ser 1 1 freq 1 slope 1 gain Description 2 2 freq 2 width 2 gain Three band parametric EQ for sound 3 3 freq 3 slope 3 gain shaping 4 Inlevel In L lvl In R Ivl 5 6 7 8 49 PEQ st 5b ode ot R R r 3 EQ ser ser 1 1 freq 1 slope 1 gain Descriptio 2 2 freq 2 width 2 gain Five band parametric EQ for sound shaping 3 3 freq 3 width 3 gain 4 4 freq 4 width 4 gain 5 5 freq 5 slope 5 gain 6 In level In L Ivl In R lvl 7 8
93. eter Value Comments Sys Config Tune A4 Master tune for the whole system around 440 for 444 00HZz A4 Write prot ON Stops you making any changes to your saved OFF presets Like a global lock Useful for gigs where you really don t want to accidentally lose anything Coarse fine ON In Edit Mode you can use REALTIME CONTROLLERS OFF 2 amp 3 as coarse fine tuning controls for quickly finding the values you want to apply to a parameter See section 6 3 for more details Enc mult ON In Edit Mode you can use REALTIME CONTROLLER 1 OFF to change the resolution of the ENCODER while editing values See section 6 3 for more details Edit Level Full There are two Edit Mode levels FULL for the deep Quick level control and QUICK for accessing only the most important parameters The more esoteric parameters are hidden This allows users to avoid paging through too many parameter lists to find what they need It is also a good starting point for beginners Infiltrator User s Manual 41 Group Page Parameter Wrap Value OFF Keys Keys Enc Comments With this option activated parameter values can wrap around from the highest to lowest values This can make you very quick at editing once you are used to it WARNING WATCH WHAT YOU ARE DOING HERE A SINGLE KEYPRESS JUMP FROM inf dB to 24dB CAN BE RATHER A SHOCK TO YOUR EARS SPEAKERS AND NEIGHBOURHOOD Menu wrap ON OFF This wrapping featu
94. ets the input level of the Exciter which would classically be your voice Rmod OFF This allows you to create metallic and percussive Noise sounds by ring modulating the inputs using various Osc sources Carrier Rmod amt 0 100 Ring modulation amount setting C mode OFF Here you can turn ON the Exciter input Dynamics comp Block whose menu continues from here Gte cmp Rest of Dynamics Block menu Carrier Level infdB 24dB This sets the input level of the Carrier which would classically be a keyboard Rmod OFF This allows you to create metallic and percussive Noise sounds by ring modulating the inputs using various Osc sources Exciter Rmod amt 0 100 Ring modulation amount setting C mode OFF Here you can turn ON the Carrier input Dynamics comp Block whose menu continues from here Gte cmp Rest of Dynamics Block menu 96 Vocoder Mode 9 2 3 ANALYSIS Now here is where you actually start the vocoding process the analyser needs a signal to analyse and this is where you define it In this group you can set up the exact mix of signals that make up the signal that is fed into the Analysis filterbank You can also turn ON the SVU detector for spotting consonants in the signal input assuming it to be a voice so they can be artificially generated by the vocoder For normal vocoding applications this signal for analysis will probably be the Exciter input which is the Left input on the Chameleon The table below
95. f dec amt 100 How much the MIDI controller adjusts the filter 100 decay Lf vol src OFF Sets the MIDI controller message number assigned c0 127 to filterband volume with names LF vol amt 100 How much the MIDI controller adjusts the 100 filterband volume Lf f src OFF Sets the MIDI controller message number assigned Cc0 127 to frequency with names Lf f amt 100 How much the MIDI controller adjusts the 100 frequency Lf q src OFF Sets the MIDI controller message number assigned C c0 127 to q with names Lf q amt 100 How much the MIDI controller adjusts the q 100 Lf bw src OFF Sets the MIDI controller message number assigned c0 127 to bandwidth with names Lf bw amt 100 How much the MIDI controller adjusts the 100 bandwidth Lf g src OFF Sets the MIDI controller message number assigned Cc0 127 to Gain with names LF g amt 100 How much the MIDI controller adjusts the Gain 100 8 2 1 6 SETUP Info This page displays the system DSP power taken up by the current preset Table 8 7 Value Comments Group Setup Page Info Parameter DSP usage 0 100 Here you can see how much DSP is being used by this configuration See page 62 for more info on DSP usage 80 EQ Mode 8 2 2 INPUT Since Infiltrator is a sound shaping tool the inputs are naturally where it all starts In EQ Mode you can also mix in at the inputs the intern
96. f filter types you have these controls instead of Fact Cac Table 2 4 Parameter VENTS Comments Gain inf 24dB This sets the gain applied to the selected frequency area Slope 0 1 12 0dB o This sets the steepness of the shelf EQ from flat up to the gained area Infiltrator User s Manual 13 14 With higher order filters 4th 6th 8th it is really several 2 order filters stacked on top of one another The Fdelta control allows you to space them around the cut off point to widen or narrow the filter shape f 1000Hz 841Hz 1189Hz fdelta 0 50ct Effect of the fdelta parameter using a 4th order BP f 1000Hz f 1000Hz 707Hz 1414Hz lm fdelta 0 0oct fdelta 1 0oct Effect of the fdelta parameter using the HPLP filter type Figure 2 2 How it Works In Multiband Mode the filterbanks have been put to specific use and so have fewer controls The filter type is locked to combinations of lowpass and highpass filters to create one large decomposition filter and the banks are set to a maximum of 5 bands whose low and high frequencies are always related Below you can see the effects of q settings on the bands See section 7 2 3 for more details on setting up the decomposition filter in Multiband Mode band 4 range ne r T laf hif a 5 _ o a a a band 1 band 2 i band 3 A band 4 EN band 5 if we fe ee R dap 0 25 q 0 5 a i N A i
97. fferent forms and get used for many purposes Not only for the traditional vocal processing but for use as effects on drums and other instruments and for just sheer strange sounding stuff There are still vocoders in production both the old analogue kind as part of general purpose effect processors and some that are concerned specifically with pitch correction for singers At its heart Infiltrator seeks to revive the sound and feel of these classic sound twisting machines Being a digital recreation it has the benefits of extensive programmability and storage of the settings as well as good sound with a solid dynamic range And being suckers for cool toys we ve made it capable of so many things it s silly Infiltrator User s Manual 5 Main Features Highly detailed control with physical units e g 0 00001 seconds Two 24 channel filterbanks with up to 2 4 6 8 pole with 11 filter types Re configurable architecture to create filters Qs Multiband compressors and Vocoders Multiple compressors expanders gates with lookahead Sophisticated silence voiced unvoiced detector Built in MIDI synthesiser with twin oscillators and noise generator Ring modulation and FM synthesis features 8 sets of 3 assignable real time controllers for instant control Realtime control of all filterbanks for unheard of Vocoding FX 3LFOs for controlling the realtime controls to create fantastic FX Quick full edit modes differ
98. followed by the REALTIME CONTROLLER set up the settings for the LFO MODULATION robots and finally the DELAY FX Table 8 1 Group Comments Setup This is where you set up the mode basics parameters such as name number of filters and so on Input Here you set the overall levels for all the signals input into the system L bank This is where you set up all the filters choosing their type level R bank frequencies q and so on You also have global modifiers that can adjust all filters simultaneously Output Here you can mix together the levels coming from the two filterbanks the two original inputs and the monitor channel that draw signals from throughout the chain Meters You can use this group to call up meters that fill the whole screen for accurate reference You can cycle between many different meter types Realtime Here you set up the front panel REALTIME CONTROLLERS for hands on control Modulation Here is where you can activate the LFO robots to automatically move the REALTIME CONTROLLERS for you Delays Here you set up the delay FX for the inputs and outputs Infiltrator User s Manual 75 8 2 1 SETUP This is where you start to set things up You can name the preset change to another architecture mode if you wish determine the number of filterbands the general settings for the compressors set stereo linking and look at the DSP usage readout You can also set up all the MID
99. funky dub echo synth sounds too INIAN B amp B Wl nN 55 Vcducker ode 17 Vocoder De nite A mono ducker The left channel will duck silenece the right channel When there is no sound at the exciter L input the carrier R will be heard at the output When a sound is fed to the exciter the carrier will become silent and the exciter will be heard at the output instead This trick is possible by using the silent voiced unvoiced detector of the analysis section and the synthesis source mixers and automixer The filter banks are left unused in this preset and only the clean signals are passed through The RTCs are set up as for a vocoder in case you want make it into one A level Aq sq Osc note A notes S notes In C lvl Osc vol Nois vol S stereo Osc2 vol A freeze Osc cent Osc1 shp Osc2 f A att A dec CO NI OO 1 BB Ww N fr 128 Factory Presets Explained 56 SpecAna 12 Ch Mode 12 EQ par par Description Does nothing to the sound but if you go to the meters page you have a 12band spectrum analyzer Set N a SININ Wn AJW RTC1 RTC 2 Disabled RTC 3 Infiltrator User s Manual 129
100. generation dynamics processing and Delay FX elements needed in the Vocoder Mode architecture can also be reordered to perform entirely different studio and live performance functions This is one of the things that make Infiltrator unique So as well as a Vocoder Mode it can operate in four slightly different EQ Modes to create things like 1 Highly accurate stereo equalizers with up to 24 bands 2 DJ type performance filters for realtime sound shaping 3 Stereo spectral Analysis meters 4 Complex time based filtering FX such as wah wahs sweeping phase patterns comb filtering and more 5 Stereo multiband Resonators and filtered ring modulators ring mod is available on the inputs 6 A simple mono synth the vocoders internal Carrier with monster filterbank FX on top 7 All of the above with multiple delay FX and echoes There are many variations and possibilities and a host of different presets to demonstrate the potential more on these features in chapter X The third and most straightforward mode is Multiband Mode In Multiband Mode Infiltrator reorders the processors to provide a flexible 5 band stereo or dual mono multiband compressor expander and gate for possible use in dynamics FX processing and mastering situations It can also be used for unconventional creative use and to this end we have put a delay FX on each band of the Multiband set up instead of the inputs and outputs so that you
101. gineers complain about having to fix a mix that has been passed through one of the many DIY mastering tools available on the market Used wisely this kind of tool is very useful but used carelessly it could harm your track rather than help it There are many books on the subject that are very useful for knowing how mastering techniques are applied and what to look out for Understanding this process can also be very useful in letting you prepare your music for mastering and distribution It is simply best to be aware of these things before it is too late Keeping alternative mixes is a simple way to safequard things if you normally home master with acceptable results and then one of your mixes turns out to be a hit that needs to be taken to the next level 58 Multiband Mode That said playing with a multiband compressor you can learn a lot about these techniques used prudently you can tighten a mix nicely for burning to CD and it can of course be used in totally unorthodox ways to create things that sound completely nuts 7 1 1 DETAILED SCHEMATIC DIAGRAM The following diagram is a schematic of the signal paths in Multiband Mode This is the detailed version of the general schematic in section 2 2 1 Note that the lines running along the top are the feeds that take the unprocessed input signals directly to the outputs You can see the input mixers sending the signal to the parallel filters in the centre that then mix the results
102. gnment matrix such as velocity pitch wheel and so on It is a very simple synthesiser and is really part of the vocoder providing a rich internal sound source for use as a Carrier signal so you need only input one external signal to get the vocoding going for example your voice The audio parameters for the Waveform Block are found in the Input group osc1 osc2 and noise pages where you can set up the waveforms for mixing into the signal path This will generate constant tones that can be used for vocoding effects and also for test tones The parameters follow over the next few pages It can however also be thought of as a modest monosynth in its own right that has access to a monster bank of filters We have made a few presets that do just that For instance try out xBassSynth and eVolvSynth To activate this MIDI playing and control you will need to go to the MIDI and MIDI osc pages of the Setup group and configure the MIDI channels and controllers separately See section 8 2 1 for more details Infiltrator User s Manual 19 2 1 4 1 THE NOISE GENERATOR 20 Page Noise A noise generator is provided for use as a general signal source It has perhaps the most obvious use in Vocoder Mode as a Carrier Synthesis source possibly in combination with the oscillators However it can be used for anything you want since it is generally available There are test tone and noise presets avail
103. gside values parameters and so on Here is a table outlining what they stand for Table 3 1 Symbol Meaning Parameters marked with a warn you that the parameter has no effect because the underlying function block is disabled set to OFF In the preset selection menus this symbol tells you when you have selected the same preset as you have loaded e g for bulk MIDI dumps or saving This shows that the preset or system configuration has been dirtied in some way i e edited or changed from what is stored in memory This symbol shows when the left and right banks are linked indicates that a global modifier is in effect see Chapters 7 9 L R Bank sections for more on global modifiers When choosing Realtime Controllers for instance this symbol tells you the target parameter is also being targeted from elsewhere Now that we have covered the main navigation concepts we can get on with telling you how to work the modes in detail 36 The Display and Navigation Chapter Preset Mode 4 1 The Homepage When Infiltrator is switched on it will spend a few seconds preparing itself for operation then it enters Preset mode The first page it displays is what we call the Homepage where you can choose from the different presets available You will always be taken back to this page after major operations such as saving So on start up the display will show As me
104. he phases of low and high frequencies no change in the overall spectrum Peaking EQ Boost or cut a particular section of the frequency range with varying accuracy around the cut off point Low shelving EQ This boosts or cuts all frequencies below the cut off point High shelving EQ This boosts or cuts all frequencies above the cut off point HPLP Composite filter with a highpass and a lowpass section for making frequency windows The filter is arranged depending on the filter order setting 2nd order only a 2nd order highpass 4th order a 2nd order highpass and lowpass 6th order a 4th order highpass and a 2nd order lowpass 8th order a 4th order highpass and a 4th order lowpass 11 12 LPHP Same as HPLP but with LP and HP swapped s scsane high Q gain settings silence sound silence silence Bandpass Lowpass Peaking EQ silence sound Highpass Low and high Shelving EQs Figure 2 1 Whatever mode you work in it will be based around the Left and Right banks of multiple filters While editing the settings you can control depend on what type of filter you choose to use The controls between different filter types are also very similar except the EQ types have gain and slope bandwidth controls instead of q How it Works Table 2 1 Parameter Value Comments Level infdB 24dB This sets the overall volume level for the filter Filter Various Here you can
105. his one 5 has a steeper filter order and so a more 6 resonant quality 7 8 19 Rezo 24cm Multiband Description Similar to above but with more gentle envelope settings for the MIDI filter playing In Level Reso Cl gain Cl ratio CO gain CO thr CO ratio Dly Time Diy Feed Diy d w CON OA My AJwIN 20 RoboVox1 21 RoboVox2 m MIDI Vocoder Description We are the robots Vocoders with internal carrier using 2 oscillators and noise The RTCs gives opportunities to bend this vocoder quite a lot 1 A level Aq Sq 2 Osc note A notes S notes 3 Inclvl Osc vol Nois vol 4 S stereo Osc2 vol A freeze 5 Osc cent Osc1 shp Osc2 f 6 Osc cent Osc1 shp Osc2 f 7 8 122 Factory Presets Explained 22 X form Vox 23 Robot 1 23 Robot 2 m MIDI ode 18 Robot1 De nite Vocoder using a single square wave oscillator as was common on many old vocoders Robot2 is for playing by MIDI 1 A level Aq Sq 2 Osc note A notes S notes 3 InCclvl Osc vol Nois vol 4 S stereo Osc2 vol A freeze 5 Osc cent Osc1 shp Osc2 f 6 Aatt A dec 7 8 25 Whisper 1 26 Whisper 2 Vocoder 1 A level Aq Sq Description 2 Osc note A notes S notes Whispers in the wind or demonic voices 3
106. his sets the level of the signal as it enters Catt 0 00000 9 99999s Cr 0 00000 9 99999s The compressor has adjustable attack and release times Attack sets how quickly the compression kicks in once the threshold has been reached Release sets how quickly the compressor will let go again once the signal has dropped below the threshold again Using extremely short release times may lead to harshness in the sound for normal compressor applications the release times are usually no less than 20ms 0 02000s The attack times can be set very low which may be desirable for quick tracking of the signal Also regarding harshness see C slew C Knee Hard 0 1dB 12dB This serves to soften the transitions between the linear and compressed expanded gain The knee is adjustable from hard to 12 0dB On the hard setting the transition from linear gain to the reduced gain caused by compression expansion is immediate When the knee is set to X dB a secondary compression expansion segment sets in at X dB below above the compressor expander thresholds This secondary segment has a softer compression expansion ratio C thr 48dB 12dB This sets the volume level at which the compressor kicks in C ratio 1 0 1 99 9 1 Inf 1 A higher ratio means more severe compression The level is attenuated more and more heavily in relation to the input level E thr infdB 0 0dB This sets the v
107. ich will need a few seconds to be fully operative after reconfiguring all the internal resources to it s needs It is at this stage that all the old presets of the previous application are wiped out It is therefore vital that you save all your precious work by doing a MIDI dump BEFORE you load a new application even if it is just a version update NOTE There s no risk of damaging the Chameleon with wrong or corrupted data as the Chameleon just won t accept it In case of error the old application will remain unharmed Infiltrator User s Manual 115 Appendix LFO Waveforms Here is a rough guide to the different waveforms you can use for the three LFOs The simplest way to think about how an LFO can be used to control parameters is to picture it controlling the Left Right panning control on a mixing desk The physical movement of the signal left and right is being controlled by the LFO with the wave type determining the movement pattern the LFO speed determining the speed and the amount controlling how extreme the changes are So when you apply an LFO to other parameters similar cyclic movement patterns occur for those parameters too A saw wave controlled LFO would mean that the panned sound would jump rapidly to one side and slowly move towards the other side where it will jump rapidly again to the start using a negative LFO amount will give you access to the reverse waveform pattern SAW WAVE T
108. ilter 1 24 parameters Table 9 12 Page Parameter Value Comments Gbl Mixdown OFF Allows the filter to be sent to the Ana bank output ON mix Level 60 60dB Modifies all filter level settings at the input Attack 0 0 1000 0 Modifies all filter envelope attack settings Decay 0 0 1000 0 Modifies all filter envelope decay settings Notes 100 100 Modifies all filter notes settings Cents 50 50 Modifies all filter cents settings Fdelta 0 0 1000 0 Modifies all filter fdelta settings Q 0 0 1000 0 Modifies all filter Q settings Bw 0 0 1000 0 Modifies all filter bandwidth settings Peak 24 24dB Modifies all filter peak settings Stereo 0 0 1000 0 Modifies all filter stereo width settings 1 24 Level infdB 24dB Sets the volume of the filter for use at the output Attack 0 00000 Sets the attack time for the envelope detector 9 999995 Decay 0 00000 Sets the release time for the envelope detector 9 999995 Filter LP HP etc etc Filter controls continue from here as outlined in section 2 1 1 etc etc etc Infiltrator User s Manual 103 9 2 7 SYN BANK Group Syn bank The Synthesis bank filter settings are accessed in this group The editing process is essentially very similar to the Ana bank above and in similar pages in the Multiband and EQ Modes You access each individual filter using the PAGE UP and DOWN buttons and
109. ing stereo linking L R max the gain reduction is based on the peak envelope for the loudest of the Left and Right channels This ensures that the loudest channel is always fully compressed In all modes except OFF the Left and Right channels will be controlled simultaneously by the editor C look OFF This sets the maximum lookahead time for the 0 00001 compressors The whole signal will be delayed for 1 00000s all bands and then the individual Dynamic Blocks can each listen in on the signal early using their own lookahead time 76 EQ Mode 8 2 1 2 SETUP MIDI Group Setup Now you have extensive MIDI set up parameters You can determine what channel each of the filtering and Waveform Blocks listens to as well as different MIDI control modes Table 8 3 Page Parameter Value Comments MIDI Base rx ch OFF These parameters set up a base receive and 1 16 transmit channel for the preset that other Base tx ch OFF parameters can reference base making 1 16 switching MIDI channel for the many parameters in a preset easy LFO reset OFF Keyon This resets the LFOs on every MIDI keypress Ctrl mode OFF This sets how the MIDI controller messages are Abs interpreted Abs means it will assume absolute Rel control of parameter ranges and REL means that it will change the values relative to where it is now above 64 more below 63 less Bypass src OFF The Global bypass control can be assigned to a Cc0 127 co
110. ing EDIT will confirm and the MIDI dump will start After choosing Yes or No the soundskin will revert back to the Homepage If the dump is already in progress here you will see Stop Dump instead and you can choose Y N in the same way 4 4 4 SAVE PRESET 44 The saving system for Infiltrator is a little bit different to other Soundart Soundskins instead of an automatic system asking if you want to save changes whenever you exit Edit Mode Infiltrator will leave it up to you You find the saving functions within the system pages amongst the other saving and storage dialogs those for saving the System Setup and for MIDI dump protocols Of course if you ever try to change preset without saving your work it will warn you but you must still go and save it yourself This system is designed so that you get fewer interruptions while working you may often need to toggle between the system and Edit Mode pages to compare and adjust things Without interruptions this is very quick and easy Another change to note is that naming the preset is not part of the saving protocol It is something that you can do at any time in Edit Mode see section 7 2 1 Preset Mode Group Sys Once you are happy with your preset have set the name and are ready to think about saving you can then navigate to the Sys Save Pr To page in System Mode Table 4 5 Page Parameter Value Comments Save PrTo select 1 99 Her
111. is essentially true when you some to use this mode you will find the user interface changes quite a lot Much of the complex detail of the vocoding input mixer system has been left out of these diagrams for the sake of clarity chapter 9 shows the full Vocoder Mode schematics Also the Left and Right inputs are renamed in the user interface Exciter and Carrier while the Left and Right filterbanks are renamed Analysis and Synthesis This is because they are really no longer part of a stereo Left Right system but rather a vocoding system where classically the two sounds are treated as mono sources and cross synthesised to create a third new mono source The output from the synthesis can be spread in the stereo field by using the synthesis output mixer to pan the different bands in different directions The vocoder presets use this technique How it Works 2 3 More General Goodies Now that we have introduced the main modes and their features here are a few more general goodies you will find Pop up level meters For almost every internal signal you can call up customised popup meters that show many different meter types from spectral style filterbank meters to gain reduction and MIDI channel metering In Edit Mode just press SHIFT and use PART UP to cycle through the meter types and PART DOWN to reset the overload clipping markers and to cycle through the graphic analyser modes which don t have clipping
112. is means that there is some tolerance for levels going above 0dB which would normally be clipped This makes it easier to maintain a distortion free signal A signal that enters the Chameleon input jacks at their maximum level will be equal to Infiltrators internal OdB reference level Thus the 12dB headroom is introduced at the beginning of the signal chain And provided that the output signal levels are at the 0dB reference level the output volume can be gained up to 12dB The meters in Infiltrator cover the range up to 12dB so 0dB is a bit below the top of the meter ranges Using the headroom makes it easier e g to use filter with high q settings or overlapping bands etc which can lead to transients and sharp resonances For this we have also added the Dynamics Block at the outputs of EQ and Vocoder Mode which by default are set to behave more like a limiter so that you don t blow your speakers with sudden peaks Be warned you can kick out some crazy results If you experience distortion try to reduce the input levels and then compensate by applying some gain on the final output It is usually best to try and keep the signals around OdB use the meters to check which will give good use of the dynamic range and protection against clipping transients The total internal signal range is from 132dB to 12dB which covers the 144dB range theoretically possible with 24 bit audio In practice there is around 100dB of useable dy
113. ith panning modulation Here a multi RTC set is being used to simultaneously lower the left 2 pole filter while raising the right and vice versa Put audio through this preset and manipulate RTC 2 and 3 If you turn on the LFOs then LFO 1f LFO2 f LFO amt INIAN AeAI WwWIN 41 BP pan mod ode 1 EQ par par De nite Same as above but the panning modulation is now automated by the LFOs Here a multi RTC set is being used to simultaneously lower the left filter while raising the right and vice versa Put audio through this preset and sit back F bias BP f pan Reso LFO 1 f LFO2 f LFO amt INIAN B WwW N fr 42 HP LP 24dB 43 HP LP 48dB 2 EQ ser ser De nite A band pass filter made o up of a low pass and a high pass that you control independently You can adjust the Q and freq for each band In level 1 freq In level 1 freq In level 2 freq In level In L level In R level SINISIN BB WI N fr Infiltrator User s Manual 125 44 Notch 24dB Set 1 In level 1 freq 1q Description 2 In level In L level In R level A notch or band reject filter at 24dB oct 3 Removes a narrow band of frequencuies 4 5 6 7 8 45 3xnotch 12 ode at R r r 3 EQ par par 1 F bias R
114. m a light EQ adding sizzle to a heavy 6 pole Lowpass filter This is how these modes can create so many different types of processes and effects often simultaneously For instance if you used just two bands one as a high pass HP and one as a low pass LP and then set it up so you can control them with the front panel REALTIME CONTROLLERS you would get a hands on classic sounding DJ filter With a simple turn of the CONTROLLERS you could sculpt the input signal manually to an extreme degree from through a concrete wall sub bass rumbling to the tinny down a telephone effect EQ Mode If you then added LFO control to the REALTIME CONTROLLERS you would then have an Auto WahWah type FX And if you then activated the internal waveform generator at the inputs and added MIDI control then fed it through this filter set up you have a simple monosynth for WahWah evolving basslines and leads with extensive filtering options as you can see it can go in many directions 8 2 The Mode Groups The rest of this chapter will go over the different pages and parameters you find in EQ Mode group by group A short description of each group is in the next table In order they generally cover the process from start to finish You start with general settings go on to set up the mix of INPUT signals including the internal synthesiser then the FILTER controls and finally the OUTPUT mix Following this group you find the METERS section
115. monitor every single Osc one Ana src Syn src L ana R ana L Syn R Syn L output R output V mix U mix S mix Svu lo Svu hi Svu lenv Svu henv Svu lref Svu href Silent Voiced Unvoiced Direct Filter Amp envelope ana bank These are monitoring options within a specific syn bank bank and channel Group2 Same as group 1 Infiltrator User s Manual 107 If you then press PART UP you will see the meters taking up the whole screen You press PARAMETER UP and DOWN to cycle between the three main meter types 1 Full screen left to right meters showing signal 1 and 2 default as the inputs 2 MIDI monitoring including channel and vertical IN OUT meters 3 Graphic analyser vertical channel meters with 4 different types for each channel The meters show an abbreviated name telling you what you are looking at Unfortunately they are very small to allow for lots of meter space The 1 means the channels 1 to 12 is showing the next screen showing channels 13 to 24 Here are the names you will find Table 9 17 Af 1 Analysis filter 1 12 Af 13 Analysis filter 13 24 Ae 1 Analysis envelope 1 12 Ae 13 Analysis envelope 13 24 Sf 1 Synthesis filter 1 12 Sf 13 Synthesis filter 13 24 Sa 1 Synthesis envelope 1 12 Sa 13 Synthesis envelope 13 24 108 Vocoder Mode 9 2 9 2 POPUP METERS Meanwhile pop up meters are also available outside this group by pressing at any time SHIFT
116. mono dynamics processing applications The classic use of multiband compression is in mastering situations where you work with the final two track master to tighten up the mix Compression can also however be used for creative sound FX and also using the delay FX with Multiband Mode you can get some very interesting results using extreme settings It is in this vein that Multiband Mode in Infiltrator has been created although you can use it for accurate mastering applications with great results 7 1 Working with a Multiband Compressor A word of warning for those of you inexperienced with mastering techniques conventional wisdom has it that using a multiband compressor wisely in a mastering context is an art and you could end up doing more damage to your track than good If you are planning to have your tracks mastered professionally you would be wise to keep an uncompressed version for the mastering house and a self compressed version for your own reference mixes The engineer can then choose to work with either Your own compressed version can also be used as a style reference for the mastering engineer who will have hopefully equipment dedicated to the mastering process and a very accurate listening environment that may highlight other aspects of the mix for working on that you may not have dealt with yet Of course if you like the results you are getting with Infiltrator then go for it rules are there to be broken but many mastering en
117. mplementation which is very different to how they work in other Soundart soundskins so far you should take care not to get lost when you are using the RTCs to create new sounds rather than performance manipulate them They are fantastic for twisting around a preset to create new effects and trying out extreme settings but you must remember that the underlying values are being multiplied and divided by various amounts and so the values you go and look at inside may no longer resemble what you hear If this concerns you you should create presets only using Edit Mode and reserve the RTCs for performance control as they were initially designed to be used But if this is not so important just use the RTCs to freak out and create new sounds and don t worry about what s happening under the hood With this in mind you can choose from two RTC modes in the system config pages ON and Edit ON means that you can alter the preset with the RTCs but it is strictly for performance control and you will not save these movements when you save the preset Edit means that you can save the positions you have moved the RTCs to with the Preset So you can use the RTCs to alter presets and create new sounds but always remembering that they are really performance controls that you Some More Things are freezing in a certain position rather than knobs that adjust internal parameters directly 5 4 2 RESOLUTION
118. namic range on the input and output jacks Some More Things The lowest level that is represented in the user interface is 96 0dB which Infiltrator will interpret as silence or infinity dB This is well below the useable dynamic range and what you can hear 108dB The terminology inf dB will be used throughout and also to indicate infinite attenuation when the minimum level is higher than 96dB Level or volume parameters usually have the range 96 0dB to 24 0dB This gives the opportunity to substantially attenuate or boost signals Some levels have other ranges e g the peaking EQ gain boost cut that has a range of 24 0dB to 24 0dB 5 3 Signals and Parameter Groups Throughout the soundskin you have options for selecting signals for example for the meters or internal monitoring function To keep things in a tidy working order the signals are divided into three groups and so to select a source you select the group it is in first and then pick the signal you want from that group global All signals not inside the processing filter banks L bank Ana bank in Vocoder Mode The Left processing or Analysis bank signals R bank Syn bank in Vocoder Mode The Right processing or Synthesis bank signals The processing bank groups are further divided into up to 24 channels one per filter and each channel has a set of signals that can then be selected for metering and monitoring f
119. narrow strip of frequencies then boosts or cuts the volume of that slice Then all the slices are mixed together again It is useful to picture it working like this in your head as you are editing in par par mode all the filters working side by side each one acting upon the whole input signal The following schematic diagram is a more accurate version of what we have seen in section 2 2 2 previously All metering and monitoring points are 72 EQ Mode indicated along with all routing options You can see the filters operating in parallel clearly Infiltrator Parallel EQ mode Output mixer feel ined Mi L input anal L comp Lin Lin p mo ixer omp Dly e L input i g gain P ji te i a a R input eduction gal R comp P a R in Rin Rmod Mixer OQ Comp Dly Rinput gain o reduction gate noise Noise EQ o M osc Osc o ee filter 1 24 channels i L mix L Leftch1 gt l Left mix e lL A Og L bank e signals avilable for meters and monitoring a NR R mix L R L7 signals avilable for meters only a a Ng D gt amplifier attenuator PN L output x Left ch N T Paai Dyn Dly o Bs general filter block sess p l ing block aa R R output general processing blocks
120. ng process can kick out some crazy results Watch out as this can happen even if you adjust certain parameters even slightly using the REALTIME CONTROLS But it is a lot of fun INPUTS FILTERBANKS OUTPUTS ANALYSIS left filter channels up to 24 side by side Exciter Mix all signals going into the system They pass through the left and right input dynamics blocks before heading on towards the delays Carrier Synth block for waveform noise generation and or ring modulation VOCODING BLOCK spectral envelope extracted from analysis bank and passed to synthesis bank SYNTHESIS right filter channel up to F1 24 side by side dynamics levels and pan are set for the filterbank outputs and also for the original post delay input signals then sent to the left and right compressor Normal vocoding listens only to the synthesis bank dynamics Figure 2 8 You can ring modulate the inputs and also mix in the internal Waveform Block to add to the sonic palate of the vocoder or even to replace the need for an external Carrier Infiltrator User s Manual 29 30 Just like EQ Modes you have stereo linkable Delay Blocks on the inputs and outputs The diagram on the previous page shows the set up for Vocoder Mode clearly Note that it is really quite similar to Parallel EQ Mode except for the Vocoding Block in the middle While this
121. nput And by frequency modulating Osc2 with Osc1 at 01 fm 0 00000 the same time cross modulation can be achieved 1 00000 Infiltrator User s Manual 21 Table 2 8 Waveform Image Saw Wave gives a rich bright tone with both odd and even SAW WAVE harmonics that falls off smoothly It is useful for full bodied X synthesizer spectra Sine wave is the purest and simplest waveform that has no SINE WAVE harmonics and has a very pure clean sound suitable when R only the fundamental frequency is wanted with no leakage into other parts of the spectrum Triangle is made up of odd numbered harmonics that fall TRIANGLE WAVE off very rapidly It has a hollow sound but duller than Square below Oo 0 z Square wave is made up of odd numbered harmonics that SQUARE WAVE falls of smoothly The sound is generally hollow and woody Pulse Width gt How it Works 2 1 5 THE DELAY BLOCK Infiltrator has several stereo delay lines built in Each delay has its own settings for time feedback delay filter and dry wet mix The maximum delay time is 4 seconds for each delay The delays can be used to create many effects and they can be used as pure delays e g for sound reinforcement Somewhat special and possibly unique to Infiltrator is the use of the delays in Multiband Mode with the multib
122. ns behind Infiltrator The Soundart team Simon Smith user interface co design and manual Jesus Villena Vicente Solsona Jose Manuel Torrelo Josep Oriol Tomas Sergi Cerni We wish to thank also BiTeR mc Jordi Trujillo Andreu Jacob Raul Jordan Paul Maddox Eddy Robinson Wolfgang Merkle Thomas Merkle and everybody else who has helped in making the Chameleon its soundskins and all related items manual factory sounds demo songs etc and beta testing the long list of intermediate versions Infiltrator User s Manual iii Table of Contents HWP OUNCE ON so acoso ceeded cates hace sels tencee cts entede cur cos ds tcecuiv exe taeda teeseael 1 Ti OVOTVIOW s sassicasteescasycceansteaehadescensab chen sheds seewh cuubanstiseaeaassnctannbaases 1 1 1 1 THE THINGS IT CANDO assests cocereeeccsst citar cua usta Maelo ates 2 1 2 Background ss sissssssssosisierssssesessssiosossssiesesssssssohosssesessssookoasi soseo 4 1 3 About This Manual oeeesoooesoessoosesosssoosesoessoosesoesssossoessoesesose 7 DBT E S CO ESE EE E E T 7 1 3 2 MANUAL CONVEN IONS cessor srpcts eeatececrte eatacestoste ae toemes crear 8 1 3 3 THE FRONT PANEL CONTROLS ssssssssscsssssssssssccsssssssssssscsssssssssssesessssesssessesseessess 9 2 HOW it Works 22 cecacesciecnentacishcccsccenciteniaceasnes eaeitaps saedesdssnoseecsbenasaniouces 10 2 1 The Different Processing BIOCKS cssccccsssssssccsssssecsssees 10 2 1 1 THE FILTERING BLO
123. ntioned this homepage does not show the group and page names on the upper line In reality there are no other pages or parameters in this group so we used the space to give you meters instead and make it easy to read Here is a detailed list of what you see on screen The upper line 1 A little m on the left will flash whenever there is MIDI activity at the MIDI IN port 2 Next to this a small b will show whenever global bypass is on SHIFT in Preset Mode 3 IN and OUT level meters These show the input level after it has passed the input level control and the output shows the final output Silence is indicated by The lower line 1 First you see the number of the currently loaded preset 2 Next to it you see the name This can be up to 10 characters long the default preset is number 1 thru which is a bypass preset that sends Infiltrator User s Manual 37 the input directly to the output and all other processes are turned down 4 2 Selecting Different Presets 38 The different presets are selected from the Homepage using VALUE UP DOWN and ENCODER to find the one you want and then by pressing EDIT to confirm the selection If you haven t done it already you should take a quick tour through the different factory presets They give a good example of what the machine can do They are split into sets for easy navigation See Appendix C for more info on the factory bank of presets For t
124. ntroller for performance and sequencing control with names 8 2 1 3 SETUP MIDI Osc Group Setup Here you determine how the oscillator responds to MIDI Once you have set up a constant tone and mixed it into the system at the inputs these controls will allow you to play it like a regular MIDI synth Table 8 4 Page Parameter Value Comments MIDI Osc Osc mode OFF Here you turn ON the OSCs MIDI control Mod MOD means controller modulation messages are Mono responded to Mono c MONO means note messages are responded to normal synth operation MONO C means it will play like a monosynth but always play the last note as if there was no note OFF message Osc ch OFF This sets the channel that the oscillator responds 1 16 to Root key E 1 D9 This sets the key on your keyboard that will play back the OSC at the pitch you have assigned it Noise OFF This ties the noise generator to the osc for MIDI Osc Slave playing Osc Porta TBI This glides between notes Env att 0 0000 This sets up a simple amplitude envelope for 9 9999s controlling the shape of the synths sound Env sus inf 0 0dB Env rel 0 0000 9 9999s Vel gt att 100 MIDI velocity is used to control the attack time 100 OSC volume OSC 1 and 2 shape settings Vel gt Vol 100 100 Vel gt Shp1 100 100 Vel gt Shp2 100 100 Key gt att 100 Keyscaling across the MIDI keyboard is used to
125. o S level S freq S notes S cents S fd S q S bw S gain S stereo oscillator and LFO controls Osc Vol Osc1 Vol Osc2 Vol Osc note Osc cent Osc1 f Osc2 f Osc1 shp Osc2 shp Osc1 fm Osc2 fm Nois Vol LFO1 f LFO2 f LFO3 f LFO1 amt LFO2 amt LFO3 amt dynamics blocks only input left shown here but list will also show same for input Right dynamics block and the output L R blocks too IL D gai IL D att IL D rel IL D knee IL C thr IL C rat IL E thr IL E rat IL D Lok IL D slew IL D mku IL G att IL G rel IL G hid IL G thr delays DI time DI feed DI fcut DI d w DO time DO feed DO fcut DO d w Ana bank Syn Bank RTC possible assignments from within a specific filterbank and channel OFF A Vol A freq A note A cents A fd A q A bw A gain A slope S Vol S freq S note S cents S fd S q S bw S gain S slope The RTC screen that pops up while you use then will display info about the parameter being modified and if there is an LFO applied to control it Infiltrator User s Manual 111 9 2 11 MODULATION Once you have your RTCs set up to control internal parameters you can attach one of these LFOs to control them automatically Think of these as robots that come and grab the knob and move it for you They cannot be applied directly to internal parameters and can only control RTCs As a compliment the RTCs can be assigned to control the speed and depth of the
126. o on Input Here you set up the levels of the Exciter L and Carrier R inputs You can ring modulate them and they each have their own Dynamics Block which is also set up here If you want to use the oscillator and noise generator you set their waveforms and so on here too You will then need to mix them in to the filterbank inputs in the next groups Ana This is where you mix the signal that enters the Analysis bank and turn Syn ON the SVU detector This is where you mix the signal that enters the Analysis bank and if the SVU detector is ON you can define the three different mixes used for the vocoding with consonant resynthesis Ana bank This is where you set up the bank of analysis filters Syn bank This is where you set up the bank of synthesis filters Output Here you can mix together the signals coming from the Analysis and Synthesis filterbanks the two original inputs and the original waveform generator signals You can also mix in the monitor channel that taps signals from throughout the vocoder for referencing while working Meters You can use this group to call up meters that fill the whole screen You can cycle between many different meter types Realtime Here you set up the front panel REALTIME CONTROLLERS for hands on control Modulation Here is where you can activate the LFO robots to automatically move the REALTIME CONTROLLERS for you Delays Where you set up the input and output delay FX This is whe
127. o the Chameleon follow the instructions below MIDI OUT MIDI IN bbei Chameleon SHIFT MIDI Sequencet Player Figure 9 6 Power up the Chameleon with the Shift Key held down to put it in ready mode to accept the new application It will show this message Connect the MIDI OUT of your MIDI Sequencer Player machine for example a computer with a MIDI interface to the MIDI IN of the Chameleon and Play the Application MIDI File containing the new application or version update It s recommended to disable the MIDI clock in the MIDI Sequencer Player If everything is connected properly the following screen will be displayed showing an increasing block counter When the counter arrives at the last block the Chameleon will ask you to store the application in the internal Flash memory this must be confirmed by pressing the SHIFT key within 20 seconds in order to accept the received data If you don t press SHIFT the Chameleon will simply return to the Waiting state If you do press the SHIFT key to accept the application will be burned in the internal FLASH memory If any problem happens during the downloading process the display Loading Soundskins will show BAD DATA Of TIME OUT To solve this try setting a lower tempo in the sequencer e g 90 BPM After the process has been successfully completed the Chameleon will power up automatically loading the new application wh
128. ode ON These activate the in and out Delay Blocks OFF In R Mode ON OFF out L mode ON OFF Out R mode ON OFF In Link OFF These link the stereo FX together L R ctl Out link OFF L R ctl Gbl t 4 00000 These are global modifiers for adjusting all the 4 00000 s delays simultaneously The underlying delay Gbl fb 96 0 96 0dB values for delay time feedback filter frequency Gbl f 9 99 9 99 Oct and dry wet mix will be adjusted by these Gbl d w 200 200 amounts Left in time 0 00000 Sets the delay time Really short delays can create Right in 4 00000 s chorus and comb filtering effects Left out feedbk inf 0 00dB This feeds a portion of the delay output into itself Right out again The closer to zero the feedback the longer the echoes last and you approach a guitar like feedback loop Filter Bypass These simple filters can be used to brighten or LP med darken the sound as it is echoed The filter types HP med are LP light Bypass the filter is not active HP light LP med smooth roll off low pass HP med smooth roll off high pass LP light shallow low pass HP light shallow high pass Freq 50 20 000Hz This sets the point above or below which the sound is filtered depending on the filter chosen dry wet d100 w100 Dry no effect Wet effect only Infiltrator User s Manual 113 Appendix 114 Loading Soundskins To load a new application or version update int
129. olume level at which the expander kicks in E ratio 1 1 0 1 99 9 1 Inf A higher ratio means more severe downwards expansion D look OFF 0 00001 1 00000s With lookahead the peak detectors get the opportunity to look at the incoming signal before is has arrived in order to catch peaks earlier To achieve this the signal has to be delayed internally in the system Lookahead must be globally enabled for a preset in the Preset Setup page and the global maximum lookahead time is set there section 7 2 1 This is the maximum time that any compressor can look ahead Each compressor then has its own adjustable lookahead time that can be adjusted from 0 seconds up to the maximum A warning will be issued on attempts to set any given compressors lookahead at more than the global maximum time D slew 0 00000s 9 99999s The slewing can be used as an overall softener of the compression expansion effect It acts on the reduced gain after compression expansion have been applied D mkup 24dB 24dB The makeup gain adjusts the final output level of the Dynamics Block to compensate for overall changes in volume G att 0 00000 9 99999s G rel 0 00000 9 99999s G hold 0 00000 10 00000s G thr infdB 0 0dB The gate also has adjustable attack and release times The gate opens when the peak detector has reached the set gate threshold level and it will remain
130. omponents Carrier infdB 24dB that go up to make the input to the Synthesis Noise infdB 24dB bank Osc infdB 24dB The two other source mixers are only active when the SVU detector is in the SVU or SVU modes In addition there is a special automatic mixer page that is only active in the SVU mode Infiltrator Vocoder mode SVU utput mbxer exciter com Lin gt ttin gt eo poca Comp K e i Y exciter gand 5 S carer reduction gate R comp Rin gt Rin gt Bred Comp __ Diy Sear a i gain reduction gate noise He i Osc S ose 1 24 channels SVU Ana mix Sna sro Analysis fitter ram Lana sm eae 5 x iG Pg ana bank signals avilable for meters and monitoring T Qoe envelope L 2 signals avilable for meters only o T fade A ae Se drei pee L output amplifier attenuator unvoiced oat Dyn Dy _ gt Fe mix o gt he ATEA tt channels SEIO ve y tt fade 1 24 channels er Synth V7 level wr Vmix voiced p syn sre pe Cay SIL fa general processing blocks L A Ps o E r Pi A Senji eo monitor Figure 9 5 Here are their mix controls Table 9 10 Group Page Parameter Value Comments Syn Unvoiced Exciter infdB 24dB With SVU ON you can set up a unique mix for the Mix Carrier infdB 24dB unvoiced state and the Silent state with very Noise infdB 24dB accurate control Osc infdB 24dB Silent Mix Exciter infdB 24
131. ont panel knob it is made available for inspection and direct editing you can hear the effect as you edit it This is the stored RTC proper as used by the global RTC edit mode chosen in the global system menus see section 4 4 1 Infiltrator User s Manual 69 70 There are extensive options for RTC target assignments depending on what group you have chosen You can control global parameters such as Input levels and Oscillator frequencies or parameters that belong to individual filters within a bank such as Q and fdelta Global parameters also include the list global modifiers that allow you to alter parameters across all filterbanks simultaneously such as filter frequency Table 7 14 Signal Group Targets GLOBAL global OFF In level In L Ivl In R Ivl Out level RTC global group possible assignments from within the There are several new features coming in the next system in Multiband Mode update which will be assignable here For now you see a list of TBI 1 44 to be implemented Delays Dly Time Dly Feed Dly Fcut Dly d w L bank R Bank Settings for individual dynamics blocks and filters RTC possible assignments OFF D gai D att D rel D kne C thr C rat E thr E rat D from within a specific lok D slw D mup G att G rel Ghld G thr F flo F fhi filterbank and channel The RTC screen that pops up while you use then will display info about the paramet
132. or instance the signal before and after the filter This is also the same system for selecting parameters for example when assigning a RTC to a particular filter s cut off frequency You need to choose the filterbank and then the channel to find the particular cut off frequency parameter you want to assign Infiltrator User s Manual 49 5 4 Realtime Controller System 5 4 1 50 Some points about the RTC system THESE ARE PERFORMANCE CONTROLS NOT EDITING CONTROLS It is important to note that the RTCs have been designed to be primarily performance controls They do not directly control the underlying parameters that you assign them in Edit Mode but rather they multiply the underlying values by a given percentage positive or negative This way you have a lot of freedom to set up the RTCs to control parameters over very specific ranges creating accurate performance tools So if a filter frequency is set at 1000Hz and you assign a RTC with a value of 50 it will span the ranges from 500 to 1500Hz from its leftmost position to its rightmost position The underlying values will NOT be updated internally although in some cases the RTC screen that flashes up while you are using it will display the values you are creating for reference For example the frequency in the above example will show on screen while turning the RTC but if you go and look at the underlying value it will remain at 1000Hz As a result of this method of RTC i
133. otal flexibility you can actually choose between four different user interface modes for selecting the presets in the System Config page The prst sel parameter will choose between OFF keys key enc and browse modes The browse mode is the default described above which allows you to browse through the options before choosing one See section 4 4 1 for more details on the other selection modes Whatever the selection mode if you try to change to another preset but have not yet saved any changes in the current one you will be asked lose changes Use the VALUE UP and DOWN buttons to choose Y or N and hit EDIT to execute If you choose Y you will change preset as requested and discard the edits if you choose N you will remain where you are and you can go and save your work if you want to before moving on See section 4 4 4 for more details on saving your work Preset Mode 4 3 Exploring this Mode So to explore this mode we need first to tell you how the Chameleon front panel buttons behave For Navigation There are two groups in Preset Mode You toggle between these using the GROUP UP and DOWN keys These are 1 The Homepage described above for selecting presets You select with the VALUE UP and DOWN or the ENCODER The other navigation buttons are inactive 2 The global system parameters This group is browsed using the standard PAGE PARAMETER VALUE architecture Meanwhile the other buttons on the front
134. ou have more options than Multiband Mode You can ring modulate the inputs with each other or by using the Waveform Block signals as well as mix in the Waveform Block to use as an simple monosynth or to provide test tones noise signals and so on Also at the inputs you have a Dynamics Block over each channel to control the signal before it enters the Filtering Block There is also a Delay Block for FX At the output Mixing Block you can mix the processed sound with the original unprocessed inputs and Waveform Block sounds as well as the specific monitor channel that taps signals from within the system for auditioning while working Finally at the main outputs you have a Dynamics Block and Delay Block over the Left and Right outputs How it Works 2 2 3 VOCODER MODE In this mode the Left and Right inputs are taken separately as mono sources and processed through the Filtering Block with its banks of up to 24 filters for each channel As described previously the Vocoding Block sits in the middle and extracts the spectral envelope from the Left or Exciter and applies it to the Right or Carrier resulting in a resynthesized sound coming from the output of the synthesis bank To help condition the sounds at either end you also have a pair of Dynamics Blocks over the inputs to the Filtering Block before they are analysed and a pair over the main outputs again to keep that under control too This is important as the vocodi
135. r 1 EQ ser ser 1 A level Aq Sq i ptio 2 Osc note A notes S notes Vocoder for external carrier oscs and noise 3 inCivl Osc vol Nois vol can be used using the SVU detector to 4 S stereo Osc2 vol A freeze create silence bridging consisting of the 5 Osc cent Osc1 shp Osc2 f clan carrier As long as the exciter input is 6 Aatt A dec not silent the output will be vocoded If the 7 exciter becomes silent the carrier will be fed g directly to the output 35 LPF 12dB 36 LPF 24 dB 37 LPF 36 dB ode at R r r 1 EQ par par 1 In level 1 Freq 1q Descriptio 2 In level In L level In R Level DJ type filter for performance fun or sound 3 sculpting duties in the studio Put audio 4 through this preset and manipulate RTC 2 5 and 3 Various strengths of filter order are 6 available 7 8 124 Factory Presets Explained 38 BPF 12dB 39 BPF2 12dB 1 EQ par par In level 1 Freq 1q In level In L level In R Level Different type of performance filter this time a Band Pass filter with q settings to determine how wide the band is This is a Light 2 pole filter 12 db Oct Put audio through this preset and manipulate RTC 2 and 3 BP2 has a slightly less peaky quality 40 BP pan 12 Ch Mode 1 EQ par par CO N OO 1 BB WwW N fr Nn hh ansi RTC1 F bias RTC 2 BP f pan RTC 3 Reso De nite A band pass filter w
136. re is a bit safer Once you are used to the internal menus and parameter lists you can activate this option to allow you to scroll navigate the lists in any direction Once you get used to it its hard to go back But its recommended to leave this OFF until you are familiar with the system as you can scroll forever thinking I ve seen that parameter before Prst Sel OFF Browse Keys Keys Enc The different methods of preset selection for the Homepage In the OFF mode the preset cannot be changed to guard against accidents in a live situation In the keys and key enc mode new presets are loaded immediately using VALUE UP DOWN and the ENCODER In the browse mode default presets are selected a follows Using VALUE UP DOWN or the ENCODER you browse through the available presets without actually selecting one The EDIT LED and the preset number will blink to indicate that you are browsing The EDIT key will load the preset If you don t want change preset just forget about it because as you navigate away the browsing will be automatically cancelled Popup mode Ctx sel The Pop up meters that you can call up to give you visual feedback while you are editing have two modes ctx means they will show you first a context sensitive meter that is appropriate for the parameter you are editing e g gain reduction while editing compressor parameters sel means that the
137. re you set up the Vocoder Mode basics You can name the preset change to another architecture mode if you wish determine the number of filterbank channels the general mode settings for the input and output compressors set stereo linking and look at the DSP usage readout You can also set up all the MIDI control for the preset here including all the MIDI control for the oscillator Vocoder Mode 9 2 1 1 SETUP Common Group Setup The basic elements of the preset name mode type number of channels Table 9 2 Page Parameter Value Comments Common n Select character Here you set up the presets name You use VALUE name to edit UP DOWN to choose which of the 10 characters to edit and the ENCODER to select the letter number or symbol you want PART DOWN will add a space Mode Vocoder Here you can change the mode that the preset is EQ ser ser in Once you change this all the menus and EQ par par parameters in Edit Mode will change to reflect the EQ ser par new mode It is advisable to use this function only EQ par ser once you have become used to the system See Multiband section 6 2 for details about mode changes Channels 1 24 In Vocoder Mode you can use up to 24 bands or channels F link ON Here you link together the frequency selectors of OFF the two filterbanks The Left settings will be copied to the Right and once it is ON changing either side will affect the other simultaneously C link O
138. riangle generates a simple pattern that moves from one extreme to the other in straight lines The panned sound would travel evenly from left to right and then back again TRIANGLE WAVE A AA VV 116 LFO Waveforms A square wave is a stepped wave that jumps directly from one value to the other with no transition The panned sound would jump directly from a position on the left to a position on the right evenly SQUARE WAVE Pulse Width A sine wave is the simplest waveform that smoothly oscillates between the two sides The panner would seem to gently move from left to right It is more natural than the triangle wave because of its more gently sloping nature SINE WAVE GREL UY Sample and Hold is like a square wave in that it moves in discreet steps but moves around with a randomly generated depth The panned sound would appear to jump around all over the stereo field randomly at the chosen speed SAMPLE AND HOLD WAVE ne Infiltrator User s Manual 117 Appendix Factory Presets Explained The sounds and FX that come ready loaded with Infiltrator are designed to show you what the device can do It really is just a starting point for you to explore and see what you can come up with The device has such an unusual architecture and interface that it
139. rking You can use this for all sorts of things to listen to a signal before and after it passes through a particular filter or for checking what the original input sounds like without disturbing any of your mix settings 82 EQ Mode You can choose to mix the monitor in with the output or to solo it for individual auditioning The diagrams in section 8 1 above show clearly the different signals that can be tapped into in the EQ Modes Monitoring sources are marked with green dots Here are the monitor controls you find in the output section Table 8 11 Group Page Parameter Value Comments Output Monitor Mode OFF You can either mix in the signal to the main output Mix or solo the monitor for listening in isolation Solo Volume infdB 24dB This sets the monitors volume Group Global To select the signal you want first you choose the L bank group it is in See section 5 3 R bank Channel 1 5 If you choose L bank or R bank you need to then choose a channel If you choose global this will show a to remind you this is not used Signal L input These are the global group monitoring options R input global Comp L Comp R Osc Noise L mix L L mix R R mix L R mix R L output R output L bank Filter These are monitoring options within a specific R bank Amp bank and channel Infiltrator User s Manual 83 8 2 5 METERS 8 2 5 1 FULL SCREEN METERS You can
140. s and then freeze them in place by saving their positions with the preset So if you are unfamiliar with the intricacies of vocoders and filterbanks don t be put off learning this unique soundskin it s really worth it and you don t need to dive in deeply to create very interesting results We have gone into some detail with this manual to help as much as possible We have also spent a long time creating an extensive bank of very usable presets that are ready for use straight away These are also described in detail in this manual and are a very good starting point for exploring Infiltrator s possibilities Infiltrator User s Manual 1 1 1 1 THE THINGS IT CAN DO The principal purpose of Infiltrator is for vocoding using filter banks as in the classical analogue vocoders The Vocoder Mode allows the emulation of nearly every kind of classic vocoder architecture as well as the creation of brand new vocoder sounds In addition to the traditional Synthesis and Analysis filter banks there is a silence voiced unvoiced detector a noise generator and a built in synthesizer with twin oscillators for creating Carrier signals and waveforms internally There are also delay FX available on the inputs and outputs for all sorts of echo based treatments More on all this later However Infiltrator also has other operating modes The vocoding Analysis function can be left aside completely and the mixing multi band filtering waveform
141. s no need to save the preset for this Note you can also view and edit the current last RTC knob positions So here are the parameters for setting all this up Table 8 15 Group Page Parameter Value Comments Realtime Setup Mode OFF Here you choose from modes described above Single You can turn this ON at anytime and it will link the Multi2 RTCs together as outlined You can also name the Multi4 sets for ease of use Multi8 Multi1 12 Set the name Using the same method as naming a preset you can name your multi set ups here in order Since there is a possible maximum of 12 multisets 3 RTCs x 4 multisets there are 12 multiset names available The first three multinames are for RTC 1 3 in the first multiset the next three are for RTC 1 3 in multiset 2 You only need to name as many muiltisets as you actually have in use Set1 8 rtc1 3 g Global Here you select the parameter to be controlled L bank First you must choose the signal group it is in R bank rtc1 3 ch 1 24 If you choose L bank or R bank you need to then choose a channel It will show if you have chosen the global group and therefore don t need to choose a channel Rtc various Then you choose the parameter See table below for all the options rtc1 3 amt 1000 Here you set the ve or ve amount that the RTC 1000 will adjust the underlying parameter value by rtc1 3 value 63 63 This is the memory of the position of the front panel knob
142. s now above 64 more below 63 less Bypass src OFF The Global bypass control can be assigned to a Cc0 127 controller for performance and sequencing control with names Freeze src OFF The analysis bank envelope followers can be Cc0 127 frozen for classic vocoder FX The control can be with names assigned to a MIDI controller for performance and sequencing control 9 2 1 3 SETUP MIDI Osc Here you determine how the oscillator responds to MIDI Once you have set up a constant tone and mixed it into the system at the Carrier inputs these controls will allow you to use it as a source for vocoding you can of course use it in the Exciter if you wish For vocoding you mix the osc into e g the Syn Voiced Mix this is how all the presets does it This is more flexible allowing use of SVU etc The osc is not available on the Input pages Table 9 4 Group Page Parameter Value Comments Setup MIDI Osc Osc mode OFF Here you turn ON the OSCs MIDI control Mod MOD means controller modulation messages are Mono responded to MONO means note messages are Mono c responded to normal synth operation MONO C means it will play like a monosynth but always play the last note as if there was no note OFF message Osc ch OFF This sets the channel that the oscillator responds 1 16 to Root key E 1 D9 This sets the key on your keyboard that will play back the OSC at the pit
143. s turns the oscillator ON If this is OFF all other ON places where the OSC signals are available for mixing in will be marked to remind you to turn them ON here 01 level infdB 24dB This sets the basic level for the Osc 01 f 0 1 20 000Hz Here you set the frequency going down as far as 01 note E1 D9 0 1 Hz for frequency modulation and ring 01 cents 50 50 modulation purposes You can choose to set its value in Hz or by MIDI note and cents Changing one setting will reflect in the other e g 445 4 Hz A1 21 cents 01 wave Saw Here you choose the basic waveform also Tri outlined on the following page With the shape Pulse control you can get a whole range of waveforms Sine Saw Pulse adjusts the pulse width shape 0 5 gives 01 shape 0 0000 a square wave 1 0000 Saw adjusts the wave from sawtooth towards square shape 0 0 gives a sawtooth Tri adjusts the wave from triangle towards square shape 0 0 gives a triangle Sin Saw adjusts the wave from a sine through a saw and towards noise 0 0 gives sine 0 16 gives saw values above 0 18 goes towards noise 01 fmsrc OFF You can modulate the frequency of the oscillator Osc 1 by choosing one of these other sources within the Osc 2 system and setting a value between 0 and 1 For Noise instance Using the other oscillator you can get a Osc 1 2 vibrato if osc2s frequency is set really low At L input higher settings really wild sounds can be created R i
144. same way as outlined on page 31 In Multiband Mode there are up to 5 delay FX on each side each one adding echo effects to the output a particular band You can use the delay for chorus effects dub echoes metallic reverb like spaces and more Table 7 7 Group Page Parameter Value Comments Delays Setup Mode ON This activates the multiband Delay Blocks OFF Link OFF This links the stereo FX together L R ctl Gbl t 4 00000 These are global modifiers for adjusting all the 4 00000 s delays simultaneously The underlying delay values for delay time feedback filter frequency and dry wet mix will be adjusted by these amounts Gbl fb 96 0 96 0dB Gbl f 9 99 9 99 Oct Gbl d w 200 200 Left1 time 0 00000 Sets the delay time Really short delays can create Right1 4 00000 s chorus and comb filtering effects Left2 feedbk inf 0 00dB This feeds a portion of the delay output into itself Right2 again The closer to zero the feedback the longer the echoes last and you approach a guitar like Etc feedback loop Filter Bypass These simple filters can be used to brighten or LP med darken the sound as it is echoed The filter types HP med are LP light HP light Bypass the filter is not active LP med smooth roll off low pass HP med smooth roll off high pass LP light shallow low pass HP light shallow high pass Freq 50 20 000Hz This sets the point above or below which the sound is
145. showing signal 1 and 2 default as the inputs 2 MIDI monitoring including channel and vertical IN OUT meters 3 Graphic analyser vertical channel meters with 4 different types for each channel The meters show an abbreviated name telling you what you are looking at Unfortunately they are very small to allow for lots of meter space The 1 means the channel 1 and upwards is showing up to five in Mulitband Mode Infiltrator User s Manual 67 Here are the names Table 7 11 Legend Meter Comment Lf 1 Left channel filter output What goes into the Dynamics Block Lor Left channel gain reduction shows the gain reduction happening Lgt1 Left channel gate level Shows the gates opening and closing Lc 1 Left channel compressor output what comes out of the Dynamics Blocks Rf 1 Right channel filter output Rgr1 Right channel gain reduction See above Rgt1 Right channel gate level Rc 1 Right channel compressor output 7 2 7 2 POPUP METERS Meanwhile pop up meters are also available outside this group by pressing at any time SHIFT while in Edit Mode While browsing around the parameters they can show you context sensitive meters for quickly seeing what is happening For instance while browsing compressor parameters the contextual meters will show the gain reduction By pressing PART UP you can cycle through the meters outlined above as well using PART DOWN to reset any peak overload indica
146. shows the mix options Table 9 7 Group Page Parameter Value Comments Ana Input Mix Exciter infdB 24dB Here you set the mix levels of all the components Carrier infdB 24dB that go up to make the input to the Analysis bank Silent infdB 24dB Note the silent signal is only ever present when Noise infdB 24dB the silent voiced unvoiced detector is in SVU Osc infdB 24dB mode the silent mix is itself set up in the Synthesis group next As you Can see you can use any signal you like including the Carrier for the source This flexibility is what makes infiltrator a monster 9 2 4 THE SILENCE VOICED UNVOICED DETECTOR What is it for When vocoding in the traditional manner the consonants of the vocals can be lost or suppressed if the Carrier signal lacks high frequency content To compensate for this various schemes have been used in analogue vocoders The basic principle is to detect consonants in the Exciter vocal signal and when one is detected some noise is sent to the Synthesis bank to make up for the lack of high frequency content in the Carrier This is often called a voiced unvoiced detector The voiced state is when no consonants are detected and the unvoiced state is when a consonant is detected The detection schemes are usually based on the fact that a consonant tend to be transients with much high frequency content which stands out of the vowel flow of spe
147. ssiassesssesideniaersseodra sires hes sesdei seess 37 4 1 The HOMeEpPage ssisissrecessisisisssisossedesssssoesssssecosssoasos sisese ts snosa 37 4 2 Selecting Different Presets ssccccsssssscccssssssecsssssccesesseees 38 4 3 Exploring this Mode ssoeeessooseessoccsessoccessooceessoccesssoccesssoceese 39 4 4 The System Group sseesesssoccessooceessocceessoccesssoccesssoccesssosssooceeso 41 4 4 1 USER INTERFACE CONFIGURATION sssssssssscssssssssseccscssssssusssccssssssssssescessensssees 41 AAD MIDI CONFIGURATION sx csiei cscs cte sien ihe ceteira Dee cece asia tae ay tied 43 ACE MDE COIN eg scat aie aa a S 44 AAA SANE PRESET indepth seat are i cielo a aces a tent 44 DAS SAVE SVS TEN ARin st Ae keys ARN AIS Uh SAE chs he ake 45 DAG UNOS ar ee aee a a i e a e A 46 5 Some More Things esssesesssocsessoocesssoccesssoccessooceessoocesssoccessosesssoesess 47 5 1 Dynamic Allocation of DSP Resources esssseecessoocesseoccessooceese 47 5 2 Signals and Levels css casstinssicccsurcassgnaedseonsandesdanvesseovaccdsveseeetses 48 5 3 Signals and Parameter GrouUpS sesessseessooceessoccessooccessooceessoe 49 5 4 Realtime Controller System essessoosesssoccesssoccesoceessooceessooseeso 50 5 4 1 THESE ARE PERFORMANCE CONTROLS NOT EDITING CONTROLS eee 50 54 2 RESOLUTION ISSUES iiss i Since iis tative Aetivedtesiee ising ies decrease testo 51 5 4 3 PUSHING THE SYSTEM TO THE LIMITS F JAA
148. sssscccssssssssccssesseee 114 Infiltrator User s Manual vi B LFO Waveforms cC Factory Presets EXPlAIN EG cia eavsressvarscocsovacoassensuneteastennncecveevoroies Chapter Introduction 1 1 Overview Infiltrator is a creative sound shaping tool for use in the studio and on stage essentially based around two banks of powerful filters It was principally designed as a powerful vocoding system but has evolved into something much more and is capable of working as a wide range of filtering FX and tools It has been designed to provide the user with a very deep level of control All of the extensive parameters use physical units where possible with a high degree of accuracy down to units such as the one hundred thousandth of a second 0 00001s Infiltrator is a no nonsense soundskin that is also very configurable in its user interface and real time performance control However although the level of detail and number of subtle parameters creates quite a monster that can be programmed to a very deep level by experienced users we have also designed it to be as accessible as possible to all There is a quick editing mode that only shows the most important parameters and extensive sonic control is actually available straight away using the front panel realtime controls RTCs with no need to even enter any kind of editing mode You can manipulate presets underlying values to quite an extreme degree with these performance control
149. t back into editing mode for further tweaking i e there s no need to save the preset for this Note you can also view and edit the current last RTC knob positions Table 7 13 Page Parameter Value Comments Setup Mode OFF Here you choose from modes described above Single You can turn this ON at anytime and it will link the Multi2 RTCs together as outlined You can also name the Multi4 sets for ease of use Multi8 Multi1 12 Set the name Using the same method as naming a preset you can name your multi set ups here in order Since there is a possible maximum of 12 multisets 3 RTCs x 4 multisets there are 12 multiset names available The first three multinames are for RTC 1 3 in the first multiset the next three are for RTC 1 3 in multiset 2 You only need to name as many muiltisets as you actually have in use Set1 8 rtc1 3 g Global Here you select the parameter to be controlled L bank First you must choose the signal group it is in R bank rtc1 3 ch 1 24 If you choose L bank or R bank you need to then choose a channel It will show if you have chosen the global group and therefore don t need to choose a channel Rtc various Then you choose the parameter See table below for all the options rtc1 3 amt 1000 Here you set the ve or ve amount that the RTC 1000 will adjust the underlying parameter value by rtc1 3 value 63 63 This is the memory of the position of the fr
150. t we d like to explain how to see what s going on and get around the soundskin There are six things you should know about before moving on 1 The different User Interface modes 2 Finding the parameters you want 3 The different UI Mode button and knob functions 4 The location memory feature 5 Quick and Full level editing 6 Some symbols and their meanings 3 1 The Different User Interface Modes There are two main user interface modes Preset Mode and Edit Mode these are not to be confused with the system architecture modes described above these refer to the way the system is configured Vocoder Mulitband etc and not the way you actually interact with the soundskin So these two user interface modes are Preset Mode This is the default start up mode and is where you choose between the different presets available You also have access to the global system options and parameters the ones that remain the same regardless of what preset you have loaded These include setting up the MIDI essentials making SYSEX dumps screensavers as well as saving your work This will all be explained first in chapter 4 Note the saving mechanisms are slightly different to other Soundart Soundskins and it is advisable to take a moment to familiarise yourself with the way it works via this manual See section 4 4 4 for more details if you really can t wait 32 The Display and Navigation Edit Mode This is where you go inside a
151. te the final stereo mix of the processing banks and any other available elements The usual level and pan controls are provided for each source If the Osc Noise or Monitor sources are marked by a this means that the corresponding signal source is switched OFF and needs to be activated before you will hear it Table 8 10 Group Page Parameter Value Comments Output Mix L bank infdB 24dB Sets the final output level for the output of the two filterbanks R bank infdB 24dB L input infdB 24dB Mixes into the outputs the unprocessed inputs post delay R input infdB 24dB Osc infdB 24dB Mixes into the output directly the internal waveform sources Noise infdB 24dB Monitor infdB 24dB For setting the level of the monitor feed from within the system Pan L bank L100 R100 Same as above but for Left Right panning control R bank L100 R100 L input L100 R100 R input L100 R100 Osc L100 R100 Noise L100 R100 Monitor L100 R100 DynamicsL Mode OFF Output Dynamics Blocks comp See section 2 1 2 for more details about their Gte cmp controls Master Volume infdB 24dB The final MASTER OUTPUT 8 2 4 2 OUTPUT Monitor The monitor controls follow on from the list of output parameters above It is another signal that can be mixed into the final output This is for tapping a signal from within the processor for auditioning while wo
152. tions or to cycle through the graphic analyser mode types when you reach them The contextual meters you see will vary with the current group page and parameter When compressor linking is enabled they will usually be a pair of popup meters showing the Left and Right signals in context For the global compressor controls the analyser mode is used in context to show all bands together Here is a description of the meters you will come across Table 7 12 Legend Meter Comment Inl input level Left Main input levels Inr input level Right FI filter output Left What goes into the Dynamics Block Fr filter output Right Dynamics Block gain reduction Left Gain reduction across all five banks t Dynamics Block gain reduction Right l Dynamics Block gate level Left The gates opening and closing r Dynamics Block gate level Right cl Dynamics Block output Left What comes out of the Dynamics Cr Dynamics Block output Right Blocks ol final output Left Master output Or final output Right 68 Multiband Mode 7 2 8 REALTIME CONTROLLERS Group Realtime Global modifiers not available with V1 0 release Here you set up the front panel REALTIME CONTROLLERS RTCs for hands on control When editing the RTC assignments you can quickly test them by pressing EDIT to go to system mode where they will immediately work as they are programmed to Then a single press of EDIT have you righ
153. to the output SysEx ID 1 127 If you have more than one any Chameleon you can define the SysEx ID here so dumps made will only be heard on playback by Chameleons set to the same SysEx ID etc etc etc etc etc Introduction 1 3 3 THE FRONT PANEL CONTROLS The following diagram highlights the main buttons and knobs used for controlling Infiltrator These are referred to throughout this manual using uppercase names The only controller not magnified here is the ENCODER on the left of the REALTIME CONTROLLERS in the centre Their uses change depending what mode you are in and this will be explained with diagrams later on page param Figure 1 1 Finally the VOLUME knob on the Chameleon front panel is just that a good old volume knob Infiltrator User s Manual 9 Chapter How it Works 2 1 The Different Processing Blocks Infiltrator puts signals through a handful of processes and depending how they are configured you can get the different tools and FX described above Think of these processes as distinct blocks that can be reordered into different processing chains in the different modes Over the next pages we cover these processing and blocks one at a time and take you through some of the controls you will find When editing you will come across these controls in slightly different places depending on the operating mode
154. ture change a mode add a channel etc would take you over 100 of the available DSP resources then a warning will be displayed to inform about the potential DSP usage This warning will flash for 3 seconds or until you manipulate any panel controls If you still want to enable the feature that was too much some other resource usage must be reduced The features that affect the DSP usage are as follows more or less in order of hunger the actual situation is more complex than can be listed as there are of course many possible permutations but this gives you a general idea multiband compressor modes OFF comp comp gate input and output compressor mode OFF comp comp gate compressor linking modes OFF avg max compressor lookahead OFF ON SVU detector modes OFF SVU SVU Infiltrator User s Manual 47 number of processing channels 1 to 24 oscillator 1 and 2 ON OFF delay modes OFF ON filter and oscillator playing modes mono poly gate duck analysis mixdown ON OFF noise generator ON OFF filter orders 2nd 4th 6th 8th When the preset mode is changed from say Vocoder to EQ Mode Infiltrator will automatically ensure that the DSP resources are not exhausted by reducing the number of processing channels as required to stay below 100 usage 5 2 Signals and Levels 48 All signal levels in Infiltrator are referenced using decibel notation Internally the 24 bit signal chain has 12dB headroom Th
155. u can choose the source MIDI controller message Cc0 127 number for adjusting the OSC 2 Shape control with names Smod2 amt 100 The amount this controller will change the OSC 2 100 Shape control 9 2 1 4 SETUP Info This page displays the system DSP power taken up by the current preset Table 9 5 Value Comments Setup Page Info Parameter DSP usage 0 100 Here you can see how much DSP is being used by this configuration See section 5 1 for more info on DSP usage Infiltrator User s Manual 95 9 2 2 INPUT For the Vocoder Mode the Left and Right inputs are known as the Exciter and Carrier inputs and the Left and Right processing banks are known as the Analysis bank and Synthesis bank You can see them as separate mono processors and inputs that combine to create a third new sound In Vocoder Mode the overall input controls are more complex than Multiband Mode Unlike EQ Mode you do not set up the mix of signals such as those coming from the Waveform Block in this Input Group Here you just set the physical input levels and set up the input Dynamics Blocks The mixing takes place in the next two groups Analysis and Synthesis where there are far more options to explore Here are the settings for the Exciter input Left and Carrier Right Table 9 6 Group Page Parameter Value Comments Input Exciter Level infdB 24dB This s
156. ut parameters above It is another signal that can be mixed into the final output This is for tapping a signal from within the processor for auditioning while working You can use this for all sorts of things to listen to a signal before and after it passes through a particular filter or for checking what the original input sounds like without disturbing any of your mix settings You can choose to mix the monitor in with the output or to solo it for individual auditioning Refer again to the diagrams on page x and x to see the monitoring points available the green dots show that you can tap a signal from anywhere for checking what is going on Here are the monitor controls you find in the output section Table 9 15 Group Page Parameter Value Comments Output Monitor Mode OFF You can either mix in the signal to the main output Mix or solo the monitor for listening in isolation Solo Volume infdB 24dB This sets the monitors volume Group Global To select the signal you want first you choose the Ana bank group it is in See section 5 2 syn bank Channel 1 24 If you choose ana bank or syn bank you need to then choose a channel i you choose global this will show a to remind you this is not used Signal L input R input These are the global group monitoring options Exciter Carrier global Noise Osc Ana src Syn src L ana R ana L Syn R Syn L output R output V mix U mix
157. ver parameters that in reality can take some time to update depending on the configuration In the case of filterbank global controls you could theoretically assign one knob to raise the cut off frequency of 48 powerful filters at the same time while lowering the q simultaneously along with the fdelta all by different amounts This amount of processing can tax the system and cause delays and artefacts Alternatively you could find latency on the oscillator while playing over MIDI at the same time Once you add the LFO automatic control of the RTCs and set it to move quickly well However rather than remove the ability to change things like this using the RTCs which is a rather cool feature and unique to Infiltrator in many ways we have left these options open to you to use in reasonable situations or within lower parameter ranges if it gets too much The system is open for such outrageous operations but their application should be considered with respect to the delays implied You can explore and find out what sounds are acceptable to you of course the artefacts and delayed effect of all this can be seen as a sound effect in itself There is no nasty digital clipping as everything is evened out as best as possible In the end total freedom has been allowed so you can control many parameters using MIDI and the RTCs The cost is that you can create unwanted artefacts such as these at extreme settings and while Infiltrator
158. vertical IN OUT meters araphic analyser vertical channel meters with 4 different types for each channel The meters show an abbreviated name telling you what you are looking at Unfortunately they are very small to allow for lots of meter space The 1 means the channel 1 and upwards is showing up to five in Mulitband Mode EQ Mode Here are the names Table 8 13 Legend Meter Comment Lf 1 Left channel filter output What goes into the Dynamics Block Lor Left channel gain reduction shows the gain reduction happening Lgt1 Left channel gate level Shows the gates opening and closing Lc 1 Left channel compressor output what comes out of the Dynamics Blocks Rf 1 Right channel filter output Rgr1 Right channel gain reduction See above Rgt1 Right channel gate level Rc 1 Right channel compressor output Al Amplifier Left These are the channel output amplifiers Ar Amplifier Right in the serial EQ 8 2 5 2 POPUP METERS Of course pop up meters are also available outside this group by pressing at any time SHIFT while in Edit Mode While browsing around the parameters they can show you context sensitive meters for quickly seeing what is happening By pressing PART UP you can cycle through the meters outlined above as well using PART DOWN to reset any peak overload indications or to cycle through the graphic analyser mode types when you reach them The contextual meters you see will vary with the
159. w Note that the lowest set in the list is actually the OFF state where the REALTIME CONTROLLERS are switched OFF for safety you may not want a sudden change of parameters through accidental knocking of a button in a live situation REALTIME 1 3 The REALTIME CONTROLLER knobs can be set up as performance controls for manipulating internal parameters These are highly configurable with specific ranges polarities and multiple parameter control The exact set up and even the positions you leave them in can be saved with each preset You have up to 8 sets of 3 real time controllers RTCs that give you control of up to 24 parameters These can be linked together so that up to eight parameters can be changed with one knob You cycle through the available sets using PART UP and DOWN The system is very flexible and can allow you to have deep control of your sounds without having to enter any kind of editing mode once it is set up Of course as you browse through multiple sets of controllers it is always possible that you will return to a set and the positions of the knobs are nowhere hear the actual underlying values of the set you have returned to Because of this there is a catch up feature that will show you direction arrows on screen when you first turn the knob without adjusting anything until the value matches The LED above it will be lit if it is assigned and will blink once you have caught up and changed its v
160. y singing During the golden years of analogue synthesizers several manufacturers started making vocoders specifically for musical use Some of these were high profile products with huge amounts of electronics inside and impressive arrays of knobs on the outside with a price tag close to that of a car Some were almost just black boxes with mysterious contents And they all sounded outrageously cool in the right hands With the capability of transforming one sound by another in a number of ways never heard before they became popular with experimental and avant garde musicians who were pushing the borders of sound Many known artists such as Kraftwerk and Herbie Hancock made prominent use of vocoders to everybody s delight Musicians were now able to make the most lyrical electronic vocal sounds mystical alien speech ultra funky song lines robot voices and a whole universe of abstract vocal and musical sounds F Saar aes Eeoa Soo y BeonopoonnL F se Figure 1 1 These analogue filter bank or channel vocoders established a classic sound for vocal and musical performance and can in many senses be 4 Introduction regarded as a kind of instrument in itself an instrument that you play with other sounds Old treasures such as the EMS and Sennheiser vocoders now enjoy Stradivarius level fame and desirability amongst discerning electro musicians Today vocoders are an integral part of electronic music and appear in many di

USER`S MANUAL - Soundart Chameleon

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