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1. everything can modulate almost everything there are 4 fixed parallel control signal lanes which are used for direct modulation and the modulation of rate time parameters Low Frequency Oscillators LFO Comb Page LFO AuxLFO 1 LFO AuxLFO 4 Sections Low frequency oscillators LFOs are similar to audio oscillators but their purpose is to act as modulation sources so the parameter set is completely different Although they are designated as low frequency they can go well into the audio range up to 24kHz depending on the control rate But keep in mind that they aren t antialiased so they can generate tons of unwanted harmonics if you decide to use them as audio sources There are two sets with 4 LFOs in each set main and auxiliary 8 in total Main LFOs are always active while auxiliary ones can be activated on demand to conserve CPU otherwise they are exactly the same Beside using the built in shapes LFOs can directly pass another sound sources through themselves just like main aux sine oscillators but quantized at the control rate LFOs can be synchronized to VST host tempo and all patch LFOs can be synced together as well so all LFO modulations per chord are synchronized great for chord sweeps Because those Voice LFOs are tied together their rates cannot be individually modulated or synced to other modulation sources although they do react to MIDI realtime messages Start Cont and Measure Envelopes Env Main amp Env2. Init to initialize the patch to default settings Load to load the patch from the file and Save to save the patch to the file Holding Alt key while clicking on the Save button will act as Save As e g the save dialog will pop up so you can set the file name and directory where you want the patch to be saved Multitimbral Operation amp Multithreading Except in demo version Tranzistow is always operating in multitimbtral mode with 4 or 8 multimode parts depending on the configuration Parts 5 to 8 can be accessed by clicking on Part 1 Part 4 buttons while holding Ctrl key By default it is operating in singlethreading mode meaning that all parts are executing on the same CPU core But it can also operate in multithreading mode where each of the 4 parts or 8 parts in 4 main sub pairs can be executed on a separate CPU core utilizing up to 4 CPU cores without any additional multithreading support from VST host This feature must be activated in Tranzistow ini this file should be located in the same directory where Tranzistow32 64 DLLs are located Engine Multithreading 0 1 2 1 1 1 2 Default 0 Multithreading 0 All parts are running inside a single thread 4 parts total Multithreading 1 Each part runs inside a separate thread there is an additional thread for mixing all parts 4 parts total Multithreading 2 Each part runs inside a separate thread and thread for the first part is used for
3. between slots and always allocate them sequentially from the beginning Note Off Modulation Matrix Spec Mod Page OffMatrix 1 OffMatrix 4 Sections This modulation matrix is processed after the note off MIDI message has been received and has 4 modulation slots Like the main fast modulation matrix it is processed at the control rate from up to audio oversample rate down to sample rate 4096 as well Each slot has one modulation source two separate destinations one modulation curve shape and various other parameters for precise control of a particular modulation routing To conserve CPU power this matrix is processed only if at least one slot is active one or both destinations assigned Direct Modulation Spec Mod Page Direct Modulation Section Beside modulation matrices some sources like envelopes LFOs etc can modulate six most important parameters main aux oscillators pitch the cutoff of filters A amp B and comb filter frequency directly over four fixed control lanes Sources on one lane can modulate destinations on the same lane only For example LFO 1 can directly modulate the pitch of oscillator 1 but cannot directly modulate the pitch of oscillators 2 3 and 4 modulation matrix has to be used for this instead Modifiers Spec Mod Page Modifier 1 Modifier 4 Sections Each of the 4 modifiers can perform various mathematical logical operations on two input control signals and two constants
4. can be combined into a single sound source called rotor which can then be used as an oscillator Just like in regular oscillator where phase is rotating through the cycle in a rotor phase is rotating between 4 sound sources Depening on the amount of interpolation this rotation can be smooth crossfading between sources or rough sharp harsh Because rotor is acting like an oscillator to use it you have to change main aux sine oscillator waveform to a rotor Those have 1 2 3 4 after the name for example Osc 1 2 3 4 is a rotor consisting of four main oscillators while LFO 1 2 3 4 is a rotor of four LFOs In addition to rotors main aux sine oscillators can directly pass another sound sources through themselves like another oscillator filter output ring modulator etc This allows building complex configurations of various sound sources including feedback from the output back to the input Mixer amp Balancer Mixer FM Page Mixer 1 Mixer 4 Sections After oscillators and operators there goes a mixer Audio routing inside Tranzistow consists of 4 mono paths combined into 2 stereo paths lower and upper at the end of the voice chain before FX units Those 4 paths are routed in parallel from oscillators through filters to the amplifier Oscl gt Filter gt PostFilterMixerl amp Amplifier Osc2 gt Filter2 gt PostFilterMixer2 amp Amplifier2 Osc3 gt Filter3 gt PostFilterMixer3 amp Amplifier3 Osc4 gt Fil
5. mission impossible The synthesizer is feature finished no new features will be added so please don t ask for a new feature user interface changes VST3 support additional VST automation support VST preset management etc I also don t have any plans to support AU AAX RTAS or any other platform beside VST But if you want to finance the development for any of the aforementioned feel free to contact me Only Windows version is available and I don t have any plans to support Linux OSX iOS Android etc But as mentioned before if you want to finance the development for any of the aforementioned feel free to contact me You agree that your name appears somewhere on the screen stating that you are a registered user It can be installed used on a reasonable number of computers By reasonable I mean a few computers you own not the whole classroom for example I am not responsible for anything you do with this software use it at your and only your own risk You may not alter this software in any way including changing or removing any messages You may not decompile reverse engineer disassemble modify distribute rent or resell this software or create derivative works based upon it Technical Details Requirements 32 64 bit Windows VST 2 x host and SSE3 capable 32 64 bit CPU The complete low level audio processing control MIDI FX engine is written in 100 Intel x86 x64 assembler
6. own 10 stage loopable envelope which can ba used as the regular modulation source as well Operator waveform is not fixed so you can use not only sine wave but all other waveforms available in Tranzistow including waves contour generators rotors etc I converted thousands of Yamaha DX7 patches into Tranzistow format Due to various differences operator level scalling interpolation much higher waveform quality etc between Yamaha and Tranzistow FM engines those patches won t necessarily sound the same And my goal wasn t to try to match the original sound because I wanted to develop my own engine with its own sound so it has been tweaked according to my needs and according to what I consider a good FM sound The possibility to use DX7 patches was a real bonus and most of them will sound very similar to the originals but some will need a little tweaking Of all patches I tried I didn t find a single one which wasn t useful after 6 importing even without tweaking anything And last but not least QFM editor must be activated by holding Shift while selecting Osc Main or Osc Aux page Although both set of pages Osc Main Osc Aux and QFM 1 QFM 2 cannot be active at the same time all modules are still active and you can use main aux oscillators together with QFM operators without problem QFM Mode and Algorithm selectors are located on alternate hidden Osc Main page Rotors Osc Main amp Osc Aux Pages Four parallel units of the same kind
7. slider to activate the microscope mode for precise parameter adjustment Many parameters have extended ranges e g they allow values outside the regular slider range If a value falls outside the slider range then a slider will be colored red You can enter such values directly into the edit box or you can press and hold Alt key and move a mouse outside the slider area In case of clocked parameters LFO rates and phaser delay times with Clocked parameter activated numbers represent notes e g 0 0625 1 16 note 0 125 1 8 note 0 25 1 4 note 0 5 1 2 note 1 whole note etc To simplify entering of such parameters you can enter a number and press divide key For example 4 followed by will give you 0 25 Tranzistow has a huge number of parameters almost 4800 per patch and there simply isn t enough space on main pages for all of them That s why there are hidden parameters on hidden pages accessible by double clicking on the page button and alternate hidden pages accessible by clicking on the page button while holding Alt key Furthermore a few shifted pages exists as mentioned in QFM Chorus and Reverb sections In addition to the on screen GUI elements a few keyboard shortcuts are available as well F2 Save F3 Load and F9 Init Those shortcuts must be enabled in Tranzistow ini Editor Shortcuts 1 Shortcuts could or could not work depending on how is your VST host using the above keys Randomizer Tranzis
8. to note that Tranzistow will always allocate enough CPU for the maximum number of sub oscillators among all oscillators so it is much more effective to have 4 supersaw oscillators with 4 sub oscillators each than one supersaw oscillator with 16 sub oscillators and other three oscillators set to zero Oscillator Syne Osc Main amp Osc Aux Pages As said before each main aux sine supersaw oscillator has its own internal virtual sync oscillator so all of them can be synchronized at the same time if needed Oscillator sync is fully antialiased In addition to internal sync oscillators each oscillator has a classic interoscillator sync module where any slave oscillator can be synchronized to any other master oscillator similar to classic analog synthesizers but much more powerful because you can have up to 8 sync master slave oscillators per voice I still recommend using virtual sync oscillators wherever possible because they are less CPU demanding Supersaw oscillators can also act as masters and slaves but synchronizing between supersaws and other oscillators main aux sine is not supported and various strange things can happen if you try to do it Furthermore an additional Hard Sync HS mode for all main aux sine supersaw oscillators has been implemented It can sound more ringy phasey and noisey than a regular sync but reacts better to pitch changes of the master virtual sync oscillator actually noticeable on very high pitch swe
9. utilizing SSE3 instructions for vector processing that s the main reason why there are 4 and multiples of 4 elements of each module oscillators filters etc because I am processing 4 vector elements in parallel 32 bit integers and single precision floating point numbers are used for all processing as a proof that if done properly you don t need 64 bit and double precision to achieve a high quality sound The only place where I had to switch to double precision is the sample engine because I wanted sample oscillators to be able to handle large files with a high resolution User interface and all other high level tasks are written in Borland Delphi The engine is optimized for 96kHz sample rate Other sample rates can be used of course but 96kHz is the only officially supported sample rate On today s machines it doesn t have much sense to intentionally degrade a sound by using lower sample rates just to save some CPU and 192kHz is really an overkill especially with 2x and 4x oversampling Installation Just unpack files from the ZIP file into your 32 bit and or 64 bit VST directory and that s it your VST host should recognize it and you will be able to use it Building Blocks amp Modules Starting on the next page Main Oscillators Osc Main Page Osc 1 Osc 4 Sections There are 4 main oscillators based on Additive Wavetable and Virtual Analog Modeling VA engine Those can go from 0Hz to 2
10. with GPU details and I will send them a test program to check if the engine runs on their systems 16 Hosts Quirks Some quirks noticed on various VST hosts Reaper Check Disable saving of full plug in state otherwise it will save a patch to the file on every single parameter change Such automatic saving is totally unnecessary with Tranzistow because it will ask you to save a patch on exit if some modifications have been made and the patch hasn t already been saved When I change a parameter on a hardware synthesizer the patch doesn t get saved immediately it s only when I press Store Save or whatever button that a patch will be saved I don t see a single reason that a software should behave differently Sometimes I really don t get those VST hosts stupidities 17
11. 4kHz and are fully antialiased with a powerful fat bass and clean amp crispy highs Every oscillator has its own internal sync oscillator so all of them can be synced at the same time if needed All of them can be frequency modulated by any other audio modulation source inside the synthesizer Additive part of the engine can produce up to 1024 harmonics and automatically removes harmonics over Nyquist when pitching up and adds harmonics when pitching down Wavetable part of the engine can work without any crossfading interpolation between individual waves Wave and Wave Pulse Ramp modes this is classic wavetable mode with integer wave index as found in Waldorf Microwave for example with crossfading between individual waves XWave and XWave Pulse Ramp modes with interpolation between individual waves Wave and Wave Pulse Ramp modes as well as with both crossfading and interpolation between individual waves XWave and XWave Pulse Ramp modes Crossfading X Wave modes are also used when pitching up down for smooth transitions when adding or removing harmonics Basic waveform of the oscillator can be shaped into pulse square and ramp triangle waveforms which can then be combined with the basic waveform in Pulse Ramp modes Inside each oscillator there is a thermal drift module for a more analog sound Main oscillators can use a lot of CPU power in wave crossfade and wave interpolation modes In addition to built in Waldorf Q Waldorf Micr
12. Aux Pages Env AuxEnv 1 Env AuxEnv 4 Sections There are two sets with 4 envelopes in each set main and auxiliary 8 in total Main envelopes are always active while auxiliary ones can be activated on demand to conserve CPU otherwise they are exactly the same Each envelope has 10 stages 8 from note on and 2 after note off with time level parameters configurable curves and loop points from each stage to any other stage for building very complex modulations including the simulation of complex multistage LFOs Beside using the built in curves each envelope stage can directly pass another sound sources through itself just like main aux sine oscillators but quantized at the control rate see Env Sequence patch Envelopes can be synchronized to VST host tempo as well Env 4 is the Amplifier Envelope and it controls the overall duration of the voice It can be routed to other modulation destinations just as all other envelopes but it controls the voice activity no matter what destination it is routed to Amplifier modulation source is usually and by default set to Env 4 and although it can be set to any other source Env 4 still acts like amplifier envelope and controls the voice duration In addition to the regular editor each main aux envelope has a built in graphical editor which can be activated by clicking on the appropriate envelope section It enables easier editing because you can draw the envelope with the mouse and see how it
13. GPU engine more on this towards the end of the document because there is a huge potential in this field which has yet to be revealed All that for a fair monetary compensation of course You can also obtain a free license by making a bank of at least 200 good patches for Tranzistow You can use my patches as a kickstart but they should be thoroughly reworked not just tweaked a little I reserve the right to reject all patches which are too similar to my patches Once you make a patch bank and get a free license in exchange I can do anything I want with those patches and you cannot limit me in what I can do with them Of course I will always credit the original author Writing a comprehensive Tranzistow user manual will earn you a free license as well Very important and I really mean very important Free licenses cannot be sold or transferred to someone else Conditions of Use Tranzistow is my private project and I developed it for myself in the first place So if you don t like it then don t use it simple as that I really don t have the time and patience to argue about something someone doesn t like or whether it is or isn t analog enough etc I ve done my best to make it 100 compatible with the VST specification but if it still doesn t work or doesn t work well under some VST hosts then sorry There are tons of various VST hosts out there and the exploration of all sorts of VST hosts quirks is almost
14. The results of those operations can then be used as modulation matrix sources Furthermore an modifier can be used as input to another modifier for building more complex modulations Syne Modifiers Spec Mod Hidden Page Modifier 1 Modifier 4 Sections There are 4 sync modifiers per voice which run at audio oversample rate and beside additional LFO envelope etc syncing over the existing functionality built into the modulation engine they can also be used to sync oscillators to various modules and even MIDI controllers Contrary to the virtual sync oscillators and interoscillator syncing sync modifiers are not antialiased and can create all sorts of digital artifacts which can be desirable or undesirable depending on the particular case They don t sync at the end of the cycle as regular oscillators because many sync mod sources don t even have a cycle only oscillators LFOs envelopes and lag processors do but at the crossing from negative to positive values MIDI controllers cross at the middle of their range For this reason you can have more than one sync points during the same cycle when using wavetables for example which is not possible with the virtual sync oscillators and interoscillator syncing Rate Time Modulation Spec Mod Hidden Page Modifier 1 Modifier 4 Sections Various rate time parameters like LFO rates envelope times for all segments chorus rates delay times etc can be modulated in realtime ov
15. Tranzistow v4 8 0 32 bit amp 64 bit VST 2 x Copyright 2012 2015 by HrastProgrammer All rights reserved http www hrastprogrammer com tranzistow Note This is not user manual but a brief Tranzistow introduction and description I simply don t have enough free time to describe all Tranzistow features and parameters because I have to do other job for a living George Heist wrote I wanted to reaffirm my total appreciation of the DSP programming work you have done with Tranzistow I have many great synths hardware software analog digital but nothing quite compares to the organic qualities that I have been able to coax from your brilliant synthesizer You have done great work with Tranzistow make no mistake about it I can t thank you enough for this brilliant addition to my musical life Thank you George What is Tranzistow In global Tranzistow this is not a mistake it is not Transistow is a virtual software synthesizer with 4 or 8 independent multi parts Although it is to some extent inspired by Waldorf Q Waldorf Microwave II XT Alesis Andromeda Oberheim Xpander John Bowen Solaris and Yamaha DX series it has a unique sound and tons of unique features not found on any other synthesizer Various forms of synthesis are supported including Additive Virtual Analog Modeling VA Wavetable with classic crossfade and full wave interpolation modes two completely independent FM engines Ring Mod
16. actually looks in time To work with a particular stage you can also press and hold keys 0 9 before and while using the mouse This is especially useful if some or all stages are closed after patch initialization for example because you cannot access them directly with the mouse in this case Lags Spec Mod Page Lag 1 Lag 4 Sections A lag unit is like the attack stage of an envelope it can lag the sound a bit but can also be used to implement glide portamento There is no dedicated portamento module and Tranzistow is lacking somewhat in this regards because Iam not a big glide portamento fan and rarely use such sounds Modulation Matrix Matrix 16 amp Matrix 32 Pages ModMatrix 1 ModMatrix 32 Sections All modulation routing between various sources and destinations goes through one of 5 modulation matrices This main fast one is processed at the control rate from up to audio oversample rate down to sample rate 4096 and has 32 slots grouped into 8 groups of 4 consecutive slots Each slot has one modulation source two separate destinations one modulation curve shape and various other parameters for precise control of a particular modulation routing To conserve CPU power only groups with at least one active slot one or both destinations assigned are processed So don t leave unnecessary gaps between slots and always allocate them sequentially from the beginning There is also the possibility to run some modulation slo
17. ced FM engine called QFM which consists of 8 operators grouped into two 4 OP FM modules OPX and OPY so only one module can be used if only 4 operators are needed to conserve CPU power Those modules work in parallel with the existing oscillators all operators can be processed through the rest of Tranzistow engine and used as audio modulation sources just like all other Tranzistow audio modulation sources QFM engine is totally independent of main aux sine supersaw oscillator FM modules so all of them can be used at the same time Each QFM operator is an advanced version based on Yamaha FM operators and has all the usual FM parameters with lots of additional features Operator matrix for both OPX OP 1 4 and OPY OP 5 8 modules is freely configurable meaning that you can use everything as FM sources including other operators oscillators filters etc Furthermore there is an additional fixed operator routing matrix in 4x4 OP and 8x8 OP modes where each 1 4 operator OPX module can be routed to each 1 4 operator and each 5 8 operator OPY module can be routed to each 5 8 operator all with configurable amounts Each operator has its own configurable level curve and can modulate itself so you can have feedback on all of them There is a set of 32 DX7 and 8 DX9 algorithms when you choose some of them the operator matrix is configured to match the appropriate algorithm but you are free to reconfigure it afterwards And each operator has its
18. characteristics can be easily created lowpass highpass bandpass bandstop notch phaseshift 1 2 3 4 pole 6 12 18 24dB etc etc Diode ladder is 24dB lowpass only with stronger resonance and a very juicy sound which reminds me on some modular filters Both transistor and diode ladders can be used at the same time and crossfaded combined together They go up to 24kHz and although they can go down to OHz there really isn t much sense to go below 20 30Hz otherwise you can experience excessive output levels and similar artifacts with some filter configurations Many feedback curves are available to shape the feedback and they can be either symmetrical or asymmetrical in order to generate different harmonics Due to the design ladder filters attenuate frequencies below cutoff if such behavior is not desirable for some sounds there are compensation and normalization units inside to overcome this as well as the ability to pass only feedback signal through the feedback unit or both input signal feedback signal As with SVF the key to push ladder filters to the maximum is to combine various feedback amounts curves together with configurable poles for a broad range of filter characteristics All filters B have a side input for direct signal routing Side inputs don t go through mixer balancer and aren t affected by gain settings B filters use quite a lot of CPU as well especially diode ladder one All individual B filters can be chained together th
19. dlimited with freely configurable min max window parameters the same as built in waveforms All contour generators have various resynthesis options and capabilities Among the other things WAV files can be loaded resynthesized and used as the source material Unfortunately I ran out of time while preparing Tranzistow for production and except Contour 00 example patch couldn t create more patches exploring this extremely powerful capability FX Engine Patch FX Page Tranzistow contains a full fledged effects engine with a dedicated chorus flanger phaser delay and reverb FX modules Except in case of chorus flanger all other modules contain two parallel stereo FX units which operate on lower and upper stereo audio paths and both of them can be arranged in parallel or serial and everything in between Phaser Delay Reverb units have two sets of lowpass highpass filters one at the input one at the output and can be connected in arbitrary order FX engine always works at the sample rate Chorus Chorus FX Shift Spec Mod Page Left Right Chorus 1 Left Right Chorus 4 Stereo chorus flanger FX unit contains 4 delay lines and 8 LFOs per channel especially great for strings and pads but perfectly usable for many other sounds out there It is located at the end of voice chain on lower stereo path only and before Phaser Delay Reverb effect units The times for all delay lines and rates for all LFOs are freely configurable togeth
20. e For this reason comb buffers are allocated on demand after comb filters were activated or after a patch using comb filters has been loaded but once allocated they remain allocated for a particular part until you restart Tranzistow Warning Beware of levels comb filters can produce extremely high output level All individual comb filters can be chained together the chain is always as follows FI gt F2 gt F3 gt F4 gt F1 with freely configurable levels between stages so various combinations are possible Filter FM Mixer FM Page Filter 1 FM Filter 4 FM Sections All filters A B Comb can be frequency modulated by any audio or modulation source including filters themselves Contrary to oscillator FM each filter has only one FM input Post Filter Mixer amp Amplifier Filter Amp Page Amplifier 1 Amplifier 4 Sections Post filter mixer combines output from all filters together with pre filter input and an additional post filter side input The signal then goes through a simple but effective 4 way parallel compressor aimed mainly at keeping output level under control to the amplifier which sets the final level of each audio path pans both lower and upper stereo paths left right and balances them between lower and upper stereo effect groups It is controlled by amplifier modulation source which is usually amplifier envelope Env 4 and is also responsible for setting the output volume and DC correction of t
21. e chain is always as follows Fl gt F2 gt F3 gt F4 gt F1 with freely configurable levels between stages so various combinations are possible up to the gargantuan 96dB cascaded filter Comb Filter Module LFO Comb Page Comb 1 Comb 4 Sections Comb filters are basically feed back or feed forward modulated delay lines They don t actually damp any part of the signal but add a delayed version of the input signal to the output creating peak and holes depending on the frequency and feedback The maximum comb delay is 1 second and the delay buffer can be shaped for more strong or a more soft sound depending on the particular application All comb filters have a side input for direct signal routing Side inputs don t go through mixer balancer and aren t affected by gain settings Beside side inputs comb filters have additional input output settings so filters A B can be routed directly to them and or they can be routed directly to filters A B Among the other things this is great for various per voice chorus flanger effects etc Comb filters also have a lot of use in physical modeling because they can create abstractions of various string and wind instruments Beside CPU usage comb filters are large memory consuments because there are 4 of them per voice and there are 64 or 128 voices across all parts 256 or 512 comb filters in total each needing a 1 second buffer of floating point values up to 4x oversample rate 384kHz 96kHz sample rat
22. ed Additive FM GPU Engine Additive FM engine is a separate engine running on a graphics card GPU in parallel with the main Tranzistow engine It contains 4 multi parts with 16 additive voices for 64 voices in total each voice with 4 additive oscillators each oscillator with 240 dual harmonics and internal virtual sync oscillator Dual harmonic is a combination of two harmonics where the second one is PW phase shifted in order to have pulse width at additive level so basically there are 480 harmonics per oscillator 256 oscillators 122880 harmonics processed per sample Each dual harmonic has 8 stage loopable envelope 61440 envelopes processed per sample All oscillators are fully bandlimited which means that you can for example sweep a saw wave and the engine will automatically remove harmonics over Nyquist as you pitch up and add harmonics as you pitch down To avoid sudden jumps when removing and adding harmonics which can be quite hearable in some cases there is a built in XFade functionality which crossfades between old and new harmonic window More or less this is additive Tranzistow engine ported to GPU with a difference that Tranzistow works with up to 1024 dual harmonics and it cannot calculate each harmonic in realtime because there isn t enough CPU power to do this together with everything else Tranzistow does at the same time So I am precalculating a lot of things in advance on Tranzistow and store calculated data in me
23. eps only HS mode uses a little more CPU so the default regular sync is recommended in most cases Of course additional harmonics generated by Hard Sync can be interesting on their own and can make many sync sounds more lively Sample Oscillators Osc Main Page Osc 1 Osc 4 Sections There are 4 high quality sample oscillators per voice implemented as sub modules inside main oscillators they share common pitch frequency parameters together with the same outputs so they can be used as audio modulation sources in tandem with the regular oscillators sample output can be further processed through Tranzistow engine as any other audio source inside the synthesizer Sample oscillators can be upsampled up to 32x with up to 4 antialiasing filters and two interpolation modes linear and high quality so a required balance between a sound quality and CPU usage can be achieved for a particular application The result is that you can transpose a sample up for several octaves without audible measureable aliasing artifacts even at lower quality settings and low CPU usage The engine can load 8 16 24 32 bit PCM and 32 bit FP mono stereo WAV files To load a sample click on the oscillator section name Osc 1 Osc 2 Osc 3 Osc 4 In case of stereo samples if you load a sample into oscillators 1 amp 3 then a left channel will be loaded otherwise a right channel will be loaded To remove the sample press and hold Ctrl key and click on the appr
24. er four fixed control lanes each with a separate ModFactor parameter 1 for LFO 1 AuxLFO 1 Env 1 AuxEnv 1 Lag 1 2 for LFO 2 AuxLFO 2 Env 2 AuxEnv 2 Lag 2 etc Note All envelope lag delay times are translated into rates internally for example 4s envelope time translates into 0 25Hz envelope rate The formula for rate modulation is ModulatedRate Rate 1 RateModulation ModFactor Example 1 LFO 1 Rate 1Hz ModFactor1 1000 Amount 1 gt The resulting LFO 1 rate will be 1001Hz 11 Example 2 LFO 4 Rate 1Hz ModFactor4 1 Amount 0 9 gt The resulting LFO 4 rate will be 0 1Hz Example 3 Env 1 Time 0 5s Env 1 Rate 2Hz ModFactor1 1 Amount 0 75 gt The resulting Env 1 time will be 2s 0 5Hz rate Contour Generators Osc Main Page Contours Button Section In addition to predefined waves wavetables LFO shapes envelope lag curves filter drive shaper and other curves shapes there are 100 freely drawable contour generators with built in waveform spectral graphical editor per patch each generator with up to 8192 points although contours with over 1024 points don t have much practical sense This provides a whole new level of versatility because they can be used as additional main aux sine oscillator waveforms LFO shapes envelope curves filter curves modulation curves etc If used as main oscillator waveforms they can be bandlimited only contours with 4 points and up or non ban
25. er with LFO shapes and many other parameters Left and right delays 1 amp 2 as well as left and right delays 3 amp 4 can be arranged into a so called matrix configuration for more smooth and spacious sound Phaser Patch FX Page Phaser 1 amp 2 Sections The phaser is a combination of several all pass filters working in parallel This generates a strongly colorized signal with a spacey and swooshy character depending on center spacing and feedback parameters Up to 16 stages can be activated for both lower and upper units Each phaser unit contains an dedicated LFO with configurable shape rate and phase both rate and phase separate for left and right channels Phaser LFOs are syncable to VST host tempo and can also modulate the times of delays 1 and 2 enabling them to act as additional chorus flanger units if needed Those LFOs can even modulate reverb times for a very special reverb sound Setting wet amount for both phasers 1 amp 2 to zero will turn the whole phaser module off to conserve CPU Delay Patch FX Page Delay 1 amp 2 Sections The delay is an effect which produces echoes of the input signal and is the most usable effect of all effects at least to me Those echoes can be routed back and added to the input through an feedback unit for much denser delays Both parallel stereo delay units can be individually synced to host tempo crossed between and arranged into a so called matrix configuration for mo
26. even be used for additive and FM duties at the same time Additive oscillators are sub modules inside auxiliary oscillators they share common pitch frequency parameters together with the same output and they can be used as audio modulation sources in tandem with the regular oscillators additive output can be further processed through Tranzistow engine as any other audio source inside the synthesizer The complete 64 voice Additive FM engine 4 parts 16 voices per part 4 oscillators per voice 64 voices 256 oscillators in total across 4 parts each oscillator with 240 dual harmonics 60 FM operators and 136 band spectral filter each dual harmonic with 8 stage loopable envelope etc is optimized to the maximum and running at 96kHz sample rate with 240 samples VST buffer consumes under 55 of the available power on my 1 2GHz HD7970 graphics card with fan speed set to minimum to keep fan noise very low Additive oscillators have various resynthesis options and capabilities Among the other things WAV files can be loaded resynthesized and used as the source material All those features greatly expand the available sound palette and simplify the initial sound generation Such complex and powerful AdditivetFM engine has never been invented implemented before as far as I know Note Although it is finished and thoroughly tested AdditivetFM GPU engine is not yet available to the public Owners of registered Tranzistow version could contact me
27. he basic filter type is similar to Waldorf Q 12dB 24dB and Alesis Andromeda 12dB so it is my usual choice for most sounds FilterH has much different structure and can have much different I would dare to say more analog sound compared to the basic filter FilterX is a very aggressive ans screamy diode based SVF model with a really unique sound It uses a lot of CPU to keep things under control so two modes of operation are provided 12dB only FilterX 12 and both 12 24dB FilterX 24 With all 3 filter types the key is to combine various feedback amounts curves with internal limiters for a broad range of filter characteristics All filters A have a side input for direct signal routing Side inputs don t go through mixer balancer and aren t affected by gain settings All individual A filters can be chained together the chain is always as follows Fl gt F2 gt F3 gt F4 gt F1 with freely configurable levels between stages so various combinations are possible up to the gargantuan 96dB cascaded filter Filter B Module Filter Amp Page FilterB 1 FilterB 4 Sections Filter B module consists of 4 parallel transistor based ladder filters and 2 parallel diode based ladder filters located on paths 1 amp 2 only of the ZDF Zero Delay Feedback kind all of them resonant and driveable into selfoscillation Transistor ladder is inspired by Oberheim Xpander filters so all poles are fully configurable and dozens of various filters types and
28. he voice output Shaper Filter Amp Page FilterB 1 FilterB 4 Sections The shaper is a 4 way parallel waveshaper located after the filters It can be used not only to limit the output signal because waveshapers are basically compressors limiters in their own way but to reshape saturate and or distort it using one of many saturation curves per each individual waveshaper Shaper can be located either before post filter mixer so only filter output go through the shaper or after post filter mixer so filters pre filter input amp post filter side input go through the shaper Voice Engine Osc Main amp Patch FX Pages Osc AuxOsc Modules Voice amp Control Sections Voice engine activates executes all modules and routes audio modulation signals between them based on parameters set inside a patch It combines outputs from all individual voices into a single 4 mono 2 stereo audio stream and sends it to the effect processor It is also responsible for audio input and MIDI messages handling including unison mode where more than one voice is used per note with configurable detuning and modulation drift Voice engine supports 3 levels of audio quality Single Processing no oversampling Double Processing 2x oversampling and Quad Processing 4x oversampling On the other hand it supports audio reduction where audio quality can be degraded either by lowering the resolution of the signal bit reduction down to just 1 bit or by div
29. iding the over sample rate by a given factor down to 1 1024 for totally quantized and disharmonic audio great for industrial sounds for example Reduction works on audio generators only main aux sine supersaw oscillators and QFM engine meaning that FM ring modulators filters waveshapers amplifiers and other audio processors are not affected In many cases especially when working with 88 2 96kHz sample rates and or oversampling audio generators over sample rate can be reduced by a factor of 2 without any audible or measurable audio artifacts but with lower CPU consumption Voice engine contains the dedicated declicker unit for envelopes and filters Clicks can occur under various circumstances short envelope times combined with mono mode and or free running oscillators voice stealing playing speed and style etc Declicker can minimize those clicks in most cases Use it carefully otherwise it can create clicks when there aren t any and don t forget that not all clicks are always bad I addition to audio signals voice engine generates all modulation control signals at the rate set inside a patch from up to audio oversample rate down to sample rate 4096 4 to 8 is the optimum for most applications including MIDI modulation approx 333x per second note on modulation and the modulation of FX parameters from sample rate down to sample rate 4096 Although sources modulate destinations through various modulation matrices and almost
30. ious paths parts modules something not possible with any other synthesizer out there The same as with most other Tranzistow features for that matter Arpeggiator Alt Patch FX Page Each multimode part has it s own independent arpeggiator It is always synced to host tempo responds to MIDI Start Stop Continue realtime messages and has the usual set of features Mode Clock Gate Range Notes Pattern 16 fixed rhythm patterns 1 user definable Reset and Sort User Interface Tranzistow user interface is in general designed and optimized for touch screens and works great with touch screens so it has just a few basic elements sections buttons lists and sliders To access various parameters through lists LFO shapes modulation sources destinations etc just click on the parameter and a list will pop up All sliders have an edit box above them where you can enter the value directly Double click on the edit box will show the calculator result is returned back to the edit box All sliders also have a vertical mode where you can move a mouse vertically outside the slider area and use the whole display height for a single slider Right click on the parameter will reset it to a default value Double click on the parameter name or right click on the parameter slider list while holding Ctrl key is undo it will reset a particular parameter to the previous value undo buffers are unlimited Press and hold Ctrl key while moving a
31. istow user interface and external hardware MIDI controllers Tranzistow has a built in native support for Behringer BCR2000 which makes creating editing patches a breeze Everything you can do using the standard Tranzistow screen editor can be done through ECI and BCR2000 The only thing you have to do is to transmit the appropriate system exclusive file I created for Behringer BCR2000 this must be done only once Various other nice features have been implemented as well like knob anti jittering curves and 4 levels of knob precision for fine granularity of parameters etc External Control Interface must be enabled in Tranzistow ini Editor ExternalControl 1 Detailed ECI description is part of a separate document Hardware A few notes about PC configuration Intel SpeedStep EIST should be disabled in BIOS Windows power plan should be set to Max performance with minimum and maximum processor state set to 100 It is recommended to disable hyperthreading in BIOS CPU Usage Tips Turn off modules you don t use Use auxiliary oscillators instead of main oscillators if only saw pulse triangle waves are needed Use sine oscillators if only a sine is needed Four sine oscillators or 8 if both main auxiliary oscillator modules are set to sine are a rudimentary additive engine which use very little CPU Use FM because you can get very complex sounds with moderate CPU usage Use main oscil
32. k shaper curves and with higher input levels the signal starts to saturate Of course this is a very nice feature and I was inspired by my Andromeda analog synthesizer while implementing this but for cleaner signals don t push levels prior to the filter too much Filter A Module Filter Amp Page FilterA 1 FilterA 4 Sections Filter A module consists of 4 parallel State Variable Filters SVF of the ZDF Zero Delay Feedback kind all of them can provide a separate lowpass highpass bandpass outputs and all combinations of them at the same time Those filters are resonant of course and can be driven into selfoscillation Each of them consists of two stages 12dB and 24dB with configurable distance routing separate feedback units and separate outputs both outputs can be used simultaneously They go up to 24kHz and although they can go down to OHZz there really isn t much sense to go below 20 30Hz otherwise you can experience excessive output levels and similar artifacts with some filter configurations Many feedback curves are available to shape the feedback and they can be either symmetrical or asymmetrical in order to generate different harmonics One of many nice SVF characteristics is that in case of a lowpass filter they don t attenuate frequencies below cutoff when resonance is increased basically they preserve bass and have a very powerful sound There are 3 SVF types in Tranzistow and all of them use quite a lot of CPU T
33. lator modules can be switched to sinewave module with 4 parallel sine oscillators which can be synced and frequency modulated just as main aux oscillators and have the same set of basic features but without thermal drift Sine oscillators are antialiased by definition and use little CPU power They are very useful with frequency modulation synthesis or just to beef a sound SuperSaw Oscillators Osc Main amp Osc Aux Pages Both main and auxiliary oscillator modules can be switched to supersaw module with 4 parallel supersaw oscillators which can be synced and frequency modulated just as main aux sine oscillators and have the same set of basic features including thermal drift module Those are of somewhat lower quality resolution fidelity compared to main aux sine oscillators and don t have some advanced features like wavetables morph etc But they are much more CPU friendly and can be used when the highest quality and or advanced functionality is not really needed Each supersaw oscillator consists of up to 16 individual antialiased saw sub oscillators this is 64 saw sub oscillators per voice detuned against each other for extremely thick sound very popular in Trance genre but perfectly usable in all other EM genres as well Various detune type level modes are provided and all sub oscillators are synced individually for a huge sound Depending on the number of sub oscillators supersaws can use quite a lot of CPU power It is very important
34. lators without crossfading and or interpolation between individual waves where possible Once you turn them on use all oscillators filters etc All 4 units inside the same module are working in parallel so you won t gain any advantage in using just one two or three of them Use supersaw oscillators instead of unison and use all 4 supersaw oscillators per module It is much more effective to have 4 supersaw oscillators with 8 sub oscillators each than 2 supersaw oscillators with 16 sub oscillators and other two oscillators unused Remove redundant modulations and modulations with source destination set to None or amount set to zero Don t leave unnecessary gaps between modulation slots and always allocate them sequentially from the beginning 15 Don t put slow modulation sources in fast modulation matrix MIDI controllers should be put into a MIDI modulation matrix while velocity keytrack and similar sources should be put into a note on modulation matrix Turn off oversampling because in most cases especially when working with 88 2 96kHz sample rates oversampling is not really needed Use reductor because in many cases especially when working with 88 2 96kHz sample rates and or oversampling audio generators over sample rate can be reduced by a factor of 2 without any audible or measurable audio artifacts but with lower CPU consumption Use delay instead of reverb if full ambience is not really need
35. mixing 4 parts total Multithreading 1 Each main sub part pair runs inside a separate thread there is an additional thread for mixing all parts 8 parts total 4 main 4 sub Multithreading 2 Each main sub part pair runs inside a separate thread and thread for the first part pair is used for mixing 8 parts total 4 main 4 sub This is what I mostly use when working with Tranzistow And last but not least Tranzistow multimode allows sub parts inside a single multi part patch The basic concept behind this is Tranzistow voices are very complex and you don t really need all modules for a single voice in most cases So it would be very nice if some modules from the same voice could respond on different MIDI channels As described 13 before there are 4 mono paths per voice and each mono path can be assigned to a separate MIDI channel assignable relative to the part MIDI channel giving you the possibility to have different sounds from the same patch Of course this is not the same as full 16 part multi mode but was much easier to implement into the existing engine and doesn t really consume any additional resources This enhancement won t extend the available polyphony because paths assigned to different MIDI channels aren t disabled while playing internal engine paralelism doesn t allow this they are still executing but are muted after post filter mixer All this opens a whole new world of interactions between var
36. mory this process is invisible to the user but needs a lot of RAM Today s machines have enough RAM anyway so in many cases it is better to use more RAM when possible in order to save some CPU for other things The other limitation is that Tranzistow harmonics don t have envelopes you cannot control how individual harmonics change over time which is quite a big difference between those two engines Each additive oscillator has it s own 136 band spectral filter with 8Hz 20kHz range meaning that 256 filters are running at the same time processing data for a total of 256 136 34816 bands per sample This filter can be used for everything from 136 band EQ via various resonant non resonant lowpasss bandpass highpass formant multiple bandpass to some completely crazy and yet unheard filters Furthermore additive engine has many advanced FM capabilities Four successive harmonics are grouped into one FM operator so each additive oscillator 4 per voice supports up to 60 operators this is 240 operators per voice Each operator supports two separate FM inputs with feedback capability and with 4 harmonics each with separate Index Multiplier and Level parameters per operator much more complex waveforms are possible Operators can be connected in unlimited number of ways and can be freely combined with individual harmonics for example you can use harmonics 1 224 for additive synthesis and harmonics 225 240 as 4 operator FM and harmonics can
37. nison which can eat quite a lot of CPU although none of them use more than 80 of one CPU core on my i17 4770K 4 4GHz with 16 voices of polyphony 96kHz sample rate and 2x oversampling this is 64 extremely complex voices across 8 multimode parts on a quad core system at 96kHz or 128 voices at 48kHz all with 2x oversampling There are some advices on how to optimize CPU usage later in this document Of course with less complex voices CPU usage will be much lower Regarding patch names I had to name them somehow and you will find everything here Some names do have a connection to the sound itself and some don t so if you find something like analog Moog or whatever it just means that a particular sound reminded me somehow on analog Moog or whatever It doesn t mean it sounds exactly like analog Moog or whatever because I couldn t care less if it sounds like analog Moog or whatever neither I tried Tranzistow to be emulation of analog Moog or whatever Here is another bank with 28000 Yamaha DX7 patches I reworked for Tranzistow QFM engine http www hrastprogrammer com hrastwerk download TranzistowQFM zip Diodow bank with 100 patches made by Ed Ten Eyck www edtaudio com can be used with Tranzistow as well http www hrastprogrammer com hrastwerk download DiodowEDT zip Quite a few of EDT patches are using sample engine mostly in LA Style which I didn t even touch in my own patches Be
38. opriate oscillator section name The oscillator section name will have an asterisk on front of it if a sample has been loaded into the connected sample oscillator Oscillator sync frequency modulation and thermal drift are not available with sample oscillators Oscillator Frequency Modulation Osc Aux amp Mixer FM Pages Osc FM amp AuxOsc FM Sections All main aux sine supersaw oscillators can be frequency modulated by any audio or modulation source including the oscillator itself so FM feedback is possible Each oscillator is actually one FM operator either modulator or carrier with two independent FM inputs Tranzistow frequency modulation works as Linear FM aka Yamaha style FM which is in fact a phase modulation but people usually associate FM with Yamaha FM so I will stick to this terminology Real exponential FM is also possible through audio rate modulation matrix Furthermore phase locking has been implemented for all main aux sine oscillators It is not very useful alone because phase is not advancing and thus the particular oscillator is not producing any sound but if used with FM it will more or less act as phase distortion as used by Casio for example opening a new array of possible sounds Due to various functional differences supersaw oscillators cannot be phase locked QFM Advanced Frequency Modulation QFM 1 amp QFM 2 Pages OP 1 OP 8 Sections In addition to oscillator FM Tranzistow has an advan
39. owave II XT MonoWave 2 and Prophet VS waves wavetables there are 100 user waves User00 wave User99 wave files in the directory containing Tranzistow User00 wave comes with Tranzistow and contains all Ensoniq SQ waves while all others are free to use and will be loaded automatically if one exists The format of wave files are out of the scope of this document Auxiliary Oscillators Osc Aux Page AuxOsc 1 AuxOsc 4 Sections There are 4 auxiliary oscillators based on a different Virtual Analog Modeling VA engine Those can go from 0Hz to 24kHz and are fully antialiased with a powerful fat bass and clean amp crispy highs just like main oscillators Every aux oscillator has its own internal sync oscillator so all of them can be synced at the same time if needed All of them can be frequency modulated by any other audio modulation source inside the synthesizer They are also partially connected to additive and wavetable engines so some features of main oscillators are present here as well Basic saw waveform of the oscillator can be shaped into pulse square and ramp triangle waveforms which can then be combined with the basic waveform in Pulse Ramp modes Inside each oscillator there is a thermal drift module for a more analog sound Aux oscillators use less CPU power and are thus recommended when full additive wavetable functionality is not needed Sine Oscillators Osc Main amp Osc Aux Pages Both main and auxiliary oscil
40. re smooth and spacious sound a poor man s reverb without using the dedicated reverb unit Setting wet amount for both delays 1 amp 2 to zero will turn the whole delay module off to conserve CPU Reverb Patch FX Page Reverb 1 amp 2 Sections Reverb FX Shift PatchFX Page The reverb effect adds ambience to a dry audio signal making it more spacious and 3 dimensional Both parallel stereo reverb units contain and internal early reflection sub unit with up to 16 taps internal feedback delay sub unit with up to 16 taps and internal all pass filter sub unit with up to 16 taps There are tons of various parameters to configure all of them for any particular application Groups of 4 successive feedback delay sub units can be arranged into a so called matrix configuration for more smooth and spacious sound There is also an additional auxiliary stereo reverb embedded into reverb 1 Setting wet amount for both reverbs 1 amp 2 to zero will turn the whole reverb module off to conserve CPU 12 Ed Ten Eyck www edtaudio com on the Tranzistow reverb The Reverb sounds very smooth and spacious to me At first the Endelverb preset reminded me of the Eventide Blackhole reverb because of it s smoothness It would be excellent on it s own as an effect plugin FX Modulation Matrix Spec Mod Page FXMatrix 1 FXMatrix 4 Sections This modulation matrix is processed at FX control rate from sample rate down to sample ra
41. tandalone FX processor External inputs can still be processed through the voice engine though Occassional noise and clicks pops now and then together with occassional missed notes This is just a slight annoyance which won t have a big impact on the sound and won t disturb the demonstration purpose of the synthesizer but will prevent its serious usage because you don t want to have clicks pops and missed notes in your tracks do you Demo version download is here http www hrastprogrammer com hrastwerk download TranzistowDemo zip The package both demo and registered versions comes with over 1800 of my own patches which can be easily browsed through by clicking on the Browse button located on the Patch FX page Those patches illustrate the way I work and the way I use synthesizers for so they probably don t appeal to everyone They also demonstrate a huge range and variety of sounds Tranzistow can make and cover most of Tranzistow functionality albeit some features are touched very lightly and just in a few patches Unfortunately I ran out of time while preparing Tranzistow for production and couldn t allocate more time for patch creation Tranzistow is a hugely complex and powerful synthesizer which looks and feels more like a fully equipped Land Rover Defender with V12 diesel engine than a BMW Mini or Mercedes C Klasse So most of those patches are very complex and many of them have extralong envelope tails and or use u
42. te 4096 and has 4 modulation slots for modulating various FX parameters Each slot has one modulation source two separate destinations one modulation curve shape and various other parameters for precise control of a particular modulation routing Only MIDI sources have sense and are available here To conserve CPU power this matrix is processed only if at least one slot is active one or both destinations assigned MIDI Implementation Tranzistow has a full MIDI implementation and all MIDI control messages including control change messages channel aftertouch poly aftertouch and pitch bend messages as well as note on and note off release velocity can be used as sources in all modulation matrices There is no awkward MIDI learning and similar VST idiosyncrasies MIDI works in the same way as used to work on hardware synthesizers for ages Patches amp Presets Tranzistow doesn t use VST preset patch system at all I simply don t like it and it doesn t work in a way I am used to work Each Tranzistow patch is a separate file which can be loaded from disk saved to disk organized into directories and manipulated like any other file The only parameters saved by the host are patch file locations MIDI channels and the polyphony for all parts For easier browsing through patches there is a separate browser page accessible by clicking on the Browse button located on the Patch FX page On the same page there are 3 more patch buttons
43. ter4 gt PostFilterMixer4 amp Amplifier4 In this configuration it is not possible to cross the paths e g you cannot for example route Osc1 to Filter2 etc To overcome this you can turn on the balancer which allows routing between paths 1 amp 2 as well as between paths 3 amp 4 this is the same configuration as in my Diodow synthesizer and is used when importing Diodow patches Osc1 2 gt Balancer1 2 gt Filter1 2 gt PostFilterMixer1 2 amp Amplifier1 2 Osc3 4 gt Balancer3 4 gt Filter3 4 gt PostFilterMixer3 4 amp Amplifier3 4 But it is still not possible to route audio from paths 1 amp 2 to paths 3 amp 4 and vice versa To allow for completely free audio routing there is a dedicated mixer with 4 paths and 4 audio inputs per each path Mixer gt Filter gt PostFilterMixerl amp Amplifier Mixer2 gt Filter2 gt PostFilterMixer2 amp Amplifier2 Mixer3 gt Filter3 gt PostFilterMixer3 amp Amplifier3 Mixer4 gt Filter4 gt PostFilterMixer4 amp Amplifier4 Furthermore the mixer can be combined with balancer for additional flexibility Mixer1 2 gt Balancer1 2 gt Filter1 2 gt PostFilterMixer1 2 amp Amplifier1 2 Mixer3 4 gt Balancer3 4 gt Filter3 4 gt PostFilterMixer3 4 amp Amplifier3 4 Everything else is variable and almost everything be it audio or control signal all MIDI controllers included can modulate almost everything up to 4x oversample rate depending on ho
44. tow has a full blown randomizer with a parallel user interface activated with Alt Init where you can set min max ranges for all parameters you want to randomize It mainly generates various industrial drones noises and that s what I like about it and what I am using it for The patch can be randomized from randomizer editor or directly from the regular editor using Ctrl Init combination or Ctrl F9 if shortcuts are enabled There are two types of randomization absolute and relative parameters are randomized relative to the current values The type and intensity is configurable through Randomizator parameter positive absolute negative relative All randomization parameters are saved together with the patch so you can recall all settings later If you want to load a patch without loading randomization parameters then press and hold Alt key while loading Randomization parameters from the current patch will be preserved in this case easy way to copy randomization parameters from one patch to another 14 VST Automation By default Tranzistow doesn t support VST automation because I don t like it I don t use it and I prefer to control everything over MIDI But you can turn it on using Tranzistow ini file Editor Automation 1 I don t plan to provide any additional automation features beside this External Control Interface External Control Interface ECI is the module which enables the direct communication between Tranz
45. ts at full audio oversample rate while the others are processed at the regular control rate This allows processing various audio rate modulations like real exponential oscillator FM etc 10 MIDI Modulation Matrix MIDI Mod Page MIDIMatrix 1 MIDIMatrix 16 Sections This slow modulation matrix is processed at the MIDI rate approx 333x per second and has 16 slots grouped into 4 groups of 4 consecutive slots Each slot has one modulation source two separate destinations one modulation curve shape and various other parameters for precise control of a particular modulation routing To conserve CPU power only groups with at least one active slot one or both destinations assigned are processed So don t leave unnecessary gaps between slots and always allocate them sequentially from the beginning Note On Modulation Matrix Note Mod Page NoteMatrix 1 NoteMatrix 16 Sections This modulation matrix is processed at note on only and has 16 slots grouped into 4 groups of 4 consecutive slots It s main purpose is to process modulations which have sense at the beginning of the note only like velocity keytracking etc Each slot has one modulation source two separate destinations one modulation curve shape and various other parameters for precise control of a particular modulation routing To conserve CPU power only groups with at least one active slot one or both destinations assigned are processed So don t leave unnecessary gaps
46. ulation Oscillator Sync Vectors Rotors as in Solaris various filter models SVF 12 24dB 6dB to 24dB Transistor Ladder with fully configurable poles 24dB Diode LowPass Ladder Filter Chaining Comb Filters WaveShaping freely drawable Contour Generators exhaustive FX section including Chorus Flanger Phaser Delay and Reverb units etc etc The following versions exist Tranzistow v4 32 32 bit 4 parts with SSE3 engine and 4 way multithreading Tranzistow v4 64 64 bit 4 parts with SSE3 engine and 4 way multithreading Tranzistow v4 32 Tranzistow v4 32 with Additive FM GPU engine Tranzistow v4 64 Tranzistow v4 64 with Additive FM GPU engine Tranzistow v8 32 32 bit 8 parts 4 main 4 sub with SSE3 engine and 4 way multithreading Tranzistow v8 64 64 bit 8 parts 4 main 4 sub with SSE3 engine and 4 way multithreading Tranzistow v8 32 Tranzistow v8 32 with Additive FM GPU engine Tranzistow v8 64 Tranzistow v8 64 with Additive FM GPU engine All versions have 64 voices 4 parts or 128 voices 8 parts total polyphony in multithreading mode and 24 voice total polyphony in singlethreading mode 8 parts are not available in singlethreading mode Of course the real polyphony maximum polyphony which can be achieved under real conditions depends greatly on the complexity of the sounds and the speed of the CPU As I wanted to achieve the maximum possible sound qualit
47. w things are configured inside a particular patch Vectors Mixer FM Page Mixer 1 Mixer 4 Sections As part of the mixer vectors allow mixing 4 sound sources in the X Y plane e g crossfading between 4 sound sources in the X Y plane There are 4 vectors inside a mixer one for each mixer path Noise Mixer FM Page Noise 1 Noise 4 Sections After the mixer there are 4 noise generators which can be individually mixed and filtered so all forms of noise can be generated from white through pink to brown Ring Modulator Mixer FM Page RingMod 1 RingMod 4 Sections There are 4 ring modulators on board each of them with two inputs both inputs accept the signal from any audio or modulation source One input can be switched to unipolar which basically turns a ring modulation into amplitude modulation Ring modulators are located outside the audio path so in order to use them mixer must be activated or they have to be routed directly to filters through side inputs Driver Filter Amp Page FilterB 1 FilterB 4 Sections The driver is a 4 way parallel waveshaper located before filters It can be used not only to drive the input signal but to shape and or distort it using one of many drive curves per each individual waveshaper Usually there is no need to drive filter inputs over 25 0 25 because various filter stages have by default nonlinear transistor characteristics Transistor driver feedbac
48. y and the maximum possible amount of features Tranzistow can use quite a lot of CPU but there are various tips to lower CPU consumption in cases where maximum quality is not really needed especially if working with 96kHz sample rate which is the recommended sample rate for Tranzistow I developed Tranzistow for myself in the first place My goal was not to try to emulate existing hardware or software analog or digital synthesizers although I was inspired by some of them but to create something I can actually use in my own music to master DSP Assembler Vector SSE GPU OpenCL programming to refresh my mathematics knowledge and last but not least to have fun As a result the synthesizer is mostly unconventional some features which most users take for granted could be missing or could look rather strange user interface may not be everybody s cup of tea because it was designed according to my habits needs etc Demo Version Demo version is more or less a fully functional Tranzistow with the following limitations No multimode and no multiprocessing it is monotimbral singlethreaded and only Part 1 with 16 voices of polyphony is available External Control Interface is disabled as well It loads the default patch on every start so you ll have to manually reload all patches every time you open reload a particular project No ability to process external inputs through Tranzistow FX units so it cannot be used as a s
49. yond Demo After trying the demo some of you could perhaps want to have a registered version without the limitations mentioned above Tranzistow is not a commercial product and I don t have a business which can sell it to you So there are only three ways to obtain a free license Anyone who can help me to find a long term job in DSP Assembler VST Audio area preferably a remote job will get a free license after I get a job of course To be honest one of the reasons to made this demo version and to release Tranzistow to the public was to demonstrate my DSP Assembler and other programming skills I am also interested very much in embedded microcontroller software development and have quite a lot of experience in this department I do have a job but I got really tired of developing business and database applications I am mostly stuck in during the last few years There is no challenge in what I am doing at my regular job anymore so I need new challenges and something much more low level Tranzistow can even be a part of the job arrangement meaning that I would be more than happy to provide it as a base for new products even hardware based ones including developing new user interfaces porting to other platforms and or operating systems etc I would also be very happy to provide not only DSP Audio knowledge I accumulated during the years but also everything I learned about GPU OpenCL programming during the development of my Additive FM
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