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1. 24 24 24s 245 default value 0 This setting is used to transpose the pitch of Oscillator 1 and 2 over a range of 4 octaves Of course this affects the pitch of the whole instrument Note Low high octave settings in combination with extreme tune settings for Oscillator 2 may produce pitches outside the hearing range 10 osc mod env on off m env O 1 default value 0 Turn Off the effect of the Modulation Envelope While this is the same as setting Modulation Envelope Amount to its central position this method is simply quicker 1 On This is a simple type of envelope only comprising Attack Decay and Amount controls Therefore it is called an AD envelope In effect the AD envelope behaves like an ADSR envelope with Sustain set to zero This type of envelope often with amount and inversion controls is suitable when you want to affect the start of the sound only The difference between the way this envelope works Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 28 compared to the other is that it will start over from zero each time you press a new key regardless of which value it had when you released the key Level Amount gt Attack Decay time time 11 osc mod env amount O 127 64 63 default value 64 This is used to set to what degree the Modulation Envelope should aff
2. 1 On This is used to hard sync the LFO to the tempo of the song 68 Ifo1 key sync sync N gd o Off With the Key Sync Off the LFO wave is continuous so that subtle differences will occur even when you play the same note repeatedly The phase angle at which the LFO begins oscillation is carried over smoothly from the preceding note er key e 1 On In this mode LFO begins at the same start point of the wave cycle each time you play a note Note Depending on the other voice settings sometimes you may not be able to hear much difference between the Off and On setting gt v1 05 O 1 default value 0 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 65 58 lfo2 on off O 1 default value 1 The same description as for the LFO1 ID 57 46 Ifo2 destination 1 7 default value 5 CEE 1 osc2 CES 2 05c18 2 AS 3 filter E A amp TABS 5 p w CA 6 FM E 7 pan The same description as for the LFO1 ID 41 47 Ifo2 type O 5 default value 1 D o saw B triangle sinc i 2 square E 3 random s amp h an 4 random smoothed The same description as for the LFO1 ID 42 Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 66 48 Ifo2 speed 0 127 default value 64 The same
3. 81 effect unit rm ph4 78 effect type O 9 default value 0 2 0 o a 4 1 Analog Distortion 1 EE Analog Distortion 2 DEN us Digital Distortion deci 3 deci Bit Crusher Decimator EN Ring Mod AM comp 5 comp Compressor NN pr One stage Phaser EB gt pr Two stages Phaser GER pr Four stages Phaser EN on Six stages Phaser 79 effect controll 80 effect control2 81 effect level mix O 127 default value 64 O 127 default value 64 O 127 default value 64 dist amount dist amount dist amount sample rate mod freq comp depth LFO depth LFO depth LFO depth LFO depth o LPF cut off LPF cut off LPF cut off bit depth none attack time LFO freq LFO freq LFO freq LFO freq Page 53 leve level level level mix mix level feedback 0 64 feedback 0 64 feedback 0 64 feedback 0 64 Note The level and the mix are different while the level will mute the whole instrument when it is set to zero basically it acts like main volume the mix will adjust the dry wet amount Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 54 Voice poly mono legato poly pa rtamento unison auto num det phase sprd pitch 38 play mode type O
4. osc2 tune osc2 kbd track osc mix osc sync osc ring modulation osc key shift osc mod env on off osc mod env amount osc mod env attack osc mod env decay filter type filter attack filter decay filter sustain filter release filter freq filter resonance filter amount filter kbd track filter saturation filter velocity switch amp attack amp decay amp sustain amp release amp gain amp velocity sens arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate 1 09 1 10 osc1 shape osc2 shape osc2 pitch osc2 fine tune osc2 kbd track osc mix OSC2 sync OSC2 ring modulation osc pulse width osc key shift osc mod env on off osc mod env amount osc mod env attack osc mod env decay filter type filter attack filter decay filter sustain filter release filter freq filter resonance filter amount 1 11 osc1 shape osc2 shape osc2 pitch osc2 fine tune osc2 kbd track Osc mix osc2 sync osc2 ring modulation osc pulse width osc key shift osc mod env on off osc mod env amount osc mod env attack osc mod env decay filter type filter attack filter decay filter sustain filter release filter freq filter resonance filter amount Page 13 1 12 osc1 shape osc2 shape osc2 pitch osc2 fine tune osc2 kbd track osc mix OSC2 sync OSC2 ring modulation osc pulse width osc key
5. regardless of a pulse width parameter Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 75 e The saw wave was changed from rising type to the descent type e To operate the suboscillator effectively it changed e The amplitude value by O phases changed from O to 1 e The accuracy of the envelope of Amplifier has been improved e The limiter algorithm of Filter is changed and the noise has been improved only a little e The performance of OSC1 at eight unisons has been improved a little e System requirements e It did not operate in CPU that did not support SSE2 e tseemsto cause the expansion of the source code when keeping supporting it any further To our regret it was assumed operation off the subject e The error message is displayed in the upper part of the panel when operating with CPU that doesn t correspond and the sound is not generated e Small improvement and change of GUI e Apart of objection of the parameter name was corrected e The patch selection window etc were shut with the escape key e BugFix e Problem of operation of sustaining pedal Problem that old FM setting value remained at voice trigger Problem that loudness at unison has changed in old version Problem that gain knob of Amplifier did not occasionally work Problem that patch change with program change spin button was not made good after it writes it in another bank Problem with thing
6. y c Or effect ctl1 unison ph shift effect ctl2 unison sprd osc pitch ampgain unison det effectctld unison pitch egfreqg Tarn 0ate osc p w fol speed osc ph shift egq Jo depth filter A fo2 speed pan lfo2 depth d Ta O 1 dela Iter R delay sprd Iter frc Iter res delay tone filter sat chorus time filter trk gt v1 09 1 98 default value 44 me oscp w T This is a list of 52 parameters that can be assigned to controlled using the Control Source WM IG AND IG NN SIS NN CET o IX EH EEC CLEN CL os CET os CSTE o UL TN NN CGU CNN o EA 1 UI CHE DN BH gt Ul mw gt gt filterstrk Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 60 ETICO gt CLL CO gt 7 ECT gt amp gain gt o effect ctl ppyeffect ct Fiqeffect level CECEN CONN SENSN ECN so pan so OPALO OPEIN gt ESC O ss delay d w os chorus time _Epychorus depth s S rate _Fygchorus fdbk ss chorus level ss porta time EF unison det Fequnison ph shifyqunison sprd_Fygunison pitch By UE gt uU NN gt MOMO o ESTA so 88 midi ctrl src2 gt v1 09 45057 57344 default value 45057 The same description as for the src1 ID 86 51 midi ctrl sens2 O 127 100 410096 default value 74 The same description as for the sens1 ID 50 89 midi ctrl assi
7. 31 BUY serie EU o A A EA A E 32 TPB TUN CT OG ae T E E EE E E EE 32 ET AL ACK ANON EE E E mmm 34 o Po e o O 5 34 N ESU e SUS CQ TTT 34 o E A 34 o o A e o o A 34 ZO TILER se eT OO aaa 35 ii Ta keii AA o E A oo E 36 Rl d aste b ie ico 37 232 TINGE SAG Ura e sasncereadscpecancadassantsamevanauecetiondscpesanendassantsapevanauacetiondecpesaneedastentsamevasauecetonseapecaneedass 37 PA TREVI CIO GWEC TTT 38 e o eee ee coe ee MIU UM 39 25 BImp A e o e Eo e O NU UI NU M I 40 PvE AA O A REED T m 40 KE Tun SUSU TI ev ipse em E ded dU NEIN dane MM dU MOVIE MEI Md NE 41 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synthi1 Virtual Analog v1 12 2010 5 23 Page 4 25 AMP TICO On a ie adas 41 ADSR EV CIO DEN OF Fasa en 42 SER Cal Os 43 50 amp VCO CICS INS ENTE ETE ETE 43 hiuc 44 59 Te SLO Di OH osse mte taU EPOR TI OE IINE PIU 44 E as cos A e O ORO O II d Dn step PPP UH ENS 44 SZ APSE lator OCC Nerds 45 33 arpeggiator s 45 OA Sra Ol Pale nro E E EEE ieee tees sectiies 45 Tompo DOI rato 46 O EN o e po AP e e ke neem oeen tenes 46 A A o en AA 46 A A A A A 47 BS edelav time SP leas 47 30 eUe Conroe 47 O q Poo IE UEM DIM NEN M 47 2x dela WE doi tornei cn A UIN o o o PO O OE E I Eur I od Ae 47 Cliorus 7 PONE sentadas 48 66 chorus on off RII 48 ACNE E E E E EEA EN E 48 SPARSE Te A E Me AE OT NE E E pdas 49 eNO O U e EE 49 DA
8. 74 73 93 75 84 85 92 40 86 50 87 88 51 89 57 41 42 43 44 67 68 58 46 47 48 49 69 70 Page 17 Synth1 Virtual Analog v1 12 2010 5 23 Page 18 Voice Parameters Panel Reference The descriptions below are presented in a sequence that follows the Synth1 voice file sy1 parameters order This includes the chapters from Name Color and Version to LFO Name Color and Version name default value initial sound This is the first voice parameter its name color gt v1 05 default value color default LI color red Lo color blue C color green C color yellow L color magenta L color cyan Eo color default Since the version 1 05 Synth1 provides the option to choose the color for each voice in preset browser version gt v1 05 default value ver 112 This parameter is saved automatically with the voice Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 19 oscillators DE TO TAE IL det FM R h Doct loct Loa rin SYNC d d y key shift pitch fine so NE ED mix p w FM phase tune The Oscillator is the only thing in a synthesizer that actually produces any sound all the other modules only shape the sound Oscillators are the basis of sound generation in subtractive synthesis Synth1 includes two primary oscillators and one sub oscillator each with various m
9. Green d3d8d2 Light Grey d9d1a1 Light Tan a9d9a8 Puke Green 695948 Dark Copper 391283 Bright Dark Blue 991522 Nord Red1 981129 Nord Red2 229919 Gator Green 448155 OLD Green 373681 Dark Blue Copyright O 2010 by Daichi All rights reserved This document is a private copy Page 71 Synth1 Virtual Analog v1 12 2010 5 23 MIDI LIU EIO EIS Parameter asc detune osc FM asc sub gain asc sub shape asc sub octave ose shape osc sync ose ring modulation osc kbd track osc pitch ascz fine tune asc mad env on off osc mad env attack ose mad env decay E n TES Tamam Pa m mk a Pa d au Page 72 Receive Message Receive Bank Select Recelve Program Change Control Change Map Midi CCA Learn Made Click OPT button while holding the Shift key Cancel Receive Message Normally the program will change when a MIDI bank select or program change message is received You can tell Synth1 to ignore these messages so that no program change occurs Control Change Map Since the version 1 06 Nord Lead 2 CC map is available Please use the Load button to load it To create your own maps select the desired parameter type in the CC number and click the Update button When done click Save to store your map Please note that the CC number must be unique for each parameter You can t control two or more parameters with one CC MIDI CC Learn Mode See the Common Settings Shift opt desc
10. LFO o saw This creates a Ramp which can be used for example for auto repeats when applied to the filter A 1 triangle aM sine These are suitable for normal vibrato effects sweep effects and for classic pulse width modulation mn 2 square This is a waveform for abrupt modulation changes suitable for trills distinct tremolos etc E 3 random s amp h This adds stepped random modulation to the destination This is mainly useful for effect sounds an 4 random smoothed This adds smooth random modulation to the destination This is mainly useful for effect sounds 43 Ifo1 speed O 127 default value 64 This is used to set the Frequency of the LFO in other words the Speed of the modulation Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 64 44 lfo1 depth amt O 127 default value 0 This is used to set to what extent the signal from the LFO should be routed to the destination In other words this parameter determines the Amount of modulation Turn the amt knob to the right for more pronounced vibrato tremolo wah wah 67 Ifo1 tempo sync sync mE O Off In this mode the LFO is not synced to the sequencer host tempo On the other hand using this setting and unusual Speed values can lead to interesting rhythmic effects gt v1 05 O 1 default value 0 sync tempo
11. delete this file Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 11 Basic Operation Panel size and color For ease of operation you can change the size of the user interface panel up to 250 as well as the background and text color These options are accessed via the opt button in the bottom of the panel gt Panel Size Color Customize f you change the panel size please close and reopen the window once In some host applications the panel does not change until you have reopened the song file Knobs When you left click a knob a slider appears for manipulation Minute adjustments can also be made by using the mouse wheel To close the slider right click it or perform a left click in a different place Changing programs In the lower part of the panel there is a LCD which displays the program name Click it to open an overview of banks programs Left click the desired program to select it Right click to cancel Outline About subtractive synthesis Subtractive synthesis is one of the oldest and most widely spread forms of synthesizing sounds It is the method employed in such classics as the Moog synthesizers the Sequential Prophet 5 and 10 Arp synthesizers most Oberheim synthesizers the Roland Jupiter models the TB 303 etc the list is practically endless Even new digital instruments such as workstations and sample playback dev
12. eg re sae ato ecient seat E 11 Basic ODGI CIO Nemesis 11 Paner e UNO COMO m 11 A E E HP 11 Changing OVO OCIS sentencia disieploia iento gis 11 eUapt OY 11 About subtractive synthesis x ee e eee 11 The DUMOIRO DIOEKS as 11 Parameters ID StrUcCtUTe m 13 Parameters ID Order in Voice File occiso 16 Voice Parameters Panel Reference 18 Name Color and Version eee eee 18 12T we o A o 18 qo ec Ro II A III In E 18 o o A 18 OS CI AA Em E E E ANTE E E O 19 SES eas ES te o E oo AA 19 Q Eo Wr IN M 21 TOS CL COU UNS TRI TT T TE TT 22 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 3 Uo en o E o A 22 LOC DIN ais 23 A o A II E E 24 C Re dos h aie AA E e E O EET 24 A e e o A 0 A 24 OS 25 P 0Sc2 TIME MOULO space ero cristo puristas dot 26 Be OSC PUSO WIN iii 27 A e oi o AA 27 so A 27 LOSE MOG T Te T rss T 28 12056 MOG Rens see ra east 28 Kae Tee o IA 28 Fae MO DES aa ia rias 29 ES ARA De DUE DIM eevee 30 TOSCO Se Sil Deae reas 30 OSG SUD Cdn e e PP MERI IN MEM MEMINI UEM DIM MEME 31 LE o Po UII oU NU SEM MIS 31 SPO eea U T oo A A E A O A E
13. of the set up information was changed from the Windows registry to the ini file e The event that the set up information was not preserved on 64bit OS or it was not possible to refer occurred think this event to be ameliorable e Therefore when the setting of existing Synth1 is succeeded it is necessary to execute set succession tool reg2ini exe e The reference The ini file is APPDATA Daichi Synth synth1 ini e GUI e The method of selecting the bank in the patch selection window corresponding an external bank was changed to the tree view form e Memo readme txt of each bank folder was confirmed and it preserved it in the patch selection window e t was able to be set whether to use a transparent window on the patch selection screen etc by an optional dialog e Sound Engine e High pass Low pass filter was added to Delay s feedback loop e BugFix e Problem that slider was displayed in LCD parts at setting that doesn t use slider window Ver1 11 2010 5 9 e Sound Engine e The sub oscillator was added e The same pitch as oscillator1 or one octave under can be selected When OSC1 is eight multiple unison the suboscillator becomes similar too FM modulation also influences the suboscillator as well as OSC1 The suboscillator doesn t influence the AM modulation When the amount of the suboscillator is raised the entire volume is automatically adjusted not to grow e The wave pulse of the suboscillator always becomes a square wave
14. shift osc mod env on off osc mod env amount osc mod env attack osc mod env decay filter type filter attack filter decay filter sustain filter release filter freq filter resonance filter amount filter kbd track filter kbd track filter kbd track filter saturation filter velocity switch amp attack amp decay amp sustain amp release amp gain amp velocity sens arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate filter saturation filter velocity switch amp attack amp decay amp sustain amp release amp gain amp velocity sens arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate All rights reserved This document is a private copy filter saturation filter velocity switch amp attack amp decay amp sustain amp release amp gain amp velocity sens arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate Synth1 Virtual Analog 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 delay time delay time delay time delay time v1 12 2010 5 23 delay time delay time delay time Page 14 delay time delay feedback delay feedback delay feedback delay feedback delay feedback delay feedback delay feedback delay feedback play mode play mode type type play m
15. way to the left zero value the phase is not fixed many real analog synths have the same drift or difference of the phase To hear the changes in effect after each change in value you should press the key again Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 31 95 osc1 sub gain gt v1 11 O 127 default value 0 This is used to adjust the gain of the Sub oscillator When the level of the Sub oscillator is raised the main volume is automatically adjusted to stay unchanged with the volume of Oscillator 1 proportionally lowered Notes e FM modulation also affects the Sub oscillator as well as the Oscillator 1 e In Unison mode the Sub oscillator is also multiplied like the Oscillator 1 e The Sub oscillator does not influence the AM modulation 96 osc1 sub shape Au I A IL gt v1 11 O 3 default value 1 O sine 1 triangle 2 saw The first three waveform alternatives for Sub oscillator are identical to the corresponding waveforms of Oscillator 1 see above 3 pulse The Pulse wave of the Sub oscillator is always a Square wave regardless of a p w parameter 97 osc1 sub octave gt v1 11 O 1 default value 1 O Ooct The Sub oscillator retains the same pitch as the Oscillator 1 1 1oct The pitch of the Sub oscillator is one octave under the pitch of the Oscillator 1 Copyright O 2
16. 010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 32 A D 5 R amt all a all all a L Ve frg res sat trk The Filter is the most important section for transforming the frequency response and shaping the overall timbre of the sound It is used to remove or emphasize frequencies in a spectrum A filter is a bit like an amplifier that is applied differently to different parts of the spectrum For example a filter might make low frequencies louder while at the same time making high frequencies weaker 14 filter type O 3 default value 1 Note Clavia Nord Lead 2 X has two more filter types Notch LP regular and Notch HP super secret To emulate this filter types on Synth1 you can try to use LP12 or HP12 filter types in combination with Equalizer Level 33 Q 127 Freq level of the Filter Frequency MIA o LP12 LP stands for Low pass A Low pass filter lets low frequencies pass and cuts out higher frequencies Exactly which frequencies get cut out is determined by the Filter Frequency setting and various other controls as described below In the 12dB Low pass mode the filter has a gentle roll off curve 12dB 2poles This mode leaves more harmonics than the 24dB variation discussed below This type of filter has been used in various Oberheim synthesizers and others It is the most common synthesizer filter since it can be used to round o
17. 127 default value 40 Use this parameter to adjust the Level of the Chorus Flanger unit The levl knob set to zero acts like turning off the effect Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 50 Equalizer Pan ualizer Pan freg leva a tone I R This is a classic Parametric Equalizer capable of making much more precise adjustments to the sound than the other less complex equalizers like Graphic Equalizer 60 equalizer tone tone O 127 default value 64 This is used to set the cut off of the Low pass High pass filter Turn the tone knob to the left to reduce the higher frequencies high cut Turn it right to reduce the lower frequencies low cut For every voice other than the kick drum and bass guitar types you will find that the slight moving of the tone knob to the right can be very useful In a mix low frequencies fast becoming muddy so it is important to be aware of this fact and keep your voices sparkling 61 equalizer freq freq 0 127 50Hz 16KHz default value 64 With this parameter you can define where the center of the Equalizer Frequency range will be 62 equalizer level level 0 127 25 2dB 24 8dB default value 64 This allows you to adjust the Level of Equalization You can either boost a frequency or attenuate it However just because you can boost doesn t mean you ne
18. 2 default value 0 The Play Mode is used for deciding exactly how your keyboard playing should be interpreted by the synthesizer 2M O poly This mode allows you to play chords BET 1 mono This makes the instrument monophonic But if you press a key without releasing the previous one the envelopes are still retriggered like when you release all keys and then press a new one Furthermore if you press a key hold it press a new key and then release it the first note is also retriggered 2 legato This also makes the instrument monophonic Furthermore if you press a key without releasing the previous one the pitch will change but the envelopes will not retrigger That is there will be no new attack 94 polyphony gt v1 09 1 32 default value 16 This determines how many notes you can play simultaneously in Poly mode Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 55 39 portament time po rtamento O 127 default value 0 This is used to set how long it should take for the pitch to slide from one pitch to the next If you don t want any Portamento at all set this knob to zero 74 portament auto mode auto gt v1 06 O 1 default value 0 When Auto is activated LED is lit the pitch only slides if you play legato that is if you play a new key before releasing the previous one The effect of Auto Po
19. 2010 72 3 nro acacia 77 ET E A E 77 Vert O7 Deta 2006 326 1 esa 77 ver Lo Val Oia 2 200510 Leia 77 WEEL OF7 lpha 200510 1 ar A 78 VerL 05 12005 T 78 E E Gs ea 00 b K renner tee rmrerrer tence rnc ery at nee terre er ren Ter cn rec ery rere terre rte Terr enc rty a frre rene rr 79 gm NEL LER 80 US eb 2007 51 80 verto 12D02 107238 on E 80 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 7 verl OP 12002 10 27 t calas 80 A S DO A 80 ver LO 2007 MIOR T PP e A II sacnnetneteescaneseeecneeeoaereent 81 SUPPONE e c 82 Ha o A AEE N Ann A A o AI A 82 Ao d PR mmm 82 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 8 Introduction to Synth1 Synth1 is VST 2 0 compatible software synthesizer plug in for computer music use v1 12 2010 5 dest osc2 FM U 00 ON type range 77 updown loct beat u 2oc down uut A tempo key random 4oct gate ase sprd pi tch led 2x virtual an nord lead TO Functionally Synth1 is modeled after the Clavia Nord Lead 2X the famous Red Synth Incredibly well Synth1 reflects the character of this instrument but also brings many new featu
20. 6 37 37 35 35 56 54 54 64 64 66 66 83 83 60 55 55 52 52 64 64 36 36 61 56 56 53 53 52 52 37 98 62 60 60 54 54 53 53 66 37 63 61 61 55 55 54 54 64 66 Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog 38 39 40 50 51 57 41 42 43 44 58 46 47 48 49 Copyright O 2010 by Daichi All rights reserved This document is a private copy 62 63 38 39 40 50 51 57 41 42 43 44 67 68 58 46 47 48 49 69 70 v1 12 2010 5 23 62 63 38 39 74 40 73 50 51 57 41 42 43 44 67 68 58 46 47 48 49 69 70 56 60 61 62 63 90 77 78 79 80 81 38 39 74 40 73 75 50 51 57 41 42 43 44 67 68 58 46 47 48 49 69 70 56 60 61 62 63 90 77 78 79 80 81 38 39 74 40 73 75 84 85 50 51 57 41 42 43 44 67 68 58 46 47 48 49 69 70 55 56 60 61 62 63 90 77 78 79 80 81 38 94 39 74 73 93 75 84 85 92 40 86 50 87 88 51 89 57 41 42 43 44 67 68 58 46 47 48 49 69 70 55 56 60 61 62 63 90 77 78 79 80 81 38 94 39 74 73 93 75 84 85 92 40 86 50 87 88 51 89 57 41 42 43 44 67 68 58 46 47 48 49 69 70 52 53 54 55 56 60 61 62 63 90 77 78 79 80 81 38 94 39 74 73 93 75 84 85 92 40 86 50 87 88 51 89 57 41 42 43 44 67 68 58 46 47 48 49 69 70 64 52 53 54 55 56 60 61 62 63 90 77 78 79 80 81 38 94 39
21. 62 Brass1 94 Sweep pad 3 126 Machine Gun 31 Dist Guitar 63 SvnBrass1 127 LaserGun 32 Harmo Guitar 64 SvnBrass2 96 Liaht brass 128 Explosion Synth1 s Factory Bank tries to simulate a GM set by referring to a SC 88 Pro Alas the first half of the presets did not turned out so well Although some of the presets could come in handy they are included more as a reference The unique sounds from 81 upwards might be more useful If you like YMO try loading program 98 and playing the high IV major chord from Behind the Mask Web Resources Free Synth1 Banks There are literally thousands of free Synth1 presets from across the net However it might be better not to waste too much time the sooner you focus on your own sound creations the quicker you become more familiar with the instrument And therein lies the real pleasure Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 74 Version History Ver1 12 2010 5 23 e t corresponded to an external bank ZIP file e tcame to be able to read the ZIP file that compressed the sy1 file e t comes to be able to select it from the patch selection window of Synth1 only by putting the zip file on the external bank folder default is zipbank e Two or more folders can be included in one zip file with the hierarchy e tis not possible to write it in an external bank It is only for reading e The preservation place
22. 64 7 Oe A EIA 64 A EE e o E E E 64 DS pT tada 65 AG ree ans eT erre 65 E e O E O A o oo 65 A E tto RMEemPuM iru UU 66 a9 02 88 DI enu omm E e o E MEINEM UU EN 66 69 1102 TS sle SNC S OO OO OE SR 66 FO E ep CES E PET E EE E EE S A T A A A E 66 Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 6 COMMON SEINES caia IO 67 The prodam Manage netas ida 67 ae 67 A 67 FAN Um E A E E E E A E E E 67 jg 68 o M 68 E RES T u m 68 OPIO E E E EE E 69 lt A E ne oo A 69 oe Pata FOST AU tdt 69 E 70 TEXT CONOS 9 A 71 AP o 72 RECeIve uns cgt 72 Cono CIOE ea 72 IVT ACC LEUTO MOUE serepan a E EE E E E E ERE E 72 POSO Ss econo UT m E E ia ro canas 73 ACTON SOUS ntc D 73 Web Resources Free SyntAl Banks nit aiaaoidaa 73 VESTIO TC ca RM EDU Um 74 Uie Ka 12010523 PET n 74 CA e ii sucotsr ee E S 74 NSU Oi 2010 A ro e UE E o 75 Uie s OTO AAA PPP O II NI 76 VEFL0G
23. A NOU T Ee E UU IA 49 o o o Se A E E E E E E E E E E E 49 e A ccc ceaacercncrsecaaetenensteesaeeecieaaee lt ndssacauetenestoiascauciieeyeaaneanitsacvaeteseadansearcuecteaaneaeieareeseencnasant 49 E ui PP A 50 50 eUT T TONO np 50 A de PP O o A HC eee 50 62 eQuUalzer E erre 50 AAPP oO SI o IIA 51 O 51 EOC 52 TF CISCO OIE CR a iaa 52 FEES aree last T E teres T ees 53 Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 5 VOICE 54 39 PNA HOO DO madeira odas 54 A no MIT UE pH PM IU 54 39 OMA Cie Mr oia 55 Za portaret auto modas 55 a A o wat 55 ca e E DUET TERT 56 A II T MT 56 g4 unison pan E Te ag ates ara nsausvebac nad Erene n TEs AAE Aea a EEES 56 SIUN ON elite a TT 56 S PASSIO cio ga I II Tm 57 Wheel IDT ias 58 AO DIG DCM Gl MASS EN AP PP o TT 58 S0 TMIOL Cuca 58 SRI eui RT 59 o AA T Rm 59 85 MIO CSC Z A 60 A ng llo Eo ug Es y 19 60 A e o Uo ssi n buq M d eq qu I uq I SSM dS O EN DIE 60 Hlc p 61 BF SOs I Oth iO PI caesar cacti tadestuneedaueanete coeds 61 5 R o A 62 A yq o o A 63 AA A A 63 ea LO NO 0 s y POP o gy OU CO OO
24. Delay also uses two mono delays but the dry signal is fed into just one of them The output of delay1 then feeds the input of delay2 which feeds back delay1 to create extra repeats Copyright O 2010 by Daichi All rights reserved This document is a private copy Synthi Virtual Analog v1 12 2010 5 23 Page 47 35 delay time time O 19 0 1ms 1note default value 8 The Delay Time ranges from 0 1ms ultra short and then from 1 32 note triplets to a whole note 83 delay time spread gt v1 07 O 127 0 100ms 100 0ms default value 66 This parameter is used to determine the time of the delay processed sound shifting between the left and the right channel 36 delay feedback Fdbk O 127 default value 40 Delay Feedback Level is used to feed the echoes back into the input for multiple repeats The higher parameter value produces the greater number of repeats With certain delay time settings higher Delay Feedback settings can also produce reverb like qualities 98 delay tone gt v1 12 0 127 default value 64 Effectively this parameter behaves like a High pass Low pass filter used to determine the Delay s Tone Moving the tone knob to the left will result in a high cut moving it to the right will produce a low cut of the wet signal 37 delay dry wet O 127 096 10096 default value 20 With d w knob you can adjust the balance between the original signal and the delay pr
25. Ichiro Toda s Oscillators v1 12 2010 5 os sub h A 1 EE gt ctil ctl level Wm S R gainvel E det FM Doct loct 9 ring sync key shift L Pinal mix p w ink FM dst A D S R amt l 1 a a i i 4 i ve frq res sat trk 1 Arpeggiator Equalizer Pan freq leve a tone L R type LP12 LP24 HP12 mr l Bp12 Chorus Flanger timedephrate fdbk lev ON DEST updown Up down random oscl 2 range g filter amp p w FM pan wheel MIDI EMIT ant sync tempo key poly mono loct beat T legato ZocE gt iust NN doct gate ant sync tempo key poly portamento unison auto num det phase sprd pitch Synth1 v1 12 unofficial User Manual Compiled by Zoran Nikolic 2011 zoranikol gmail com Synth1 Virtual Analog v1 12 2010 5 23 Page 2 Table of Contents WONG or C OM EN MEE m 2 Introduction to SYMA erno E aaa 8 Operational Environment and Limitations ooccccnccncnnnnnnncnnnnccnnnancnnannnononnnncnnnnccnonannonannnnnss 9 Sor o 010 20 a 9 COMPANIES RORIS 9 Compatible HOST asco TT 9 PUCE E A na 9 Sample Presence oops 9 o A e 9 Installation and Uninstallation oooooooonnncnnnnnnnonnnnocnnnnonononononoornnnnnnnnnononaornnnnnnnnnonanannnnss 10 Ie A OM O O E O ieee 10 ACASO d the rst IHE US lt n ne ne e M en eee ne ee 10 Transmion TO The NOW e urna 10 Esi S FAW AP LE A e O oo 10 A e A tes atte
26. amount filter type filter attack filter sustain filter freq filter resonance filter velocity switch amp attack arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate Copyright 2010 by Daichi v1 12 2010 5 23 Parameters ID Structure 1 06 osc1 shape osc2 shape osc2 pitch osc2 tune osc2 kbd track osc mix osc sync osc ring modulation osc pulse width osc key shift osc mod env on off osc mod env amount osc mod env attack filter type filter attack filter sustain filter freq filter resonance filter saturation filter velocity switch amp attack amp sustain amp gain amp velocity sens arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate 1 07 osc1 shape osc2 shape osc2 pitch osc2 tune osc2 kbd track osc mix osc sync osc ring modulation osc pulse width osc pulse width osc key shift osc mod env on off osc mod env amount osc mod env attack filter type filter attack filter sustain filter release filter freq filter resonance filter amount filter kbd track filter kbd track filter kbd track filter kbd track filter saturation filter velocity switch amp attack amp decay amp sustain amp release amp gain amp velocity sens arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate 1 08 osc1 shape osc2 shape osc2 pitch
27. arameters to control direction range speed and note length of the arpeggio 59 arpeggiator on off ue 0 o of ON 1 On This indicates that Arpeggiator is On If you now for example take a chord and hold the keys depressed the notes in the chord will be played back repeatedly one after the other 31 arpeggiator type 1 4 default value 1 Select in which direction the arpeggio should run 1 updown In this mode the keys pressed on the keyboard will be played one after the other from bottom to top and downwards BIET uo The notes will be played one after the other from bottom to top Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 45 MEET 3 down The notes will be played one after the other from top to bottom 4 random In this mode Synth1 will create random arpeggios from the chords you play on the keyboard This means that the notes in the chord are played back one at a time but in random order and in random octaves if the Arpeggiator Octave Range is greater than 1 32 arpeggiator oct range O 3 default value 0 AR O 1oct 1 2oct 2 3oct 3 4oct This is used to set the Arpeggiator Octave Range as the panel indicates 33 arpeggiator beat O 18 1note 32 3note default value 11 This control adjusts the speed of the arpeggio It can be varied from a whole note t
28. at all is that it s the same series of frequencies that are synced repeated over and over In a traditional analog system this function wouldn t work since the noise is totally random Please note that the noise is not affected by LFOs Modulation Envelope or e g Modulation Wheel even when these have Oscillator 2 selected as modulation destination Amplitude M Ful 1h om MNT Amplitude H Frequency Non synched white noise contains all frequencies at equal levels Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 23 Amplitude sync oscillator Amplitude Formant peaks static synched noise Frequency The synched noise repeats itselfeach time Synched noise produces a special type of digital the sync oscillator starts a new period waveforms with static body resonance char acteristics Amplitude sync oscillator at higher pitch Ampiitide DP oP EP GG Amplitude Formant peaks static synched Wy Mk L by MM L M A Time noise aaa aaa tal m m Frequency Here the noise signal is the same as before Synched noise at higher pitch As you can see only now the sync oscillator has higher pitch the formant peaks are the same even tough the pitch is higher 2 osc2 pitch O 127 60s 60s default value 64 This setting is used to adjust the tuning of Oscillator 2 relative to Oscillator 1 The setting is
29. cessarily should in most cases it is better to pull down the frequencies When you increase a frequency the plug in has to create extra sounds that weren t there before When you attenuate you re just reducing a part of the existing sound so it stays more natural and realistic Bear in mind that it is always a good idea to try the subtractive approach first Please note that the middle position of the level knob indicates that there is no equalizing Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 51 63 equalizer Q O 127 default value 64 Set the Q curve bandwidth of the Equalizer Turning the Q knob left will flatten widen the curve so it will pretty well encompass more of the spectrum Turning it right will make the curve steeper narrower so it will affect a smaller range of frequencies When cutting a frequency it is best to make it narrow higher Q and a bit deeper if you are boosting it than it is better for a bandwidth to be wider low Q but shallower in other words use the Equalizer Level sparingly If you have some problematic frequencies in your voice or frequencies conflicting with other instruments you should probably try this method e Set the Q knob and the level knob to their maximum value e Perform a sweep along the spectrum until the problem sound becomes prominent e Reduce the gain and change the Q to a satisf
30. cillator 2 since it is mainly this that is affected by the timbre changes Turning the Oscillator 2 pitch knob will change the timbre much as with FM However with Ring Modulation this will a so affect the pitch of the sound This means that activating Ring Modulation may result in a sound with a completely different pitch than the normal sounds To check this use the ocs2 pitch knob watch for the octave LED indicator the octave settings will not retain the perfect interval so if you want the pitch to be perfect you must adjust it manually When Ring Modulation is activated you cannot use the FM knob Copyright 2010 by Daichi All rights reserved This document is a private copy Synthi Virtual Analog v1 12 2010 5 23 Page 27 8 osc pulse width O 127 default value 64 This function only has any effect if Pulse wave is selected for any of the Oscillators or both It adjusts the Pulse Width of the Pulse waves There s only one Pulse Width setting and it is common for both Oscillators e When you turn the knob all the way to the right you get a perfect Square wave which has a characteristic hollow quality e When you turn the knob to the left the sound gets progressively thinner Please note that the Pulse Width can be modulated by LFOs Modulation Envelope and the Modulation Wheel for example This creates a sweeping chorus like effect suitable for pads and string sounds 9 osc key shift key shift
31. copy Synth1 Virtual Analog v1 12 2010 5 23 Page 62 41 Ifo1 destination 1 7 default value 2 This is used to set which parameter the LFO should affect MIER 1 0sc2 This routes the LFO to the pitch of Oscillator 2 only This can for example be used together with Sync to create a pulsating change in timbre 2 osci amp 2 This routes the LFO to the frequency of both Oscillators in equal amounts Together with the Triangle waveform this creates traditional vibrato 3 filter This routes the LFO to the Filter Frequency This can for example be used for wah wah effects Triangle wave and for auto repeating sounds Sawtooth wave EE amp When this is selected LFO produces a wave routed to the volume for tremolo effects 5 p w This routes the output of the LFO to the Pulse Width of both Oscillators For this to have any effect Pulse wave must of course be selected for at least one of the Oscillators This destination can be used with an LFO Triangle waveform to create a chorus like sound suitable for strings and pads 6 FM This routes the LFO to the FM Amount for special timbre changes 7 pan This routes the LFO to the Pan for special Pan effects Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 63 42 Ifo1 type O 5 default value 1 This button is used to select the shape of the output from the
32. definitely much more subtle and otherworldly than pronounced and natural as the Flanger tends to be Phaser can be defined as a linear filter which modulates the frequencies of a set which contains the limited number of non uniformly spaced notches This definition typically excludes such devices where the all pass section is a delay line like Flanger for example The number of all pass filters usually called stages varies from one to six This determines the number of notches in the sound affecting its general character Additionally the output can be fed back to the input for a more intense sound creating a resonant effect by emphasizing frequencies between notches This involves feeding the output of the all pass filter chain back to the input Note that the peaks between the notches are sharper when there s feedback giving a distinct sound e Ring Mod AM effect can produce complex bell like inharmonic sounds It has a built in Oscillator that is multiplied with the input signal to produce the effect The ring modulated output contains added frequencies generated by the sum and the difference of two signals frequencies e Compressor has depth attack and level controls It is simple but surprisingly effective 77 effect on off ON gt v1 07 O 1 default value 0 Effect On Off switch Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 78
33. description as for the LFO1 ID 43 49 lfo2 depth amt O 127 default value 64 The same description as for the LFO1 ID 44 69 Ifo2 tempo sync tempo ao tempo 1 On The same description as for the LFO1 ID 67 gt v1 05 O 1 default value 0 70 Ifo2 key sync key el 0 Off key Min The same description as for the LFO1 ID 68 gt v1 05 O 1 default value 0 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 67 Common Settings You can use this menu to control the general settings such as the changing or saving of programs The program management The program management of Synth1 can handle 128 programs in each Internal bank 0 99 giving a total of 12800 possible Internal programs Each program is saved as a single num sy1 file The folders which store the programs divide them into banks These folders can be changed in the Options window or faster by modifying ini file see below Since the latest 1 12 version Synth1 is capable to read the zip compressed sy1 files Two or more folders can be included in one zip file After putting the zip file in External bank folder default is zipbank you will be able to select the voices from the preset browser window Please note that External banks are read only It is not possible to write files into the External bank vol Set t
34. e modify attack time modify volume gain sustain modify velocity etc e about MIDI e e BugFix Sustain Pedal modify mod env max value modify chorus memory buffer modify pitch env amp portament combination modify arp range is hidden by FruityLoops randomize function modify LFO random Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 80 e about GUI change delay arpegiator tempo display LCD slider selection direct select LED each program has color attribute change slider length default panel size gt 130 change knob size click bank LCD gt select program li gt change some slider diplay legart x gt legato o Ver1 04a 2002 11 8 e SONAR Synth1 Fixed a bug on Audio Export and TrackDown Ver1 04 2002 10 30 e Fixed a bug that caused a crash upon using SynthEdit with Synth1 Ver1 03 2002 10 28 e Fixed a GDI resource leak and improved stability in Win98 Me e Compacted the memory used for graphics Ver1 02 2002 10 27 Fixed a bug that prevented proper selection of the waveshape for LFO in VSTi mode Fixed a memory leak that occurred after use in VSTi mode Added the option of changing the color and size of the user interface Adjusted the position of dialog boxes Added display of graduation on knobs minor graphics changes Narrowed slider displays to reduce the overlap with the neighboring controls Fixed lack of cl
35. e 38 24 filter velocity switch O Off vel O 1 default value 1 ve 1 On When this switch is activated the Filter Envelope Amount varies with Velocity how hard you play the keyboard For this switch to have any effect the amt knob can t be set to zero Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 39 Amplifier A D 5 R gainvel An Amplifier is most often used at the final stage of a synth signal chain to control volume By modulating the Amplifier with an envelope the sound can be given its basic shape In fact the volume shape is one of the most important factors to how we identify the sound By setting up a proper Volume Envelope you can make a sound soft hard plucked static etc e LJ ms N N a N L o The Volume Envelope curve determines how the amplitude of the waveform changes over time Level Sustain level Time t El Attack Decay Release time time time IA iinan ee Up Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 40 25 amp attack O 127 default value 64 Level Attack time Key Down This control is used to adjust how long it should take for the sound to reach full volume after a key has been pr
36. e tune play mode type portament time pitch bend range Ifo1 destination Ifo1 type Ifo1 speed Ifo1 depth osc1 FM Ifo2 destination Ifo2 type Ifo2 speed Ifo2 depth midi ctrl sens1 midi ctrl sens2 chorus delay time chorus depth chorus rate chorus feedback chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer tone equalizer freq equalizer level equalizer Q chorus type delay on off chorus on off Ifo1 tempo Sync Ifo1 key sync Ifo2 tempo Sync Ifo2 key sync osc mod dest osc1 2 fine tune Copyright O 2010 by Daichi All rights reserved This document is a private copy play mode type portament time pitch bend range Ifo1 destination Ifo1 type Ifo1 speed Ifo1 depth osc1 FM Ifo2 destination Ifo2 type Ifo2 speed Ifo2 depth midi ctrl sens1 midi ctrl sens2 chorus delay time chorus depth chorus rate chorus feedback chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer tone equalizer freq equalizer level equalizer Q chorus type delay on off chorus on off Ifo1 tempo Sync Ifo1 key sync Ifo2 tempo Sync Ifo2 key sync osc mod dest osc1 2 fine tune Synth1 Virtual Analog 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 v1 12 2010 5 23 unison mode unison mode unison mode unison mode unison mode portament auto mode 48 70
37. e also adjusts the width of the pass band When you raise the resonance the band where frequencies are let through will become narrower Amplitude e The figure shows a band pass filter with different resonance amounts Q values Q 0 5 represents zero Resonance amount and Q 4 maximum amount Frequency Cutoff Frequency 21 filter amount O 127 63 64 default value 128 out of range should be 127 This is used to set to what degree the Filter Envelope see below should affect the filter The more you turn this knob to the right or left the more drastic the effect This knob operates in addition to the Filter Frequency setting This means that if you for example set the frq knob half ways the filter will be already half open the moment you press a key The positive amt setting then can be used to open the filter further Amplitude Velocity range Set the initial cutoff frequency A with the FREQUENCY knob The Envelope Amount value is added to the initial cutoff value If you select VELOCITY the Envelope Amount value changes with Keyboard Velocity Frequency Cutoff Envelope Amount Frequency Negative values of the Filter Envelope Amount will naturally lead to the closure of the filter Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 37 Let s take another example of the relation between Filter Frequency and Filt
38. ect the destination This knob is bi polar that is a zero amount is in the middle twelve o clock Turning it left introduces a negative envelope and turning it right gives you a positive envelope 0 64 12 osc mod env attack 0 127 default value 0 This is used to set the time it takes for the envelope to reach its full level after you have pressed a key 13 osc mod env decay O 127 default value 0 When the attack phase is over the envelope drops back to zero level The decay knob is used to set how long this should take Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 29 71 osc mod dest gt v1 05 0 2 default value 0 BET 0 osc2 When this is selected the Modulation Envelope changes the pitch of Oscillator 2 This can be used in a number of situations For example e With Sync to create distinct sweeping sounds e With FM for effect type sweeps e To create bleeps in the beginning of a brass type of sounds A few examples f Attack is set to zero and you have a positive Amount setting Oscillator 2 pitch will decay down to normal pitch as set with the decay knob Level Time If Amount instead is set to a negative value the pitch will rise up to normal Level Time f Attack and Decay are both used and you have a positive Amount setting the sound will start at normal pitch when y
39. er Ableton Live SONAR Cubase FL Studio The hosts except the stated are unconfirmed Plugin Format VSTi2 0 Sampling Frequency Arbitrary Limitations Not multitimbral Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 10 Installation and Uninstallation Installation A case of the first time use 1 Initialize the settings by running the provided initialization tool initsettings exe 2 The VSTi DLL is called Synth1 VST dll Copy this file to the VST plug in folder of the host application For example if your favorite sequencer is Cubase you should copy Synth1 VST dll to C Program Files Cubase SX Vstplugins directory Installation is now complete Please confirm that Synth1 appears in the plug in menu of the host application Transition to the new version 1 Please execute the succession tool reg2ini exe and generate the configuration synth1 ini file when upgrading from the version before Synth1 v1 11 2 Please overwrite copy the plug in file Synth1 VST dll to a VST plug in folder Installation is now complete Uninstallation Delete the folder which contains Synth1 VST dll from the VstPlugins folder of the host application You should also delete the setup information file APPDATA Daichi Synth1 synth1 ini ex C Users userName AppData Roaming Daichi Synth1 synth1 ini It is not the problem even if you do not
40. er Envelope Amount If the frq knob is already turned fully right the positive amt setting has no effect at all since the filter is already fully open the moment you press the key 0263 22 filter kbd track O 127 default value 64 With this parameter set to zero the Filter Frequency setting is constant regardless of where on the keyboard you play When Filter Keyboard Track is activated the frq setting will be higher for higher notes The reason for using the keyboard track is related to basic acoustics If you raise the pitch of a waveform the harmonics naturally raise in frequency If the Filter Frequency is then constant the sound will be perceived as getting muddier the higher up the keyboard you play To avoid this effect and ensure a constant harmonic spectrum for all keys use Filter Keyboard Track Amplitude The figure shows how the Fre quency value changes according to where on the keyboard you play when KBD TRACK is activated Frequency _ TND 23 filter saturation O 127 default value 0 When this is activated the sound is slightly distorted which generates additional side harmonics and creates a rawer more screaming sound Using the Filter Saturation effect will make the voice louder brighter and sounding much like it is processed with a tube distortion effect Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Pag
41. er Range 36 midi ctrl src1 1 1 express chan a touch 6 data entn pitch bend gt v1 09 45057 57344 default value 45057 1 mod wheel 45057 mod wheel 2 breath ctl 45058 breath ctrl GH am 45059 ctrl3 4 foot ctrl 45060 foot ctrl 5 porta time 45061 porta time 6 data entry 45062 data entry 7 volume 45063 volume 8 balance 45064 balance EXE 45065 ctrig fio pen 066 pan 11 expressic 45067 expression GEE 3248 aftertouch BABA 57344 pitch bender As the panel indicates here you can select the MIDI Control Source Control Function Aftertouch or Pitch Bender to be routed towards one of the possible destinations see below Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 59 50 midi ctrl sens1 O 127 100 100 default value 74 MIDI Control Sensitivity defines what percentage of destination parameter setting can be changed using the Control Source Please note that the Control Source routing works as addition to the basic setting of the parameter it is routed to If you for example route the Modulation Wheel to the filter and the filter is already fully open moving the Control Sensitivity knob towards the positive values has no effect 87 midi ctrl assign1 ampA _ chorusrate osc1 det ampD chorus fdbk osc1 FM ampS chorus level vorta time ti Oo o o P
42. essed If the knob is turned fully counter clockwise the attack is almost instantaneous If the knob is turned all the way to the right it lasts many seconds If you for example have an envelope controlling volume raising the Attack value will give the sound a softer character If you have the envelope routed to the filter it might give the sound a wah type of start Note a very short Attack time can produce a click in the beginning of the sound This is a normal physical phenomenon To eliminate any click just increase the Attack time slightly 26 amp decay O 127 default value 64 Level X i Attack Decay time time Key Down After the attack phase is finished and you haven t released the key the Decay begins During the Decay phase the sound decreases in level and continues to do so until it reaches the Sustain level see below The Decay knob is used to adjust how long this should take Copyright 2010 by Daichi All rights reserved This document is a private copy Synthi Virtual Analog v1 12 2010 5 23 Page 41 27 amp sustain 0 127 default value 107 Level c See Sustain level LL Attack Decay time time Key Down This is the level the sound will reach after the Decay phase Once this has happened the sound will stay steady at this volume until the key is released Please note that the Sustain parameter is used to set a evel while Attack Decay and Release a
43. ff the sharp sound of Sawtooth waves and Pulse waves Amplitude Frequency Cutoff Frequency Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 33 MID 1 1P24 This is the classic synth filter used in the Minimoog and Prophet 5 among others It cuts out high frequencies rather drastically 24db 4 poles Amplitude Frequency Cutoff Frequency MA 2 HP12 HP stands for High pass This filter is the opposite of the Low pass filter that is it lets the high frequencies pass and cuts out low frequencies The filter has a gentle curve Amplitude Frequency Cutoff Frequency DEJA 3 BP12 BP stands for Band pass In this mode the filter let s frequencies in the mid range band pass through while lower and higher frequencies are cut out Each slope in this filter has a 12dB 2 pole roll off Amplitude Frequency Cutoff Frequency Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 34 15 filter attack O 127 default value 0 16 filter decay O 127 default value 64 17 filter sustain 3 O 127 default value 32 18 filter release O 127 default value 64 These are Attack Decay Sustain and Release parameters for the Filter Envelope They are identical in functionality to the settings of the Amplifier E
44. fo2 speed Ifo2 depth chorus depth chorus rate chorus feedback chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer tone equalizer freq equalizer level equalizer Q chorus type delay on off chorus on off Ifo1 tempo Sync Ifo1 key sync Ifo2 tempo Sync Ifo2 key sync osc mod dest osc1 2 tune delay level portament time pitch bend range Ifo1 destination Ifo1 type Ifo1 speed Ifo1 depth osc1 fm modulation Ifo2 destination Ifo2 type Ifo2 speed Ifo2 depth chorus delay time chorus depth chorus rate chorus feedback chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer tone equalizer freq equalizer level equalizer Q chorus type delay on off chorus on off Ifo1 tempo Sync Ifo1 key sync Ifo2 tempo Sync Ifo2 key sync osc mod dest osc1 2 tune delay dry wet delay dry wet delay dry wet play mode type portament time pitch bend range Ifo1 destination Ifo1 type Ifo1 speed Ifo1 depth osc1 FM Ifo2 destination Ifo2 type Ifo2 speed Ifo2 depth midi ctrl sens1 midi ctrl sens2 chorus delay time chorus depth chorus rate chorus feedback chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer tone equalizer freq equalizer level equalizer Q chorus type delay on off chorus on off Ifo1 tempo Sync Ifo1 key sync Ifo2 tempo Sync Ifo2 key sync osc mod dest osc1 2 fin
45. gn2 2v1 09 1 98 default value 43 The same description as for the assign1 ID 87 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 61 dst osc dst oscl 2 gpd filter i spd amt amp CU amt sync p w sync tempo key FM tempo key pan An LFO is an Oscillator just like the ones that produce the sound in a synthesizer but with two main differences e The LFO produces very low frequencies most often below the hearing range 16Hz e The LFO is not used to produce sound instead it is connected to other modules to provide modulation of parameters If you for example route an LFO to Oscillator pitch you get a vibrato If you route it to the Filter s Cutoff Frequency you get a wah wah type of effect And if you route it to the Amplifier of an instrument you get a tremolo The three basic parameters for an LFO are Waveform Rate frequency and Amount e The waveform determines the type of vibrato for example regular Triangle or Sine Ramp Sawtooth or Random e The Rate determines the Speed of the vibrato e The Amount controls to what degree the LFO affects its destination 57 Ifo1 on off O 1 default value 1 Ld or This setting indicates that LFO is turned Off zi 1 On This setting indicates that LFO is turned On Copyright O 2010 by Daichi All rights reserved This document is a private
46. he master volume of the instrument program Change the program Click the LCD to open an overview and select the desired bank program You can also use the Up or Down buttons on the left bank Click the LCD to change the bank Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 68 write Write the present program to a file Click to open a dialog box and then select the program you wish to overwrite write Over Write Program Bank 00 00 Empty 1 Prograrn T initial sound New Mame E Seis Color opt Open the Options dialog box see below Shift opt Start MIDI CC Learn mode Use desired switch or knob on Synth1 and then on your master keyboard Synth1 has now learned the MIDI message from a master keyboard Click Shift opt again to exit When done go to Options MIDI Control Change Map and click Save to store your new CC map Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 69 In the Options window you can adjust General settings and MIDI settings These parameters are common for all multiple instances of Synth1 in the host program General Onions General Program bank folders Bank Prog Path C Synth Banks internal 94 Empty CSynth Banks lntermal 35 Empty LC Synth Banks ntermal 3B Empty 5yn
47. ices employ many of the basic principles of subtractive synthesis With the Synth1 Ichiro Toda introduced a new concept a modern digital instrument that combined a faithful reproduction of the behavior of the old analog favorites with the convenience and stability of the new design The Synth1 takes this concept even further adding valuable new features and functionality The building blocks Subtractive synthesis started its life in modular synthesizers large cabinets housing separate electronic modules connected via patch cords With the advancement of technology the functionality of many of these modules could be put onto one single circuit board But Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 12 functionality wise subtractive synthesizers are still built out of the same modules or building blocks as they were decades ago The same stays even for the VSTi Main building blocks of any subtractive synth are Oscillator Filter Amplifier Envelopes and LFO There are many ways in which these modules can be connected in a synthesizer but the one in the picture below is a basic and common one used in the Nord Lead 2X although the illustration depicts far from all the possibilities of that instrument Noise Mixer Y Oscillator Fi ilter Amplifier 8 A X A X Zw x Envelope LFO Envelope LFO Envelope LFO Audio Signal eene Con
48. in semitone steps The range is from 5 octaves below Oscillator 1 to 5 octaves above Oscillator 1 However the full range may not be available depending on the Key Shift setting parameter 9 To aid you in setting the value the LED above the knob lights up when the tuning is in perfect octaves Please note that you can modulate the pitch of Oscillator 2 in various ways from the LFOs the Mod Env and from the Mod Wheel for example This can be used to create harmonically varying timbres with a very characteristic sound Sync and Ring can be activated at the same time 0 1 18 19 36 37 54 55 72 73 90 91 108 109 octave indicator 0 13 26 39 51 64 77 89 102 115 127 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synthi Virtual Analog v1 12 2010 5 23 Page 24 3 osc2 fine tune O 127 62cent 61cent default value 81 This parameter is for tuning the Oscillator 2 just as the pitch knob is The difference is that this parameter operates in cents The slight difference in pitch which can be achieved with this option will make the sound richer The LED above the knob will flash briefly when you set fine to zero 0 62 63 64 65 66 4 osc2 kbd track track O 1 default value 1 O Off When this parameter is turned Off Oscillator 2 will always play the same pitch There are mainly three situations when this is useful e When Sync is activated in this mode the basic pi
49. ipping correction for filters when used with a non SSE processor Ver1 01 2002 10 15 e VSTi compatibility e Added the option of ignoring MIDI messages Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 81 e Adjusted the position of dialog boxes e First registered version Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 82 Info The latest info will be available on the following home page Please make a visit http www geocities jp daichi1969 Copyright This software is freely distributable Feel free to copy or feature it but please contact Mr Ichiro Toda if you do The copyright holder of this software is Daichi e mail cbj75800 9 popO2 odn ne jp Copyright O 2010 by Daichi All rights reserved This document is a private copy
50. lect One stage effect This setting results in a monaural effect suitable for achieving Flanging B a xa Select Two stage or Four stage mode These are suitable for producing a voice multiplying effect Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 49 52 chorus delay time O 127 0 05ms 30ms default value 64 Set the Delay Time of the effect A shorter time results in a more flanging like effect Varying the time delay causes notches to sweep up and down the frequency spectrum 53 chorus depth O 127 default value 64 This is used to control the level of modulation notch Depth 54 chorus rate rate O 127 0 01Hz 400Hz default value 50 The delay line is typically modulated by the LFO With this parameter you can set the Rate of modulation the Speed of notch movement 55 chorus feedback fdbk O 127 99 49796 default value 64 This control sets the Level of Feedback from the output to the input of the delay line thereby creating a feed back Comb Filter in addition to the feed forward Comb Filter Part of the output signal fed back to the input a re circulating delay line is producing a resonance effect which further enhances the intensity of the peaks and notches The phase of the fed back signal can be inverted producing more sound variations 56 chorus level ley O
51. ll are used to set times If you for example want to create a flute sound you would have a fairly high Sustain setting on your Volume Envelope since a flute tone basically stays at a steady level for as long as you play it On the other hand for a piano sound you would want a Sustain level of 0 since a piano sound decays to silence if you hold the key long enough 28 amp release i O 127 default value 64 Level S m N m m m m m Sustain level Time e EL lt gt Attack Decay Release time time time iieri paseuuveanensaqustasses P Key Down Key Up This knob is used to adjust how long time it should take for the sound to decay to silence after you have released the key Note a very short Release time could produce a click in the end of the sound when you release the key s This is a normal physical phenomenon To eliminate any click just increase the Release time slightly Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 42 ADSR Envelope Behavior If you set the Sustain to full level the Decay setting is of no importance since the volume of the sound is never lowered until you release the key Level nce Up If you set the Sustain to 0 the sound will become silent after the Decay phase is finished With short Attacks and moderate Decay times this can be used to sim
52. llatos section immobilizes phase relations in the trigger of oscillator 1 and oscillator 2 and adjusts it The phase is not fixed if finish turning a knob to the left like conventionally e he phase knob in the Voice section immobilizes phase relations in the trigger of oscillators done unison and adjusts it This knob should not be effective unless immobilize phase in an oscillator section e think that am easy to make the base sounds with a feeling of weight if adjust the parameter mentioned above and the number of the unison voices the unison detune e The number of the polyphonic was expanded to 32 e henumber of the polyphonic became the parameter every patch e he number of the unison voice was expanded to 8 e Regardless of the voicing mode you got possible to set the number of the unison voices with less than eight freely e The assignment function to LFO of modulation wheel was improved e You can assign major MIDI control change and the channel after touch to arbitrary synthesizer parameter e coped with a sense to the minus direction e changed effect of the unison mode knob exponentially e tis easy to have come to do control of the small detune width e Small improvement a change of GUI e t was easy to look and changed the fonts such as patch select windows The color of the LCD was changed to be able to brighten a little made drawing of the LED simple and improved easiness in seeing The panel size of
53. lter increasing resonance will emphasize frequencies around the set Filter Frequency and de emphasize the rest of the frequency spectrum making the sound thinner Further raising the res knob will make the sound resonant to a point where the filter will start to self oscillate that is produce sound of its own just like an oscillator adding a ringing quality to the sound Exactly where in the frequency spectrum this ringing appears depends on the Filter Frequency setting Amplitude oA The figure shows a 24 dB d lowpass filter with differ ent resonance amounts Q values Q 0 5 represents zero Resonance amount and eee aran eee eee eee eee ee ee Q 4 maximum amount Frequency Cutoff Frequency High Filter Resonance values are also visible in the waveform They appear as a Superimposed waveform with a frequency equivalent to the filter s cutoff frequency The three examples above show the same wave with increased resonance Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 36 If you add resonance to a sound and then vary the cutoff frequency for example with an envelope you will get a very typical synthesizer sound If you have the High pass or LP Notch filter selected see the Filter Type note above increasing the resonance will work pretty much as with the LP filter When you use the Band pass filter adjusting the Filter Resonanc
54. ncy boost in conjunction with the feedback Feedback change is applied e Play Mode Added Unison detune e Other various internal processes optimization Ver1 06 2003 9 20 e about sound unison mode portament auto mode smooth vcf freq knob vcf resonance feedback vcf distortion saturation modify vcf velocity vco S N up for sine triangle Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 79 e modify Delay lt gt Chorus Flange patching e modify Chorus Flanger algorithm e modify portament effect linear gt exponential e modify noise when mono mode e about MIDI e receive MIDI control change e read write Control Change Map e Midi Control Learn mode click OPT with pressing Shift e Control Map for nordlead2 e BugFix e Fixed a bug that hangup when tempo cahnge DXi e Fixed a bug that arpegiator tempo becomes later and later e Fixed a bug that synth1 parameter is out of VSTi range for Muzie e Fixed a bug that the hostapplication is crushed when the Synth1 starts VSTi e etc Ver1 05a 2002 11 17 e about sound Arbitrary Sampling Frequency Master Tune Modulation envelope FM Pulse Width Smooth FM modulation OSC2 fine unit cent OSC1 2 fine tune modify sync FM modify sync noise reset Noise generator on each voice LFO tempo sync key sync LFO maximum speed up LFO dest gt FM modify delay nois
55. nvelope described below 19 filter freq O 127 default value 81 This is the overall control for which part of the frequency spectrum the filter should operate in If you for example select a Low pass filter and turn the frq knob clock wise more and more high frequency material will be allowed to pass through the filter Amplitude Frequency Ihe more you open a low 5 D pass filter the more high fre quent the output signal Frequency Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 35 Changing the cutoff frequency is often referred to as sweeping the filter This is probably one of the most important ways of shaping the timbre of a synth sound Further by using an envelope you can for example have a high cutoff at the beginning of a sound which is then gradually lowered the filter closes as the sound decays This would emulate the way most plucked string sound piano guitar etc behave the amplitude of the harmonics decreases as the sound decays Please note that if the Filter Envelope Amount setting is raised from its zero position turning the frq knob might not change the sound as expected For more info see parameter ID 21 below 20 filter resonance O 127 default value 14 This control is used to emphasize the amplitude of the frequencies at and close to the cutoff frequency If you are using a Low pass fi
56. o extremely short delay times 32 3 note 34 arpeggiator gate O 127 default value 64 This parameter controls arpeggio notes length It must be set to the value of at least 1 for a sound to occur If the knob is turned all the way to the right the notes sound without interruption which is effective in combination with Legato and Portamento modes Note The value of 127 can make some problems so you should use 126 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 46 Tempo Delay Delay is a popular effect that repeats the sound in rhythm The key to using Delay effectively is to keep it in sync with the tempo That is exactly what Synth1 provides the Tempo Delay 65 delay on off EA q F a ia RK O 1 default value 1 E 1 On Effect On Off switch 82 delay type gt v1 07 O 2 default value 0 Ed o s Stereo Delay uses two mono delays one for the left channel and one for the right The dry signal is fed into both of the delays Remember that this type of delay needs a real stereo signal not two identical or just panned mono signals to work as a Stereo delay Otherwise the effect is Mono x Y In Cross Feedback Delay any non mono input runs through a stereo delay but with the echoes crossing over to the opposite side of the input that generated them up Ping Pong
57. ocessed sound Setting this parameter to zero will turn off the effect Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 48 Chorus Flanger Chorus Flanger timedephratefdbk lev Flanging and Chorus are delay based sound effects although here the time delay is minimal up to 30ms on Synth1 The special care of the delay lines interpolation was taken to minimize aliasing This Synth1 s unit is modeled quite accurately as a linear feed forward Comb Filter which modulates the response frequencies arising from the superposition of a direct delayed signal s constrained to consist of an infinite series of harmonically uniformly spaced notches Motion of the notches over time is essential to the effect and this motion is classically periodic Synth1 s Flanging effect produces a sound which can grow from a subtle sweeping metallic tone to a jet plane whoosh effect Chorus effect adds a subtle warmth and depth to the sound and it is commonly used to make an amalgam of sounds that has a rich shimmering quality although you can go for some extreme effects too You can also use this unit for a vibrato effect Please note that the difference between Chorus and Flanging effects is mainly in time delay ID 52 66 chorus on off pes O 1 default value 1 Effect On Off switch 64 chorus type 1 4 default value 2 B Se
58. ode play mode portament portament pitch bend pitch bend range range Ifo1 Ifo1 destination destination Ifo1 type Ifo1 type Coo fo speed Ifo1 depth Ifo1 depth osc1 fm osc1 fm modulation modulation Ifo2 Ifo2 destination destination Ifo2 type Ifo2 type li Ifo2 depth chorus depth chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer tone equalizer tone equalizer freq equalizer freq equalizer level equalizer level equalizer Q chorus type delay on off chorus on off chorus on off lfo2 speed Ifo2 depth chorus depth chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer Q chorus type delay on off Ifo1 tempo Sync Ifo2 tempo Sync dest Ifo1 key sync Ifo2 key sync osc mod env osc1 2 tune play mode type portament time pitch bend range Ifo1 destination Ifo1 type Ifo1 speed Ifo1 depth osc1 fm modulation Ifo2 destination Ifo2 type Ifo2 speed Ifo2 depth chorus depth chorus level Ifo1 on off Ifo2 on off arpeggiator on off equalizer tone equalizer freq equalizer level equalizer Q chorus type delay on off chorus on off Ifo1 tempo Sync Ifo1 key sync Ifo2 tempo Sync Ifo2 key sync osc mod dest osc1 2 tune play mode type play mode type portament time pitch bend range Ifo1 destination Ifo1 type Ifo1 speed Ifo1 depth osc1 fm modulation Ifo2 destination Ifo2 type I
59. odes and waveform types 0 osc1 shape O 3 default value 2 Select one of four basic waveforms for Oscillator 1 A red LED indicates the currently enabled waveform BEY o sine The Sine wave is the simplest waveform there is It has no additional harmonics It is suitable mostly for very soft sounds or for use with the FM but can also be useful for creating organs leads and percussive harp piano types of sound Amplitude Amplitude Time Harmonic number 10 20 30 40 Frequency The pure sine wave with no additional har The frequency spectrum of a sine monics wave only the fundamental frequency is present Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 20 AN 1 saw The Sawtooth wave contains all harmonics and is the richest of the available waveforms It is suitable for all sorts of sounds from smooth strings and pads to rough basses and edgy leads As you can see the high harmonics have fairly high amplitude giving brightness to this waveform Amplitude Amplitude Time Harmonic number 10 20 30 40 Frequency The sawtooth signal shape The sawtooth signal frequency spectrum 2 pulse The Pulse wave contains only odd harmonics at 50 pulse width Square wave This waveform is special in that its harmonic content can be varied continuously by adjusting the Pulse Width with the p w knob The Pulse wave can also be modulated b
60. ood Red 00088 Hot Bright Blue 00876 Mutant Green 15583 Dark Forrest Green 80372 Dark Burnt Orange 94800 Yellow Bronze 91003 Indian Red 71140 Dark Dark Dark Red 44815 Dark Slime Green 05529 KooL Dark Blue 99113 Blood Red2 37368 Dark BlueBerry 22991 Gator Green 66159 Puturple 82500 Dark Copper2 97881 Gold Rush 12957 Dark Pastel Green 55712 Dark Green Pewter 74592 Golden Brown 49508 Nice Blue 99152 NordLead2 Red 98112 NordLead2 Red2 66678 BlueGreyA d9d1a1 NORD Tan fAf7f5 Powder White 14b4f7 Powder Pink c57d34 Super Burnt Orange c5d407 Hyper Bright Yellow c94193 Pussy Pink Copyright O 2010 by Daichi All rights reserved This document is a private copy Page 70 Synth1 Virtual Analog v1 12 2010 5 23 d6b822 Dark Yellow a92b40 Red Sherbert Nord e7e55b Milky Lemon 8f44c1 Milky Lavender 70e482 Lime Sherbert 1b55e0 BlueBerry02 b7b7b7 OFF White 90d117 Neon GreenEllow 000b4c MidNight Blue 44fd21 Super Neo Green 4d79a1 Dark Powder Teal 23d8b1 SeaWeed Aqua 0398b1 NordLead BLUE 0398e2 NORD Blue02 0398a6 OLD NORD BLUE 0398fa Supa Nord Blue 098f98 Another Nord Blue 1d9bd8 Perfect Nord BLUE d994d1 Pretty Pinky c7d7d8 Light Grey White dd8676 NordLead Pink Red bbbb88 TanWhite cfca82 Light Beige ff5202 NEON Orange c93f44 Red KooL AiD f4f7f5 Nice White 21f7f2 Neon Teal Aquat f7f7f17 Bleach White TEXT Colors c8c8c8 Default c5d8f1 Super Light Powder Blue a1d5b8 Dark Pastel
61. osc1 FM 0 127 default value 0 This is classic deep linear FM The FM function is a bit of depart from the analog concept of the Synth1 but as you will find it is a very useful addition When using FM Oscillator 2 frequency modulates Oscillator 1 In FM speak Oscillator 1 is the Carrier and Oscillator 2 is the Modulator This means that changing the pitch of Oscillator 2 basically does not affect the pitch of the sound but the timbre To check this use the ocs2 pitch knob watch for the octave LED indicator the octave settings will always retain the perfect interval A significant difference between the DX7 setup is Synth1 s ability to use the Modulator osc2 also in the final sound by using the osc mix ID 5 To make it a pure FM set the mix knob to 100 O Another thing which is not available on most FM synths is the Filter Among the other things you can use the Filter or EQ to trim down the typical digital side effects noises in the FM sound The FM knob controls the amount of FM from Oscillator 2 to Oscillator 1 For classic FM sounds use Sine wave on Oscillator 1 and Triangle wave on Oscillator 2 As the pitch of the Oscillator 2 can go very low it can be used even as an additional LFO Please note that the amount of FM can be modulated from the Modulation Envelope and LFOs and also controlled manually from the e g Modulation Wheel The FM knob will be putted out of operation when the Ring Modulation i
62. ou press the key rise and then fall back Level Time Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 30 BE 1 FM When this is selected the Modulation Envelope is routed to the amount of FM modulation Varying the amount of FM changes the harmonic contents of the sound so this can be used to have the timbre change pretty much like when the Filter Envelope is used to change the Filter Frequency Please note that this parameter operates as a supplement to the FM amount setting in the Oscillator section BD gt p w When this is selected the Modulation Envelope changes the Pulse Width of the waveform from the Oscillators provided any of them have Pulse wave selected 72 osc1 2 fine tune gt v1 05 0 127 62cent 61cent default value 64 Adjust the pitch of the Oscillators in cents Of course as well as the Key Shift parameter this setting will also affect the pitch of the whole instrument The advantage of voice Fine Tuning becomes especially obvious when you want to create a layered voice with multiple instances of Synth1 0 62 63 64 65 66 91 osc phase shift gt v1 09 O 127 default value 0 This great option is used to adjust shift and fix the phase relations at the moment of triggering Oscillators 1 and 2 This parameter can affect the consistency color and the fullness of sound If you move the knob all the
63. portament auto mode portament auto mode portament auto mode portament auto mode 48 70 unison detune unison detune osc1 detune osc1 detune effect on off effect on off effect on off effect on off effect type effect type effect type effect type effect control1 effect controll effect control1 effect control1 effect control2 effect control2 effect control2 effect control2 effect effect effect effect level mix level mix level mix level mix delay type delay type delay type d e delay time delay time b spread spread unison pan unison pan unison pan spread spread spread unison pitch unison pitch unison pitch midi ctrl src1 midi ctrl src1 midi ctrl assign1 midi ctrl assign1 midi ctrl src2 midi ctrl src2 midi ctrl midi ctrl UE assign2 assign2 pan LR pan pan osc phase shift osc phase shift unison phase shift unison voice num unison phase shift unison voice E a num 2 4 2 4 2 4 2 4 polyphonic polyphonic osc1 sub gain osc1 sub octave Copyright 2010 by Daichi All rights reserved This document is a private copy Page 15 unison mode portament auto mode unison detune osc1 detune effect on off effect type effect control1 effect control2 effect level mix delay type delay time spread unison pan spread unison pitch midi ctrl src1 midi ctrl assign1 midi ctrl src2 midi ctrl assign2 pan osc phase shift
64. res including 2 oscillators 1 sub oscillator FM mod ring mod sync mod envelope phase shift 4 types of filters resonance saturation 2 LFOs synchronized with host arpeggiator synchronized with host tempo delay synchronized with host stereo chorus flanger effect unit EQ pan poly mono legato mode portamento unison 32 notes polyphony 128 presets per bank bank browser automation MIDI CC control thorough optimization for light CPU load using SSE instructions etc With Synth1 you are about to begin a journey into the world of virtual analog synthesis Analog because the Synth1 mimics traditional analog synthesizers in a way no one thought was possible Virtual because the Synth1 is a digital computer instrument remaining true to the traditional analog concept and still managing to go beyond it The end result is a clean sounding synth with a nice sizzle and bite But not all the magic lies in the sound creation A major part is also in its GUI simple comprehensive intuitive and easy to operate Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 9 Operational Environment and Limitations Compatible CPU The x86 x64 CPU that supports SSE2 is necessary Compatible OS Windows XP Windows Vista 32Bit developed on Windows Vista HP sp2 The OS except the stated is unconfirmed Windows98 is not supported Compatible Hosts Reap
65. ription above Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 73 Factory Presets Dogmeat 5aws 1A 128 Dogmeat Saws 1B 29 Dover 1 128 Dover Pop Fixtures 52 Dover Pop Fixtures Zen 4 DrFx 118 Echopark 128 Ein Ton 11 Evan 1 v2 67 Evil Dragon 1 2 Factory 128 Filtered FM 24 Flange Bass 7 Gecko 40 HardCore BD 10 Hip Hop 13 Hoover 1 JamesXIIC 1 41 JamesXIIC 2 60 JF1 81 K Bee 8 Kaiyoti 1 64 Kaiyoti Batman Percs 5 Kujashi 1 128 Kujashi Z 128 LK Kultura 128 LE Lila K 128 LK Monstronomo 128 LK OZAmbient 128 LK POLARS 128 LK Phuturama 128 LK Rainbow 128 LK X Ploded 128 128 Programs List Into ExtBank Factory 99 Tona poo Intro 4 Honkv Piano 36 Fretless Bass 100 Seauence 01 Seauence2 Chorus Piano 38 Slap Bass 2 70 EnalishHorn O02 LFO Brass Harbsicode 39 Svnth Bass 1 03 Trans Brass Clavinet 40 Svnth Bass 2 04 Reso brass Celesta 05 Sitar 0 Glocken 06 Rhvthm 1 MusicBox 07 Shami 2 Vibrabhone 08 Koto 3 Marimba 09 SvnBass3 4 Xvlophone 10 Seauence 3 5 Tubler Bells 11 Seauence 4 6 Dulcimer 12 Solo Svnth 7 Hammond oraan 81 Sauare lead 13 hat 8 Perc Oraan 14 kick1 53 Choir i22 Accordion 54 Voice 23 Harmonic 24 Tango Accordion 56 Hit 15 ic Guit 21 Computer 122 Wind 27 E Guitar LK 213 Caution 713 128 30 Overdrive Guitar
66. rtamento is pretty obvious when you have selected Mono or Legato Play Mode If on the other hand Poly mode is selected the Portamento effect will be slightly unpredictable if Auto is on Therefore turning off Auto in Poly mode is recommended 73 unison mode unison gt v1 06 O 1 default value 0 When Unison Mode is activated more than one voice will be played when you press a key This gives you a fatter sound Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 56 93 unison voice num 2v1 09 2 8 default value 2 This parameter determines how many voices should be stacked on each key in Unison Mode Regardless of the Play Mode setting you can use up to 8 voices per key However be aware that the multiplied voices can reduce polyphony and the CPU processing power 75 unison detune 2v1 07 O 127 default value 22 Detune the unison voices for a fatter chorusing like effect Higher values give increased detuning It might be interesting to notice that the Nord Lead 2X automatically detunes two for Poly mode or four voices for Mono or Legato mode to a level of approx 16 when it is set to work in Unison Mode Therefore you can consider the level of 16 to be the optimal all round level for any voice 84 unison pan spread gt v1 08 0 127 64 63 default value 64 Use this to get a
67. s activated Copyright O 2010 by Daichi All rights reserved This document is a private copy Synthi Virtual Analog v1 12 2010 5 23 Page 22 76 osc1 detune gt v1 07 O 127 default value 0 This setting is used to adjust the tuning of Oscillator 1 Among other things it can be particularly useful for creating super saw type of sounds 1 osc2 shape IL No dl 1 4 default value 1 1 saw 2 pulse 3 triangle The first three waveform alternatives for Oscillator 2 are identical to the corresponding waveforms of Oscillator 1 see above Oscillator 2 also has another waveform the Noise 4 noise s amp h With Noise selected Oscillator 2 produces noise useful for vintage ambient FX or percussion sounds rather than a pitched waveform Note that the color of noise cannot be changed directly via pitch knob or any other like track fine or key shift For this you can use the other parameters such as for example the filter settings as for all other sound from the Synth1 In this case the further you turn the frq knob clockwise the brighter the noise will be All the way to the right its frequency characteristic is very close to that of white noise where all frequencies are represented with equal energy If Sync is activated see below selecting Noise will produce very special signals with non transposed formant spectrum with strong body resonance characteristics The reason synced noise works
68. tch of the sound is determined by Oscillator 1 anyway e When FM or Ring Modulation are used to get inharmonic sounds with very varying timbre across the keyboard e For special effects and percussion sounds supposed to sound the same all across the keyboard When this parameter is activated Oscillator 2 will have different pitches when you play different keys just as Oscillator 1 always does 5 osc mix O 127 100 0 0 100 default value 64 Set the output balance between Oscillator 1 and 2 with the mix knob e Left 10096 Oscillator 1 signal e Middle 5096 Oscillator 1 signal 5096 Oscillator 2 signal e Right 10096 Oscillator 2 signal 50 50 0 63 64 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 6 osc2 sync Page 25 Sync O 1 default value 0 In this mode Oscillator 2 is synced to Oscillator 1 This means that each time a period in Oscillator 1 s waveform starts Oscillator 2 is forced to start over with a new period as well Example a sawtooth wave synched by a sync oscillator The sawtooth wave is restarted every time the sync os cillator begins a new cycle The resulting signal gets deep resonance in its harmonics Amplitude Time Oscillator non synched Amplitude Time Sync oscilla tot Amplitude Time Oscillator synchronized Amplitude Time Oscillator at higher freq
69. th1 Banks internal 37 Empty LC Synth Bankssntermal 38 Empty 5ynth1 Banks lntermal 33 Empty ee B ExIBank zip L Synth Banks External R R Master Tuning Panel Size Color Customize ARGGBE Pirrrrtbrt tt bt bbb d 0 0 bor JL Ress O Lente 44 440 D00H2 Slider Window Transparency Window select program from host These are the settings for program folder locations and also for the user interface options They are as you can see pretty much self explanatory Notes The user interface color is set with HTML type values RRGGBB The option to select the program from host can cause some unexpected problems Bank Path Fast Add For v1 12 you need to edit the Synth1 ini file which is on Windows XP located in C Documents And Settings lt username gt Application Data Daichi Synth1 Open it in Notepad and there you can add the paths to your bank folders for example bankfolder99 C Synth1 Banks Internal 99 Empty zipfolder C Synth1 Banks External Copyright 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Colors 82328 Purple 22283 Dark Dark Blue 44428 Dark Purple Blue 82333 Rusty Red 33333 Crusty Black 12246 Bright Blue 00582 Dark Green 27777 Teal BlueGreen 66666 Light Charcoal Grey 88888 Grey 77002 Dark Red 59037 Bright Purple 69572 Dark Copper 71185 Purple Berry 68830 Slime Green 68977 Algae Green 98111 Bl
70. that Synth1 window flickers according to environment e Problem that position where parameter selection window etc are displayed does clip to primary monitor in multimonitor environment Ver1 10 2010 5 4 e he switch which chose the right or wrong of the patch choice from the vst host GUI was added to an optional dialogue e he phenomenon that patch choice mechanism of the vst host side became unstable in occurred frequently It is the result that expanded the number of the banks to 100 The switch is a thing to avoid this phenomenon e When this switch is on tone choice is possibility from the vst host GUI as before However depending on the vst host a patch is not chosen and there is a thing kept waiting for several seconds e When this switch is off you cannot choose a patch from vst host GUI However the trouble mentioned above does not occur e tis by default off e BugFix e The problem that pingpong delay did not become effective e The problem that failed in the conversion of the patch of Synth1 of the old version e The problem that a patch name did not synchronize with a VST host between Synth1 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 76 well e When did over of a mouse in voice status the problem that mouse shape became the hand shape Ver1 09 2010 5 1 e A phase control function was added e The phase knob in the Osci
71. the default became 15096 Voice status disabled key on key off ready was displayed revised some words of the dialogue The Lissajous indication function was abolished e he size of the panel was expanded to 25096 e BugFix e he problem that a screen flickers for an instant when carry out a change to preset in Reaper e he problem that all parameters were not displayed in a dialogue of the MIDI control assignment Copyright O 2010 by Daichi All rights reserved This document is a private copy Synthi Virtual Analog v1 12 2010 5 23 Page 77 Ver1 08 2010 4 23 e he DXi version became the discontinued e Because the maintenance of the development environment was difficult abolished the DXi version e The Synth1 Installer became the discontinued e Because there was not the necessity with the abolition for DXi abolished the installer On the other hand attach tool initsetteings exe initializing the setting windows registry such as bank folders When you use Synth1 for the first time please initialize setting with this tool e The number of the banks was expanded to 100 e The setting initialization tool does the setting to bank00 09 but does not set bank10 99 When you use bank10 99 prepare a folder by yourself Please set it in an optional dialog e BugFix e Correspondence of the malfunction that the MIDI tab of the optional dialogue is replaced by without permission e Just after a tone save
72. time when a program change was not performed fixed the bug that there was Ver1 07 2006 5 3 e Play Mode e Unison stereo spread added e Unison pitch added e Effect e Phaser added e GUI e Added switch Lissajous e Improved overall rendering performance e Other internal process improvement etc Ver1 07 beta 2006 3 26 e BugFix e Startup noise problem fixed Ver1 07 alpha2 2005 10 16 e GUI e Window slider knob added in display settings options Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 e BugFix Fixed crash in Dxi Ver1 07 alpha 2005 10 1 e Oscillators o o o e Filter o e LFO OSC1 8 multiple detune added OSC2 pitch smoothing added PW of LFO changed from PI to Pl Negative values for AMOUNT added PAN destination added e Effect added e Equalizer PAN L R added e Tempo Delay During the delay time sound changes like tape echo No following changes and additions to stereo version Normal stereo type ST cross feedback X Ping Pong PP Added a subtle shift parameters of left and right delay spread Page 78 Old level knob is replaced with adjustable balance between original sound and delay sound d w e Chorus Flanger The total change in internal processing noise free sound Expanded the range of RATE variation 0 01Hz 400Hz Ultra short time 0 05ms added low freque
73. trol Signal Note that the horizontal lines indicate the way the sound travels The vertical lines indicate control signals The envelopes for example only modulate control the oscillator filter and amplifiers they do not affect the sound directly The structure of Synth1 v1 06 is shown below The section with 16 voices simulates an analog synth with 2 VCOs In this version Synth1 also had an arpeggiator equalizer delay and chorus Voicel 16 zm Os cill ators Filter 7 Arpeggiator LFO LFO2 Output L R Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog Ver 1 00 1 04 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 osc1 shape osc2 shape osc2 pitch a2 kbd track osc mix osc sync osc ring modulation osc pulse width osc key shift osc mod env on off osc mod env amount filter type filter sustain filter freq filter resonance filter distortion filter distortion filter velocity switch an arpeggiator type arpeggiator oct range arpeggiator beat arpeggiator gate amp sustain 1 05 osc1 shape osc2 shape osc2 pitch osc2 tune osc2 kbd track osc mix osc sync osc ring modulation osc pulse width osc key shift osc mod env on off osc mod env
74. uency synchronized Amplitude Harmonic number 10 20 30 40 Frequency Amplitude Osc Harmonics Al 10 20 30 40 Amplitude Osc Harmonics ASS Harmonic number Frequency Harmonic number Frequency 10 20 30 40 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 26 The effect of this is that if Oscillator 2 has a higher frequency than Oscillator 1 it will get a complex waveform that depends both on its own pitch and on that of the other oscillator Oscillator 1 mae PA 7 LAM AM AM AM more TT TT VV VV V Obviously the Sync function can give some very interesting even hursh and fuzzy effects on the Oscillator 2 sound The easiest way to try this out is probably to activate Sync and adjust the pitch knob for Oscillator 2 while holding down a note In this mode the osc2 fine tune control will not determine the pitch shift but rather the harmonic content of the wave When trying out Sync make sure you listen to Oscillator 2 since this is the one affected by the changes 7 osc2 ring modulation O 1 default value 0 This is a function also known as Amplitude Modulation where the waveforms of the two oscillators are multiplied The result is an inharmonic sound which is great for metallic or bell like timbres uplift sounds and cool house techno effects When trying out Ring Modulation make sure you listen to Os
75. ulate the behavior of a plucked string instrument guitar piano etc where the sound always decays to silence after a while Leve Time 16 5 Ub If a key is released before the envelope has completed one or more stages the envelope will jump directly to the Release stage at the corresponding level Level Key Down Key Up Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 43 29 amp gain O 127 default value 107 This is used to adjust the overall Level of the Sound This parameter is mainly used to balance one Program against another 30 amp velocity sens vel O 127 default value 64 Amplifier Velocity Sensitivity can make the volume react to velocity With this parameter you can adjust how much the amplitude changes according to the velocity of the note played Turn left to decrease the sensitivity and thus the volume change turn right to increase it Another interesting way to make a Program velocity sensitive is to activate the Velocity switch in the Filter section ID 24 This makes the Filter Envelope Amount vary with striking force to a pre determined degree Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 44 Arpeggiator Arpeggiator ON type range updown loct beat up 2oct down ndo random 4oct gate Synth1 provides p
76. unison phase shift unison voice num polyphonic osc1 sub gain osc1 sub shape osc1 sub shape osc1 sub octave delay tone Synth1 Virtual Analog v1 12 2010 5 23 Page 16 Parameters ID Order in Voice File v1 04 v1 05 v1 06 v1 07 v1 08 v1 09 v1 10 v1 11 v1 12 0 0 0 0 0 0 0 0 0 45 45 45 45 45 45 45 45 45 1 1 1 76 76 76 76 76 76 2 2 2 1 1 1 1 1 1 3 3 3 2 2 2 2 2 2 4 4 4 3 3 3 3 3 3 5 5 5 4 4 4 4 4 4 6 6 6 5 5 5 5 5 5 7 7 7 6 6 6 6 6 6 8 8 8 7 7 7 7 7 7 9 9 9 8 8 8 8 8 8 10 10 10 9 9 9 9 9 9 11 11 11 10 10 10 10 10 10 12 12 12 11 11 11 11 11 11 13 13 13 12 12 12 12 12 12 14 71 71 13 13 13 13 13 13 15 72 72 71 71 71 71 71 71 16 14 14 72 72 72 72 72 72 17 15 15 14 14 91 91 91 91 18 16 16 15 15 14 14 95 95 19 17 17 16 16 15 15 96 96 20 18 18 17 17 16 16 97 97 21 19 19 18 18 17 17 14 14 22 20 20 19 19 18 18 15 15 23 21 21 20 20 19 19 16 16 24 22 22 21 21 20 20 17 17 25 23 23 22 22 21 21 18 18 26 24 24 23 23 22 22 19 19 27 25 25 24 24 23 23 20 20 28 26 26 25 25 24 24 21 21 29 27 27 26 26 25 25 22 22 30 28 28 27 27 26 26 23 23 59 29 29 28 28 27 27 24 24 31 30 30 29 29 28 28 25 25 32 59 59 30 30 29 29 26 26 33 31 31 59 59 30 30 27 27 34 32 32 31 31 59 59 28 28 65 33 33 32 32 31 31 29 29 35 34 34 33 33 32 32 30 30 36 65 65 34 34 33 33 59 59 37 35 35 65 65 34 34 31 31 66 36 36 82 82 65 65 32 32 64 37 37 35 35 82 82 33 33 52 66 66 83 83 35 35 34 34 53 64 64 36 36 83 83 65 65 54 52 52 37 37 36 36 82 82 55 53 53 66 6
77. wide unison voices stereo image with the emphasis on the left negative settings or the right positive settings channel To enhance the lushness of the stereo image even more or to achieve something like so called Haas effect you can combine the Unison Pan Spread at its maximum left or right level with a Cross Delay configured to have a short time e g 32 3 d w knob set to about 66 fdbk knob positioned below two repeats and the sprd knob set between 5 and 6ms On Clavia Nord Lead Unison Pan Spread parameter doesn t exist as it is pre set to the maximum 0 64 85 unison pitch gt v1 08 0 48 24s 24s default value 24 This is used to set the pitch of the additional voices evoked by the Unison Mode Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 57 92 unison phase shift 2v1 09 O 127 default value 0 This is used to adjust and fix phase relations at the moment of triggering additional Unison Mode Oscillators This knob should not be effective unless you immobilize the phase in the Oscillator section For more information see parameter ID 91 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 58 wheel MIDI 40 pitch bend range p b range O 24 Os 24s default value 12 This allows you to set the Pitch Bend
78. y LFOs and the Modulation Envelope This waveform is suitable for many types of sounds vintage synths strings pads smooth basses leads synced waves and has a more hollow character than the Sawtooth wave Amplitude Amplitude Time Harmonic number 10 20 30 40 Frequency The pure square wave a pulse wave The frequency spectrum of a pure square wave The sig with 50 pulse width nal contains only odd harmonics Amplitude Amplitude Time Harmonic number 10 20 30 40 Frequency The pulse wave at 10 pulse width The frequency spectrum at 10 pulse width Now also even harmonics are gradually introduced making the sound sharper but also thinner Amplitude Amplitude Time Harmonic number 10 20 30 40 Frequency The pulse wave at 5 pulse width The narrower the pulse width the more harmonics are present in the frequency spectrum Copyright 2010 by Daichi All rights reserved This document is a private copy Synthi Virtual Analog v1 12 2010 5 23 Page 21 3 triangle The Triangle wave has a relatively weak odd harmonics This fact makes the tone pure a bit like a flute and gives the sound a slightly hollow character Triangle wave is great for use with the FM and also for creating basses flutes and smooth sounds Amplitude Amplitude Tme Harmonic number 10 20 30 40 Frequency The triangle wave The frequency spectrum of the triangle wave contains only odd harmonics at fairly low levels 45
79. ying control level 90 pan 2v1 09 O 127 L100 R100 default value 64 This parameter determines the Pan position of the voice Along with its conventional use it is proved to be very useful when creating layered voices with multiple instances of Synth1 Copyright O 2010 by Daichi All rights reserved This document is a private copy Synth1 Virtual Analog v1 12 2010 5 23 Page 52 ctll cti level The Effect Unit of the Synth1 brings a multitude of effects e Analog Distortion 1 provides even order harmonic distortion with negative feedback and low frequency damping e Analog Distortion 2 uses standard soft clipping of the audio signal which distorts the shape of its waveform and adds overtones It can simulate warm saturated overdriven tube sounds but can also generate drastic distortions e Digital Distortion is a high resolution digital distortion effect capable of producing very unique bold and modern distorted sound e Bit Crusher Decimator is a low resolution digital distortion effect You can use it to emulate the sound of early digital audio devices to create artificial aliasing by dividing the sample rate or to distort signals until they are unrecognizable e Phaser is perfect for adding a beautiful warm animation and movement to the sound As with the flanging the periodic motion of the notches over time is also essential for this effect In some way Phaser is similar to Flanger but it is

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