manual VOID2 b.indd
Contents
1. Keyboard 117 Bend FX SynthFX 118 Piano delayerMW ElPiano 119 Pad slow SoftPad 120 Phase bass SynthBass 121 Beating Fx SynthFX 122 Distorted key SynthKeys 123 Chorus pad BrightPad 124 High Brass SynthBrass 125 Brassy 2 SynthBrass 126 High xiss SynthFX 127 Evacuate the synth SvnthFX Appendix C Index Destinations 15 OSC Volume aan 13 Detune aan ee 9 Oscill Micra tata 12 INIT Modulation section 17 SS SE A INIT Moroh 41 Oscillator Sync 13 M ea aa AS PERR E Oscillators 12 13 Amount ann 9 12 13 17 E INIT Program eee 8 ARTE 3428er 7 Envelope Amount 14 P Alta dM S 16 K Panorama sss 9 B F Key Follow 10 Parallel ann 14 File egene 15 ui anne 4 6 7 8 ia Eege 12 Fade ft 15 L Preset Name lt www w 4 8 ANA PASS torta da Filter sea 13 14 16 PCIE ierit iter 9 12 Bank en 5 8 Filter Balance sss EE ES E 9 17 Filter Envelope aaa 14 M Portamento En 9 13 C e en ae 13 E 15 Channel eebe Q FM AMOUNT een Jos Ee ME MER LUE ee S Channel Pressure ji MIDI Channel E 9 Program Change 8 Cleaning morph RET G MIDI controller 10 11 Pulse Width 12 CE OS2. s tail SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL COLOR gt 12 to 12 The colorisation of the delay fx Adjusts the amount of high frequency filtering MODULATION DEPTH gt 0 to 12 The modulation of the signal in the feedback path The modulator is LFO2 fixed Please raise MODULATION TIME above zero for the function to have any effect Tip Please note that the modulation ofthe Delay time by any waveform with sharp edges saw pulse random produces clicks Use a triangle or a sine waveform instead TIME LEFT RIGHT gt 0 to 5 5 seconds Delay time in seconds gt 2 bars P to 16P Delay time synced to Internal Tempo The delay for the left and right channels respectively according to the BPM switch status BPM gt Off On Set to On in order to adjust the delay time in subdivitions of the internal TEMPO MODULATION TIME gt 0 1024 The delay modulation time in samples Set to any value above zero in order for the Delay modulation to have any effect Panel reference Effects Phaser FX PHASE gt 180 to 180 The phase DRY WET difference between Left and Right gt Oto 12 The amount of the phaser fx OFFSET RATE gt 0 to 127 An offset DC gt 0 to 12 Controls the frequency of added to the phaser modulation the phase modulation of the Phaser DEPTH gt 0 12 Controls the amount of the phase modulation FEEDBACK gt 0 to 12 The amount of the pro cessed signal fed
3. hm VIRTUAL ANALOG SYNTHESIZER vinum inm pocius 2000000 OOO i i I e sur audio lab SS muri 9 4 PELLIT T Copyright 2012 Sur audio Lab All rights reserved This manual as well as the software described in it is furnished under license and may be used or copied only in accordance with the terms of such license The content of this manual is furnished for informational use only is subject to change without notice and should not construed as a commitment by Sur audio Lab Sur audio Lab assumes no responsibility or liability for any errors or inaccuracies that may appear in this book Except as permitted by such license no part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording or otherwise without the prior written permission of Sur audio Lab VOID2 is a trademark of Sur audio Lab All other trademarks contained herein are the property of their respective owners All features and specifications subject to change without notice WOID2 virtual analog synthesizer user manual Introduction Congratulations on choosing the new VOID2 Includes the famous preset sound Jupiters toy The Sur audio Lab team Manual index Elle e le page 5 Device UI page 6 Panel eure IR nes Et page 7 Preset IS essen page 8 Panel reference Global pages 9 10 Panel reference Morph Tuncton enen pa
4. button at the morph section if it isn t already selected gt Press and keep pressed the Foot pedal or turn on the Morph Set button 23 gt Rotate Lfo 1 and 3 rates pots with out releasing the foot pedal You can now see and fine tune the ranges watch movement at the Lfos waveform displays and also hear the changes of the sound gt Release the foot pedal or put Set button to Off position The morph ranges are assigned That s it End of tutorial 1 A Quick Programming Tutorial SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Tutorial 2 Preset name Super Fat Program 3 Category Synth Hit For this second tutorial we Il dis cuss the programming of a brilliant synthesizer Hit sound You will see that the design of the sound is quite simple but the effect is astonishing This is one among several others Cutting edge electronic synth sounds that found an easy way to the com merce The patch uses only a slot at the matrix but it s a good occasion to continue our conversation We will talk some more about the Unison and introduce the Sync function and the Effects 24 The patch uses Lfo 1 and Lfo 2 as modulators Lfo 1 is used as a source at the matrix and Lfo 2 is used to modulate the Delay Fx Time That latter modulation is internally fixed and it doesn t requires any further assignment However we will have to abjust the Delay Modulation Time and Depth to actually hear the effec
5. Coarse Tune to 12 This will drop the whole pitch of the synthesizer by one octave gt Turn Osc1 Det2 to 12 This will tune Oscillator 1B an octave above oscillator 1A gt Set Tune2 to 12 This will drop the pitch of Oscillator 2 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL wavetable an octave below Oscilla tor 1A Two octaves below Osc 1B With these steps we have spread the three oscillators to cover a bigger section of the spectrum giving the impression of better frequency distribu tion Most sounds do need a balanced frequency distribution between the three main bands low mid high so to sound normal gt Use the textfields at the oscillators to set the waveforms to SawUp Pulse and for the wavetable Osc2 to Glassy Now Osc1A is a SawUp Osc1B a Pulse and Osc2 the specified waveform We d now to like to abjust the relative volume of the oscillators gt Engage the Sync function by press ing the Sync button Now Osc1A and Osc1B are configured to produce the Sync function gt Turn Osc Mix pot to round 2 We can now hear mostly the sync effect gt Turn Osc Bal1 2 pot to around 3 That mixes Osc2 with the other oscil lators In that particular patch Osc2 is used as a sub bass The Glassy waveform that we have selected for Osc2 is rich in harmonics and it suits fine as a low pitch element to the sound and that s exactly what we ve done at the previous steps
6. Micol 12 VIDIO nn Gale oce emere 9 13 Mod Wheel 10 11 17 R Cutoff dose HA AAA 19 Modulation Section 17 QUU SPO Rage et a MONO ccs sensns seas t3 Random iita 19 A TENER 13 15 D H 0 Release ernennen 16 Delay toe MARE 16 A an 14 RESONANCE eee 14 Delay atte es 15 Hold Pedal 10 11 A ne 14 ROUUNG a as 14 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL 32 S Selecting Programs 8 Semitone 9 12 Serial 14 Settings sss 10 Shape oocassiriisserasr rne 12 Source 10 11 13 16 17 Sustain 16 Sustain Pedal 10 11 SNE TE A 13 System Requirements 18 T A i eed 13 15 16 Transpose ssssssssses 9 12 Trigger Phase 15 Tuning 9 12 U UNISON se ee 9 13 Unison mode 5 UNISON notes 9 13 Unison deiung 9 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL V VeloGily actes 11 16 Volume sm 9 13 W WaveTable 12 Wavetable Index 12 33 VOID2 Sur audio Lab Einardou 7 Victoria Sq 10440 Athens Greece sur audio yahoo com
7. assigning gt Release the Sustain pedal or set the button Set to off position in ttt 0 ied Morph reset nt E e gt To deactivate a specific range press the X button right to any assigned pot gt To reset all the morph ranges press the Init button on the top of the Morph section Pressing the nit button regains DSP memory Panel reference Oscillators VOID2 has three oscillators two Multi wave oscillators and one Wavetable oscillator To change the waveshapes use the text fields on the top of the oscillator section Below is a small schematic of the oscillators internal structure OSC 1A OSC 1B Wavetable N TL FM SYNC to Filters MIX OSC 1A 1B v A BALANCE OSC 1 2 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL DET2 gt OHz to 12 semitones This is the knob for tuning oscillator 1B SHAPE gt 0 to 12 Oscillator 1 Shape control Normal FMon Syncon Shape Pulse Width FM index Sync function if pulses amount amount are selected Osc1B pitch In other case the Shape pot is not accessible MIX gt 1 to 2 This knob controls the relative mix of oscillators 1A and 1B BAL1 2 gt 1 to 2 This knob controls the relative mix of oscillators 1 and 2 while keeping the total level constant The 12 o clock position is a 50 50 mix of both these oscillators TUNE2 gt 48 to 48 Use these fields to adjust the pitch of oscillator 2 over a range of 48 to 48 semitone
8. frequency via the Filters ENV pot Both are sources in the MODULATION and the MATRIX section They have abjustable Velocity sensitivity and abjustable curves for the Decay and Release slopes All parameters for Envelope 1 are the same as those for Envelope 2 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL ATTACK gt 0 to 12 The time it takes for the filter envelope to rise from 0 to maximum DECAY gt 0 to 12 The time it takes to fall from maximum to the Sustain level SUSTAIN gt 0 to 12 The level of sustained notes after the Decay RELEASE gt 0 to 12 the time it takes to fade out after notes are released ENVELOPE VELOCITY SENSITIVITY gt 0 to 127 How much the envelope responds to keyboard velocity ENVELOPE 2 POLARITY gt Invert on off When that button is lit envelope 2 effect is inverted Panel reference Modulation The MODULATION and the MATRIX section are the places where the modulators are routed to several parameters The main difference between the MODULATION and the MATRIX section is that the modulation section works in audio rate This renders to better high frequency bandwidth nt HO Page MEI Source Amount Dest Off 0 Off Off 0 Off Off 0 Off Yet the matrix section is better suited for general multi plexing Also notice that the Modulation sec tion slot amounts are destinations in the matrix SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL SOURCE gt Off LFO1
9. usually around 5Hz Voice A complete sound generation unit oscillator filter envelope LFOs etc A monophonic synthesizer has only one voice Unison mode uses 2 or more voices per note X XTC mode Special SCOPE hardware utilization mode that uses SCOPE devices inside the host sequencer Appendix B Patch Names 1 lomi synth SynthBass 27 Delayed strings 2 Keyboard 2 Mercury synth SynthKeys 28 Robo classroom SynthFX 3 Super Fat SynthHit 29 Epic lead HardLead 4 Eastern stringS Keyboard 30 Jupiter s toy SoundFX 5 Full strings Strings 31 Hard Ring HardLead 6 Big ring SynthBass 32 Ambient keys Keyboard 7 Unison keys SynthKeys 33 Phaser seq Sequencer 8 Radio astronomy SynthFX 34 Smooth timbre Softlead 9 Big Glide TechnoBass 35 Space gates SynthFX 10 Delayed strings Strings 36 Sub bend SynthBass 11 Aliens2 SynthFX 37 Soft keys Keyboard 12 Hoover bass SynthBass 38 Psy keys Keyboard 13 Space pad MotionPad 39 StriNgS Strings 14 Just Pulse HardLead 40 Minor Saws SynthKeys 15 Bend impulse SynthFX 41 Brassy Spacekeys Keyboard 16 Psy grit SynthFX 42 Psy v
10. Aftertouch Term for Channel Pressure Balance Simultaneous control over the relative levels of two signals cross fade C CC MIDI continuous controller number Several of these numbers have been specified e g Modulation wheel CC01 The list of sources in the VOID2 Morph modulator selector includes an extensive list of these 1 119 Channel Pressure Monophonic aftertouch MIDI data caused by pressing harder on the keyboard after playing notes SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Continuous Controller See CC Cross fade The mix of two successive sounds in such a way that they appear to blend smoothly from one to the next Cutoff Threshold frequency of a filter above and or below which frequencies are attenu ated or boosted Resonance accentuates frequencies close to the cutoff point D dB Decibel Relative unit of attenuation or gain DSP Digital Signal Processor E Envelope Synthesizer module originally used to simulate the way a note appears and fades out Can also be used for many other purposes e g filter cutoff pitch F Filter Module present in all subtractive synthesiz ers used to pass certain frequencies while rejecting attenuating others FM Frequency Modulation e g FM synthe sis Pitch modulation when the source and destination are both audio signals resulting in a compex tone Frequency Speed of oscillation G Glide See
11. Env2 Specifies the modulation source Envelopes LFOs AMOUNT gt 63 to 63 Modulation amount for the specified destination The range is bipolar so that modulation can be inverted DESTINATION gt Off Osci Pitch Pan Specifies the modulation destination Modulation matrix reset nt MO gt To quickly reset all the values press the nit button on the top of the modulation section Page selector gt 1 2 Allows access to three more routings Panel reference Matrix VOID2 has a powerful section for patching The modulators are routed to almost any parameter of the VOID2 synthesizer for a maximum of 12 parallel routings nt HO Page he MATRIX LFO SOURCE gt Off Pitch Bend Midi CC 119 Specifies the modulation source AMOUNT gt 12 0 to 12 0 Modulation amount for the specified destination SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Modulation matrix reset init MO gt To quickly reset all the values press the Init button on the top of the modulation section Page selector gt 1 2 Allows access to matrix slots 3 and 4 Below is a list with the available sources DESTINATION gt Off Osc1 Pitch Slot4 Am3 Specifies the modulation destination Below is a list with all the available destinations Standard Internal MidiCC Pitch Bend LFO 1 All Midi CCs Velocity LFO 2 1 119 Mod Wheel LFO 3 Including Breath Pressure ENV 1 contr
12. Lfo s with rate depth key retrigger fade in fade out phase pre delay and each offers six waveforms to choose sin square saw up saw down triangle random The third is a triangle Lfo with abjustable rate depth key retrigger fade in phase pre delay Filters One 24db Vintage Lowpass filter and one 12dB Multimode filter Effects VOID2 includes a Stereo delay fx a Phaser fx and a Chorus fx unit Sounds 127 presets System requirements Compatible with any Sonic Core DSP system hardware and software Device Setup gt Move VOID2 dev in your devices folder c program files SCOPE devices gt Move VOID2 pre file in your preset files folder c program files1SCOPE presets gt Use Live bar menu or drag the device from the File browser into the Project window and connect midi in and audio outputs as needed SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Morph function page 11 Matrix section page 18 Modulation section page 17 Global settings pages 9 10 prs Be e Ho Keen LL br crtott oof trot rete 120 b on 0 0 B ot 00 KA LIJ of 00 ge HR Amosi Dest 6 OSCI PITCH 6 FLT CUTOFF 0 Midi in indicator Preset lt gt at Puse ve N in ES faos Preset List E em Se page 8 00 0000N WW E A Q Q O O O Os Amplifier amp Filter 0000 000 EI n Preset List handling VOID2 synthesizer uses preset lists for storing sounds gt Open the preset browser wi
13. Portamento H Hertz Hz Measurement of frequency K Key Follow Modulation source proportional to the 29 MIDI note number i e which key you play L LFO Low Frequency Oscillator Generally used as a cyclic modulation source M MIDI Acronym for Musical Instrument Digital Interface The standard protocol used for communication between electronic musi cal instruments and computers Modulation Wheel General purpose performance control Often used for controlling vibrato depth Monophonic Mono Only one note can be played at a time e g flute See Polyphonic 0 Octave A musical interval 12 semitones apart H Panorama Pan The position of an audio signal in a stereo field i e the left right volume ratio Parallel Routing term Not connected one after the other see Serial but alongside each other Phase The position within one cycle of a wave Measured in degrees whereby 360 is the end of the cycle Pitch Frequency e g how low high a note is Pitch is mainly used for musical notes while frequency is the more scientific term Pitchbend MIDI data usually derived from the sprung wheel stick to the left of a MIDI keyboard Pole Units of 6dB per octave gain attenuation in filters Polyphonic Poly When several notes can be played SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL at the same time See Monophonic Portamento Classical term
14. back into the input SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL channels inside the phaser fx unit Chorus FX PHASE DRY WET gt 0to 12 gt 180 to 180 The phase differ EE ence between Left and Right channels inside the Chorus fx unit RATE gt 0 to 12 Controls the frequency of the modulation of the Chorus fx DEPTH gt 0 12 Controls the amount of the chorus modulation FEEDBACK gt 0 to 12 The amount of the pro cessed signal fed back into the input 20 A Quick Programming Tutorial Here is included a small programming tutorial for getting to know the VOID2 synthesizer by performing some simple hands on exercises Indeed we are going to discuss two of the preset sounds that are included in the preset list of the VOID2 in order to illustrate functions like Morph and Matrix modulation Also some general synthesis will be covered SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Tutorial 1 Preset name e Radio Astronomy Program 8 Category Synth FX For this first tutorial we d like to design a synthesizer FX sound and to become accustomed with the Morph function and the multiplexing of signals in the Matrix section This is a simple futuristic sound that can be used when the context speci fies a mechanical and technological aesthetic It doesn t bears any real musical content except perhaps the robotic vowel timbres that come along now and then It s
15. classic Minimoog low pass including it s typical selfoscillation Filter 2 has two poles 12dB per octave This adds up to a total of six poles i e 36dB per octave if BAL1 2 is centre 0 CUTOFF gt 0 to 12 The cutoff frequency of filter 1 RES gt 0 to 12 The resonance of filter 1 ENV gt 0 to 12 Controls how much the Envelope 2 affects Cutoff1 like automating the CUTOFF knob with each and every note you play SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL CUTOFF2 gt 0 to 12 The cutoff frequency of filter 2 RES2 gt 0 to 12 The resonance of filter 2 BAL1 2 gt 1 to 2 Filter 1 2 balance The relative contribution of the two filters At 1 you can only hear the output of filter 1 In the central position 0 both filters contribute equally At 2 you can only hear the output of filter 2 SER PAR gt Serial The filters are routed in series gt Parallel The filters are routed in parallel FILTER2 TYPE SELECTOR Using the FILTER2 button you can set filter 2 to one of following types gt LP Low Pass Allows frequencies below the cutoff point to pass through i e rejects those above the cutoff point gt HP High Pass Allows frequencies above the cutoff point to pass through i e rejects those below the cutoff point gt BP Band Pass Allows frequencies close to the cutoff point to pass through To modulate filter 2 with an envelope or another modulator use the MODULATION
16. es Osc1 and Tutorial 1 Preset Radio Astronomy Osc2 wavetable together and that creates a lot of unharmonic frequencies that consists an integral part of many synthesizer fx sounds gt Turn Osc Gain to 0 Listen that all sound sources are silenced gt Turn Ring Modulation to around 3 4 Now only the output of the ring modu lator is sounding gt Turn Tune2 Coarse to 48 That tunes the wavetable oscillator 48 semitones 4 octaves above oscil lator 1 We do that in order to produce some strong interaction between the oscillators gt Activate Osc1 FM by pressing the FM button Osc1 Shape pot becomes accessible Set oscillator wave SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL types to Sine and Pulse Now the Shape pot determines the amount of osc 1B the pulse frequency modula tion FM to Osc1A the sine gt Turn Shape1 to around 5 6 The sound gets a lot brighter With that step we have actually intro duced the FM modulation of osc 1B to Osc1A We will change the frequency of Osc1B in the next step Notice that the FM signal actually appears at oscil lator Osc1A The Osc Mix pot deter mines the relative balance between Osc1A and Osc1B Turn Osc Mix to position 1 in order to hear the FM ef fect or set it in a position that sounds appropriate that also implies for the Sync effect gt Turn Osc1 Det2 anywhere below 12 or enter the desired value with the computer keyboard after selecting t
17. for gliding pitch from one note to the next Often called glide Preset Often used as a synonym for patch sound program etc Pulse wave Oscillator waveform alternating between two discrete levels Pulse Width The ratio between the lengths of the upper and lower levels in a pulse wave R Random Something that happens without regularity Resonance Boosting of frequencies close to the cutoff point in a filter via feedback S Sample Measurement of time in digital audio One second of audio is sampled and holded or divided 44 100 times in one second So one sample is equal to 1 44100 second Semitone Pitch interval equal to one twelvth of an Octave The keys on a keyboard are a semitone apart Serial in series Routing term The signal is sent to one module e g a filter which in turn sends its output to another module e g another filter See also Parallel Slave Module which is following parameters set by another module In the VOID2 oscillator 1B is optionally a slave of oscillator 1A Square wave Special form of Pulse wave in which the Pulse Width is exactly 50 Subtractive synthesis The method of creating sounds by removing frequencies from complex waveforms 30 Sync Synchronization In oscillator sync one oscillator resets the phase of another U Unison Several instances of the same note at the same time V Vibrato Cyclic pitch bend
18. ge 11 Panel reference sclaiors sss pages 12 13 Panel reference Hilters page 14 Panel reference Fe sss page 15 Panel reference Envelopes nenn page 16 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Panel reference Modulation section page 17 Panel reference Matrix section 2 page 18 Panel reference Effects pages 19 20 A quick programming tutorial pages 21 27 VOID2XTG se iud t an page 28 Appendix A Glossary pages 29 30 Appendix B Preset names Jeng page 31 Appendix C Index pages 32 33 Specifications Voices 16 3 sound generators 2 multi wave oscillators with standard wave shapes saw pulse triangle sine noise 1 wavetable oscillator with 63 different tables The multi oscillators can be arranged for the Classic Sync function or for Frequency Modulation FM type of synthesis Ring modulation is also available Unison mode Every voice is produced by several detuned oscillators SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Morph function Every pot of the panel can be modulated by 4 controllers in parallel These are Velocity Keyboard note Pressure aftertouch Modulation wheel The Modulation wheel can be replaced by any other midi controller Envelope generators 2 ADSRs envelopes LFO s Three Low frequency oscillators for modulation purposes Two of these are multi wave
19. gt Turn Shape pot a bit to 1 2 That makes the Sync effect more pro nounced gt Turn Ring Mod pot to around 3 25 That mixes the ring modulation output Osc1xOsc2 with the other oscillators That adds an extra portion of high frequency harmonics to the sound gt Turn Shape2 pot to around 8 That sweeps through the Osc2 wavet able index In effect it selects a differ ent harmonic pattern for Osc2 There are hundreds of different timbres that hide in the relation between different harmonic spectra and it is common to pass these through a Ring modulator to greaten the effect This is a powerful procedure For an exampe this is the way plucked strings are produced with subtractive synthesis gt At the Global set Porta to Porta mento Turn Portamento Time pot to around 4 5 Tutorial 2 Preset Super Fat Play the keyboard Notice how the notes slur glide one into the other with glide time controllable with the Portamento time Ok Finished with the oscillators There are a couple of settings left so to finish the sound Let s go to Envelope 1 the Amplifier envelope Raise the Attack time and the sound will fade in This will give the sound a pad form which reminds and acts in general as the slow passages of the classical orchestras strings section gt Turn Env1 Attack pot to around 10 gt Turn Env1 Decay pot to around 6 gt Turn Env1 Sustain pot to around 2 gt Turn Env1 Release
20. he small indicator We are looking for something unhar monic here so anything is fine except octaves 3rds 5ths or any other conso nant scale step Osc1 now produces a kind of a metallic timbre gt Set Osc2 wave type to SinSync1 gt Set Lfos 1 and 2 to Random waveforms by clicking on the waveforms representation Lfo 3 cannot be changed The random Lfos produces some cha otic movement that suits general synth fx sounds and everything else when not repeatible movement is desired Pressure provides here the controllable 22 movement Ok Everything regarding the sound sources is ready and only the assign ing of some real time control is left for the sound to be completed Now we are going to assign some modulators in the matrix and in the modulation section so to be able to hear some action during the Morph assigning Matrix and Modulation section gt At the matrix set Slot 1 source to Lfo 2 Now Lfo2 will modulate any or all of the three destinations of the current slot with different selectable amounts gt Set Slot 1 destinations to Osc1 Tutorial 1 Preset Radio Astronomy Shape Pan spread and Panorama respectively gt Set the three amounts to 12 Lfo2 now modulates the three destina tions with maximum amount Notice that Lfos Depth pots are controlling the Lfos outputs before the matrix and they should be turned up in order for the Lfos to have any effect gt Turn Do and 3 Depths
21. ocal seq TechnoSyn 17 Stringer keys SynthKeys 43 Alien warp SynthFX 18 Pario AS ElPiano 44 SYNC H Sequencer 19 Space pad 2 BrightPad 45 Duo SynthDrone 20 Bassttight ElBass 46 Saw HP Sequencer 21 Space keys SynthKeys 47 Alien fr SynthFX 22 Unison forte TechnoSyn 48 Big Pad DarkPad 23 Wormhole SynthFX 49 Responsive Drone SynthDrone 24 Power signal SynthFX 50 Cosmos strings SoftPad 25 Compact chords SynthKeys 51 Tortured acid TechnoSyn 26 Meta Violin SoloStr 52 Vibrato El violin SynthKeys SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL Sub pad DarkPad BONO u ana SoloStr Sub bass SynthBass Strings pad DarkPad Broken connection SynthFX ME ElPiano dl deaan ElPiano Synth Feedback SynthKeys Smooth dist HardLead FatSweeper HardLead DrganPad Organ MellowPad SoftPad Big fall SynthFx Distorted TechnoSyn Chimes 0000000 SynthFX Plucky bass SynthBass lis SynthDrone Delayed keys SynthKeys Deep filter TechnoSyn Aliens approaching SynthFX Transport Fx SynthFX Psy Hp Sequencer Small trumpet Trum
22. oller Key Note ENV 2 pedals etc Poly Aftertouch 18 VOID2 MATRIX DESTINATION LIST Osc1 pitch Osc2 pitch Osc1 shape Osc2 shape Osc1 Det2 Osc1 mix Osc Bal Osc gain Unison Det Ring mod Panorama Pan spread Cutoff Cutoff2 Resol Reso2 Hier env Filter Bal Lfo1 rate Lfo2 rate Lfo3 rate Lfo1 depth Lfo2 depth Lfo3 depth Lfo1 phase Lfo2 phase Lfo3 phase EnviA Envt D Env1 S Envi R Env2 A Env2 D Env2 S Env2 R Mod Slott Mod Slot2 Mod Slot3 Mod Slot4 Mod Slots Mod Slot6 Porta time Delay send Delay Fdb Delay Color Delay Mod Phas send Phas rate Phas depth Phas Fdb Phas phase Phas offset Chorus send Chorus rate Chor depth Chorus fdb Chor phase Slot Am1 Slot Am2 Slott Am3 Slot2 Am Slot Am2 Slot2 Am3 Slot3 Am1 Slot3 Am2 Slot3 Am3 Slot4 Am1 Slot4 Am2 Slot4 Am3 Panel reference Effects VOID2 has three standard effects processors These are a Stereo delay fx a Phaser fx and a Chorus fx Most of the parameters of the processors can be modulated by the Morph or and by the Matrix and that makes the effects really interesting Sound designing devices Stereo Delay FX DRY WET gt 0 to 12 The amount of the delay fx FEEDBACK gt 0 to 12 The amount of signal that is fed back in D order to produce the repetitions or the delay
23. or and the MATRIX section Panel reference Lfos There are three LFOs in VOID2 and each can modulate directly any or all destinations of the modulation or and the matrix section Lfos 1 8 2 are multi wave types To change the wave type Click on the waveform representation The third Lfo is a triangle generator To route the Lfos use the MODULATION or and the MATRIX section RATE gt 0 to 12 The speed of LFO DEPTH gt 0 to 12 How much the LFO modulates the Target parameter SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL TYPE gt Sine Triangle SawUp SawDown Square Random The LFO waveform KEY Retrigger On Off gt Off On When set to Off LFO runs freely i e its phase is not reset by every note played When activated the starting point within the wave will retrigger at the Phase position FADE IN gt 0 to 3 seconds The time the modulation will gradually build to maximum FADE OUT gt 0 to 3 seconds The time the modulation will gradually fade to silence after key release PHASE gt 180 to 180 Determines the position within the waveform phase at which the signal will start when a key note is received KEY retrigger must be enabled for this to take effect PRE DELAY gt 0 to 3 seconds Delays the onset of the modulation Panel reference Envelopes There are two ADSR envelopes in VOID2 The first one controls the overall sound level The other controls Filter 1 Cutoff
24. pet Trumpet Trumpet Organ strings Organ Grotesque trumpet Trumpet 31 79 Soft mono keys SynthKeys 80 Electro strings Strings 81 Nirvana keys Keyboard KA HardLead 83 Noise fx SynthFX 84 Hard lead HardLead 85 Bright pad BrightPad 86 Simple keys ElPiano 87 Hard fuzzy SynthDrone 88 Psy leader HardLead 89 Ext environment SynthFX 90 Infinite delay SynthFX 91 Strings Strings 92 Soft pad SoftPad 93 Metal strings ElGuitar 94 Solo string SoloStr 95 Bright digi HardLead 96 Voko drone SynthDrone 97 Freeze timbre Fx SynthFX 98 Simple kick ElDrums 99 HH Velo Kick ElDrums 100 Plucked keys 2 ElGuitar 101 Filter sweep Sequencer 102 Bowed synth SynthKeys 103 Filter sweep TechnoSyn 104 Bright brass SynthKeys 105 Psy bad SoftPad 106 Psy sweeper Sequencer 107 Big mono stab SynthDrone 108 Bells Bell 109 Warm strings SynthKeys 110 Psy squelch TechnoSyn 111 Synth Bliss SynthFX 112 Deep drone SynthDrone 113 Random Perc ElPerc 114 Cyclic FX SynthFX 115 PacMan keys SynthFX 116 Plucked keys
25. pot to around 3 Now the sound fades slowly in and when finished it makes a downfall SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL movement decay time until reach the sustain level gt Turn Env2 Attack pot to 0 gt Turn Env2 Decay pot to around 3 gt Turn Env2 Sustain pot to 0 gt Turn Env2 Release pot to around 3 Most sounds sound better when the filter acts as a physical simulator What happens in nature The actuation of a note or a string produces high frequen cies that gradually fall down to silence We mimic that behaviour with the filter That particular preset sound does not need a lot of that treatment just a tiny amount of filtering will suit it gt Turn Filter1 Cutoff pot to 10 gt Turn Filter Resonance to 4 5 gt Turn Filter Env Pot to 1 2 The last step causes Envelope 2 the fil ter envelope to modulate Filter1 Cutoff frequency a bit gt Turn Filter2 Cutoff pot to 1 This is done to allow the modulator to sweep a broad band of the filter gt Turn Filter2 Resonance to 4 5 gt Be sure Filter Bal 1 2 points to 2 so to hear the output of Filter2 Matrix and Modulation section gt At the matrix set Slot source to Lfo1 gt Set Slot1 destinations to Pan spread Unison detune and Cutoff2 respectively gt Set the first two amounts to 4 and the last to 6 26 gt At the MODULATION section set source1 to ENV1 Destination1 to Osc1 Shape and Amount
26. rade off is a reduction in polyphony gt Off 2 to 16 Number of voices used for each note If set to Off no Unison parameters will be visible CHANNEL gt 1 to 16 omni Specifies the MIDI channel used COARSE semitone gt 64 to 64 Coarse control over the pitch of the entire VOID2 FINE cent gt 99 to 99 Fine control over the pitch of the entire VOID2 A cent is one hundredth of a semitone PANORAMA gt 12 to 12 The position of the signal across D the stereo outputs Modulation destination PAN VOLUME gt 0 to 12 The overall gain of the sound UNISON DETUNE gt 0 to 12 The amount of detuning between instances of the same note For UNISON DETUNE to have any effect the number of stacked layered voices must be greater than 1 UNISON VOICES Panel reference Global GLOBAL SETTINGS Settings This menu is opened by pressing the SETTINGS button to the right of the top display It contains a few global parameters REPLACE MOD WHEEL gt Off On Set to On gt 2to 119 and the selected Midi Controller will be used as a Morph source instead of the Modulation wheel SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL MORPH CONTROLLER gt 2 to 119 Default CC64 The Midi controller that will act as the Morph assigning switch The Sustain pedal uses CC64 Midi Sip continuous controller by default This is permanently connected to the envelopes So instead of di
27. rect control it is handy to specify a different controller here e g CC63 in order to allow the control of the Morph Switch with the Foot Pedal without actually sending Sustain messages Tip Set this value to CC64 HOLD PEDAL for direct use If that is the case sustained notes will occur normally if midi notes are triggered during the morph assigning KEY FOLLOW CURVE This text selector will select between a number of preset Key follow curves gt 0 to 23 Default 0 The selected Key Follow curve A Midi Transformer should be used in the Sequencer between the physical device and the sequencer midi in so to transform CC64 to CC63 or to any other Panel reference Morph function Morph function is a process for modulating any pot of the VOID2 panel by four modulators These are Velocity Keyboard Note Channel Pressure aftertouch and Mod Wheel To activate the process there are two basic methods Via any Midi controller or Foot pedal The Sustain Pedal or any other midi controller can beusedas the Morph Switch Ly For details see page 10 MORPH CONTROLLER E Via the button Set Set MO Use that button if you have no access to Midi pedals SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL To assign a morph range proceed as follows gt Press the Foot pedal or turn on the Set button Rotate one or more pots to the desired value s Please do not change the Morph source during range
28. s gt 99 to 99 Use these fields to adjust the pitch of oscillator 2 over a range of 99 to 99 cent SHAPE2 gt 0 to 12 Oscillator 2 Wavetable Index Controls the Index parameter the nominal position within the table Panel reference Oscillators GAIN gt 0 to 12 This is a volume control for all three oscillators before the filter PORTAMENTO TIME gt 0 to 12 Often called glide Portamento is particularly effective in mono mode see MONO on page 9 If the number of UNISON NOTES equals the number of VOID2 assigned voices then the patch is in effect big mono SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL SYNC RING MODULATOR gt Off On When this function is active gt 0 to 12 This is a volume control Osc 1A is synchronized to Osc 1B Use the for the ring modulation product SHAPE parameter to alter syncronization rate multiplication between Osc 1 and 2 Look up Sync in the glossary if necessary FM gt Off On FM stands for Frequency Modulation This means that the frequency of one audio source Osc 1A is modulated by another Osc 1B with amount determined with the SHAPE parameter As well as being able to create bell like tones FM is often used to add grit to a sound SYNC and FM functions are mutualy exclusive Panel reference Filters The VOID2 has two filters that can be configured in series or parallel Filter 1 has four poles 24dB per octave and simulates the
29. t We will discuss how this is done during this article Sound generators gt Select program 0 Init Play a note on your keyboard Because the Unison function in order to work properly needs more than one voices assigned to the synthesizer if you haven t done that already please raise the VOID2 total voices That particular patch will benefit from as many voices as you can assign to it It uses UNISON with all voices which actually means big monophony Only one note can sound at atime but that note will utilize all the available voices leading to one huge timbre The patch also uses Portamento function that will make the played notes to slur glide one to another gt Turn down the Master Volume to around 5 This will compensate for the raise of the volume that will occur after the big number of unison notes that we will assign at the next step gt Set UNISON NOTES to 16 The Unison Detune Pot will become accesible Now each voice will use all instead of one real voice These are detuned against each other by amount deter mined by the Unison Detune pot Tutorial 2 Preset Super Fat gt Press a note and slowly turn Unison Detune pot to 4 Listen how the sound gets smeared and diffused but also how it has grown bigger a lot bigger Unison is a marvelous tool in the pro grammers hands It transforms almost everything to something with interest and potential gt Set Mater
30. th the dedicated button at the upper right corner SELECTING PROGRAMS VOID2 has one bank containing 128 programs numbered from 0 to 127 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL To try out some sounds there are three basic methods of selection Sequentially SEED The most obvious way to select programs is by stepping through them using the buttons to the center of the display next to the preset name Via the Preset browser Another way to choose programs is by selecting them through the preset browser Via MIDI All MIDI sequencers and professional MIDI keyboards are capable of transmitting Bank and Program change messages via MIDI CREATING NEW SOUNDS The INIT Program EGE The first preset has been reserved for a simple template which you can use whenever you want to create sounds from scratch COMPARE l i This button recalls the initial state of the selected preset Panel reference Global PORTA gt Off Portamento to Fing Gliss The PORTA text field sets the type of portamento or glissando or set inactive PITCH BEND RANGE gt Off 1 to 24 PB text field sets the amount of pitch bend in semitones or set inactive MONO gt Off On This button selects whether the entire sound is polyphonic or monophonic SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL UNISON VOICES Unison means several instances of the same note detuned against each other at the same time The t
31. to 10 gt At the MODULATION section set source 1 to LFO1 destination 1 to Osc1 pitch and amount 1 to 25 Lfo1 now modulates Osc1 pitch with the specified amount Because Lfo1 is configured to produce a random noise waveform Osc1 changes pitch abdruptly SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL gt Set source 2 to LFO3 destination 2 to Filter2 Cutoff and amount 2 to 25 Lfo3 now modulates Filter2 Cutoff Press Filter2 button and set it to BP Bandpass if it isn t already in that po sition Turn Filter2 Cutoff pot to around 1 2 so to allow the modulator to sweep a broad band of the filter This is the basis of subtractive synthesis A timbre rich in frequencies is filtered in order to deliver a spectra more interest ing and smooth To properly listen to Filter2 output turn Filter Balance to position 2 If the routing between the filters is serial purple color then only the output of Filter2 is sounding The last step aims to modulate the Lfos Rate pots with the Pressure controller so to permit control of the sounds intensity This demonstrates the morph assigning procedure Morph Assigning gt Turn Lfo 1 and 3 rates pots to somewhere around 2 3 This is a prepare step because we want to assign a positive morph range for the rate parameter to turn up with the PRESSURE If we needed negative range the logical start position of the pot would have been up gt Select the PRS PRESSURE
32. to 6 gt Set Lfo1 fade in time to one second 1s Effects The sound is almost ready We just have to assign some effects for polishing gt Press the DELAY button on the top of the effects area so to access Delay FX controls if it isn t already pressed gt Turn Delay Dry Wet pot to 10 gt Set delay times for the left and right channels as wish gt Turn Mod Depth to 5 Tutorial 2 Preset Super Fat For the modulation of the delay times to actually produce any effect the MOD TIME should be raised to any thing above zero gt Set MOD TIME to 150 gt Be sure LFO2 waveform is a triangle because that is the modulator internally fixed for the modulation of the delay times Other types will produce clicks gt Press PHASER button at the top of the effects section gt Just raise DRY WET pot a bit That s it End of tutorial 2 SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL 27 VOID2XTC Features Total recall All plug in settings are saved with the song Cons Latency is in general longer no Routing Window SYSTEM REQUIREMENTS The VOID2 VST plug in is available for the Windows PC platform as VSTi in XTC mode There are no specific system requirements VOID2 should run within any professional host program SUR AUDIO LAB 2012 VOID2 SYNTHESIZER USER MANUAL INSTALLATION Simply run the setup program and follow instructions 28 Appendix A Glossary A
33. uits perfectly for the demonstration of the Morph function the matrix modulation and 21 some programming technics The patch utilizes the three Lfos and Pressure aftertouch as modula tors These modulate other param eters with purpose the creation of some controllable noise Pressure is connected via the Morph function to the Rate pots of Lfos 2 and 3 and controls the oscillation speed of both Lfos We did so because in that patch we wanted to control the amount of the fx in a reliable and expressive way We will discuss how this is done during this article Sound generators gt Select program 0 Init Play a note on your keyboard Because the Unison function in order to work properly needs more than one voices assigned to the synthesizer if you haven t done that already please raise the VOID2 total voices to anything above one For that particular patch eight to ten 8 10 voices will suit to allow several Unison notes to sound in parallel gt Set UNISON NOTES to 2 The Unison Detune Pot will become accesible Now each voice will use two instead of one real voices These are detuned against each other by amount deter mined by the Unison Detune pot gt Press a note and slowly turn Unison Detune pot to 2 Listen how the sound gets smeared and dif fused but also how it grows bigger In the creation of fx sounds the Ring modulation function is perfectly suit able In essence it multipli
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