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Bazille user guide - u

1. pulse width from 1 through 50 to 99 approximate values random smoothness control For more LFO waveforms try modulating the LFO s amplitude from the same LFO Or better Use one of the main oscillators in Hertz or Clocked mode instead TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 20 LFOs Phase This adjusts the phase position at which the waveform will start whenever a note is played The options in the selector are SYNC nonoanonnnnnn no restart the LFOs for all voices remain in phase unless modulated apart gate restarts to the value of Phase whenever a new note is played single like sync but restarts whenever a non legato note is played random restarts at a random phase whenever a new note is played Delay Fades the LFO in from zero with ramp times ranging from immediately to about 20 seconds Amp Mod This knob adjusts the amount of LFO level modulation from a source specified in the selector That higher values result in lower LFO output may be counter intuitive but you are actually controlling the degree of attenuation here Whatever the modulation source you will always get maximum output from the LFO when Amp Mod is set to minimum If you ever need to lower the overall LFO output set the source to none and turn the Amp Mod amount up Outputs Triangle Pulse Random All three LFO output sockets can be used in
2. adopts filter 1 cutoff modulation with the cutoff shifted up or down This means that filter 2 cutoff can be directly modulated by up to four sources two adopted from filter 1 plus two within filter 2 Spread similar to Offset but any cutoff modulation also affects filter 1 in the opposite direction If you are only using one filter its cutoff can be directly modulated by up to four sources two are adopted from the unused filter TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 22 FILTERS Cutoff modulation unlabeled Each of Bazille s filters includes a pair of general purpose cutoff modulation controls A typical use would be to patch an envelope to one and an LFO to the other but remember that you can patch audio rate sources Try everything experiment Key Follow Key follow causes the cutoff to track MIDI notes with a variable amount As in all other u he synthesizers key follow pivots around E3 MIDI note 52 This is the only note that remains unaffected whatever the value of Key Follow Resonance The resonance range is 0 00 to 100 00 Although self oscillation can start around 50 00 the actual amount of resonance depends on the Gain setting see gain above so quite a generous range above that amount was necessary Resonance modulation unlabeled Resonance can be modulated by connecting a signal to the socket The Resonance knob then becomes a unipolar modulation dep
3. 2PULSE Shape lower selector Sets the basic oscillator waveform before phase distortion Cosine for regular phase distortion i e the above waves TapMap1 2 0ne of the mapping generators as waveform note that low notes can get gritty due to the lower resolution and high notes can alias more than Cosine TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 18 OSCILLATORS Fractal Resonance Fractal resonance is similar to Res see Wave Selectors above but acts on the composite wave Multiple cycles of the waveform are packed into another wave specified by the selector which serves as a window Watch the effect of fractal resonance in Bazille s oscilloscope For example here is a square wave packed into a triangular window Fractalize The righthand knob controls the number of cycles of the original wave in the window The selector to the right specifies the shape of the window Off Saw Tri or Max roughly correspond to none Res1 Res2 and Res3 respectively see the previous page Fractalize modulation unlabeled The bipolar knob on the left sets the modulation depth of a signal connected to the socket Outputs There are two signal outputs at the bottom of the oscillator The upper one is always at full volume while the lower one can be attenuated and modulated Volume The righthand Volume knob controls the nominal level of the lower output before
4. phase A position within a cycle of OSC or LFO phase distortion type of synthesis developed by Casio for their CZ synths phase modulation the more correct term for DX type FM Podolski u he product A simple freeware VA synth featuring Zebra s arpeggiator polarity of a signal Normal or inverted polyphonic Able to deliver more than one voice at the same time portamento Glide Q quantize restrict the number of possible values of a signal make steppy R release ADSR TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 58 GLOSSARY rolloff filter slope Rumblence Zoyd u he product Early freeware semi modular synthesizer Urs first Runciter u he product the distorting filter effects unit in Uhbik S Satin u he product Magnetic tape effects plugin scale verb to scale Multiply as opposed to add subtract signal Any time variant value but usually audio rate sustain ADSR threshold A value e g of filter cutoff above or below which an action commences Triple Cheese u he product Comb filter based freeware synthesizer TyrellN6 u he product Virtual analogue freeware synthesizer U Uhbik u he product A bundle of high quality effect plugins unipolar of a modulator Only outputs positive values see bipolar V VA Virtual analogue digital emulation of classic subtractive synthesis velocity modulator How fast a key is struck W
5. GUI graphics sunshine Michael Duhr quality quantity integrity beer Jan Storm our latest addition does everything u he thanks e Thomas Helzle for GUI concept and 3D rendering Clemens Heppner and Fritz Hildebrandt for their help during early development e Our beta testers and everyone who contributed presets e Brian Rzycki for maintaining PatchLib History shortened musings about Berlin Modular and Bazille Several years ago started working on a new synth a virtual modular system much like the first synth ever played in 1986 a hilariously out of tune Roland System 100M loved that thing It belonged to my school and spent many long hours patching it up always kept the idea of a software modular system in the back of my mind Recently some other ideas nicely aligned with that concept and the Berlin Modular project experienced a massive boost Of course the name Berlin Modular is reminiscent of the Berlin School of electronic music the bands and artists listened to when was a teenager Those guys inspired me to make electronic music my hobby which ultimately inspired me to develop synthesizers A couple of years ago demonstrated a prototype of what thought would become the very first rack within Berlin Modular called it Bazille which is German for bacterium and should be pronounced something like Batzilla Bazille turned out to be quite a monster It
6. rectifier Send the Rectifier output through a Lag Generator with both knobs at 0 8 and from there to the PD modulation input value 38 00 Filter 1 Gain 23 50 maximum cutoff Resonance 30 50 Connect LP18 to Out 1 play some deep bass notes and turn PD amount up and down Sounds like a really quirky filter The next step could be to control PD level from the mod wheel and use an envelope to 303 iZe it Oscillator as LFO For low frequency modulation purposes the main oscillators are actually more flexible than the dedicated LFOs and can obviously reach audio rates Set the Tune mode to either Herz or Clocked and start experimenting Tip if you want a fairly slow non synced LFO switching the modify mode to Multiply and setting the amount to 10 gives you a better Tune range TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 50 TIPS amp TRICKS Oscillator as waveshaper tip by urs For more gnarly and different oscillator waves try the following Set an oscillator s Modify mode to Multiply and double click on the knob the 0 00 value stops the oscillator completely Set the phase mode to Gate connect another oscillator to the phase modulation input with the mode set to PM course or Lin 1kHz Turn up the phase modulation amount play and listen LFO Tricks More lively LFO The easiest way to inject a bit of life into an LFO is to select Rnd as the rate and or amplitude modulator with
7. Gate triggered by MIDI notes LOOD sakada like Gate but also restarts immediately after release BE AA triggered by LFO1 or LFO2 ModsSeq1 2 triggered by the sequencer ModSeq7 is the leftmost used tap ModSeq2 is the next used tap to its right For more details go to how to trigger envelopes in the chapter about the Modulation Sequencer Filters 3 and 4 Although the panels for filters 3 and 4 look a bit different from those in the SYNTH page the parameter set is almost the same FILTER 3 inputGain Cutoff Resonance we id KeyFollow Note In filters 3 and 4 the amount of resonance can t be modulated the cutoff modulation sources are selected instead of patched and they only have LP18 BP6 and HP12 outputs see Filters If you would like to modulate filter 3 or 4 cutoff from something not immediately available e g the sequencer patch that signal into one of the CV sockets and select the CV as modulator Ramp Generators If you find that four envelopes and two LFOs aren t quite enough you should take a look at the ramp generators which can fulfill either of those roles and more Up Hold Down Rest RAMP 1 Clock Mode The ramp is not a simple AR attack release envelope but a linear attack hold decay AHD type with an off time Its closest relative is Up Hold probably the trapezoid used in the classic EMS Synthi A and VCS3 Up is the attack time after which
8. combines FM and Phase Distortion synthesis with the flexibility that only modular patching can provide Urs Heckmann 2013 TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 5 SYNTH OVERVIEW Synth Overview Click on the SYNTH tab at the top left This arrangement of modules was designed to minimize the lengths of patch cords required for two independent layers of 2 oscillators filter output an d OSCILLATORS OUTPUTS OSCILLATORS 1 amp 2 3 amp 4 e A e A 4 4 A La SM FILTERS ENVELOPES 1 amp 2 A A 8 Basic synthesis modules in the SYNTH window Please take a few moments to familiarize yourself with the positions of each module The upper central area is dominated by the Oscilloscope above which is the Data Display and below which are the Output and main Filter panels Either side of the oscilloscope are four audio Oscillators flanked by the two LFOs low frequency oscillators Beneath each LFO is an unlabeled panel containing a selection of signal Processors e 1x sample amp hold left panel only e 1 x quantizer right panel only e 4x lag processors in pairs with shared attack and release times e 2x inverters 2 x rectifiers Below the oscillators and processors are the four Envelope Generators At the bottom left is a panel called MIDI amp MORE containing several modulation sources wheels key velocity etc plus two noise outputs There is also a pair o
9. for pitch modulation also set the MidiLearn modulation amount in the oscillator to 12 MidiUnLearn Pana o PA specifies the number of values used for the map Note The huge context menu is a temporary solution and selecting drawing tools and functions will be more comfortable in future versions TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 40 TWEAKS Envelope Extras These four little panels contain a few extra envelope parameters r R Range Trigger Snappy This switch makes the Decay and Release more exponential Although it drops faster at first it slows down considerably so that the envelope will often seem longer overall envelope decays with Snappy switched off L and switched on R F R Range See also Fall Rise This parameter limits how far the sustain phase can fall towards zero or rise towards maximum F R Range sets a percentage of the difference between the Sustain value and zero or maximum like in these examples Fall Rise F R Range Level after F R negative values positive values In the above table the level of the envelope after F R is either half way 50 or a quarter way 25 between the value of Sustain set to 80 here and maximum 100 or minimum 0 TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 41 TWEAKS Trigger Envelopes can be triggered by MIDI notes by the LFOs or by parts of the modulation sequencer
10. for regular phase modulation with different depth ranges As modulation in these modes only affects phase the overall pitch of the oscillator is preserved PM fine for subtle phase modulation PM medium for typical FM uses including self modulation operator feedback PM coarse for maximum phase modulation The next two options offer linear FM in two frequency ranges With linear FM modulation adds to the frequency the overall pitch is only preserved if the modulating waveform is symmetrical lin 100H7Z linear FM O to 100Hz lin 1kHZ linear FM O to 1000Hz The last two options offer relative FM In this mode modulation multiplies the frequency Again the overall pitch is only preserved if the modulating waveform is symmetrical rel fine relative FM oscillator frequency 1 0 5 modulation rel coarse relative FM oscillator frequency 1 5 modulation The linear and relative modes are unusual in that they offer through zero FM Hardware modules with this feature e g Cynthia Zeroscillator are quite popular in the modular synth community as the wave can run backwards Example if a 100Hz oscillator is linear frequency modulated with 1000HZ it will run backwards at 900HZz TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 17 OSCILLATORS Phase Distortion Like FM Phas
11. from the SYNTH or TWEAKS 8 FX pages by clicking on the triangles either side of the data display Alternatively you can load any patch from the current folder by clicking on the data display The factory presets The root folder of the browser only shows a small selection of presets from the categories sub folders of Local If you can t see the FX Basses Leads Keys Pads etc simply click on the small square to the left of Local Below the ten main categories is a folder called COMPETITION PRESETS This contains all patches entered into three competitions we organized over a few months before release plus a few sounds kindly donated by beta testers COMPETITION PRESETS is a treasure trove of extra sounds including a few true gems The final folder in Local is called TIPS amp TRICKS The patches in the subfolders are not meant to sound great they are just examples of tricks mentioned in the final chapter in this user guide TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 13 PATCH BROWSER Save Of course you will want to save your creations In the patch browser make sure that the folder where you want to store your patch is already selected If not select it Then click on the Save button to the right of the data display give your patch a name and enter any other details patch description playing tips etc you would like to appear in Patch Information the pane on the right of the patch bro
12. in Bazille Select Saw as your fractal wave but leave the amount at zero Note Tri delivers great bass and Max is perhaps surprisingly the most subtle option when applied to a sawtooth turn the amount up a tiny bit for some grit Here s an alternative Use the second PD waveform PWM 1 tip by 3ee xh3rv adrian b Bazille s oscillators don t offer Pulse Width Modulation directly but you can achieve a similar effect using a Mapping Generator Select 2 steps only for map 1 set one of the values to maximum and the other to minimum Select Impulse Same and TapMap7 in your oscillator Move the PD knob and watch how this affects the pulse width Leave the PD knob at about 30 patch LFO2 to the PD modulation input and turn the amount up to around 30 Notes Alag processor between LFO and PD modulation input often improves the effect especially at higher depths and speeds triangular modulation makes the pitch too jumpy e For amore analogue feel set the LFO and OSC phase restart options to random Try different combinations of oscillator waveforms TapMap oscillators will alias more than Cosine PWM 2 tip by xh3rv The classic Minimoog method doesn t use a map or LFO but needs two sawtooth oscillators Invert and detune one of them for a rich PWM effect Instead of or as well as detuning you can use phase modulation for a wide variety of PWM type effects If you don t want the start of each note to sound exa
13. jump twice per bar by setting the Hold and Rest parameters both to 50 00 To jump only once per bar set Hold and Rest to 100 00 and 99 99 respectively and Down to 0 01 The latter isn t really necessary but let s not get lazy now Jump rotation more than two snapshots If you want the sequencer to jump between more than two snapshots use either the Quantizer or a Mapping Generator to process your rotation modulator Using the Quantizer Load initialize drag a cable from ModW to the Quantizer and another from the Quantizer to Rotate Set the Rotate and Quantizer values both to precisely 7 00 Play and hold a note move your modulation wheel and watch how the realtime position indicator moves Now try LFO 2 instead of the modulation wheel tricky isn t it Using a Mapping Generator This method has the advantage that you can jump between snapshots in any order you like Load initialize drag a cable from Map 1 in the MIDI 8 MORE panel to the Rotate input and set the Rotate value to 7 00 Go to TWEAKS amp FX right click in Mapping Generator 1 and restrict the map to 8 values Right click again and select ramp from the shapes sub menu Right click once more and select make unipolar Set the source to ModWhI the mapping mode is already set to Map Quantize Go back to the SYNTH page hold down a note push the mod wheel and watch how the dial moves through all 8 snapshots What was that about jumping around any order you like T
14. low frequency content within a signal default Setting or value assigned as a sensible starting point Double clicking on Zebra2 knobs will set appropriate defaults Diva u he product A virtual analogue synth with mix and match components duophonic synthesizer Can play only two notes at the same time defined by the lowest and highest notes received TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 56 GLOSSARY E envelope generator modulator Contour generator for levels tone etc IF filter FM Audio rate frequency modulation of filter cutoff Filterscape u he product A dual filter plugin suite with complex modulation FM Frequency modulation also the related phase modulation frequency Speed of a cyclic system in cycles per second Hertz Can be translated into e g the absolute pitch of an oscillator or the BPM of a song FX Abbreviation for effects G glide Smooth pitch transition between consecutive notes global parameter In Bazille patch wide parameter not per voice H hertz unit of frequency cycles per second highpass filter Allows frequencies above the cutoff point to pass while removing lower ones initialize In Bazille A very simple patch suitable as a template for new creations instantiate To create an object e g an LFO from its class e g the LFO parameters invert In Bazille Flip a waveform upside down J junk In Bazille A patch marked as unwant
15. modulation Volume modulation unlabeled The bipolar knob controls the modulation depth of a signal connected to the socket TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 19 LFOs LFOs At the top left and top right of Bazille s window are two dedicated low frequency oscillators The LFOs have 3 parallel outputs along the bottom Note that LFO 1 is also responsible for vibrato Rate A value between 5 00 and 5 00 the selector specifies how this value is interpreted The first 3 options are absolute times measured in seconds 0 1 1 or 10 all the others are synchronized to host tempo The five options with dot in the name are dotted 50 is added to the cycle length and those with trip in the name are triplet times 3 cycles occupy the space of 2 0 1s to 10s absolute times 1 10th 1 or 10 seconds at Rate 0 00 1 64 to 8 1 synchronized to host tempo To set up a vibrato rate of 5Hz for instance use 1s mode with Rate at 2 50 Or 0 1s with the Rate set to 1 00 It s not worth thinking about a conversion formula here just use your ears Note that Bazille s LFOs can be forced well into the audio range via Rate Mod trickery Rate Mod The depth of rate modulation from a source chosen in the selector Wave This knob affects the basic LFO waveforms in the following ways triangle from falling saw though triangle to rising saw pulse
16. snapshot 1 to all the others copy from 1 paste to 2 right click on 2 again and interpolate gt Right clicking in the middle of the dial gives you an Autoselect option When this is switched on moving the snapshot position control also selects the closest snapshot Rotate Rotate lets you morph through the 8 snapshots in one of two ways If a signal is connected to the socket it will cause the dial to rotate and the Rotate value specifies by how much If the socket is left empty however the snapshot position will rotate automatically and the Rotate knob will control the speed relative to host tempo of rotation instead 1 00 here means 1 snapshot every 2 bars and 8 00 means 8 snapshots every 2 bars For anti clockwise rotation use negative values TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 32 MODULATION SEQUENCER Snapshot Values To the right of the dial are 16 sliders used for editing the contents of each snapshot tap speed factor 4 taps output sockets bo 16 bipolar sliders 16 sliders Select a snapshot with the dial then edit its values using the sliders Tip The easiest way to use the sequencer for precise semitones is to set the oscillator pitch modulation amount to 50 00 and the sliders to double the transposition you want up a tone would be 4 up a fifth 7 semitones would be 14 up an octave would be 24 etc 4 tap outputs The four output sockets let you
17. the amount s set to about 0 20 max Recursive modulation strikes again Global envelope The organ percussion effect only happens on newly played notes after any other notes have all been released Although Bazille doesn t have such global envelopes you can use the Delay of a very slow LFO in single mode to emulate one The Delay is your ramp which you can re shape using a mapping generator if you like Set the LFO s Phase to 50 or above Alternatives to LFOs If two LFOs are not enough remember that you can always use oscillators looped ramps or envelopes instead Each of these alternatives has its own advantages specialities Filter Tricks Self oscillation You can play notes just using filters by setting the Resonance and Key Follow both to maximum and Cutoff fairly low e g 12 00 Experiment with all 6 filter types Caution self resonating filters can get very loud so it s best to turn the volume down first Especially the lower notes are slow to self resonate and a short impulse is often necessary to kickstart the resonance Patch an unused envelope into one of the filter inputs and pull all the sliders down to minimum except the Decay Adjust the Attack Decay and filter Gain for various flute sounds More cutoff modulation Both main filters allow four freely definable cutoff modulations but only if you use one filter at a time Try this Change filter 2 cutoff mode to Spread and connect whatever you
18. there it will crossfade smoothly between inputs 1 and 3 with complete separation at the extreme values Bipolar crossfade crossfade using a bipolar modulation source Using bipolar modulation signals for crossfading is less straightforward To get 100 separation at extreme values with e g an LFO set the lefthand knob to 50 00 and bridge the inputs via daisy chain as in the above image to double the level TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 30 MODULATION SEQUENCER Modulation Sequencer At the bottom right of Bazille s window is a panel containing a dial and 16 sliders It s a good old step sequencer isn t it Well not quite though it can be made to behave like one Divide A Rotate 4 the control sequencer with two of the outputs taps in use Bazille s sequencer is quite different from the usual step sequencer Firstly it is polyphonic i e each played note can trigger its own instance of the sequence Secondly it was conceived as a complex source of cyclic modulation so it doesn t trigger envelopes directly see the instructions on how to trigger envelopes Divide Time and Trigger The controls in the top left of the panel determine the speed and how the sequencer is triggered Divide The Divide knob accelerates the sequencer by dividing the Time by up to 16 Time Specifies a time base like in the LFOs but offering only the 1 1
19. 6 1 1 and 1s options Trigger This parameter specifies how sequences are triggered free the sequence is started at a somewhat random position for each played note SUNG aaa the sequence is synchronized to host tempo chords will be played lockstep gate the sequence is restarted for each played note broken chords remain broken TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 31 MODULATION SEQUENCER Snapshot Dial Rotate The large dial is the snapshot control center It combines several functions and indicators snapshot selectors 1 to 8 currently selected snapshot realtime snapshot position indicator snapshot position pointer snapshot position control rotation modulation input rotation modulation amount if socket used auto rotate speed if socket unused Clicking on one of the 8 snapshot selectors in the outer rim activates that snapshot for editing via the 16 sliders Double clicking on a snapshot selector also moves the current snapshot position Snapshot context menus Right click on a snapshot selector for the following CODY eane copies reads a snapshot paste pastes writes a previously copied snapshot interpolate fills in all snapshots between the right clicked one and the currently selected one interpolating the slider values gt means interpolate clockwise and means interpolate anti clockwise If you want to copy
20. Attack Softens the first few milliseconds of all envelopes in order to minimize clicks Depending on your envelope settings switching Soft Attack on can give your patch more punch TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 36 TWEAKS Tune Control The next panel specifies pitchbend ranges vibrato depth and global pitch PB up down Most MIDI keyboards include a performance control called a pitch bender often a centre sprung wheel which is used for bending the overall pitch up and down Bazille s PB up and down selectors specify the up and down ranges independently from O to 24 semitones In the MIDI amp MORE panel as well as in the modulation source menus for LFOs envelopes and mapping generators this control is called PitchW the W stands for wheel Vibrato LFO 1 Adjusts the amount that LFO pitch modulates all 4 oscillators For typical performed vibrato set the LFO1 amp modulation source to ModWhI and turn its depth up to maximum Transpose Fine The Transpose selector shifts the overall pitch in semitone steps with a range of 24 and the Fine knob adjusts it within a range of 1 semitone Note that neither Transpose nor Fine work in realtime i e during a note but only when the next note voice is played Glide This small panel controls portamento the slurring of pitch cutoff between consecutive notes GLIDE Amount Offset 2 k4 TO
21. C INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 15 OSCILLATORS Pitch Together the knobs labeled Tune and Modify control the oscillator s basic pitch Both have mode selectors that make the oscillators suitable for a wide variety of functions e g as FM operators undertone generators or even as host synchronized LFOs Tune A value between 0 00 and 24 00 the selector determines how this value is interpreted The first 3 modes are for generating regular notes as they automatically switch key follow on Semitone maximum 24 semitones above standard pitch Overtone the first 24 harmonics in the overtone series Note that octaves are not evenly spaced they are at precisely 1 00 3 00 7 00 and 15 00 Undertone the first 24 undertones often called subharmonics Again octaves arent evenly spaced but are at 1 00 3 00 7 00 and 15 00 For details about the undertone series go here http en wikipedia org wiki undertone series In the last two modes the oscillator frequency isn t affected by which MIDI notes you play as key follow is disabled Tip Whenever you need an LFO with plenty of modulation options use one of the main oscillators in Hertz or Clocked mode instead of a regular LFO Hertz 0 to 24Hz but can be greatly extended via multiply see modify below Note that the rate can be doubled depending on the PD and Fractalize settings Clo
22. C INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 37 TWEAKS Amount Offset 2 4 4 Amount sets the basic speed of the Glide for all oscillators and filters in fact anything that uses key follow Offset 2 amp 4 is added to even numbered oscillators and filters only as well as to the modulation source Key2 KeyFollow2 This means you can set up two different glide amounts depending on which modules you choose Here are a few examples To make the glide a bit faster for oscillator 2 than for oscillator 1 turn Amount up to e g 30 then turn Offset 2 amp 4 down to e g 15 To make the glide only apply to filter cutoff patch oscillators 1 and 3 into filter 2 turn glide Amount down to zero adjust Offset 2 amp 4 to e g 35 and set Key Follow in filter 2 to 100 Mode time the glide always takes the same time whatever the distance between notes rate the glide is proportionally longer when notes are further apart and shorter when they are closer together Range Glide strength a u he speciality Lower values shift the start of each glide closer to the target note which can cause unusual or subtle intonation effects Stack Voice Tuning Sets the pitch of each stacked voice within a range of 2 octaves For fine tuning hold down the SHIFT key before adjusting the knobs See the VOICE parameter Stack a few pages up Stacking and detuning voices against each other can be use
23. Center Vol Side Vol Level controls for the center tap and for the left right taps together HP LP These are separate cutoff controls for the highpass and lowpass filters within the feedback path For the damping effects typical of tape delays increase HP and decrease LP Feedback The amount of regeneration within the delay circuit 100 00 will give you an infinite loop if HP is set to minimum and LP to maximum well worth trying out Dry The level of the unprocessed signal TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 46 EFFECTS Spring Reverb And finally a spring reverb This is a highly unusual effect to be modeled in a synthesizer The idea was to offer a kind of reverb that was oddly suitable for Bazille sounds something that could add a special sheen not available in other synths Bazille s spring reverb emulates a typical dual spring system with junctions near the middle So here it is complete with shake effect Note that spring reverberation sounds very different from standard room or hall type reverb effects The distinct delay patterns result directly from the spring lengths and their nominal delay times 34ms amp 41ms here Also springs create frequency dependent dispersion as high frequencies travel for a longer time than low frequencies Tone A simple tilt type tone control from dark to bright You should try extreme values here although real sprin
24. ICEIGYA while To make a connection drag and drop between output and input sockets either direction should work Outputs will happily accommodate several cables while inputs will accept just one the previous connection is simply replaced nr As a rule you can t connect two inputs together but there s actually one exception Dragging a cable from an unused input to another that s already in use creates a daisy chain The source will be patched to both inputs Try it TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWK MAPS FX TRIX GLOSS 7 SYNTH OVERVIEW Here s what you can do by clicking on active sockets move inputs drag drop the input end to a different input socket duplicate cables shift drag the input end to create another cable from the same output move outputs right click on the output end drag drop onto a different output remove cables either double click the input end or drag drop away from the socket change cable colour Click repeatedly but slowly on the input end until the cable appears in the desired colour Take care not to double click as this will remove the cable change cable weight right click on any input socket whether used or not and select from the following options 4 thicknesses 4 transparency levels thick slim line hair solid see thru X ray ghosted MidiLearn MidiUnLearn Parameter locking Right clicking on any knob slid
25. N with velocity while zero and negative values are interpreted as GATE OFF without velocity As gates need to be closed as well as opened the ModSeq part of the pattern often needs to be set at least twice as fast as the rest See those tap speed factors in the image The speed factor of the section used for pitch modulation is set to 2 while in the gate velocity pattern it is only set to 1 twice as fast Tip to compensate for doubling the speed factor simply double the Divide value as well TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 34 TWEAKS Tweaks Overview This view combines what we call TWEAKS all parameters that wouldn t fit comfortably into the SYNTH panel with the final effects FX i e Distortion Delay Phaser and Spring Reverb the TWEAKS amp FX page Everything in the upper row has to do with voice allocation and or tuning with the oscilloscope Multicore and HQ switches retained from the SYNTH page in the middle In the second row down are two mapping generators surrounding a tool selection block The third row contains the extra envelope parameters filters 3 and 4 and two ramp generators The bottom row contains four effects panels with the effect configuration switches to the left The effects are described separately in the next chapter TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 35 TWEAKS Voice The top lefthand panel con
26. TRIX GLOSS 55 GLOSSARY Glossary ACE u he product A wireless modular synthesizer related to Bazille but simpler ADSR Traditional envelope generator with 4 stages Attack Decay Sustain Release aftertouch The most common term for either channel pressure or key pressure from a MIDI keyboard The latter is polyphonic but rarely implemented in MIDI keyboards amplitude The level of a signal analogue of a synthesizer Popular term for non digital attack ADSR Usually the first stage of an envelope where the level rises from zero to maximum In Zebra2 s envelopes the attack stage can be preceded by a delay or a non zero initial level can be set attenuate To reduce the amplitude bandpass BP filter Allows frequencies close to the cutoff point to pass through while attenuating higher and lower frequencies bandreject BR filter Allows all frequencies to pass through except those which are close to the cutoff point Often called a notch filter bipolar of a modulator Can output both positive and negative values for instance pitchbend or LFO See also unipolar BPM Beats Per Minute also a standard representation of song tempo See also Hertz C channel pressure see aftertouch cent Hundredth of a semitone cutoff of a filter The frequency that defines where within the audio spectrum the input signal will start to be attenuated or boosted See resonance D decay ADSR DC Direct current a static offset or very
27. XYZ ZebraCM u he product Non modular magware synthesizer based on Zebra 1 Zoyd see Rumblence Zoyd The Ead TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 59
28. ack sound then try different waveforms so many possibilities Triangles In the initialize patch Mapping Generator 1 is already a triangle wave Select the TapMap option instead of the default Cosine and turn the PD amount down to zero Open the mapping generator s context menu and experiment with the other preset map waveforms then try turning up PD and selecting different oscillator shapes When set to maximum Res II phase distortion is also a triangle wave However low notes can sound buzzy and even moderately high notes will seriously alias Other waveforms 1 tips by xh3rv First there s the classic FM method of turning the sine wave into a kind of sawtooth by having an operator phase modulate itself Perhaps more useful for Bazille is the wave you get by rectifying the oscillator s raw output before it goes to the phase modulation input Set the mode to PM Medium with a modulation depth 15 00 While you re at it you could also experiment with amplitude modulation feedback Connect the raw oscillator output to it s own volume modulation socket and try different modulation amounts All of which raises the question how about self fractalization Try negative values Other waveforms 2 tip by sendy Quirky filter Use a 128 step triangle as your TapMap wave Set the OSC 1 waves to Impulse and Res Ill and take its output volume to 50 Connect the oscillator s lower output to both filter 1 and the
29. atches and clicking on the patch name itself lets you select from all patches in the current directory Third while you are editing your patch it displays the parameter name and its value After about two seconds it reverts to showing the patch name again Undo redo To the right is a pair of buttons for Bazille s undo and redo functions which features a practically unlimited number of steps Caution the undo redo buffer is cleared as soon as you load a new patch Save See Save in the section about the preset browser two pages down MIDI To the left of this label is an indicator which flashes whenever MIDI data is received Output The main volume control and signal overload indicator glows red if you overload the output The u he badge Clicking on the u he badge at the top right opens a popup menu containing direct links to this user guide to our homepage to our support forum and to various social networks visit u he com user guide support forum u he on Twitter u he on Facebook u he on YouTube TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWK MAPS FX TRIX GLOSS 11 SYNTH OVERVIEW Multicore HQ To the left of the oscilloscope are two switches Multicore causes voices to be distributed across multiple CPU cores which usually allows more voices to be played simultaneously This works well on recent processors such as the Intel i5 and i7 but please note that performance can e
30. aves Map Smooth modulator values interpolated for smooth transitions Map Quantize modulator values no interpolation for more immediate transitions Alternate consecutive notes increment the index Note The two Map modes aren t active unless you define a modulation source Source The righthand selector specifies the modulator to be processed in one of the Map modes This setting is ignored in the Key and Alternate modes TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 39 TWEAKS Drawing and Selection To edit a map simply draw in the windows by clicking and dragging If you want to draw straight lines hold down ctrl Win or alt Mac beforehand To highlight a selection hold down the SHIFT key the functions see below are restricted to a selection if one exists To deselect everything either click in the background i e away from the selection or choose deselect from the selection sub menu of the context menu Context menu Right click on the Mapping Generator s edit window to open a long list of editing tools This feature is still very much under construction in future copy versions many of these options will appear in selectors or as buttons shapes D For the time being remember that shift is used for selection and alt Win cmd draw t or cmd Mac is for applying the selected draw option selection gt reverse copy paste copies t
31. azille s oscillators are more prone to aliasing than the oscillators in our other synths e g Diva Such artifacts are less noticeable than in the original hardware however and we believe that the compromise between CPU usage and aliasing is close to optimum TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 4 INTRODUCTION Resources File locations Mac Patches MacHD Library Audio Presets u he Bazille Preferences Library Application Support u he com u he Bazille files Windows Patches WstPlugins Bazille data Presets Bazille Preferences WstPlugins Bazille data Support txt files locations depend on paths chosen during installation Note Patch locations can be opened in system windows by right clicking in Bazille s browser and selecting reveal in Explorer Finder from the context menu u he online For downloads news articles and support go to the u he website e For lively discussions about u he products go to the u he forum e For friendship and informal news updates go to our facebook page e For u he presets payware and free go to u he patch library For video tutorials and more go to our youtube channel u he team e Urs Heckmann code concept strategy discipline Sascha Eversmeier more code but rather different Howard Scarr documentation sound design grump Rob Clifton Harvey heavy metal support tenacity Sebastian Greger
32. bit more sluggish than eco or fast Tip If you need to keep CPU usage down to an absolute minimum select the eco economy option TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWK MAPS FX TRIX GLOSS 12 PATCH BROWSER Patch Browser Bazille programs are called patches a term borrowed by the modular synth world from the 19th century telephone exchange Phone calls were manually connected patched using large socket matrices disconcertingly called switchboards Caution As the effects in Bazille can contribute considerably to the volume of a patch it is always a good idea to let the sound of one patch fade out before loading another Load To browse through the available patches in Bazille click on the PATCHES tab at the top left of Bazille s window Most of the GUI is suddenly replaced by a simple set of panes refresh un favourite selected mark selected as Junk create new folder reveal in Finder select al deselect show Junk reveal in Finder the folders and files areas showing both context menus via right click Folders are listed in the left pane with patches immediately to the right If Local is closed as in the above image click on it to open the list of folders and patches After having loaded a patch by clicking on one of the names you can use your computer s cursor keys to step through the others Note The User folder is only available in Mac OSX You can also step through patches directly
33. cked sync to host division factor 1 00 mean a whole note 4 00 a quarter note etc For technical reasons the synchronization isn t 100 perfect so you might have to retrigger the notes every now and again Modify A value between 50 00 and 50 00 Again the selector specifies how this is interpreted The Modify knob can affect oscillator tuning in one of four ways Cent detune by 100 cents each integer step is actually 2 cents SO PAA detune by 5 Hertz tuning is independent of the MIDI note Beats similar to 5 Hz but host synced e g 44 00 one extra cycle per quarter note Multiply multiply or divide by a constant e g 8 00 will divide the frequency by 8 All values between 1 00 and 0 01 are interpreted as 1 00 Tune modulation unlabeled The amount of pitch modulation from a signal connected to the socket Often called cross modulation when the modulator is also an audio rate oscillator The range of the modulation knob is selectable with the following options CE t 50x2 cents i e plus or minus a semitone 5 Semi 5 semitones 50 Semi 50 semitones TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 16 OSCILLATORS Phase FM Bazille s oscillators are capable of all kinds of FM sounds by plugging an audio frequency source into the phase modulation input FM synthesis is a bi
34. ctly the same you probably don t make sure that at least one oscillator s Phase mode is set to either random or catch PWM 3 tip by xh3rv This trick also uses a pair of oscillators but works by audio rate phase modulation i e FM Take a square wave and patch a sine of the same pitch into its phase modulation input Your pulse width control is the level of the sine wave which you can modulate with e g an LFO TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 49 TIPS amp TRICKS Wobbly teeth Yet another PWM type effect but this time for sawtooth e Load initialize e Restrict Map7 to 64 values create a ramp shape ramp then set it back to 128 values e Switch oscillator 1 shape from Cosine to TapMap1 Patch LFO2 to the PD socket set both the modulation amount and PD amount to 40 e Select LFO2 mode 1s and adjust the rate to taste Also try 2pulse PD instead of Saw To save an LFO you could try using a Ramp as modulation source instead Up 50 Hold 0 Down 50 Rest 0 As the Ramps are unipolar set the PD amount to 0 00 and PD modulation depth to about 80 You could even use a regular oscillator in Herz mode but a triangle as modulator for PWM is smoother than a sine Multiple squares tip by sendy Select 6 or 8 steps and create a multi cycle square wave by setting the values of alternate steps to minimum and maximum Apply phase distortion for a ringing guitar feedb
35. d to thicken up sounds or for creating one note chords The modulation source StackV can be used for any per voice offsets you like e g panning LFO or envelope rates cutoff there s plenty of room for creativity here Microtuning Bazille supports the widely used TUN format With a bit of searching you should find hundreds of tables online most of them free Put all your tun files into the following folder Windows _ Bazille data Tunefiles specifically for Bazille Mac OSX MacHD Library Application Support u he Tunefiles global for all u he plugins Clicking on the long selector opens a floating browser containing the TUN files you might have to refresh the list via right click first After selecting a microtuning file remember to switch it on TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 38 TWEAKS Mapping Generators Bazille s two mapping generators are lists that can hold up to 128 values They can be used either for processing modulation sources or as oscillator waveforms via the TapMap option MAPPING GENERATOR 1 Mode Alternate Source none MAPPING GENERATOR 2 node Map Smooth Source LFO1 Tri maps can have up to 128 steps and the drawing tools help you create custom shapes Mode The lefthand Mode selector specifies the basic function hey 128 MIDI notes like a programmable key follow Short maps will repeat e g use only 12 values for consistent offsets across all oct
36. divide the sequencer into shorter sections which can then be used to modulate different target parameters Each section can run at a different speed 4 tap speed factors The lengths of steps in each tap can be multiplied by setting this number higher than 1 Note that the speed factors of unused taps are simply ignored To compensate for doubling the speed factor you can also double the Divide value TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 33 MODULATION SEQUENCER How to Trigger Envelopes Although the sequencer was conceived primarily as a complex modulation source it would have been a shame not to have allowed it to trigger envelopes somehow here s how ModSeq The list of envelope Trigger options in the TWEAK 8 FX panels includes two ModSeq entries ModSeq1 means the leftmost used tap and ModSeq2 means the next used tap along The slider values are interpreted as gate on off with velocity Here s an example of how the sequencer could look while triggering envelopes to oscillator 3 pitch to e g lag generator used for pitch modulation gates velocities unused The first 8 values are controlling the pitch of an oscillator via the red cable and the blue cable is connected to a lag generator Connecting that second tap to something anything is necessary otherwise ModSeq2 remains undefined Gates and velocities When used for ModSeq positive values are interpreted as GATE O
37. dth is at 25 00 either positive or negative and is especially obvious if you turn the Feedback up Wet Controls the balance between the unprocessed and processed signal Sync Synchronizes the Phaser s LFO to the host tempo See also Phase below Rate Controls the modulation speed If Sync is switched on the value is measured in beats quarter notes so the rate gets slower as the value increases Example For one cycle every 3 bars in 4 4 time set Rate to 12 00 3 times 4 If Sync is switched off the rate gets faster as the value increases with a range of about once every 30 seconds up to about 5Hz Phase A static phase offset between 0 and 360 Used for positioning the curve of the phasing effect when the LFO is synchronized see Sync above TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 45 EFFECTS Delay A host synchronized stereo delay with tape wow and filtered feedback Center Right F F 7 Center Vol Side Vol Feedback Dry Left Center Right Delay times relative to host tempo separate for each stereo channel Precise integer values are semiquavers 16ths Center defines the overall Feedback time This is unusual it means that you can set a repeat rate without actually hearing that particular tap simply turn Center Vol down to zero Wow Emulates slow tape wobble ranging from subtle spacey to almost seasick
38. e Distortion PD is another method of skewing sine waves developed during the 1980s If you re interested in the technical details you could start by reading these articles http en wikipedia org wiki Phase distortion synthesis http en wikipedia org wiki Casio CZ synthesizers Whenever you start a fresh instance of Bazille the initialize patch is automatically loaded In this patch oscillator 1 is already connected to one of the outputs so you can at least hear a sound Oscillator 1 s PD knob is set to maximum resulting in a bright sawtooth like wave Try turning this all the way down for a pure sine wave then modulate the phase distortion amount by connecting e g envelope 2 to the socket and turning the amount up PD The PD knob controls the basic amount of phase distortion PD modulation unlabeled knob The bipolar knob on the left adjusts the modulation depth from a signal connected to the socket Wave selectors upper 2 selectors The selectors below the PD knob specify a pair of alternating see below non linear phase functions The first five modes Saw Square Impulse 2pulse Halfsaw are simple they need no explanation SQUARE In the three Res modes multiple sine waves are packed into one of 3 differently shaped windows The number of cycles in the window is controlled by IMPULSE ww RES 2 the PD parameter Here are two of the many possible combinations MN LO Aw Saw Square Impulse Res 2
39. e gives you two channels with pan controls the Output panels Parallel inputs Each output channel has two signal inputs which are summed together Like in the filters having dual inputs here saves the multiplex units for more worthy tasks Volume A level control with envelope selector Choose any of the envelope generators Env 7 to Env 4 or Gate a simple maximum sustain envelope with short attack and release Note that the ultimate volume control is actually the Output knob in the upper bar Pan Either the stereo pan position or pan modulation depth if a source other than none is selected TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 25 PROCESSORS Processors The panels below each LFO contain various signal processors which will accept any kind of input control or audio See the Processor tricks for practical examples The two processor panels with Sample amp Hold on the left Quantizer on the right Inverter Simply inverts the phase of the input signal Modulation wheels go down instead of up etc Rectifier Full wave rectification all negative values become positive Sample amp Hold Each time the Trigger signal passes through zero in the positive direction a sample is taken of the input signal and this voltage is held until the next trigger arrives Of course you should immediately patch noise to the input an LFO to the trigger and the output to eit
40. e how hard the output amp is driven Note that there is a final soft clipping stage which can create some extra distortion when turned up too high TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 43 EFFECTS Type Tube Class A Simulates a complete tube preamp Class A means a single vacuum tube with DC bias that creates odd and even harmonics Due to the asymmetry of the curve class A distortion sounds relatively warm Tube Class AB Simulates a preamp with a pair of tubes in a push pull configuration resulting in symmetrical distortion without any even harmonics Tube 2 Stages Simulates a preamp with two class A stages in series Like simple class A this also creates odd and even harmonics but the results are richer and more dynamic This mode applies internal filtering and feedback for more sonic complexity Note High gain settings will give you extra bass Hard Clip Simply chops the top and bottom off the waveform Rectify Full wave rectification the negative half wave becomes positive and DC is removed from the resulting waveform Foldback Foldback distortion is similar to soft clipping but increasing the gain doesn t slam the signal against the ceiling Listen out for strange intermodulation effects in this mode Pre Tilt A low and high shelving combination EQ is applied to the input and Pre Tilt
41. ed but not yet deleted K key follow modulator In Bazille MIDI note including Glide key pressure see aftertouch L lag processor Device used for smoothing control signals e g glide is lagged pitch legato No space between consecutive notes not retriggered LFO Low Frequency Oscillator usually remains below the audible range TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 57 GLOSSARY lowpass filter Allows frequencies below a cutoff point to pass through while removing higher frequencies M mode of a system A particular way of working selected from multiple options MIDI learn Assigning MIDI controllers to parameters by sending controller data Mixtur Trautonium Oscar Sala s instrument 1948 generates undertones external link mod wheel Modulation wheel the multi purpose left hand controller on a MIDI keyboard modulation Controlling a parameter from a modulator modulator Any control source used for modulation module Patchable unit within a modular synthesizer monophonic Able to deliver only one voice signal at a time More Feedback Machine MFM2 u he product 4 way matrix delay plugin NO oscillator Cyclic signal generator overload of a filter Distortion effect produced when the input level is too high P parameter Variable factor within a system paraphonic Polyphonic oscillators but monophonic filters envelopes per voice Non global instantiated for each note
42. eing received In each case Bazille behaves like several up to 16 mono synths set to the same sound The Max Voices setting in the TWEAKS VOICE panel still applies as voices can be stolen across multiple channels The Duo voice mode is not channel aware i e the MIDI channels are merged Single trigger type modulation sources listen to the channel used by the first played voice Caveat Implementing single triggers in a multichannel context is quite tricky we might have to spend some time working out how to improve this feature Poly pressure polyphonic aftertouch Bazille recognizes and reacts correctly to polyphonic aftertouch as long as it is received prior to any channel aftertouch data Note This also applies to multichannel MIDI see above TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWK MAPS FX TRIX GLOSS 10 SYNTH OVERVIEW The Control Bar Along the top is a bar containing page switches the data display plus a few global elements Page switches SYNTH To the left are three large buttons which select one of the following pages SANT AA patching access to all the most commonly used panels and parameters TWEAKS 8 FX filters 3 and 4 maps extra envelope settings global settings effects PATCHES EE the preset browser librarian The data display has several duties First it shows the name of the current patch Second clicking on the triangles to the left and right steps through p
43. elected and MidiLearn the knob fader you would like to use aS a general purpose fine control Note It doesn t matter which of Bazille s elements you right click to do this The 7 page options have not been implemented and should be ignored The next 4 options are used to specify the kind of harware you are using If in doubt select Continuous bit e Encoder 127 unipolar encoders e Encoder 64 bipolar encoders e Continuous 7bit 7 bit MIDI CC standard default e Continuous 14bit 14 bit MIDI CC Note that MIDI remote control is channel sensitive you can map up to 16 channels of any CC except Bank Select Hold or All Notes Off for a grand total of over 1 900 mappable controllers e Show MIDI pages not implemented ignore MIDI Specialities The following features are fairly niche Multichannel MIDI This feature supports a growing class of expressive performance instruments e g Haken Continuum Eigenharp Roli Seaboard Linnstrument that can send each note via a separate MIDI channel For Bazille to respond correctly your host application must be able to route multiple MIDI channels to a single instance of a plug in Each voice note will then react individually to the following performance controls Pitch bend Pressure aftertouch Modulation MIDI CC 01 Breath control MIDI CC 02 Expression pedal MIDI CC 11 The voice modes Poly Mono and Legato become practically identical while multichannel MIDI is b
44. enerating MIDI note messages which include Gate and Velocity most MIDI key boards also have a pitchbender PitchW and a general purpose modulation control ModW These two are usually implemented as a pair of wheels but some have joysticks touch ribbons etc instead More fully featured MIDI keyboards also send aftertouch i e channel pressure or poly pressure Press breath control Breath or expression pedal Xpress data Note You will also find these control sources in the menus for modulating LFOs envelopes and filter 2 3 parameters some of the names are bit longer in those lists KeyF 1 KeyF 2 Two multi purpose key follow modulation sources i e MIDI note number plus pitchbend and glide Bazille has two of these because you can set a glide rate offset for all even numbered modules and this is included in KeyF 2 For more details see Glide Note Bazille s pivot note is fixed at E3 i e MIDI note 64 Below this note KeyF 1 and KeyF 2 send negative values above it they send positive values TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 27 MIDI amp MORE Internal Control Sources The other control sources in the MIDI amp MORE panel are internally generated Random A single random value for each played voice 5V A constant voltage For instance you can use 5V to create DC offsets which can affect filter distortion characteristics or to push paramete
45. er or selector lets you Lock the parameter You can still adjust the value but it won t change when you switch presets To unlock again right click and untick Locked While the current implementation of parameter locking is useful for retaining e g Microtuning or Fine tuning while changing presets it is less suitable e g for sequencer values as locking these individually currently the only option means working with up to 8 x 16 128 locks TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWK MAPS FX TRIX GLOSS 8 GUI settings SYNTH OVERVIEW To open the GUI settings menu right click anywhere in the background e g on the wooden end cheeks which of course add some extra warmth to the Bazille sound The top options let you select one of various different skins there are two in the current version Selecting make default will cause fresh instances of Bazille to adopt the current GUI state Note that this feature may not work in certain host applications Original GearPorn make default 70 854 x 504 80 976 x 5 6 90 1098 x 648 100 1220 x 720 110 1342 x 792 120 1464 x 864 130 1586 x 935 140 1708 x 1008 150 1830 x 1080 160 1952 x 1152 170 2074 x 1224 180 2196 x 1296 190 2318 x 1368 200 2440 x 1440 Text Antialiasing Gamma Next is a long list of size options in percentages and pixels width x height Temporarily switching the GUI size to even large
46. f CV control voltage inputs anything you connect to a CV socket can modulate the LFOs envelopes mapping generators and extra filters Although most of the patching is achieved with virtual cables some parameters have a fixed set of modulation sources available in drop down menus See Selectors on the next page The MULTIPLEX panel In the centre of the lower area contains four identical multiplex units Unlike the simple multiples found in analogue modular systems they can be used as mixers ring modulators RM amplitude modulators AM and much more Owners of Bazille s little cousin ACE should be in familiar territory here At the bottom right is the mighty MODULATION SEQUENCER with which you can morph or step through up to 8 snapshots of 16 steps each splittable however you like via the 4 taps TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWK MAPS FX TRIX GLOSS 6 SYNTH OVERVIEW GUI Components This section is an introduction to the basic components of Bazille s GUI Knobs and sliders There are two types of controls unipolar and bipolar Unipolar knobs and sliders only allow positive values while the bipolar knobs and sliders allow negative values often within a range of 100 to 100 The image above shows the two oscillator tuning controls you should be able to recognize that the Tune knob is unipolar while the Modify knob is bipolar Note envelope sliders are unipolar sequencer slider
47. g reverb is normally quite flat but with few high frequencies Decay Controls the amount of natural damping occurring at both ends of the springs as well as at the junction in the middle Of course minimum Decay means maximum damping Drive Transducers are non linear devices so they can be overdriven Drive simulates the inherent non linearities of real spring reverb units Tension How tightly the springs are mounted in the reverb tank Looser springs oscillate at lower frequencies the sound is less dense and dispersed Conversely tighter springs oscillate at higher frequencies the sound is more dense and dispersed Width Stereo separation between the two springs physical differences between them become more apparent When Width is set to maximum the two spring systems are hard panned to the left and right channels The most faithful true spring reverb sound is monaural 0 width Dry Wet Separate volume controls for the untreated dry and processed wet signals Shake Simulates the thunder effect of knocking the unit the springs hit the metal walls of the tank TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 47 TIPS amp TRICKS Tips amp Tricks The next few pages are chock full of more or less useful programming techniques many of which were kindly supplied by early adopters of Bazille Several of them may seem too obvious while others are so twisted that they will
48. he current map to the clipboard or replaces the invert current map with a previously copied one You can use a copy paste to transfer maps between different patches gege normalize shapes draws a preset curve ramp triangle sine cosine root or pa ma quadric Note If the map is smaller than 128 see 2 128 ay below the chosen shape will be repeated to fill all 128 Quantise 4 alt cnd draw sets the draw mode to erase zero scale multiply shift Quantise 6 2D move or warp 2D bend To apply these functions Quantise 8 hold down the alt Win or cmd Mac key before clicking Pagaaraakay Quantise 16 in the edit window Quantis e 24 selection applies functions to the current selection invert shift left 2 shift right every 2nd 3rd 4th If nothing is currently 3 selected only the every options will appear in the menu reverse flips the current selection horizontally invert ul flips the current selection vertically randomize adds a random offset to all values in the current selection x soften interpolates between values to remove abrupt transitions e normalize expands vertically to minimum maximum straighten draws a straight line for the selection window bf resel sets all values in the map to zero e quantize 4 24 adjusts values to an equally spaced grid Tip Select 12 Lock here and use the map
49. hen click and drag them from the files area onto a different folder To deselect either click on a patch or choose deselect from the context menu See also Reveal in Finder Explorer above The MIDI Programs folder Local also contains a special folder called MIDI Programs which is initially empty If you put a bunch of patches up to 128 in there they will all be loaded into memory for performance reasons when the very first instance of Bazille starts Important Changes only take affect after you have restarted the host software unlike regular patches MIDI Program patches cannot be added removed or renamed on the fly Individual patches in MIDI Programs are selected via MIDI Program Change messages As they are accessed in alphabetical order it is a good idea to put a number at the beginning of each name e g 000 rest of name to 127 rest of name or similar Banks The MIDI Programs folder can contain up to 127 sub folders of 128 patches each and these are switchable via MIDI Bank Select messages 1 127 the MIDI Programs root folder is bank 0 The bank select message is CC 0 Send a Bank Select message first then a Program Change message TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 14 OSCILLATORS Oscillators Bazille is highly unusual for a modular synth Although the filters are traditional analogue models the oscillators are unashamedly digital They combine the tw
50. her oscillator pitch modulation or filter cutoff Lag Generators Similar to Glide the lag generators can be used for smoothing out any signal The attack A and release R knobs give you independent control over positive and negative transitions To familiarize yourself with these controls try processing a square LFO modulating oscillator pitch Then you could try using a lag generator as a primitive lowpass filter Each panel contains two lag generators with shared attack and release times Quantizer Signals are effectively forced towards discrete equally spaced voltages i e steps The central knob controls the number of those steps TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 26 MIDI amp MORE MIDI amp More At the bottom left of the SYNTH page is a panel containing nothing but sockets noise outputs CV inputs MIDI control sources internal control sources Noise Two differently coloured noise sources White is a full range random audio signal suitable for bright percussion or steam sounds etc Pink contains more low frequencies and is probably the better choice for wind wave effects or low frequency grunge Tip An absolute classic patch Noise Sample amp Hold triggered by LFO pitch or cutoff MIDI Control Sources The left half of the panel contains MIDI data output sockets Press Gate Velo PitchW ModW Breath Xpress As well as g
51. ide again Remember You can click on the links at the bottom of each page to jump between chapters TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 48 TIPS amp TRICKS For example presets that use the following techniques look in the Tips amp Tricks folder Oscillator Tricks DX type FM Load initialize and switch OSC 1 and OSC 2 Tune modes currently Semitone to Overtone Patch the lower OSC 2 output to OSC 1 phase modulation input PM Course and turn the amount up to about 50 You should hear a very bright digital wave Turn the PD knob in OSC 1 to minimum for a pure sine wave carrier the tone becomes less bright more hollow Patch envelope 2 into OSC 2 volume modulation input near where the two cables cross each other turn the knob up to about 50 and take the Volume all the way down In envelope 2 drag the sustain S slider all the way down and turn Velocity up to maximum The patch should sound a bit like a simple DX piano already Adjust the envelope release times R to taste Now experiment with different overtone relationships by adjusting Tune in both oscillators You could also try some tune modulation from an LFO or whatever Or create a second layer using oscillators envelopes 3 and 4 experiment Ponder this Bazille can do 8 operator FM by using all oscillators and self oscillating filters Sub oscillators It s very easy to add a phase locked sub oscillator
52. important without them it would be difficult to modulate more than one parameter at a time from e g an envelope generator or plug more than one or two audio signals into a filter As Bazille s output sockets can accommodate several cables the humble multiple underwent a serious redesign at u he emerging as something so flexible that we had to rename it MULTIPLEX output level 142 level 344 modulation input Here are a few examples of what you can do with a Multiplex Simple mixing attenuation The most obvious use of a multiplex is to mix up to four signals It acts like a regular 4 socket buffered multiple but with a level control for each pair and as many outputs as you like Ring modulation RM fade in Ring modulation as audio effect is traditionally used for bell like sounds robot voices etc In the above example the signal connected to input 1 is being ring modulated multiplied with the signal connected to the Mod modulation input Note Swapping the regular input signal with the Mod signal will make no audible difference Whenever a cable is connected to the Mod input the lefthand knob crossfades from the dry sum of inputs 1 and 2 to the RM signal In our example the lefthand knob is at maximum meaning that the output the red cable carries the ring modulated signal only The value of the righthand knob is irrelevant here as inputs 3 and 4 are not being used As RM is simple multiplicatio
53. l with a BP filtered inverted version of the same signal Frequencies within the band are removed from the original resulting in notch filtering The filter can t really make use of Gain or Resonance it isn t quite as versatile as a parametric EQ s notch but it looks like a fairly tight 24db attenuation at the cutoff point Comment by lectrixboogaloo Try an LP instead of the BP instant alternative HP filter HP bass boost A good old trick worth mentioning here A highpass filter can be used to boost low frequencies Set Cutoff to minimum Key Follow to maximum Resonance to about 30 then adjust the Cutoff Stacking Tricks Height You can make huge one finger chords by stacking a couple of voices after setting up simple chords with 3 or 4 oscillators Here s an example that sounds great with Stack 2 and Voice 2 detuning 7 00 Set the semitones as follows OSC 1 0 00 root OSC 2 17 00 perfect 5th OSC 3 15 00 minor 3rd OSC 4 22 00 minor 7th Width As mono or legato patches are unlikely to make excessive demands on your CPU it s always worth checking whether your mono legato patch sounds better with stacked voices than without Tip You can easily pan two voices apart by setting Alternate or StackVoice as the Pan source Depth Clever use of the Stack Voice modulator is key to making the most of Bazille s stacking feature Use it to pan voices apart to multiply LFO rates to shift cutoff or even the se
54. liar ADSR type i e they have the standard parameters Attack time Decay time Sustain level and Release time Of course there are a few interesting extras under the hood Rate Mod Overall speed modulation For instance if you select KeyFollow as modulation source and set a negative value the envelopes of the higher notes will be shorter typical of plucked acoustic instruments Note that envelopes can even modulate their own rates and amplitudes try using recursive modulation to create unusual envelope shapes Fall Rise This parameter causes the normally flat sustain stage to either fall negative values or rise positive values Values closer to the centre mean a slower rate Note There s a knob in the TWEAKS 8 FX page called F R Range which limits how far the sustain will fall or rise Amp Mod The amount that the envelope s output is modulated by a source chosen in the selector Velocity This knob scales the envelope level via MIDI velocity so lower velocities result in lower levels TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 24 OUTPUTS Outputs At the end of the synthesis chain there s always an amplifier unit otherwise you wouldn t hear anything In analogue synthesizers this is often a VCA Voltage Controlled Amplifier The output VCAs in polyphonic synths usually have dedicated envelopes while Bazille offers you a choice Even modular synths should be stereo so Bazill
55. like to the cutoff modulation sockets in the currently unused main filter If filter 2 is your unused one note that the extra control works in the opposite direction Confused Just try it and maybe read all about the cutoff modes again Filter Ping tip by justinJam Feed any impulse type signal pulse LFO gate short envelope into a filter with fairly low gain and the resonance set to just below self oscillation usually somewhere around 50 00 This can result in interesting tuned percussion sounds especially if you also modulate the cutoff with an audio signal Note the ping decay also depends on input gain and cutoff Filtering control signals Lowpass filters are basically audio rate lag processors with extras so there s nothing stopping you from using them to process control signals TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 51 TIPS amp TRICKS DC removal Try using a high pass filter to remove DC from modulation sources but remember that the HP filter inverts signals For an alternative using a lag generator see Processor Tricks below Filter FM Remember that you can also patch audio signals into the cutoff modulation sockets not only envelopes and LFOs etc You can even use the very same signal you are feeding into the filter or e g the bandpass BP output of the same filter Notch filter tip by xh3rv Try this for a polyphonic phasing effect Mix a dry signa
56. makes the distortion frequency dependent at zero the response remains flat Negative values tend to strengthen the bass and weaken the treble while positive values have the opposite effect Post Tilt Balances the tone after the distortion e g to compensate for Pre Tilt Center Freq Combined low and high shelf cutoff frequency control Post Filter Dual Band Shelf A simple corrective EQ a low shelf at 100Hz and a high shelf at 10kHz Guitar Cab 4x72 Emulates the frequency response of a certain popular speaker cabinet producing its typical mid range focussed sound Includes the peaks and troughs caused by cabinet resonance as well as close mic effects Low High In Dual Band Shelf mode they control the gains of the shelving filters In Guitar Cab 4x12 mode they set the amount of cabinet resonance i e bass response and speaker edge TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 44 EFFECTS Phaser Bazille s Phaser emulates two classic stomp boxes but also includes a host syncable motion LFO Feedback Stereo f to Type A Mod Rate Phase the Phaser with switchable type Type The Stoned option is pure but very trippy the Flanged option is highly resonant particularly dramatic when applied to very bright or noisy sounds Feedback Controls the degree of resonance Stereo A bipolar stereo width control With the Stoned type the maximum stereo wi
57. n this configuration can be used for fading signals in Whatever is connected to the lefthand inputs can be faded in by whatever is connected to the Mod input Try e g using the modulation wheel to FADE IN the amount of Ramp controlling oscillator pitch TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 29 MULTIPLEX Amplitude modulation AM fade out Another classic synthesizer effect like RM simply use inputs 3 and 4 instead of 1 and 2 In addition to the RM sidebands the AM output also contains the original signal but amplitude modulated of course The knob on the right crossfades from the original to the AM signal RM can be written as y a mod and AM as y a 1 mod In Bazille s multiplex however AM is actually y a 1 mod There s a good reason for that minus sign Like in RM the level of one signal is controlled by another but in this case it is inverted the minus symbol in y a 1 mod The upshot is that this configuration can be used for fading signals out Whatever you connect to the righthand inputs can be faded out by whatever you connect to the Mod input Try e g using modulation wheel to FADE OUT the amount of Ramp controlling oscillator pitch Unipolar crossfade crossfade using a unipolar modulation source In this example the modulation signal green controls the mix between inputs 1 and 3 If e g the modulation wheel is connected
58. o technologies that made digital synthesis affordable and analogue synths suddenly unfashionable in the 1980s FM frequency modulation more correctly phase modulation and PD phase distortion Also included is another unusual process we call Fractalize fractal resonance which can create very cutting sounds from tame waveforms with a similar result to the classic sync effect Bazille s oscillators are unique but the underlying technology means that they are more prone to aliasing than those in our other synths The amount is noticeably less than in the original hardware however and we believe the compromise between CPU usage and aliasing is close to optimum MODULATION INPUTS SECTIONS PITCH PITCH MODULATION PHASE FM PHASE MODULATION FM PHASE DISTORTION DEPTH MODULATION PHASE DISTORTION PD FRACTAL RESONANCE FRACTAL RESONANCE DEPTH MODULATION AM and OUTPUTS AMPLITUDE MODULATION 5 different types of modulation one for each of the 5 sections The main oscillators are very powerful signal generators which can even be used as LFOs as the frequency range starts at zero Hertz It can take a good while to get comfortable with them but that s the price we re prepared to pay for such flexibility right The oscillator panel has five distinct sections each with a modulation input The next few pages deal with each of these sections separately let s start at the top with PITCH TO
59. o that HOME stays clean Save your work often and rename patches after significant edits so you don t overwrite previous versions which just might turn out to be better Remove all the rubbish patches every now and again by right clicking on RUBBISH selecting Reveal in and moving the contents to the Trash Keeping it clean 2 Before calling your patch ultimate final and while you still understand the spaghetti you have just created it s a good idea to remove unused cables and even set unused parameters back to their defaults if you re so inclined Tidy patches are easier to understand and improve later Like in hardware modular systems there s no cure all for cable spaghetti If you have a choice connect neighbouring modules together in preference to more distant ones Re use modulators sending one modulation source to multiple destinations can make patches more rhythmically coherent and manageable For instance you could use an LFO s square for one modulation e g pitch its triangle for another e g cutoff highpass filtered lagged square for a third e g Fractalize and rectified triangle for a fourth e g oscillator volume Performance controls wheels pressure velocity modulating several parameters at the same time can make your patch react to your playing more like a real acoustic instrument Future reference Whenever a certain behaviour is unclear read the appropriate section of this user gu
60. parallel try mixing them together in a multiplex The Wave parameter affects all three waveforms at the same time TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 21 FILTERS Filters Bazille s filters have several properties normally associated with analogue hardware For instance they can be overdriven without getting too harsh Also close to where self oscillation starts about 50 to 55 there are surprising opportunities for weird and wonderful sound design Cutoff Resonance Resonance Key Follow LP18 BPG HP12 the main filter panel The cascade filter architecture lets you access several filter types in parallel like in some hardware synths In Bazille however all filter types are resonant and can even self oscillate Note All controls for filters 3 and 4 are in the TWEAKS 8 FX page Gain inputs Filter input level negative values as well as overdrive amount positive values Like the main OUTs each filter has two audio inputs Note Bazille s filters have not been tamed Cutoff Filter 1 Cutoff frequency is measured in semitones from 0 00 to 150 00 for a total range of about 12 octaves The modulation range is also 150 semitones Filter 2 Instead of a simple positive only cutoff filter 2 has a bipolar control with 3 modes Cutoff like filter 1 except that you can set cutoff below zero to be modulated upwards Offset
61. ppen to apply both at the same time It works by using one of the two modulation sources to crossfade between the other source and itself In this example Pressure is not only connected to one of the 4 regular inputs but also to the Mod socket red pressure green mod wheel Sequencer Tricks See also How to Trigger Envelopes Precise pitches When you are using the sequencer for conventionally tuned patterns getting all the steps tuned correctly can be tricky at best and downright tedious at worst The following method already mentioned in the chapter about the sequencer ensures that you only need to integers Set the pitch modulation amount in the oscillators to 50 00 and only use even integer values for each step of the sequencer simply double the transposition you want A few examples minor third 3 semitones 6 00 major third 4 semitones 8 00 fourth 5 semitones 10 00 fifth 7 semitones 14 00 octave 12 semitones 24 00 octave fifth 19 semitones 38 00 etc TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 54 TIPS amp TRICKS Jump rotation two snapshots only Rotation is normally smooth but if you want to jump automatically between two snapshots it s probably easiest to use a Ramp generator as a square wave source of synchronized rotation unlike LFOs ramps are unipolar so rotation is positive only If the ramp mode is set to 4 4 sync you can
62. ps MapGen bit crusher tip by 3ee Choose a TapMap waveform in your oscillator set the PD value to minimum right click the map and select shapes triangle for example Right click again and select quantise 8 enjoy your 8 bit triangle wave Also try make unipolar then Quantize 4 instead If you wish to bit crush the regular waves select the cosine instead of the triangle Processor Tricks Quantizer bit crusher tip by 3ee As well as making control rate signals steppy the Quantizer can also be used as a bit crusher effect for audio signals Use low values but note that 1 00 will generally result in silence Quantizer octave transpose The Quantizer can be used to keep oscillator pitches within a certain range across the entire keyboard here s how Connect KeyF 7 to the Quantizer set the quantization to 4 00 Connect the Quantizer to a frequency modulation input set to 50 semi mode with amount 48 00 An octave transposition will occur every 16 semitones Invert Lag DC removal As an alternative to high pass filtering you can remove the DC direct current component from a control signal by mixing the original signal with an inverted and lag processed version of itself Double triangle Rectifying a triangle wave doubles the frequency but doesn t alter the shape Smoother when faster tricks by 3ee If you want your LFO modulation to be smoother and shallower as you increase the speed send the LFO e g squa
63. quencer s Rotate value is the mind boggling already Mapping Tricks 2 step maps Even tiny maps can be useful For instance if you want the output of your modulation wheel to suddenly jump in the middle of its throw set 2 steps switch the mode to Map Quantize and the source to ModWhl If you want offsets in a two voice stack e g for panning set the mode to Alternate no source is required and the two map values to maximum and minimum For three voice stack offsets however you will need to set the source to StackVoice TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 52 TIPS amp TRICKS 12 step maps For key offsets which are the same in any octave select Key mode and a 12 step map 128 step maps This is the maximum map size and is usually the best choice for smooth or complex shapes But even 128 is not the limit 256 step map trick by tasmodia The clou is to toggle between two complete maps using a square wave LFO It s complicated Set both maps to Map Quantize mode assuming you want steps and the sources to LFO7 Tri Turn LFO1 Wave to maximum for a rising saw which will scan through both maps Connect the maps to the left and right inputs of a multiplex Now inject a unipolar square see Multiplex Tricks below from LFO2 into the Mod input of the multiplex Set LFO2 speed to exactly half that of LFO1 the output of that multiplex will alternate between the two ma
64. r Tricks Multiplex Tricks Sequencer Tricks More Experiments Glossary 29 31 31 32 33 34 35 35 36 37 37 38 38 39 41 42 42 43 43 43 45 46 47 AS 48 49 51 51 52 52 53 54 54 55 56 INTRODUCTION Introduction To follow this user guide it helps if you already know a thing or two about patching modular synths as well as FM and PD phase distortion synthesis If you have any questions the interwebs can t answer please feel free to post a message in our user forum at KVR Installation Go to the Bazille product page at u he com download the appropriate installer for MacOSX or Windows and unzip the compressed file Open the Bazille nnnn folder and start the installer app The only demo restriction is a crackling that occurs at irregular intervals after about two minutes of use the demo is otherwise fully functional The crackles disappear after you have entered a serial number For more information please refer to the ReadMe file included with the installer About CPU usage Bazille is rather demanding Monophonic presets without voice stacking should be no problem even on older computers If your computer is fairly new use the Multicore option which distributes voices evenly between the CPU cores as well as the HQ higher quality option About the oscillators Due to inherent limitations of the synthesis technology B
65. r than your screen area can be useful e g if you need the best possible precision while editing the Mapping Generators brighter bright neutral dark darker Text Antialiasing switches the smoothing of labels and values on or off Normally left on Use the options in the Gamma sub menu to adjust the overall brightness MIDI Learn Bazille can be remote controlled automated via MIDI messages from a hardware controller unit or from your sequencer program Right click any knob to open a menu containing MidiLearn and MidiUnLearn If you ever have problems with parameters magically resetting themselves the usual reason is an accidental MIDI learn Find the offending control right click and MidiUnLearn it TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWK MAPS FX TRIX GLOSS SYNTH OVERVIEW MIDI Controllers Right click on the data display to see this sub menu The MIDI Controllers options specify what kind of hardware Bazille should expect the next time a control is MIDI learned Important The current implementation should be considered legacy at best e none practically MidiLearn Off prevents accidental MIDI learns e normal full range standard e integer whole numbers only e fine between nearest integers in 0 01 steps e octaves integer steps of 12 e semitone semitones cents between octaves fineSelected same as fine but always controls the most recently selected element Switch to fineS
66. rewave through a Lag Generator and experiment with the attack and release values A similar trick also works for audio signals Keep the attack and or release values low anything above 2 00 is probably too high Such a primitive lowpass filter is good enough to tame the higher frequencies of signals used as modulators for e g FM or fractal resonance TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 53 TIPS amp TRICKS Multiplex Tricks See the multiplex section of this manual for some less exotic uses Unipolar LFO tip by tasmodia Patch the LFO and 5V into the same side of a multiplex Extra inverter tip by urs If you have already used up both inverters but still have a free multiplex try this Connect 5v to the Mod input and the signal you want to invert to one of the righthand inputs Multiplex gain tip by justingam To boost weaker signals try feeding the output of a multiplex back into one side with the signal you want to boost connected to the other side Be careful with the feedback level as things can get out of control very suddenly Half wave rectification tip by justingam Mixing a rectified signal 50 50 with the original gives you the top half of the wave only Tip Half wave rectifyied sine can sound like a mellow organ Balancing two modulators This trick lets you e g add vibrato via mod wheel and pressure but without increasing the vibrato depth when you ha
67. rs beyond their normal ranges Stack Voice A modulation source derived from the voice number within a stack Identical with 5V when Stack is set to 1 5V and 5V when Stack is set to 2 and 5V OV 5V when Stack is set to 3 This simplicity ends with settings of 4 and above although the limits will always be 5V and 5V Alt Flips alternates between 5V and 5V for each successive note Map 1 Map 2 See Mapping Generators in the TWEAKS amp FX page Ramp 1 Ramp 2 Additional simple envelopes LFOs See Ramp Generators in the TWEAKS 8 FX page CV Inputs Although control rate modulation targets LFO and envelope rates levels pan would normally only accept control rate sources Bazille includes a pair of inputs that inject any signal you like into the modulation source drop down menus The CV inputs are particularly useful for pre processed e g added multiplied lagged etc control rate sources but patching audio rate signals into a CV can also lead to interesting results Please keep in mind that the CV path is updated much more slowly than audio rate TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 28 MULTIPLEX Multiplex The little multiple modules you can find in most analogue modular systems are simple mix split devices often just four sockets bridged together As most modular synths have a very limited number of inputs and outputs per module multiples are very
68. ry this Expand the map to 32 steps edit the values make unipolar and Quantize 8 Set Rotate to 8 00 After trying the modulation wheel select LFO2 Tri as your map source Slow LFO 2 down to 8 1 If it needs to be slower change the rate to 1 00 2 00 etc and set its Wave parameter to maximum The sequence should repeat after jumping 32 times Jump rotation sequencer section You can even use a section of the sequencer itself as a source of rotation For an example check out the preset HS Berlin Beauty the section set to 8 beats is connected to the Rotate input AS you can imagine this technique can and probably will get crazy complicated if snapshots have different patterns in the section that is used for rotation Wave sequencing tip by kcd1961 The sequencer can be used to cycle between signals e g oscillators Open the example patch Wave Sequencing and study the multiplex panel The first tap switches between the left and right inputs of the upper mupltipex units while the second tap toggles between their outputs More Experiments Distortion as EQ As long as you keep the input level low you can use the Distortion as a fairly clean equalizer Negative cutoff For extra punchy filter envelopes take the cutoff below zero first by connecting 5V to a cutoff modulation input remember that the main filters have up to 4 cutoff mod inputs TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX
69. s are bipolar All knobs and sliders allow the following e Coarse control Click hold with the left mouse button then drag up or down e Fine control For 0 01 steps hold down one of the SHIFT keys beforehand e Mouse wheel If your mouse has a scroll wheel you can hover over the knob slider and roll the wheel For finer control hold down a SHIFT key If your mouse wheel has clicks i e is rastered right click on any knob and activate the MouseWheel is rastered option e Reset to default value Double clicking a knob reverts to a useful default value often zero MidiLearn Right click any control and select MidiLearn from the context menu Moving any knob slider on a connected hardware MIDI controller will create a link after which you can remote control that parameter To remove the link again right click and select MidiUnLearn Note Accidental MidiLearn is the number one reason for false bug reports at u he If values are being reset for no apparent reason try MidiUnLearn before contacting us thanks Selectors The orange on black text fields contain a list of options Note that v Cutoff some of them also serve as labels for the accompanying knob Offset Click on a selector to open the list or roll your mouse wheel to scroll Spread through the options Sockets and cables Bazille s modules are connected together patched using virtual cables The sge sockets are colour coded MINTUEE
70. t of a misnomer as this technology was actually based on phase modulation see Wiki articles about FM synthesis and Yamaha DX7 Phase The righthand knob adjusts the basic phase position i e where in its cycle the waveform will start whenever a note is played The range is usually 720 i e 2 cycles but this is reduced to 360 when different waves are combined the pitch drops an octave The value of Phase is irrelevant when the mode is set to Free as in the above image The oscillators in most analogue synths are free running i e the phase is never reset Because the oscillators in digital synths aren t computed until a note is played otherwise the CPU would be busy computing inaudible sounds the initial phase needs to be defined random Resets the oscillator to a random phase each time a note is played Resets to the value of Phase each time a note is played so that all notes will start with the same phase if Phase isn t being modulated Ca Each oscillator gets its phase from where the most recent voice left off for a better free running effect despite voice rotation round robin Phase modulation with mode selector The bipolar knob on the left adjusts the amount of phase modulation or frequency modulation depending on the modes from a signal connected to the socket Connect another audio rate oscillator here for classic FM sounds both should be sine waves The first 3 options are
71. tains five options that affect how each voice is created VOICE Mode poly polyphonic MONO monophonic each new note retriggers the envelopes legato like Mono but doesn t retrigger until a space is left between consecutive notes duo duophonic oscillators 1 and 3 are lowest Priority 2 and 4 are highest priority Priority Note This parameter only applies to Mono and Legato modes it is otherwise ignored last plays the most recent note typical of digitally controlled synths lowest plays the lowest note most classic USA mono synths highest plays the highest note EMS most classic Japanese mono synths Max Voices Sets the maximum number 2 16 of voices before note stealing occurs Mainly used to guard against audio glitches while playing CPU intensive patches Note that in practice the maximum number of playable voices is less when the amp envelopes have longer release times and or if you are stacking multiple voices Stack Sets the number of unison voices In Poly mode higher Stack values will not only seriously reduce maximum polyphony but will also eat your CPU for breakfast For how to make effective use of this feature see stack voice tuning and especially the stacking tricks Drift While Drift is switched on all voices are slightly detuned against each other resulting in less static sounding chords and or stack Soft
72. take a good while to understand Note most of the tricks have corresponding example presets you will find in the Tips amp Tricks folder But first some advice General Tips Less CPU Although classic modular synths are single voice Bazille offers up to 16 at the same time Go easy on your CPU use legato or mono mode TWEAKS 8 FX VOICE Mode unless you really need polyphony or set Voices to only 4 if that s enough Keeping the maximum polyphony low also means you can set longer envelope release times without overtaxing your system Try switching Multicore on If the CPU usage doesn t drop at least a bit switch it off again Experiment It s all too easy to limit your options by basing too many patches on typical fixed architecture synth signal flow Three LFO wobbled oscillators into a filter or two with envelopes modulating the cutoffs isn t really pushing Bazille into new territory Bazille is a true modular synthesizer it begs you to connect an almost self resonating bandpass filter into an oscillator s phase modulation input use that oscillator to modulate the resonance while a sampled amp held triangle wave from a pressure driven mapping generator modulates the rate of an LFO multiplied with the oscillator s output Or something Keeping it clean 1 Create a HOME folder for all your experiments save initialize into that folder and a RUBBISH folder into which you can drag and drop failed versions s
73. th control Outputs Filters 1 and 2 have six outputs each all of which can be used at the same time LP24 24dB per octave 4 pole lowpass LP12 12dB per octave 2 pole lowpass LPO aa 6dB per octave 1 pole lowpass LP18 18dB per octave 3 pole lowpass BP6 6dB per octave 1 pole bandpass HP72 12dB per octave 2 pole highpass with low shelf via Gain note that HP12 inverts the signal Filters 3 and 4 are only slightly simpler than the other two The differences are They only have LP18 BP6 and HP12 outputs resonance can t be modulated and the cutoff modulation sources are limited to what you see in the MIDI 4 MORE panel minus noise plus LFOs and envelopes Also everything except the sockets are in the TWEAKS 8 FX page go there To control filter 3 or 4 cutoff from anything that s not in the list e g the sequencer patch it into one of the CV sockets and select that CV as modulator TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 23 ENVELOPES Envelopes Bazille has 4 identical envelope generators that can be selected as amp envelope in the output modules and or connected to any parameter that can be modulated To reduce clutter in the SYNTH page those controls we thought the user would adjust less often while sculpting a sound towards perfection have been relegated to the TWEAKS 8 FX page ADSR Bazille s envelopes are based on the fami
74. the signal stays at maximum for a period set by Hold followed by is the release time Down Rest is the time before the ramp repeats If Rest is set to maximum the ramp is a one shot envelope it will never repeat set 99 99 if you want the Ramp to repeat after the same time as 100 Hold Clock Mode sets the Ramp values either to seconds or to host sync factors 1 4 or 4 4 TOC INTRO PATCH OSC LFO FILT ENV PROC MIDI MULT SEQ TWEAK MAPS FX TRIX GLOSS 42 EFFECTS Effects At the bottom of the TWEAKS 8 FX page are four effect panels DISTORTION DELAY PHASER and SPRING REVERB FX Control The block at the far left is used for switching and re ordering the individual effects Click to switch on bright or off dark click and drag up or down to reorder the effects Distortion Bazille s Distortion unit creates traditional tube as well as transistor type saturation It can emulate a complete guitar amp including the speaker cabinet Tip You can use the Distortion effect as a fairly clean EQ if you keep the input level down DISTORTION input Output Type Ed A PreTilt CenterFreq Post Tilt Low High the Distortion panel The basic signal flow is input amp pre tilt filter distortion post tilt filter post filters output amp Input Sets the gain decibels at the input and therefore how hard the input amp is driven Output Sets the gain at the output and therefor
75. uhe BAZILLE MODULAR PD amp FM SYNTHESIZER USER GUIDE VERSION 1 0 U HE HECKMANN AUDIO GMBH e BERLIN Q Q G6 6 6 6 e Introduction Maala AAAH E APP Synth Overview GUI Components a GUI dl e AA Na a MB MR RE MIDI Eeer ET The Control Baf aaaannannnannnunnnunnnnnnnnnnnnnnnnnnnrnnnnnnrrnnnrnnrrnnrnnne Multicore HQ aaananennnnennonnnnnnnnnnnnnnnnnnnnnnnnnnnrnnnnrnnrnnnnrnernrnne SGN OS CO AA ANAN Patch Browser Oscillators Fractal HReeonance nananana annann nnnnnnnnnnnnn nrnna nnana a nann nnnnn UL LFOs Filters Envelopes Outputs Processors NENG cases carseat nee oregano E E REG Sample amp Hold Bebe e Quantizer llann nnn annann nannan nananana annann anaana a nanaon aonane kankan a nann MIDI amp More Internal Control Sources Nt Elie EE d q Multiplex Modulation Sequencer Divide Time and Trigger Snapshot Dial Rotate Snapshot Values How to Trigger Envelopes Tweaks Overview Stack Voice Tuning Microtuning pp Mapping Generators Envelope Extras Filters 3 and 4 Ramp Generators Effects FX Control Distortion c cccececeeeeees Phaser EE Tips amp Tricks General Tips Oscillator Tricks Bopen Filter Tricks EE Stacking Tricks Mapping Tricks Processo
76. ven be reduced if your CPU is older There may be some unpredictable interaction with multi threaded hosts but we haven t had any problems so far HQ switches various algorithms to higher quality versions at the expense of more CPU usage Note There s no particular reason why these two elements were put inside the oscilloscope panel except that there wasn t enough room in the control bar where they arguably belong The Multicore and HQ switches are in the oscilloscope panel Oscilloscope Oscilloscopes were always very useful tools for synthesizer sound design and that s a good enough reason to include one in Bazille You can check and adjust waveforms monitor the effects of audio rate modulation or filtering view envelope shapes etcetera Or just watch it purely for the entertainment value The oscilloscope shows a mono sum of the output pre effects The trigger is synchronized to MIDI notes as well as to zero crossings and is also updated whenever a longer scan finishes As synchronization is automatic Bazille s oscilloscope needs very few controls The Frequency knob adjusts horizontal resolution and Scale adjusts vertical resolution Note Perfect synchronization is not always possible try playing a different note eco fast glow fire wind Right clicking in the oscilloscope window lets you switch the drawing mode glow fire and wind add different fade out effects at the cost of extra CPU These modes are also a
77. wser Refresh Whenever you need to refresh the list which is always necessary after folders or patches have been added or moved using Explorer Finder right click in the folder list and select the first entry from the menu Note that clicking on any folder name will also refresh the list Create new folder Does exactly that creates a new folder Reveal in Finder Explorer Bazille s browser is used mainly for loading patches and is otherwise fairly limited Right click and select Reveal in Finder Mac or Reveal in Explorer Win Selecting Reveal in opens a system window for the current folder so you can use the regular OS file functions instead Always Refresh see above after making changes to the contents of any Bazille folders On open expand to The submenu contains options which govern how deeply the browser will open subdirectories whenever the GUI is opened or the Refresh function see above is applied Note The branch containing the current patch will always be opened Favourite or Junk Right clicking on a patch in the browser will open a context menu in which you can classify patches as Favourite or Junk Junked files will disappear immediately but can be made visible again by selecting show Junk from the same context menu Selection drag amp drop Files can be moved from one folder to another via drag amp drop Use the SHIFT etc keys on your computer keyboard to highlight the files you want to move t

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