PSP NITRO - Pspaudioware.net
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1. Jean Yves Ducornet Joerg Huettner Mat Jarvis Steve Levine Rob Papen Rick Paul Kelvin Russell Scott Solida Tammo Tr per Joeri Vankeirsbilck Sean Vincent Barry Wood http www alanbranch com http www panicnow net devonb http www dba web com http www daviddas com http www jeeve us http www joerg huettner com http www matjarvis com http www stevelevine co uk http www robpapen com http home earthlink net rickpaul http www blrrecords com http www olscratchrecordings com http www trueper de pcstudio http www loopstorm com http www otheroom com http www i3audio com We would also like to thank all our beta testers for their comments and opinions PSP Nitro Operation Manual Forward Thank you for your purchase of the PSP Nitro one of the most powerful and flexible multimode filter plug ins available You can use this plug in to shape your audio signal in nearly unlimited ways Our flexible modulation system allows nearly every parameter to be modulated by either internal modulators or external controllers Finally PSP Nitro offers a complete preset management system All of this 1s included in a functional and attractive interface PSP Nitro is a very powerful and flexible plug in With power and flexibility a certain level of complexity is inevitable Although we have tried to design it to be as user friendly and intuitive as possible we recommend that2. but when you start creating complex routings you may want to attenuate the signal before your signal enters various points in the signal path Don t worry this is explained in more detail below To route the audio signal between any two sources in the matrix you must change the value inside the box at the intersection of the horizontal and vertical planes of those two sources This will create a connection between the two sources You change the value inside the box by clicking inside that box and dragging the mouse until you reach the desired value As soon as you change the value from off 00 to a number a cable will appear connecting this box to the operators input or output that are on the same horizontal and vertical plane as that box PSP Nitro Operation Manual 17 If that sounds complicated to you don t worry 1t sounds more complicated than it is Let s go through some examples of using the CFG matrix so you get the hang of it Creating a basic connection between IN OP1 and OUT We ll start by creating the most basic routing matrix cabling the input through a single Operator to the output Figure 3 shows a matrix in which there are no connections at all Fig 3 A CFG matrix with nothing routed anywhere The first thing we want to do is to connect the input IN to Operator 1 OP1 In order to do this we need to find the box in which the horizontal and vertical planes between IN and OP1 intersect That is the bo
3. Below 1s a brief description of the elements of the Mixer Section power button PSP Nitro s power button functions as a bypass switch When switched off this button will bypass the entire plug in When the power button 1s switched on the plug in will function normally in knob The in knob acts as an input trim allowing you to cut or boost the signal level entering PSP Nitro If you turn the in knob completely to the left the input to be completely cut off oodB If you turn the in knob completely to the right the input signal will be boosted by 12dB You can use the mix knob to adjust the dry to wet balance of the output Turning the mix knob completely to the left dry will only output the original audio signal while setting the mix knob completely to the right wet will output only the processed signal This knob acts as an output trim allowing you to reduce or boost the signal level PSP Nitro outputs to the audio channel The out knob allows for the output to be completely cut off oodB or boosted by up to 12dB PSP Nitro Operation Manual 14 peak level meters The peak level meters show the momentary level and peak hold level The falloff time of the peak level meters can be adjusted on the GLB tab of the LCD display This 1s discussed in the GLB section PSP Nitro Operation Manual 15 LCD Display Screens The LCD display in the center of the interface contains tabs for the various modules and pa
4. Nitro comes with 192 factory presets Some of them have been designed for processing instruments and vocals some are for loops processing purposes PSP Nitro Operation Manual 37 It 1s worth noting that many presets use song position synchronization for the LFOs If the song 1s not being played or 1f the host 1s not capable of sending the song position information to the plug in the LFO will not run and the preset will not process the sound the way it was designed to Always look at the LFO1 2 mode to see 1f the preset uses the song position synchronization Most of the presets using the envelope follower set the adaptive mode to on to sound perceptible on most audio As it takes the envelope follower some time to settle while in adaptive mode we always suggest setting the floor and ceiling level manually to match the audio being processed Last but not least there are few sidechained presets They all assume the sidechain signal to be fed into the left input channel and the main signal to the right PSP Nitro Operation Manual 38 GLB Section The final section of the LCD Display contains global options that affect all of PSP Nitro s operations These parameters are accessed by selecting the GLB tab of the LCD Display as shown in Figure 27 The GLB section also displays which version of PSP Nitro you are using as well as your license Always check the PSP Audioware Website for the latest updates to your PSP Nitro plug in Fig 27 T
5. creation of harmonics much like analog filters You have three filter options e High pass filter SVF HP only signals above the cutoff frequency pass through the filter e Low pass filter SVF LP only signals below the cutoff frequency pass through the filter PSP Nitro Operation Manual e Band pass filter SVF BP only signals within a certain range around the center frequency pass through the filter Bi Quad Filters Another set of digital 2 pole filters derived from analog prototypes With bi quad filters the maximum resonance value results in a high peak around the cutoff frequency but unlike the state variable filters no self oscillation occurs Each filter offers parameters for the cutoff frequency and resonance You have four filter options e High pass filter BQ HP only signals above the cutoff frequency pass through the filter e Low pass filter BQ LP only signals below the cutoff frequency pass through the filter e Band pass filter BQ BP only signals within a certain range around the center frequency pass through the filter e Band reject also known as a Notch filter BQ BR the signal around the center frequency 1s rejected and the rest of the signal allowed to pass through Moog Filters The legendary Moog synthesizers were famous for the unique sound and structure of their 4 pole 24dB octave ladder filters Just as with the original Moog filters PSP Nitro s moog filter we implemented this filt
6. merge the SOFTWARE You may not reverse engineer decompile or disassemble the SOFTWARE or otherwise attempt to discover the SOFTWARE source code You are not permitted to copy the SOFTWARE or any of the accompanying documentation COPYRIGHTS All title and copyrights in and to the SOFTWARE including but not limited to any images photographs animations video audio music text and applets incorporated into the SOFTWARE the accompanying printed materials and any copies of the SOFTWARE are owned by PSP The SOFTWARE is protected by copyright laws and international treaty provisions Unauthorized reproduction or distribution of the SOFTWARE or documentation 1s subject to civil and criminal penalties DISCLAIMER OF WARRANTY The SOFTWARE is provided AS IS and without warranty of any kind The entire risk arising out of the use or performance of the SOFTWARE and documentation remains with user To the maximum extent permitted by applicable law PSP further disclaims all warranties either express or implied including but not limited to implied warranties of merchantability and fitness for a particular purpose with regard to the SOFTWARE and any accompanying hardware To the maximum extent permitted by applicable law in no event shall PSP be liable for any consequential incidental direct indirect special punitive or other damages whatsoever including without limitation damages for loss of business profits business interr
7. middle signal while the other channel of the LFO would modulate the side signal parameter knob As explained in the previous section each Operator that you wish to use needs to be assigned one of the available filters or effects You do this in the OPS tab of the LCD display which 1s described later in the OPS section Each filter effect offers either one or more user adjustable parameters depending on the specific filter effect you have assigned The main parameters of the assigned filter are always accessible via these two Parameter Knobs of each Operator module The name of the parameter assigned to each knob appears in the red display beneath the knob You can adjust the parameter by clicking on the knob and moving your mouse When adjusting a parameter the red display will change to show you the current value of the parameter when you are done adjusting the parameter the knob will revert to the name of the assigned parameter level slider This slider allows you to adjust the output level of the Operator You can use this to adjust the balance between the various Operators you have assigned 2 PSP Nitro Operation Manual 13 Mixer Section This section contains general controls that govern the level and mix of PSP Nitro with the source audio A x a K en 1 eas peo hate Ta 46 608 186 0 48 608 ON The current value of each control is displayed at the bottom of the LCD display directly above each control as shown above
8. representing signal direction Figure 2 shows an example CFG screen Fig 2 PSP Nitro allows for nearly unlimited routing possibilities within its matrix In the CFG screen above the lines and arrow indicate the signal path As you can see the signal travels from the input through OP1 then loops through OP3 and finally end at the output In addition to the routing matrix the CFG screen contains the PREDEF button which offers you access to a number of predefined routings the dB VAL button which changes the values inside the routing boxes from dB to relative values between 0 and 100 and if your routing results in a feedback loop the Feedback Indicator FB button will flash in the bottom left corner Basic Routing Matrix Operation In dB mode each box will show the gain of the connection from one operator or input to another or output and can be either a negative infinity symbol 0 or a number from 99 to 0 The location of the box in the routing matrix is determined by the source and destination of the connection the source determines the column and the destination determines the row The negative infinity symbol indicates that the box does not route the signal at all The number represents the gain reduction attenuation being applied to the signal at that box from 99dB of attenuation to 0dB of attenuation Generally a value of 0dB when you are creating a basic routing offers the maximum signal level no attenuation
9. signals forward in the matrix we have been using the boxes underneath our sources In order to route our audio backwards we use the boxes above our sources So to re route our audio signal from OP3 to OP2 we will use the box that is at the intersection of the horizontal and vertical planes above OP3 and OP2 Figure 10 shows OP3 and OP2 cabled together with the direction of the arrow showing the audio signal direction It is also possible to create the feedback routing from operators output to its input by clicking and dragging on the operator rectangle itself Fig 10 This time we selected the upper box that intersects the horizontal and vertical planes of OP3 and OP2 creating a loop The direction of the arrows indicates that the audio signal is routed first from OP2 to OP3 then from OP3 back to OP2 Notice in Figure 10 in the lower left of the screen the flashing feedback loop FB button This button warns you that by creating a loop between two Operators you run the risk of the repeat processing overloading your signal In order to reduce that risk you can attenuate reduce the level of your audio signal as it returns to OP2 In our example we are reducing the level of the audio by 18dB on the return loop from OP3 to OP2 in order to keep the level under control as indicated by the value of 18 in the box Now we want our audio coming out of the OP2 to continue on to OP4 To continue our signal routing forward we will choose the i
10. you spend some time perusing the manual to become familiar with how it operates and to get a sense of PSP Nitro s potential We have tried to include complete descriptions and tutorials of how to operate every section of our plug in please take advantage of it We hope that you find this plug in useful and remember creativity and experimentation are the name of the game Thank you Your PSPaudioware com team PSP Nitro Operation Manual End User License Agreement PREFACE This End User License Agreement EULA is a legal agreement between you and PSPaudioware com s c PSP for the PSP product accompanying this EULA which includes computer software and may include associated media printed materials and online or electronic documentation SOFTWARE By installing copying or using the SOFTWARE you agree to be bound by the terms of this EULA If you do not agree to the terms of this EULA you may not use the SOFTWARE The SOFTWARE is protected by copyright laws and international copyright treaties as well as other intellectual property laws and treaties The SOFTWARE 1s licensed not sold LICENSE You may install and use a copy of the SOFTWARE or in its place any prior version for the same operating system on a single computer The DEMO VERSION of the SOFTWARE is NOT LICENSED FOR COMMERCIAL USE RESTRICTIONS You may not transfer modify rent lease loan resell distribute network electronically transmit or
11. II AAA A 24 ME OA iii iaia 24 AENA elle era 29 MOOCA TE sas te TA 29 OOo Zi POR lla 25 BOLTI COL iri E i 26 VICO ORI Parsi aE E A EA E E aaa 26 Nereo Width BALA CC VID TBAT a dia 26 Lk indenendent Pannine PANN ICI slice 26 Fractional Lime Dela SOLIDE ad alert si 27 EFO EGLI eroe ea 28 Types ol RINO OE RARA 28 Midi eolie 28 VOOR IAA 28 VARO q SEE IO 29 POS ca rito apri pala Sn aa eee a 29 EI EE SEA 29 A PP aitolerliesiadie 30 SOUL AE LO PET O A nale 30 IS I E IR RAM IO IA II SII ORTO ROIO MT 30 TDCI A A i el i ai ate 30 NOOC SMItalia eee 30 POMPA 31 ADS NEL GAN Gn Lelli leslie iena 32 PSP Nitro Operation Manual LOI ORRORE e iaedn 32 Wi lc ae 32 LL RR RR AA RI SITE RI A LI RETI 32 MOD SECTION prediction 33 Sere cane A MOGUL ON SOUTCE ee A ta 33 ILE rE TO 34 Semne The Modulation De E ena enced iced aetna anced ie cee eed eeeeee a heaents ee 35 Selecting The Modulation Desa eds 35 Moama one ALUS AA tastes as eae es Md cei do 33 LIB SECON higher 36 OOO RO RE EEE NA 36 PE CS CLS COW ON sla elle 36 Re OI lai eni 38 ISEE I 38 TTI TOO verre as eat lad eared hatte rebecca 38 MECA Oy lisi I nt td ida ta bd rl a arta Set le coat 38 Meter NOVA TAQ Oly Ne atlas abbaia 38 PSP Nitro Operation Manual Acknowledgements We would like to thank to Orren Merton for nice user manual and to the people who created the inspiring and useful Nitro patches Alan Branch Devon Brent Robbie Bronnimann David Das
12. PSP Nitro Operation Manual 1 PSP NITRO PSP Nitro Operation Manual 2 By using this software you agree to the terms of any license agreement accompanying it PSP the PSP logo and It s the sound that counts are trademarks of PSPaudioware com VST is a trademark of Steinberg Soft und Hardware GmbH All other trademarks are the property of their respective owners 2004 PSPaudioware com s c PSP Nitro Operation Manual Table of Contents ACKNOWLEDGE MEIN TS oi 5 FORWARD iii ad 6 END USER LICENSE AGREEMENT aaa 7 AN OVERVIEW OF PSP NITRO S ARCHITECTURE ssseeccecccccecssssoosscoccccccceeecccsoossscoceceeecccssosssossccccsseesee 8 MAIN EDITOR CONTROLES 11 OPERATOR MODULT as a e a AA T 11 OO A A cdo 11 SII EA AIA 11 IT RR RR AE AA N AE RR I I 12 Parame TERNO si 10 OO FI E E RO RA 12 III RISE CATONE gior d lire lari ideale onere e cits saceeet act edile ironia lle oe ei atei 13 POWE DULO aprira iii et i aliasnuA O alata 13 O E EI ET RS I EA RAI IR ASI II EN ITA 13 lirica isola 13 A NT 13 Peak level MAT Siino 14 LCD DISPLAY SCREENS A A A AA Ai 15 CEG SECHON atadas 16 BIE ROUNE MATA TAO o da RS 16 Creating a basic connection between IN OPI and OUT ii 17 Creating A Complex Routing with a Feedback Loop nono n nn nro nn non non nn nn aaa n nro 18 Operators TPG a id alates o o gal dl lla De 21 TheT RE DEF DUO A REA INA 22 OPSSEGO Niagara aree 23 ZIO AREE I
13. ct modes for you to choose between e freq In this mode you specify the LFO rate in Hz e rhythm This mode allows you to select a musically relevant rate 1 2 note 1 4 note and so on based on the tempo of the host application e sync This mode syncs the LFO phase to the start of the song Unlike rhythm mode in which the LFO 1s free running the LFO phase at a given song position will always be the same e Ifol Only LFO2 offers this mode While in this mode LFO2 s rate is expressed as a fraction of LFO1 s rate Both LFO s stay locked in sync smooth Both LFO s offer a gentle low pass filter to smooth out the discontinuities in the shape of the waveform The cutoff frequency of this filter is controlled via the smooth parameter Please PSP Nitro Operation Manual note that how the smoothing filter affects the actual waveform shape depends also on the LFO rate The waveform shape plotted on the graph 1s always the actual shape assym If you chose a square wave for the LFO s waveform you will see this parameter otherwise you will not This parameter allows you to set the asymmetry or the width of the waveform between 100 and 100 phase When the LFO phase 1s synchronized to the song position you might want to shift the phase of the LFO The phase parameter allows you to adjust the phase between 180 degrees and 180 degrees LR ofs The output of both channels of each stereo LFO 1s normally identical You may a
14. djust the LR offset parameter to create unique and creative stereo effects with left and right channels being modulated out of phase If the Operator 1s in M S middle side mode this will adjust the offset between the middle and side instead of left and right modulation signals 29 PSP Nitro Operation Manual 30 ENV Section The ENV screen of the LCD Display contains PSP Nitro s envelope follower parameters and graph Figure 20 shows the ENV screen Fig 20 The ENV section of the LCD Display contains the parameters and graph of PSP Nitro s envelope follower To use PSP Nitro s envelope follower you need to attach it to a source Then it analyzes the signal at that source and outputs the value that corresponds to the average signal loudness which can be used to modulate plug in s processing parameter of your choice The transfer function of the envelope follower shown on the graph has three adjustable parameters floor ceiling and shape and controls the relation of the signal loudness detected and envelope follower output The parameters of the envelope are explained below source You have a choice of 6 possible sources the input signal output signal and the signal at any of the four operators If you wish the envelope to only respond to particular frequencies of your signal set an Operator to filter just those frequencies then set the envelope s source to that Operator sens The sensitivity parameter allow
15. e the name for the module PSP Nitro offers four such Operators meaning four completely different operations lay at your fingertips Once you grasp the concept that PSP Nitro consists of four Operators that process your audio everything else should fall into place easily The parameters available on the GUI for the Operators are described in the Main Editor Controls section In order for your audio to reach these Operators you first configure how the audio will travel through the various Operators in the configuration screen which is represented in the CFG tab of the LCD screen The CFG screen is shown below Here you can set up any routing between the four Operators you wish You can have the signal running through the various Operators sequentially in parallel and in any other sort of unique and creative order your heart desires As you can see above your audio signal starts at the IN box and winds its way through your routing configuration until 1t reaches the OUT box How to create routings is explained below in the CFG section Once you have determined your audio path your audio will pass through each Operator you have placed in the signal path in the order you configured You assign filters to each operator 4 OPS A 7 in the OPS tab of the LCD screen shown below Here you can choose one of PSP Nitro s 18 filters effects for each operator The center of the OPS screen displays either the available parameters or a g
16. er as a cascade of four 1 pole filters with a feedback path from the last filter back to the first one Each filter offers parameters for the cutoff frequency and resonance You have three filter options e High pass filter MOOG HP only signals above the cutoff frequency pass through the filter Unlike the low pass filter this filter has a slope of 6dB octave e Low pass filter MOOG LP only signals below the cutoff frequency pass through the filter The filter slope 1s 24dB octave e Band pass filter MOOG BP only signals within a certain range of the cutoff frequency pass through the filter Unlike the low pass filter this filter has a slope of 6dB octave Comb Filter COMB A comb filter is a delay line with a feedback path around it The delay length is tuned to the specified frequency you set The filter response has peaks at the fundamental frequency the one that directly corresponds to the delay line length as well as at the multiples harmonics of the fundamental and notches between them The feedback path gain controls the depth of the peaks and notches You can adjust the frequency and depth of the comb filter as well as select linear cubic or no comb filter delay tap position interpolation No interpolation means that the tap position snaps to the nearest sample position Linear interpolation means that the tap position can fall between two consecutive samples and the output signal 1s calculated from the values of these samp
17. fect sounding like a combination of a phaser and low pass filter Lo Fi LOFI If you are looking to capture that trashy and low fidelity sound PSP Nitro includes a downsampler bit crusher Operator Unlike most bit crushers and downsampler effects that are limited to selecting particular common bit values and sample rates the PSP Nitro lo f1 plug in gives you precise continuous control over the sample rate and bits of your audio signal For sounds with rich harmonic contents bit reduction sounds like adding the noise to the signal If the audio signal is more like a single tone the effect of bit reduction sounds like harmonic distortion rather than noise Reducing the sample rate omits every few samples a process also known as decimation Which samples are omitted depends on the relation between the original and resulting sample rate If the original signal spectrum contains frequencies higher than half the resulting sample rate aliasing will occur This adds a distinctive anharmonic content to the signal s spectrum Please note that even when the decimator output sample rate differs by small amount from your project s sample rate the aliasing will be clearly audible The reason is that there is neither antialiasing filter nor interpolator in the lo fi module Saturation SAT The Saturation effect is a waveshaper with a symmetric transfer function meaning that both positive and negative halves of the sampled wave are affected i
18. he GLB Section of the LCD Display contains options that effect PSP Nitro globably A short description of each parameter follows Tempo Sync If tempo sync is set to on the PSP Nitro tempo will be automatically set to match your project tempo provided the host is capable of sending the tempo information to the plug in If tempo sync is set to off the tempo is set manually Tempo If your host does not offer tempo sync or it is turned off you may set the tempo manually here If the tempo sync is on the tempo will reflect the tempo of your project and automatically follow its changes The tempo affects those plug in parameters that offer synchronization with the host tempo which are GLIDE operator time when in rhythm mode LFO rate when in rhythm or sync mode ADSR attack decay and release time when in rhythm mode Meter Falloff Time This sets the time it takes the plug in level meters to refresh after showing a given maximum value This number can be adjusted between 1ms and 1000ms Meter Hold Falloff Time The PSP Nitro Meters also show the peak levels Just as the previous parameter this one determines how fast the indicator will fall from maximum value It can be adjusted between 500ms to 5000ms or HOLD which will keep the last peak value until the user clicks on the level meters PSP Nitro Operation Manual 39 Support To receive free technical support news about new products updates upgrades and special offers plea
19. he sts column allows you to quickly turn on and off each modulator Click the box until there is a check inside this indicates the modulator 1s on If you click away the check mark the modulator will be turned off NOTE Most modulation sources are unipolar and positive with the exception of the LFOs which are bipolar When you set up a parameter to be at a certain value let s call it the original value and then modulate it with a unipolar modulation source the resulting value of the parameter will always be equal to or greater than the original value or equal or less than the original value if the modulation depth is negative In contrast when the original parameter is modulated by a bipolar modulation source such as LFO 1 its resulting value will oscillate around the original value PSP Nitro Operation Manual 36 LIB Section PSP Nitro uses its own proprietary preset management system This allows for interchange of presets between different platforms and plug in formats regardless of host application This also makes 1t very easy to move presets between projects The PSP Nitro preset management system 1s accessed via the LIB tab on the LCD Display as shown in Figure 26 gl A EC Fig 26 Selecting the LIB tab of the LCD Display allows you to save load and copy presets between PSP Nitro s three preset banks We strongly recommend using the built in preset system instead of the one provided by host Most host applica
20. ing in which one operator loops back through another before the output Creating A Complex Routing with a Feedback Loop Ok now we re getting serious We want to route our audio signal through all four Operators and we want our signal once it reaches OP3 to be routed back through OP2 You should already understand the basic concept of adjusting the box at the intersection of the horizontal and vertical planes between the sources you wish to connect This example is really no more complicated than the first example it simply requires more forethought to keep the signal level from going crazy Again let s start with a completely empty routing matrix just like we did for the last example Figure 6 shows this empty matrix Fig 6 A matrix with no routings set just like Fig 3 The first thing we want to do just like the last example is to connect the input IN to the first Operator OP1 Click on the box and raise its value to 0dB as shown in Figure 7 You will see a cable drawn between IN and OPI PSP Nitro Operation Manual 19 Fig 7 IN and OPI are now routed together as in Fig 4 Here is where this routing starts diverging from our first routing exercise We want to route our first Operator OP1 to our second Operator OP2 Using the same technique we used above we will find the box that intersects the horizontal and vertical planes of both OP1 and OP2 In this case there are actually two boxes that do this third b
21. l 24 Fig 16 If the Operator being displayed offers a graph mode clicking on the text box labeled GRAPH will change the view to VALUE in which the editable parameters and their values will be displayed as text Types of Operators When you click on the text box displaying the Operator type the display changes to a text list of all 17 available Operator types Figure 17 shows you this text list You can choose any processor type for any of the four Operators You can choose the same type of processor for all four Operators different processors for each operator and any combination in between There are no restrictions Fig 17 When you click on the Operator name in the OPS display you are presented with this listing of all 17 available Operator types Below is a brief description of the 17 Operator types and their editable parameters State Variable Filters PSP Nitro offers three separate 2 pole double sampled 12dB octave state variable filters modeled after the analog state variable filters used in classic synthesizers Double sampling was used to make the filter high frequency response more like that of analog filters Each filter offers parameters for the cutoff frequency of the filter and resonance around the cutoff frequency The cutoff 1s adjustable between 20Hz to 20kHz while the resonance can vary from no peak around the cutoff frequency to self oscillation The filters have slight internal non linearity which results in
22. length of time window PSP Nitro uses to estimate the input signal average level and its deviation is determined by the aptwind parameter You can set this parameter to any number of milliseconds between Oms and 10 000ms The aptrng parameter then adjusts the width of the resulting range from 25x to 4x of the standard range 31 PSP Nitro Operation Manual 32 ADS Section The ADS section offers the parameters and graph for another of PSP Nitro s modulation sources its ADSR envelope generator Figure 21 shows the ADS screen Fig 21 The ADS screen contains PSP Nitro s ADSR envelope generator ADSR Segments The ADSR generator 1s so named for its 4 segments e attack the attack time of the envelope e decay how quickly the envelope reaches its sustain level once the attack phase is over e sustain level at which the envelope sustains e release how quickly the envelope fades You can adjust these values by clicking in the text box to the right of the letters under the ADSR graph The sustain parameter can be set either from the text box or the triangle to the right of the ADSR graph mode The format value for the ADSR can be switched between two modes e ms the segments can be adjusted between 0 and 5 000ms e rhythm the time is host tempo related and the parameter can be adjusted in rhythmically relevant values In both modes the sustain level can be set between and 0 dB trig rels You can select any modula
23. les as well as from position of the tap as related to the neighboring samples This can offer much cleaner sound Cubic interpolation introduces a higher order polyphase filter which uses five samples to calculate the output tap signal offering higher quality than linear interpolation but at the price of higher CPU load When you will be basing high quality modulation effects off the comb filter we highly recommend you use cubic interpolation Phaser PHASER Phasing 1s a classic modulation effect implemented as a cascade of low order all pass filters The frequency response of the filter structure is flat but its phase response is not 25 PSP Nitro Operation Manual When the resulting signal 1s mixed with the dry input signal the phase shifts cause certain frequencies to be attenuated cancelled and the other to be amplified The feedback parameter controls the phase response which in turn determines the position of the notches on the frequency axis The depth parameter adjusts the amount of dry signal to be mixed with the phase shifted signal To make the phasing effect even more intense create a feedback path to the Operator as we described in the section on the CFG matrix The number of consecutive all pass filters in chain can be adjusted between 1 and 16 by setting the stage parameter The even number of filters creates the typical phasing effect while the odd number of filters results in high frequency damping as well with the ef
24. n the same way Provided the input signal is a simple tone with no DC offset the odd harmonics will be added to it If the wave s frequency content is richer than a simple tone which is usually the case inter modulation occurs resulting in more complex harmonics generation This effect also causes the signal to be compressed so the overall loudness can be increased You can adjust the shape and drive of the Saturation effect Stereo Width Balance WID BAL This Operator type allows you to adjust the stereo width of your audio expanding or reducing the stereo field of a stereo track This Operator allows you to adjust the width from 0 to 200 and the stereo balance continuously from hard left L100 to hard right R100 L R Independent Panning PANNER Not only does PSP Nitro allow you to widen and adjust the balance of the stereo field but this Operator type allows you to independently pan each channel of your stereo signal independently from the other It offers two parameters Pan L and Pan R and each can be adjusted from hard left L100 to hard right R100 26 PSP Nitro Operation Manual Fractional Time Delay GLIDE In the context of audio the Glide Operator adds interpolated delays to the left and or right audio signal Technically the Glide processor 1s a stereo delay line capable of generating delay times that correspond to a fractional number of samples such as a 30 45 samples long delay and so on This allows for
25. ntersection of the horizontal and vertical planes between OP2 and OP4 that is underneath the sources and adjust the value to 0dB As Figure 11 shows our audio signal has now been routed past our feedback loop into OP4 PSP Nitro Operation Manual 21 Fig 11 Adjust the value to 0dB of the fourth box in the third row to route the audio signal from OP2 to OP4 The direction of the arrow shows you that the routings are now going forward again To finish our routing we ll connect OP4 to the OUT put by adjusting the value in the box beneath OP4 and to the left of OUT to 0dB Figure 12 shows our complete routing Fig 12 By routing OP4 to our OUT put we have finished our routing exercise Operators In Parallel We don t want you to get the idea from the two previous exercises that you can only use the Matrix to route the Operators together serially This final exercise builds on the previous one with the addition of a parallel signal chain to the fourth Operator OP4 Starting with the result of our previous exercise as shown in Figure 12 lets add a new audio path direct from IN to OP4 By now the technique should be familiar find the box at the horizontal and vertical intersection of IN and OP4 the last box in the first row and adjust its value Since we want to be careful of signal overloads and keep our serial signal loudest lets attenuate the value to 25dB We can see our resulting routing in Figure 13 PSP Nitro Opera
26. ox on the top row of the matrix or the second box on the second row of the matrix We will use the second box on the second row of the matrix We will discuss why we chose this box below for now adjust the value of this box to 0dB As Figure 8 shows you will now see the cable indicating that OP1 and OP2 are cabled together and the arrow indicating that the signal is flowing from OP1 to OP2 Fig 8 By adjusting the value in the second box in the second row to 0dB we have now routed OP1 and OP2 together The direction of the arrow indicates that the audio signal will pass from OP1 to OP2 Now that our audio signal is passing from the IN put to OP1 then OP2 we want our signal to continue on through OP3 Using the same technique we have been using we will adjust to OdB the lower of the two boxes at the intersection of the horizontal and vertical intersections of OP2 and OP3 Figure 9 shows us that our audio signal is now routed from OP2 to OP3 with the arrow showing us the direction of our signal PSP Nitro Operation Manual 20 Fig 9 By adjusting the value in the third box on the third row to 0dB we have routed OP2 to OP3 The arrow indicates the direction of the signal flow from OP2 to OP3 Time to use the PSP Nitro routing matrix for some special effects Lets presume that after processing our audio signal with OP3 we want to re route our audio signal back through OP2 for even more processing Easy When we ve been routing our
27. r and Mixer sections of the plug in Regardless of which tab of the LCD display you are working with you can always adjust these The controls on the main editor have been divided into two sub sections the Operator module describing the controls in each Operator and the Mixer section explaining the controls in the mixer Operator Module PSP Nitro offers an identical set of knobs buttons and sliders to control each of the four Operator modules This allows the user to instantly manipulate the parameters of each module in realtime without needing to dig through tabs in the LCD display The function of these knobs and buttons are described below on button This button turns on the Operator If this button is turned off the Operator is bypassed solo button The solo button sends the processing of only the selected Operator to the output in effect soloing the selected Operator This is useful when you want to only listen to one Operator while adjusting its parameters PSP Nitro Operation Manual m s button This button changes stereo field of the Operator from the usual left right stereo o spread to middle side It allows for the center signal to be processed differently than the side signals You can use this to experiment with creative LFO filter interactions For example you could set an Operator to middle side mode modulate one parameter of a filter with the LFO and one channel of the LFO would modulate the
28. r is in that corner and the text box next to the number contains the processor type for that Operator When you click the mouse on one of the numbers next to each Operator you select that Operator for display and or editing in the center of the display Figure 15 shows you the OPS screen Fig 15 The OPS Section of the LCD Display Each Operator is listed in a different corner of the display The highlighted number 1 above indicates that 1t is Operator 1 that is displayed in the center of the screen Clicking and moving the either or both of the arrows on the side of the graph has the same effect as clicking and moving the two parameter knobs in the Operator Module of the main editor In fact if you have the OPS Section showing on your LCD display and you adjust the parameter knobs of the selected Operator the graph will display your parameter knob adjustments in real time Notice the text box with the word GRAPH centered above the graph If you click in this box the graph will change to a text display of the editable values of the Operator as shown in Figure 16 Clicking in a parameter s text box and dragging the mouse up or down will raise or lower the value of the parameter The VALUE view is useful for when you want to make precise measurements Some of the simpler processors such as Gain the Panner and so on do not offer a graph view and the only view available will be a value display PSP Nitro Operation Manua
29. rameters that allow you to get into the guts of PSP Nitro This is what gives the plug in its power and flexibility At the same time offering this level of flexibility also results in more complexity These following sections will guide you through each tab of the LCD display As shown below in Figure 1 the very top line and bottom line of the LCD display will always present the same information regardless of which tab is showing The very top line will always display a list of all of the available tabs The name of the tab currently being displayed will appear highlighted in the same color as the background the names of other tabs will all appear darkened The bottom line will always display the values of the in mix out and power buttons Fig 1 The top line of the LCD display always shows the names of all the tabs with the current tab highlighted the bottom line always shows the parameter values of the mixer section PSP Nitro Operation Manual 16 CFG Section The CFG tab contains the routing matrix for PSP Nitro You can connect the input output and four operators to each other using any imaginable combination of routings The IN input OP1 Operator 1 OP2 Operator 2 OP3 Operator 3 OP4 Operator 4 and OUT output make up the diagonal axis of the matrix and the boxes represent switches that guide the input signal along the signal path you wish Lines between the boxes represent the signal path with arrows
30. raph of the current settings of the selected Operator How to use this screen 1s explained in detail in the OPS section PSP Nitro Operation Manual 9 While each Operator in the signal path processes the audio signal the signal can be modulated through the two low frequency oscillators These LFOs are available in the LFO tab of the LCD screen The LFO screen is shown below The LFO screen shows a graph of the LFO curve and the current parameter settings for the selected LFO How to set the LFO is explained in the LFO section Another modulation option in addition to the low frequency oscillators the envelope detector can analyze the signal from the input from the output of any of the Operators or the output signal The envelope detector is accessed from the ENV screen shown below The envelope detector can shape the selected output in various ways as described in the ENV section Finally the third modulator offered is PSP Nitro s ADSR Attack Decay Sustain Release envelope This envelope is located on the ADS tab shown below The ADSR envelope can be triggered by any modulation source such as the envelope detector output or a MIDI note on message How to use the ADSR generator is explained in the ADS section There are a few more sections of PSP Nitro to describe before we move on to the individual sections PSP Nitro contains a highly flexible modulation routing system that you can access from the MOD tab The mod
31. rce box next to one of the modulation connection numbers the screen changes to the source selection screen show in Figure 23 Fig 23 When you click in a source box in the modulation screen you will enter this source selection screen PSP Nitro Operation Manual 34 From here you can select any of the following 13 possible modulation sources e lfol Ifo2 env adsr note on maximum positive value when any note is on 0 when no note is pressed note no value depending on the midi note number of the note that has been pressed note freq similar to note no but the numbers are mapped to frequencies so 1f the modulation amount is 100 and the filter cutoff is set to minimum value 20Hz the filter cutoff frequency will follow exactly the frequency of the note played velocity pitchbend poly pressure aftertouch midi CC If you choose midi CC as your modulation source the midi CC Number column at the right of the screen and the learn button become available as shown in Figure 24 In the midi CC Number column you can select manually which midi CC number you wish to be the modulation source If you are not sure of which midi CC number you wish to use you can use the PSP Nitro LEARN button which will detect a midi CC for you Fig 24 If you select midi CC as your modulation source you can then select a midi CC Number or use the LEARN button for PSP Nitro to automatically detect which midi CC you are sending MIDI Learn To use
32. s you to preamplify or attenuate the signal before it is analyzed This is useful for particularly soft or loud signals accordingly attack decay The time constants used to calculate the average signal loudness is set via the attack and decay parameters Both are defined as the time it takes the envelope follower to reach 70 of the step input level which corresponds to 3dB floor ceil shape The shape of the envelope curve is determined by the interaction of the floor ceiling and shape parameters The shape parameter can be adjusted between 1 and 6 with each number representing an increasingly steep envelope curve shape The floor parameter determines at PSP Nitro Operation Manual what dB the first envelope breakpoint will occur The ceiling parameter determines at what dB the second envelope breakpoint will occur The floor and ceiling parameters can be adjusted either by clicking the mouse in the box next to the parameter and moving the mouse up and down or by moving the two triangles under the envelope graph adapt aptwind aptrng You do not have to manually set the working range of the envelope floor and ceiling levels PSP Nitro can adaptively set them for you To allow Nitro to configure the envelope floor and ceiling levels turn the adapt parameter to on PSP Nitro will then estimate the input signal average level and variation within certain time window and use that information to set the floor and ceiling parameters The
33. se the register your PSP product our web page http www pspaudioware com registration register htm PSPaudioware com s c Dzikiej R zy 11 8 J zefostaw 05 500 Piaseczno Poland ph 48 601 96 31 73 fax 48 22 711 25 69 www PSPaudioware com contact PSPaudioware com Please note that 1f you have not purchased our plug in you are not entitled to any support or updates Please support our continued updating and development of powerful innovative high quality audio plug ins by purchasing and registering your products with us
34. smooth modulation of the delay time resulting in high quality flanger detune and pitch twisting effects The Glide Operator lets you select the mode milliseconds or tempo synced rhythm the Left and Right delay times from 0 to 4000ms in millisecond mode or 8 bars to 1 64 triplet time in rhythm Finally you can choose no interpolation linear interpolation or cubic interpolation the effects of each type of interpolation are the same as the interpolation options in the Comb Filter COMB above 27 PSP Nitro Operation Manual 28 LFO Section PSP Nitro offers two low frequency oscillators LFOs that can be used to modulate many processing parameters of the plug in These are accessed from the LFO tab of the LCD Display Figure 18 shows the LFO section of the LCD Display Fig 18 The LFO screen of the LCD Display houses the LFO graph and parameters Clicking either number at the top of the LFO screen will select either LFO 1 or LFO 2 for editing The text box next to each number displays the waveform of the selected LFO Click in waveform text box to change the LFO waveform Types of Waveforms Your waveform choices are e SINE Sinusoidal waveform TRI Triangular waveform SQR Square waveform SAW Sawtooth waveform S amp H Sample and Hold waveform The parameters you can adjust for each LFO are explained below mode and rate The mode you choose for each LFO determines the format of the rate control The LFOs have 3 distin
35. the LEARN button click the button and then move the MIDI Controller you wish PSP Nitro to respond to for example turn the knob or push the slider on your controller Nitro will then record the MIDI CC number which the control you moved sends out After selecting your modulation source click the OK button to return to the main modulation system screen PSP Nitro Operation Manual 35 Setting The Modulation Depth The next step in making a modulation connection is to set the modulation depth In the amt column you can set the modulation depth from 100 to 100 Selecting The Modulation Destination Once you have selected your modulation source and modulation depth its time to select what it 1s that it will modulate When you click in the destination column for that modulator you will access the modulation destination screen shown in Figure 25 Here all the parameters available for modulation are listed Fig 25 In the modulation destination screen you can choose from any of your available destinations The following modulation destinations will be available The adjustable parameters from all Operators you have activated All LFO parameters for both LFOs Input main mix and output parameters The values in all the boxes you have activated in the routing matrix The modulation depth of the active modulators The ADSR Trigger parameter Modulation Status The last step in activating the modulator is to change its status to on T
36. tion Manual 22 Fig 13 The audio signal is now routed both through all for Operators in serial and directly from IN to OP4 in parallel to the above routing That s all there is to it Hopefully these exercises give you an idea as to the potential of the CFG matrix and the routing possibilities of PSP Nitro Your creativity 1s the only limit The PREDEF button For those occasions that you do not want to set up your own routing matrix the PREDEF button is there for you When you click on the PREDEF button above the routing matrix the screen will switch to a display of predefined signal routings You can click on any of the routings to select it the vertical bars to move forward or backwards through the 11 routings or click the EXIT button to return to the routing matrix Figure 14 shows the PREDEF routing screen Fig 14 The PREDFF routing screen Click on any of the 11 routings to instantly set up your CFG matrix The 11 PREDFF routings do not offer you nearly the possibilities your have at your fingertips 1f you create your own routings in the CFG matrix but using the PREDEF button to select a routing 1s fast and convenient PSP Nitro Operation Manual 23 OPS Section The OPS section is the heart of PSP Nitro This is where the four Operators that actually process your audio signal can be selected and adjusted The four corners of the OPS screen each contain one of the four Operators The number indicates which Operator numbe
37. tion source in the MOD section to trigger the ADSR but the ADSR will only be triggered when the signal is above the triggering level and released when it is below the release level of the ADSR generator The trig and re s parameters control the triggering level and release level of the ADSR envelope respectively These parameters can be adjusted either by clicking in the box to the right of the parameter name and dragging the mouse up and down or by adjusting the two triangles on the left side of the graph PSP Nitro Operation Manual 33 MOD Section PSP Nitro s modulation system offers users nearly unlimited flexibility You can choose from over a dozen modulation sources over a hundred 1f you count each MIDI CC as a separate source and route them to over fifty possible destinations The modulation routing screen 1s accessed via the MOD tab of the LCD Display Figure 22 shows the basic modulation system screen Fig 22 The MOD tab on the LCD Display access PSP Nitro s powerful modulation section The basic concept of PSP Nitro s modulation system is very simple First of all you can connect up to 16 modulation sources to up to 16 different modulation destinations The main modulation screen lays out from left to right what you need to go about setting up a modulation connection Selecting A Modulation Source For each modulation connection you need to make first you need to select a modulation source When you click in the sou
38. tion will only see one preset and it will not allow to perform the operations other than just changing the preset s name Bank Section PSP Nitro offers 3 banks that can contain up to 64 presets each You can load any bank into any of the three available banks by selecting that bank and pressing the LOAD button You will be presented with a file dialog window in which you can choose the to bank to load After choosing a bank file the selected bank will be loaded into the Bank A B or C that you have selected You can activate any preset in the loaded bank by selecting it in the preset name column You can rename any selected preset by clicking again on its name You can also choose to SA VE the loaded bank to disk by pressing the SAVE button at which point you will be prompted with a file dialog window to choose a name and destination for the bank you wish to save We recommend that you store all your Bank files in the same location This makes it easier to find them later Preset Section You are not limited to only loading and saving entire banks You can use the LOAD and SAVE buttons in the Preset section to only load or save single presets The loaded preset will replace any preset in the selected preset slot in the currently loaded bank If you wish to copy a preset from one bank to another press the COPY preset to copy the preset into memory load the new bank then PASTE the preset into a slot in the newly loaded bank Factory Presets
39. ulation screen is shown below Most MIDI messages as well as Nitro s envelopes can be chosen as modulation sources The modulation sources can modulate nearly all of Nitro s parameters and routing connections How to use the modulation matrix is explained in the MOD section PSP Nitro Operation Manual 10 PSP Nitro uses its own preset management system giving PSP Nitro consistent preset handling regardless of host application or plug in format The preset management screen 1s accessed from the LIB tab The LIB screen is shown below Using PSP Nitro s preset management functions is explained in the LIB section There are a number of parameters that do not affect the processing of the plug in but do affect Nitro s operation These parameters along with your license information are contained in the Global screen accessed from the GLB tab shown below An explanation of these parameters is given in the GLB section Lastly the Mixer section contains the input and output gain mix control power bypass button and level meters as shown below These controls function like a hardware mixer into i which PSP Nitro is plugged in This section allows you to fine tune the levels of PSP Nitro to the audio track This section is described in more detail in the Main Editor Controls section PSP Nitro Operation Manual 11 Main Editor Controls The graphic user interface of PSP Nitro gives you instant access to the Operato
40. uption loss of business information or other pecuniary loss arising out of this EULA or the use of or inability to use the SOFTWARE even 1f PSP has been advised of the possibility of such damages MISCELLANEOUS This EULA 1s governed by Polish law Should you have any questions concerning this EULA or 1f you wish to contact PSP for any reason please write to PSPaudioware com s c Dzikiej R zy 11 8 05 500 J zefos aw Piaseczno Poland PSP Nitro Operation Manual 8 An Overview of PSP Nitro s Architecture PSP Nitro offers too many features and parameters for the editor window to display everything in a single screen To accommodate PSP Nitro s many options in a reasonably sized editor window the fundamental modules that comprise Nitro s sound engine are permanently displayed on the face of the editor while those parameters mostly used for configuration file management or the like are accessed through the LCD screen in the center of the interface Each module and screen will be explained in detail in the following sections but to help you understand the signal flow within PSP Nitro we d like to offer a short description of the architecture and structure of the plug in The most fundamental module in PSP Nitro is the Operator shown below The Operator is assigned one of PSP Nitro s various filter types When audio passes through the Operator the selected filter operates on the audio henc
41. x directly below the IN box and to the left of OP1 Click on this box and raise the value to 0dB You will immediately notice a cable appear connecting box sources through the box you have adjusted as shown in Figure 4 Fig 4 By adjusting the value of the box above the audio signal is routed between the input and Operator 1 Now that we have the input signal going into Operator 1 we want to send it to the output To do this we need to find the box into which the horizontal and vertical planes between OPI and OUT intersect This would be the box in the bottom row underneath OP1 four boxes left of OUT Click in that box and raise the value to 0dB Notice that a line now appears between all the boxes between OP1 and OUT Even though most of these boxes show they do pass the signal traveling along the cable we have just set up It is only the box positioned in the corner in the column of the source and in the row of the destination that affects the connection gain You will also notice when the cable connects to the output 1t ends in an arrow to show you the direction of the signal path Figure 5 shows the complete connection PSP Nitro Operation Manual 18 Fig 5 By adjusting the box at the intersection of the horizontal and vertical planes between OP1 and OUT you have connected the input of PSP Nitro through Operator 1 to the plug in s output That wasn t so complicated was it Next we ll show you a more complex rout
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