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1. Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map control Mod 3 Destination 1 control Mod 4 Destination 1 control Mod 5 Destination 1 control Mod 6 Destination 1 control Mod 1 Destination 2 control Mod 2 Destination 2 control Mod 3 Destination 2 control Mod 4 Destination 2 control Mod 5 Destination 2 control Mod 6 Destination 2 control Mod 1 Force 1 control Mod 2 Force 1 control Mod 3 Force 1 control Mod 4 Force 1 control Mod 5 Force 1 control Mod 6 Force 1 control Mod 1 Force 2 control Mod 2 Force 2 control Mod 3 Force 2 control Mod 4 Force 2 control Mod 5 Force 2 control Mod 6 Force 2 control Mod 1 Modulation de la Force control Mod 2 Modulation de la Force control Mod 3 Modulation de la Force control Mod 4 Modulation de la Force control Mod 5 Modulation de la Force control Mod 6 Modulation de la Force control Mod 1 Source Modulation de la Force control Mod 2 Source Modulation de la Force control Mod 3 Source Modulation de la Force control Mod 4 Source Modulation de la Force control Mod 5 Source Modulation de la Force control Mod 6 Source Modulation de la Force control Volume control Volume Modulation V locit control Mode de Gestion des Voix control
2. A brief introduction to Additive Synthesis A majority of synthesizers are based on a particular form of synthesis called subtractive synthesis It consists in producing a spectrally rich wave form such as sawtooth square or noise and applying a filter on these wave forms to remove or subtract parts of their spectrum By varying the types of filters and their parameters they can produce a fairly wide variety of sounds Additive synthesis works the other way around It consists in building this rich spectrum from scratch by adding up individual sinusoidal oscillators called partials in Oberon Sine waves have the particularity of producing sound in a single freguency band of the spectrum By adding up multiple sine waves of different freguency we can in theory reproduce any freguency spectrum In fact science demonstrates that any sound of any length can be created with an infinite number of sine waves properly tuned and egualized This of course isnt practical and in reality additive synthesis constrains you to a finite number of sinusoidal oscillators but with controllable pitch and level Typical sounds consists of hundreds of sine waves so controlling each one of them is a bit of a challenge We will see how Oberon handles the problem later on but in the mean time let us see how typical sounds are built from these individual partials Harmonic sounds Musical harmonic sounds such as created by acoustic instruments or analog subtra
3. Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Osc control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp 2 On Off 1 Morphing Destination 2 Morphing Destination 1 Morphing Position 2 Morphing Position 1 Morphing Target Transpose 2 Morphing Target Transpose 1 Wave Type 2 Wave Type 1 Wave Start 2 Wave Start 1 Wave Motion Tempo Sync 2 Wave Motion Tempo Sync 1 Wave Motion Key Reset 2 Wave Motion Key Reset 1 Wave Motion 2 Wave Motion 1 Wave Motion Tempo Synced 2 Wave Motion Tempo Synced Env Monohonic Trigger Env Loop Env Tempo Synced Env Point Count Env Sustain P
4. the two Page 6 ZVORK OBERON User Manual By default the filters are configured with a low pass filter response and the high Y curve has a resonance at the central freguency Changing the X Y thus adds some resonance to your low pass filters Unison Unison can be disabled the default or set to 2 4 or 8 voices This has the effect of adding slightly detuned copies of the oscillator sound after the filtering stage The start phase of these copies is controlled with the Phase Lock and Phase Random parameters Phase Lock resets the phase to the same value at each note trigger to have a consistent sound Phase random randomizes the phase of the detuned copies for each partial of the spectrum This on periodic sounds has the effect of giving a harsher metallic character to your sound The final mix of these unison copies as well as the detune spread are controlled in the mixer stage Octave Copy Like the Unison effect the Octave Copy adds a copy of the oscillator sound after the unison stage but this time detuned a whole octave above the original sound This is great to fatten and double bass sounds for instance or enrich your pads The final mix of the octave copy for each oscillator is controlled in the mixer stage Mixer At this final stage you can control the overall output gain of each oscillator as well as the gain of its virtual octave higher copy In all Oberon can output four sound sources The mix between t
5. Filter 1 and Filter 2 have predefined modulation paths between Modulation Envelope 1 and Modulation Envelope 2 respectively The amount of this respective modulation can be controlled via a dedicated knob In the same manner velocity modulation intensity of the filters freguency parameter can be controlled with a knob Keyboard Tracking This controls how the filter freguency parameter is adjusted for each note By default the value is 0 in which case the filter freguency is identical along all the note range At 100 the freguency parameter is increased along with the note Finally at 200 the freguency parameter increases twice as fast as the note Page 14 ZVORK OBERON User Manual Back Panel The back panel exposes the input output CV and audio output sockets CV Inputs Some of Oberon s parameters can have their values modulated by control voltage signals coming from other devices Trim knobs let you control the amplitude of the modulation Five special CV inputs labelled CV 1 2 3 4 and 5 are by default not routed to a specific parameter It is up to you through the modulation matrix to route them to a particular modulation destination CV Outputs Oberon exposes five internal parameter to CV outputs LFO 1 amp 2 this the value of the LFO if it were not key synced e Modulation envelope 1 2 8 3 the value of the modulation envelope of the first pressed voice is sent to this output There are also 8
6. Portamento control Modul Portamento par la V locit control Amplitude Pitch Bend Page 27 ZVORK OBERON User Manual More information at http www zvork fr audio 2015 Olivier Prat Page 28
7. The default value is 0 meaning the spectrum is harmonized to the current played note At values 1 and 2 the spectrum is harmonized one octave or two octaves under the played note respectively This is useful if you wish to keep some low frequencies after harmonization Filters Oberon possesses two filters which can be configured in series or parallel Each oscillator can bypass the filters or be routed to one or both of them Response Curve The filters in Oberon are in fact akin to graphical equalizers You draw the frequency response with a multi point curve By default this curve is defined around a central frequency and ranges eight octaves below to eight octaves above this central frequency The filters can be set in repeated mode in which case the curve defines the response from 0 to a maximum in linear frequency Above the maximum frequency the curve is repeated as a comb filter Frequency Parameter The Frequency parameter of a filter controls the central frequency or the maximum frequency in repeat mode It is similar to the traditional frequency parameter in classic filters of subtractive synthesizers You can also see this parameter as a frequency scale value on the filter curves X gt Y Parameter Each filter has two response curves X and Y When the X Y parameter is 0 the X response curve is used At its highest value 100 the Y response curve is used In between the response curve is morphed between
8. buttons for editing e Oscillator 1 bend curve e Oscillator 1 morph curve e Wave 1 start and end waveform curve e Wave 2 start and end waveform curve e Amplitude envelope e Modulation envelope 1 e Modulation envelope 2 e Modulation envelope 3 Page 11 ZVORK OBERON User Manual e Filter 1 X curve e Filter 1 Y curve e Filter 2 X curve e Filter 2 Y curve e Oscillator 2 bend curve e Oscillator 2 morph curve Common controls All curves share a common set of controls for edition Specific controls are listed in curve specific paragraphs Curve display At the center is displayed the currently edited curve Circular handles on the curve correspond to the curve points and can be clicked and dragged Between each point lies a diamond shaped handle that lets you by clicking and dragging vertically adjust the shape of the segment from linear to accelerated or decelerated Underneath the curve lie other circular handles which again correspond to the curve points but let you move the point only in the horizontal direction Above the curve representation are a number of controls to adjust the view of the curve The first button at the left labeled Zoom fit when clicked will adjust the zoom and scroll position of the view so as to have all the curve points visible in the view Following to the right is a scrollbar linked to the zoom of the view You can either click and
9. drag the zoom handle or click the left and right arrows located around the scrollbar Controlling the scroll position or center of the view follows the same method as the zoom with a slightly larger scrollbar Finally two checkboxes let you when checked limit the movement of the curve points to an invisible coarse grid independently in the horizontal X or vertical Y direction The resolution of the grid depends on the edited curve This is referred to as Snapping Edit Panel To the right of the curve display lies a panel of buttons dedicated to the global edition of the curve The exact buttons are context sensitive and will depend on the edited curve They are mainly copy buttons to copy one curve to another At the bottom of this panel you will find two buttons to add or delete a curve point Pressing one of these buttons will switch point edition from move to the respective function For instance if Add Point is activated clicking on the curve display will add a point at the clicked location If you have exhausted the maximum number of points allowed for that curve the Add Point button will disappear Likewise if Delete Point is activated clicking on a point handle will remove that point If the minimum number of curve points has been reached this button will disappear Template Panel To the left of the curve display are listed all the available curve templates for the currently edited curve Curve
10. special note gates out CV outputs that are explained in the Separate outputs paragraph Page 15 ZVORK OBERON User Manual Audio Outputs Mixed outputs The stereo output is sent to the left and right mixed audio socket If only the left socket is connected to another device Oberon sends the mixed mono signal to the left socket Separate outputs m Oberon can output individual voice stereo outputs separately from the mixed stereo output There are 8 stereo pair outputs with corresponding CV note gate output How voices are distributed among these outputs is determined by the voice output Mode Oberon will automatically detect outputs that are connected to cables and only connected outputs are taken into account in the voice output Mode The order of the outputs are from left to right Here are the four possible modes e Cycle the default mode will send the first voice played to the first connected output on the far left Subseguent played voices will be sent chronologically to increasing connected outputs When all outputs are used the next voice is sent and mixed to the first connected output On the image above separate audio outputs number 2 4 and 5 are connected If five notes are activated then the first voice will be sent to output 2 the second to output 4 the third to output 5 the fourth to output 2 and mixed with the first voice and finally the last voice will be sent to output 4 and mixed wi
11. templates or curve presets let you quickly set a curve to a predefined shape Page 12 ZVORK OBERON User Manual Envelope controls Envelope curves have four specific controls The first one Lock at the right of tne snap controls changes the way the curve is adjusted when a poin s horizontal position is changed Except for envelopes moving a curve point doesn t have any effect on all the other points For envelopes the default behavior when moving a point is to translate horizontally the points located to the right of the moved so as to keep the segment durations constant In this way the envelope curve edition is similar to the traditional Attack Decay and Release controls When Lock is checked the behavior will revert to the standard method Finally underneath the curve display you will find the buttons to active Mono Trigger Loop and Tempo Synchronization for this envelope When tempo synchronization is activated you will notice the horizontal scale labels of the curve change to three numbers separated by points The first number is the bar number the second guarter note number and the third sixteenth notes Waveform controls When either Wave 1 or Wave 2 is selected for editing you will notice two new buttons underneath the curve display These Shapes button lets you pick which waveform of the wave sequence you wish to edit Shape 1 is the waveform output when an oscillators wave start control is 0 a
12. the back panel you will find 8 separate outputs for both stereo audio and CV gate Individual voices can be distributed among these outputs Page 4 ZVORK OBERON User Manua The Oberon engine Under the hood of Oberon lies an efficient additive synthesis engine If you don t know what additive synthesis is don t worry as Oberon masks all the complexity of it in a simple paradigm All you need to know is that with it Oberon lets you Bend Bend sculpt your sound in a very precise way If you are of the more curious type you can take a look at the A brief introduction to Additive Synthesis chapter for some general presentation and XMorph XMorph terminology Harmonize Harmonize illator These are the sources of your sounds and Oberon offers two of them By default only the first oscillator is enabled Both have the same functionalities starting with a choice of basic Mix wave seguences Waveforms These wave seguences are made up of waveforms that are not necessarily of a determined pitch which is what you find in most synthesizers Oberon can produce inharmonic wave forms as well Unison Unison Wave 1 and 2 these are two editable wave sequences that produce user defined periodic waveforms e Oberon as the name suggests this is Oberon s presentation phrase in a heavily robotic fashion e Metal look no further for metallic sounds When in motion this wave seq
13. Map control Osc 2 Hauteur Octave Map control Osc 1 Hauteur Demi tons Map control Osc 2 Hauteur Demi tons Map control Osc 1 Hauteur Cents Map control Osc 2 Hauteur Cents Map control Osc 1 Suivi de Clavier Map _control_ Osc 2 Suivi de Clavier Map _control_ Osc 1 Harmonizer Map control Osc 2 Harmonizer Map control Osc 1 Limite d Harmonizer Map control Osc 2 Limite d Harmonizer Map control Osc 1 Octave d Harmonizer Map control Osc 2 Octave d Harmonizer Map control Osc 1 Torsion Map control Osc 2 Torsion Map _control_ Osc 1 Unison Mix Map _control_ Osc 2 Unison Mix Map control Osc 1 Unison Hauteur Map control Osc 2 Unison Hauteur Map _control_ Osc 1 Unison Nbre Voix Map control Osc 2 Unison Nbre Voix Map control Osc 1 Unison Phase V rouill e Map control Osc 2 Unison Phase V rouill e Map control Osc 1 Unison Phase Al atoire Map _control_ Osc 2 Unison Phase Al atoire Map control Osc 1 Niv Copie a Octave Map control Osc 2 Niv Copie Octave Map control Osc 1 Saturation Partiels Map control Osc 2 Saturation Partiels Map control Osc 1 Mode des Filtres Map control Osc 2 Mode des Filtres Map _control_ Osc 1 Niveau Map control Osc 2 Niveau Map control Osc 2 On Of
14. OBER User Manual version 1 0 0 ZVORK OBERON User Manual Table of Contents First CONMMACE sisscccsscssecscccssssescacsssecssccsosssessesssense 3 Multi point loop able envelopes 3 Editable na 3 Editable Filter response curves 4 X Morph between oscillators 4 Unison and Octave copies 4 Timbre bona sro sivo sin ko 4 Separate voice audio and gate outputs 4 The Oberon cagini arance 5 Me ee O rn 5 Keen E 5 ee 5 E EE 5 Palaia 6 Ke E 6 Harman ZO pos nik 6 Eege 6 R spons UVE on ovos ra eo o 6 Frequency Para melet zesoen steiere egene 6 X gt Y Parameter 6 see Ee LAVE CODY su nr einen aR 7 MIXET PARRA 7 Stereo control sssini 7 Modulation 7 Lie 7 LE iaia 8 Tempo synchronization 8 Licia 8 MONO U1 SGT icaro 8 EE 8 DestinationS 4 4 000042202020000 9 Front Panel siccsisissscsvescscosesssssvissessecsascsesevesestsss 11 IR 11 Common controls uicriiir ia 12 Curve OAS DI AY ete 12 Edit EE 12 Template Panel sis 12 Envelope controls 13 Waveform controls 13 Filter COMMONS oso EEA O ENA 13 Morph and bend controls 13 PRIFEOTMANCE marmite 13 Pitch Bend and Modulation wheel 13 Keyboard Mode and Glide 14 Oscillator eege 14 Tiziana 14 Keyboard Tracking 14 Plot 14 MOdu lation 14 Key
15. board Tracking 14 Back Panel dresse 15 CV UMS O een 15 CV OPUS tement 15 AO OPUS s vaha o kv 16 Mixed outmuts nn 16 Separate AEDS slza ge 16 Note gates OU sna sevov bajk vaji ee ra 16 A brief introduction to Additive Synthesis 17 Harmonic soufidi ae 17 Inharmonic soundS 17 MIDI Implementation Chart 18 Remote Map Templates 20 Metteg 20 ege 24 Page 2 ZVORK OBERON User Manual First Contact The Oberon synthesizer has two oscillator sections and two filters Each oscillator can be fed to one of the two filters or to both in serial or parallel mode These filters enable you to alter the timbre of your sound but are not the only mean to do so Each oscillator can generate a number of different waves from simple sawtooth and square to more complex metallic or robotic sounds Each of these waves is in reality a wave seguence that can be plaved at different speeds All this could seem very classic if it wasnt for these following features Multi point loop able envelopes Each of Oberon s four envelopes are defined by a user editable curve with up to 16 points These envelopes are furthermore loop able between the start and sustain point with a tempo synchronization option Editable waves There are two editable waves or wave seguences that the user can customize For each of these wave seguences two editable curve
16. c 2 Pitch Octave Map control Osc 1 Pitch Semitones Map _control_ Osc 2 Pitch Semitones Map control Osc 1 Pitch Cents Map control Osc 2 Pitch Cents Map control Osc 1 Pitch Kbd Tracking Map control Osc 2 Pitch Kbd Tracking Map control Osc 1 Harmonize Map control Osc 2 Harmonize Map control Osc 1 Harmonize Limit Map control Osc 2 Harmonize Limit Map control Osc 1 Harmonize Octave Map control Osc 2 Harmonize Octave Map control Osc 1 Bend Map control Osc 2 Bend Map control Osc 1 Unison Mix Map control Osc 2 Unison Mix Map control Osc 1 Unison Pitch Map control Osc 2 Unison Pitch Map _control_ Osc 1 Unison Voice Count Map control Osc 2 Unison Voice Count Map control Osc 1 Unison Phase Lock Map control Osc 2 Unison Phase Lock Map control Osc 1 Unison Random Phase Map control Osc 2 Unison Random Phase Map control Osc 1 Octave Copy Level Map _control_ Osc 2 Octave Copy Level Map control Osc 1 Partial Saturation Map control Osc 2 Partial Saturation Map control Osc 1 Filter Mode Map control Osc 2 Filter Mode Map control Osc 1 Level Map _control_ Osc 2 Level Page 20 ZVORK OBERON User Manual Map Map Map Map Map Map Map Map Map Map Map Map Map
17. cillator 1 2 Wave 54 55 Oscillator 1 2 Wave sequence start 56 57 Oscillator 1 2 Wave sequence motion tempo sync 58 59 Oscillator 1 2 Wave sequence key start reset Page 18 ZVORK OBERON User Manual 60 61 Oscillator 1 2 Wave seguence motion free running 62 63 Oscillator 1 2 Wave seguence motion synced 65 Amplitude Envelope Point Count 66 Amplitude Envelope Sustain Point Index 67 82 Amplitude Envelope Point Levels 1 16 83 95 Amplitude Envelope Section Durations 1 13 102 103 Amplitude Envelope Section Durations 14 15 104 105 Filter 1 2 Freguency 106 107 Filter 1 2 X to Y 108 109 Filter 1 2 Frequency keyboard tracking 110 111 Filter 1 2 Frequency envelope modulation strength 112 113 Filter 1 2 Frequency velocity modulation strength 114 115 LFO 1 2 Key reset 116 117 LFO 1 2 Rate tempo sync 118 119 LFO 1 2 Rate free running 128 129 LFO 1 2 Rate synced 130 131 LFO 1 2 Shape 132 Volume 133 Volume velocity modulation strength 134 Voice mode 135 Glide 136 Glide velocity modulation strength Page 19 ZVORK OBERON User Manual Remote Map Templates English Scope Zvork fr zvork Oberon Map _control_ Osc 1 Stereo Pan Map _control_ Osc 2 Stereo Pan Map control Osc 1 Stereo Width Map control Osc 2 Stereo Width Map _control_ Osc 1 Pitch Octave Map control Os
18. control Env Mod Dur e 9 Dur e 10 Dur e 11 Dur e 12 Dur e 13 Dur e 14 Dur e 15 1 Monophonigue 2 Monophonigue 3 Monophonigue 1 Boucler 2 Boucler 3 Boucler 1 Synchro Tempo 2 Synchro Tempo 3 Synchro Tempo _control_ Fr quence du Filtre 1 _control_ Fr quence du Filtre 2 control Filtre 1 X gt Y _control_ Filtre 2 X gt Y _control_ Filtre 1 Fr quence Suivi de Clavier _control_ Filtre 2 Fr quence Suivi de Clavier _control_ Filtre 1 Fr quence Intensit Mod Env 1 _control_ Filtre 2 Fr quence Intensit Mod Env 2 _control_ Filtre 1 Fr quence Modulation V locit _control_ Filtre 2 Fr quence Modulation V locit _control_ LFO 1 Synchro Note _control_ LFO 2 Synchro Note _control_ LFO 1 Synchro Tempo _control_ LFO 2 Synchro Tempo _control_ LFO 1 Fr quence _control_ LFO 2 Fr quence _control_ LFO 1 Fr q Synchronis e _control_ LFO 2 Fr q Synchronis e _control_ LFO 1 Forme _control_ LFO 2 Forme _control_ Mod 1 Source _control_ Mod 2 Source _control_ Mod 3 Source _control_ Mod 4 Source _control_ Mod 5 Source _control_ Mod 6 Source control Mod 1 Destination 1 _control_ Mod 2 Destination 1 Page 26 ZVORK OBERON User Manual Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map
19. ctive synthesizers are produced by periodic wave forms The freguency of these wave forms determine the pitch of the note Typical periodic wave forms in subtractive synthesis include sawtooth triangle and square waves They are all made up of sine waves of frequencies multiple of the wave form s note frequency This note frequency is called fundamental frequency in additive synthesis For example if you hit the A4 key on your keyboard which corresponds to a frequency of 440 Hz and produce a saw tooth wave form this saw tooth is in fact made up of sine waves of frequency 440 Hz 880 Hz 1320 Hz or 1760 Hz or 1 x 440Hz 2 x 440Hz 3 x 440Hz and 4 x 440Hz The multiples of the fundamental frequency are called harmonics The sine waves also have a particular amplitude but these amplitudes only change the timbre of the wave not its note frequency or harmonicity This difference in amplitude is what makes a sawtooth sound different from a square wave Waves 1 amp 2 in Oberon are naturally harmonic as they are totally periodic Inharmonic sounds The vast majority of sounds are not harmonic or tuned Percussion or noise sounds for instance don t have a clear pitch and thus don t have partials tuned so simply as harmonic sounds In fact most inharmonic sounds have partials tuned with no relation between one another In reality acoustic instruments are not totally harmonic in the pure sense of the term but are almost harmonic Their partials are not
20. e but instead of a constant linear fall features a steep starting fall gradually decelerating e Soft Saw a saw with a soft filtered attack e Square classic square wave starting with a high value Soft Square a square with softened rises and falls e Pulse same as a square wave but with a reduced high value duration e Soft Pulse same as above but with softened rises and falls e Random a smoothly varying random wave s Sample and hold a sample and held version of the above sampled at the LFO s rate e Random Pulses randomly occurring high value pulses e Random Soft Pulses same as above but with softened rises and falls Random Signed Pulses randomly occurring pulses of random high or low value Random Signed Soft Pulses same as above but with softened rises and falls Envelopes The four envelopes Amplitude and Modulation 1 to 3 all share the same features They are each defined by a curve with up to 16 points One of these points can be set to the sustain value Before this sustain point is the attack section After this sustain point is the release section When a note is played the envelope follows the curve up to the sustain point When the note is kept pressed the sustain point value is held if the envelope has reached the sustain point When the note is released the envelope proceeds to follow the release section using the current envelope value as the start value of the release Each segment of t
21. e for piano like sounds when repressing a note has the effect of killing the previous sound for that note e Mono Retrigger when pressing a key the synth retriggers the envelopes and changes the pitch if a previous key is pressed Mono Legato this is the same as mono retrigger but the envelopes are not retriggered By changing the Glide duration you can add portamento effect that will make the pitch glide from the previous note to the next This also works in polyphonic mode but in this case the portamento will take place only if you press a new key while previous notes are in release mode You can increase or decrease the glide duration based on the velocity with the dedicated knob underneath the glide control Oscillators Tuning There are three knobs to define the basic pitch of the oscillator The first one at the left is used to adjust the pitch in octaves The second one in semi tones and the last one lets you finely tune the oscillator in cents or hundredth of semi tones Keyboard Tracking When set to 100 the default the pitch of the oscillator follows the note pressed on the keyboards When set to 0 the pitch is constant across all keys Filters The central knob of each filter section controls the filter s frequency parameter The Filter 1 smaller knob to the right Labeled X gt Y is used to morph between the X filter response on X Y curve and Y filter response curve dal a Modulation Vel Kbd
22. f Map control Osc 1 Destination Morphing Map control Osc 2 Destination Morphing Map control Osc 1 Position de Morphing Page 24 ZVORK OBERON User Manual Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map control Osc 2 Position de Morphing control Osc 1 Transposition de la Cible de Morphing control Osc 2 Transposition de la Cible de Morphing control Osc 1 Forme Onde control Osc 2 Forme Onde control Osc 1 D but de la Forme Onde control Osc 2 D but de la Forme Onde control Osc 1 Synchro Tempo du Mouv de la Forme Onde control Osc 2 Synchro Tempo du Mouv de la Forme Onde control Osc 1 R init Touche du Mouv de la Forme Onde control Osc 2 R init Touche du Mouv de la Forme Onde control Osc 1 Mouvement de la Forme Onde control Osc 2 Mouvement de la Forme Onde control Osc 1 Mouvement de la Forme Onde Synchro Tempo control Osc 2 Mouvement de la Forme Onde Synchro Tempo control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env c
23. he dry oscillators and the unison signal is controlled with the Unison Mix parameters one for each oscillator The amount of unison detuning is controlled again individually for each oscillator with the Unison Pitch Finally the overall volume modified by the amplitude envelope is applied along with velocity modulation Stereo control By default the oscillators are mono but a Width parameter enables you to spread their output in stereo for a wider field This result can then be panned from left to right per oscillator Modulation A modulation matrix lets you route modulation sources to modulation destinations Each line of the matrix offers one source two destinations and a scaling source Each destination as well as the scaling source have a strength value to control the amount of modulation LFO There are two LFO s in Oberon Both of them can be synced to the song tempo and reset at each note on Each LFO can be configured to produce a certain wave form among the following list s Triangle a basic triangle wave with initial rise e Triangle 4 8 and 16 same triangle as above but sampled and held at 1 8 and 1 16 of the wave period e Sine a basic sine wave with initial rise Page 7 ZVORK OBERON User Manual e Saw a classic saw wave with initial high value then fall e Saw 4 8 and 16 same saw wave as above but sampled and held at 1 8 and 1 16 of the wave period e Parabolic Saw a saw wav
24. he envelope curve has a duration of up to 10 seconds Tempo synchronization Envelopes can be synced to the tempo In this case the segment durations are not defined in seconds but in note durations In this case the maximum duration of a segment is 5 bars Loop An envelope can be set to loop mode in which case when a note is held and the envelope reaches the sustain point it will jump back to the start of the curve Mono trigger When this option is activated the envelope will trigger on the note on event of the first note played If this note is held and another note is pressed this second note will use the same envelope value as the first one The envelope is reset once all the notes using this envelope are released Sources Name Description Polarity Velocity Note on velocity value Unipolar Page 8 ZVORK OBERON User Manual Amplitude Envelope Modulation Envelope 1 to 3 LFO 1 and 2 LFO 1 and 2 note on value Aftertouch Modulation Wheel Keyboard Tracking Sustain Pedal Expression Breath Control CV input 1 to 5 Note On random value 1 and 2 Pitch Bend Wheel Destinations Name Unipolar Unipolar Bipolar The initial value of the LFO is sampled at note on and held Bipolar throughout the key press This is mostly useful when the LFO is not key synced Also called pressure Unipolar Unipolar Bipolar s Unipolar E Unipolar s Unipolar Any signal from other dev
25. ices can be plugged in Oberon and Bipolar used as modulation sources with these inputs At a each note on event a random value is generated and Bipolar held throughout the key press E Bipolar Description Global Level Oscillator 1 or 2 mixer levels Filter 1 or 2 Frequency value Filter 1 or 2 X gt Y value Oscillator 1 or 2 pitch Oscillator 1 and 2 pitch Oscillator 1 or 2 semitones Oscillator 1 or 2 pan Oscillator 1 and 2 pan Oscillator 1 or 2 width Final volume Both oscillators receive the same amount of modulation This is similar to the oscillator pitch destination but only the semitone parameter is modulated in discrete values Both oscillators receive the same amount of modulation Stereo width Page 9 ZVORK OBERON User Manual Oscillator 1 and 2 width Oscillator 1 or 2 morph position Oscillator 1 or 2 morph target transpose Oscillator 1 or 2 wave start Oscillator 1 or 2 wave motion LFO 1 or 2 rate Amplitude Envelope attack scale Modulation Envelope 1 to 3 attack scale Amplitude Envelope release scale Modulation Envelope 1 to 3 release scale Oscillator 1 or 2 harmonicity Oscillator 1 or 2 harmonicity limit Oscillator 1 or 2 bend Oscillator 1 or 2 unison mix Oscillator 1 and 2 unison mix Oscillator 1 or 2 unison pitch Oscillator 1 and 2 unison pitch Oscillator 1 or 2 octave level Oscillator 1 or 2 partial clip Both oscillators receive the same amount
26. l_ Filter 2 Frequency control Filter 1 X gt Y _control_ Filter 2 X gt Y _control_ Filter 1 Frequency Kbd Tracking _control_ Filter 2 Frequency Kbd Tracking _control_ Filter 1 Frequency Mod Env 1 Strength _control_ Filter 2 Frequency Mod Env 2 Strength _control_ Filter 1 Frequency Velocity Modulation _control_ Filter 2 Frequency Velocity Modulation _control_ LFO 1 Key Sync _control_ LFO 2 Key Sync _control_ LFO 1 Tempo Sync _control_ LFO 2 Tempo Sync _control_ LFO 1 Frequency _control_ LFO 2 Frequency _control_ LFO 1 Freq Synced _control_ LFO 2 Freq Synced _control_ LFO 1 Shape _control_ LFO 2 Shape _control_ Mod 1 Source _control_ Mod 2 Source _control_ Mod 3 Source _control_ Mod 4 Source Page 22 ZVORK OBERON User Manual Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map control Mod 5 Source control Mod 6 Source control Mod 1 Destination 1 control Mod 2 Destination 1 control Mod 3 Destination 1 control Mod 4 Destination 1 control Mod 5 Destination 1 control Mod 6 Destination 1 control Mod 1 Destination 2 control Mod 2 Destination 2 control Mod 3 Destination 2 _contro
27. l_ Mod 4 Destination 2 _control_ Mod 5 Destination 2 _control_ Mod 6 Destination 2 control Mod 1 Strength 1 control Mod 2 Strength 1 control Mod 3 Strength 1 control Mod 4 Strength 1 control Mod 5 Strength 1 control Mod 6 Strength 1 control Mod 1 Strength 2 control Mod 2 Strength 2 control Mod 3 Strength 2 control Mod 4 Strength 2 control Mod 5 Strength 2 control Mod 6 Strength 2 control Mod 1 Strength Modulation control Mod 2 Strength Modulation control Mod 3 Strength Modulation control Mod 4 Strength Modulation control Mod 5 Strength Modulation control Mod 6 Strength Modulation control Mod 1 Strength Modulation Source control Mod 2 Strength Modulation Source control Mod 3 Strength Modulation Source control Mod 4 Strength Modulation Source control Mod 5 Strength Modulation Source control Mod 6 Strength Modulation Source control Volume control Volume Velocity Modulation control Voice Mode control Glide control Glide Velocity Mod control Pitch Bend Range Page 23 ZVORK OBERON User Manual Francais Scope Zvork fr zvork Oberon Map _control_ Osc 1 St r o Pan Map control Osc 2 St r o Pan Map control Osc 1 Stereo Largeur Map control Osc 2 Stereo Largeur Map control Osc 1 Hauteur Octave
28. nd 100 while Shape 2 is the waveform output when this same wave start control is at 50 In the edit section you will also see some new actions to create random shapes or add symmetrical points Filter controls The filter response curve display adds a number of controls The first one is a Repeat button that lets you toggle your filter response to repeat see Response Curve paragraph The repeat control is common for both X and Y filter curves In the edit panel two Decrease Amplitude and Increase Amplitude buttons let you squeeze or expand the vertical amplitude of the filter curve around the 0 dB middle value Likewise the Decrease Gain and Increase Gain will decrease or increase the vertical values of all points above the middle 0 dB line Morph and bend controls Morph and bend curves do not have a shape control handle All segments are linear Performance Pitch Bend and Modulation wheel The range of the pitch bend can be adjusted with a maximum range of 2 octaves 24 semitones Page 13 ZVORK OBERON User Manual Keyboard Mode and Glide There are four keyboard modes e Polyphonic Key Pressed the default mode where each new pressed key creates a new voice e Polyphonic Note voices are allocated to notes If you press a key twice on the same note and the previous voice for that note is still playing this previous voice will be killed and restarted This is the cas
29. of modulation Controls the amount of morphing The pitch transpose value of the morph target This will shorten the duration of the amplitude envelope s attack section see the Envelopes paragraph if the modulation is negative or lengthen it if it is positive Same as above but for the modulation envelopes This will shorten the duration of the amplitude envelope s release section see the Envelopes paragraph if the modulation is negative or lengthen it if it is positive Same as above but for the modulation envelopes Both oscillators receive the same amount of modulation The amount of unison detune Both oscillators receive the same amount of modulation Page 10 ZVORK OBERON User Manual Front Panel Zoom Fit Oscillator 1 em u en A key Start Dr Motion oo Mod Env 1 100 0scl Morrh Pos 100 Oscl Morrh Tst 50 Mod Eny 1 80100 Dsc2 Bend 100 0sc2 Moreh Pos 50 Hod Wheel 75 Oscl Moreh Pos 75 Osc2 Morrh Pos 50 Mod Env 1 M 100 Oscl Harmonicity M 200 0sc2 Harmonicity 50 Mod Eny 1 M 63 05c1 2 Unison Mi A 50 so so V 50 50 Display At the top of Oberon s front panel lies a huge display This is where all the curves for envelopes waves bend morph and filter responses are edited Switching from one curve to another is done by activating the corresponding button underneath the display From the left to the right lie the
30. oint Env Level 1 Env Level 2 Env Level 3 Env Level 4 Env Level 5 Env Level 6 Env Level 7 Env Level 8 Env Level 9 Env Level 10 Env Level 11 Env Level 12 Env Level 13 Env Level 14 Env Level 15 Env Level 16 Env Duration 1 Env Duration 2 Env Duration 3 Env Duration 4 Page 21 ZVORK OBERON User Manual Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Amp control Mod control Mod control Mod control Mod control Mod control Mod control Mod control Mod control Mod Env Env Env Env Env Env Env Env Env Env Env Env Env Env Env Env Env Env Env Env Duration 5 Duration 6 Duration 7 Duration 8 Duration 9 Duration 10 Duration 11 Duration 12 Duration 13 Duration 14 Duration 15 1 Monophonic 2 Monophonic 3 Monophonic 1 Loop 2 Loop 3 Loop 1 Tempo Synced 2 Tempo Synced 3 Tempo Synced _control_ Filter 1 Frequency _contro
31. ontrol Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env control Env Amp D clenchement Monophonigue Amp Boucler Amp Synchro Tempo Amp Nb de Points Amp Point Soutien Amp Niveau 1 Amp Niveau 2 Amp Niveau 3 Amp Niveau 4 Amp Niveau 5 Amp Niveau 6 Amp Niveau 7 Amp Niveau 8 Amp Niveau 9 Amp Niveau 10 Amp Niveau 11 Amp Niveau 12 Amp Niveau 13 Amp Niveau 14 Amp Niveau 15 Amp Niveau 16 Amp Dur e 1 Amp Dur e 2 Amp Dur e 3 Amp Dur e 4 Amp Dur e 5 Amp Dur e 6 Amp Dur e 7 Amp Dur e 8 Page 25 ZVORK OBERON User Manual Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map Map control Env Amp control Env Amp control Env Amp control Env Amp control Env Amp control Env Amp control Env Amp control Env Mod control Env Mod control Env Mod control Env Mod control Env Mod control Env Mod control Env Mod control Env Mod
32. pping vou will be able to flatten out these levels Partial clipping has the effect of applying a gain value to each spectrum levels and clipping them to a maximum value This is a very rapid mean of enhancing high freguencies as this is freguently the part of the spectrum of low level X Morph Cross morphing is the tool to continuously morph between two spectrums An oscillator is the morph source The destination or target can either be the other oscillator or itself Of course morphing an oscillator to itself doesnt do much unless you decide to morph an oscillator to a detuned version of itself The morph target has a detune control with semitone steps Morphing with a detuned target yields an interesting growling effect completely dissimilar to plain pitch bending Furthermore the cross morphing can be limited to certain parts of the spectrum Once again this is achieved through an editable morph curve Harmonize The harmonize control lets you bend an inharmonic spectrum towards a harmonic one On harmonic sounds such as a sawtooth wave this has no effect This is mostly useful when you have bent heavily or morphed your sound and still wish to keep it musical The harmonize parameter can be limited to only the lower part of the spectrum through the limit parameter At high values all the spectrum is harmonized while at low values only the low part is Furthermore you can choose to which octave the harmonization should apply
33. s let you draw the shape of the start and end waveforms of the seguence Page 3 ZVORK OBERON User Manual Editable Filter response curves In Oberon the filters don t have predefined modes such as low pass high pass or comb Instead you define the filter response yourself again with an editable curve Each filter response can morph between two curves for even more dramatic and changing effects X Morph between oscillators This special feature lets you smoothly morph between two sound sources potentially of different pitches and timbre Morph between a pitch downed version of the same oscillator or between oscillator 1 and oscillator 2 for original transitions The morphing effect can also be masked for certain portions of the spectrum if for instance you want to apply the character of one sound source solely to the high freguencies Unison and Octave copies To fatten your sounds each oscillator can be virtually duplicated up to 8 times with a pitch detune After that if this isn t enough another virtual copy of the resulting sound can be added to your final sound mix at an octave higher As the term virtual copy coins all this is extremely efficient on your CPU Timbre bend If you are in need of metallic inharmonic sounds this is the functionality you need With it you can quickly bend your sound to mimic highly rigid strings bells or guirky buzzes in a predictable way Separate voice audio and gate outputs On
34. strictly tuned to multiples of the fundamental frequency and this is what gives their richness as this introduces some slight chorus beating effects Typical inharmonic sounds are metallic sounds such as mistuned bells or rigid strings and these can be easily built from harmonic sounds by detuning some of their partials In Oberon inharmonic sounds can easily be created with the Bend parameter or by using naturally inharmonic waves like Metal Noise Water or Crowd Page 17 ZVORK OBERON User Manual MIDI Implementation Chart MIDI Controller Parameter 4 5 Oscillator 1 2 Pan 1 8 Oscillator 1 2 Width 10 amp 12 Oscillator 1 2 Pitch octaves 13 14 Oscillator 1 2 Pitch semi tones 19 16 Oscillator 1 2 Pitch cents 17 18 Oscillator 1 2 Pitch keyboard tracking 19 20 Oscillator 1 2 Harmonicity 21 22 Oscillator 1 2 Harmonicity limit 23 24 Oscillator 1 2 Harmonicity octave 25 26 Oscillator 1 2 Bend 27 28 Oscillator 1 2 Unison mix 29 30 Oscillator 1 2 Unison pitch 31 8 33 Oscillator 1 2 Unison voice count 34 35 Oscillator 1 2 Unison phase lock 36 37 Oscillator 1 2 Unison phase random 39 40 Oscillator 1 2 Octave copy level 41 42 Oscillator 1 2 Partial clip 43 44 Oscillator 1 2 Level 45 Oscillator 2 On Off 46 47 Oscillator 1 2 Morph target 48 49 Oscillator 1 2 Morph position 50 51 Oscillator 1 2 Morph target transpose 52 53 Os
35. th the second voice e Note the distribution of voices among the separate audio outputs is done according to the MIDI note number of each voice There are 128 possible MIDI notes If there are three connected outputs as in the example above the lower third of MIDI notes here notes 0 42 are associated with the first connected output here output 2 the middle third here notes 43 85 to the second connected output here output 4 and finally the upper third here notes 86 127 to the last connected output here output 5 e Velocity the distribution of voices is done according to the voice velocities Lower velocity voices are sent to lower numbered connected separate outputs and logically higher velocity voices are sent to higher numbered connected outputs e Pan the distribution of voices is done according to the voice stereo pan at the moment the voice is activated The voice pan is estimated as the mean of each oscillator pan If the pan changes during the lifetime of a voice through modulation this will not change the audio output to which it is sent Note gates out When a voice sent to a separate output is activated on a Note On a gate signal will be sent to the associated note gate output above the audio output as a CV signal with amplitude proportional to the velocity of the last activated voice of the output If no separated outputs are connected no gate outs are sent Page 16 ZVORK OBERON User Manual
36. uence is finger nails on board metal heaven e FM1and2 two wave sequences that span two or three operator FM waveforms e Water when in a motion a gurgling noise sound If not this is a source of low frequency inharmonic waves e Noise a classic white noise when in motion Each oscillator has a wave start and wave motion parameter to control the playback of theses wave seguences Motion Wave motion can be synced to the songs tempo At speed 1 1 the wave seguence duration is one bar Furthermore the wave start can be reset at each note on Bend An oscillator produces a particular sound spectrum that can be ben with this specific tool By default the bend parameter stretches the sound spectrum towards the high freguencies This is the same effect as a guitar string being tightened more and more while keeping the same note As the string tightness increases it becomes more rigid and gradually becomes inharmonic But the bend operator is much more powerful than that Each oscillator has a user editable bend curve associated with its bend control From low freguencies at the left to the high freguencies at the right the curve determines if the spectrum around the curve point should be pitched up or down depending on the vertical position of the point Page 5 ZVORK OBERON User Manual Partial Clip Each waveform produces a complex spectrum with highly varying levels for each freguency By applying partial cli

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