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1. cuts the high frequencies with available slopes of 6 dB 12 dB 24 dB and 48 dB per octave and with a high constant resonance value Low Pass Type ll cuts the high frequencies with available slopes of 6 dB 12 dB 24 dB and 48 dB per octave but with a frequency variable constant resonance value High Pass cuts the low frequencies with the same available slopes as the low pass mode also with a high constant resonance value Band Pass cuts frequencies that are not around a center frequency with the same available slopes Band Reject cuts frequencies that are around a center frequency with the same available slopes Negative and positive feedback comb filter reproduces the delay based effect e Vowel emphasizes various spectrum frequencies called formants in speech synthesis so as to reproduce human vowels The frequency parameter of the filter is used to determine the pitch or gender of the voice whereas the resonance lets you sweep through the various vowels Modulations All the above filters and modifiers can be furthermore modulated with two LFOs two modulation envelopes amplitude envelope and performance controllers such as velocity aftertouch or modulation wheel A modulation matrix lets you build your own modulation routes with adjustable modulation strength ZVORK NOXIOUS User Manual FOXIOUS Midway Plastic Mode Polsrhoni lide y Poyphory a Level Feedback n h l Spresa Fat2. All shapes oscillate between 1 and 1 Both LFO s have the same settings Frequency controls the rate of the LFO in hertz or in note lengths if it is synced to the tempo e Shape there are six different available wave shapes e Sine Triangle e Saw 14 ZVORK NOXIOUS User Manual Square e Random e Sampled random Tempo Sync when pressed the frequency of the LFO is adjustable in note lengths with the start of a wave cycle synced to the tempo Key Sync when pressed the default the wave cycle starts when a key is pressed If the button is unpressed the LFO is free running and the same for all notes Delay delay the effect of the LFO up to five seconds Destination by clicking on this display you can select what the LFO will modulate from all the available modulation destinations see the Matrix paragraph for the list The knob to the left controls the strength of the modulation from 100 to 100 Modulation Envelopes With the amplitude envelope come two freely assignable modulation envelopes They are a bit more configurable than classic ADSR envelopes as you can also adjust the start attack and release levels All levels L1 L2 Sustain and L4 have values ranging between 100 and 100 attack level 7 wl S O sustain level T LT start level EN 4 release 1 A ye level attack decay release time time time Just like the LFO s each modulation e
3. the default the pitch of the oscillator follows the note pressed on the keyboards Set to 100 the pitch changes at twice the normal note rate two keys separated by an octave will give a two octave oscillator pitch difference Finally when set to 100 the pitch is constant across all keys Filters Filter mode The filters can be applied to the modified waveform in serial the default or in parallel In the latter case each filtered version or the original modified waveform if a filter is not activated is then remixed to form the final output Keyboard Tracking This controls how the filter frequency is adjusted for each note By default the value is 50 which corresponds to a frequency adjusted exactly with the note frequency When the value is 0 the frequency is identical along all the note range Negative values indicate that the frequency increases with low notes Amplitude and Output This section of the front panel groups all the controls associated with the volume The amplitude envelope is a classic ADSR envelope with attack time decay time sustain level and release time controls Filter mix The influence of each filter in the final output can be controlled here To the left only the influence of the first filter is heard if it is on and the right only the influence of the second filter Modulation LFO Two low frequency oscillators LFO can be used to modulate one or many parameters with a bipolar curve
4. 2 32 53 Mod Envelope 1 2 Start level 54 55 Mod Envelope 1 2 Attack time 56 57 Mod Envelope 1 2 Attack level 58 59 Mod Envelope 1 2 Decay time 60 61 Mod Envelope 1 2 Sustain level 62 63 Mod Envelope 1 2 Release time 65 66 Mod Envelope 1 2 Release level 67 68 Filter 1 2 Type 69 70 Filter 1 2 Frequency 71 72 Filter 1 2 Resonance 73 74 Filter 1 2 On Off 75 76 LFO 1 2 Key sync 77 78 LFO 1 2 Tempo sync 79 80 LFO 1 2 Frequency 81 82 LFO 1 2 Frequency tempo synced 83 84 LFO 1 2 Shape 26 ZVORK NOXIOUS User Manual 85 86 LFO 1 2 Delay 87 Volume 88 Keyboard mode 89 Glide 90 Oscillator stereo width 91 Waveform variation 92 Filter mode 93 Filter mix 27 ZVORK NOXIOUS User Manual More information at http www zvork fr audio 2013 Olivier Prat 28
5. ER PE E ARRES 14 js M OH 14 Modulation Buvelopesu csi aer pb der ieu nent ini 15 Modulation MA m 15 MIU Rs ne ne ie li ei 15 Destinations een dada nine 16 ZVORK NOXIOUS User Manual Back Panel c at 18 Mini CR M clas 18 CV QUID E 18 AU CO Inr MNT 19 Partial ilii y eee m 20 o n 20 MDS i T 20 Harmon MES i qup din PET Se EM Ein tete en PAM DUE E ORE 20 NOISE fost a ee 20 RandomiZ TP EEEE 20 Low Pass and High Prada 20 o a EA AE E RE o O A 21 Eng m 21 Pit n aes 21 TNE aeien dede E aa 21 Pr ellie A E E E E E E nn 21 PPP EE A EE E S 22 Harmo ZE securite us eee E ee NUEVE ec 22 NO 22 A et eee seysp corms ch Garou eae arsees aude pea eeepc ase stone atasi NEEEM kaans niaes sania ner 22 A o eS 23 Repeat M 23 hs liso RT 23 RMS Rd de at 23 ODA a a aan nn 24 Tips
6. NOXIOUS User Manual version 1 5 0 ZVORK NOXIOUS User Manual Table of Contents Hee ditime 4 A brief introduction to Additive Synthesis eee e eee eee e crees esee eee en enean setas etta se tnna 5 PRO CORDES de Ped inch cd di Pa 0 Did RATES 5 Inharmonic SOUNMS ssssescseasvevcacsessnosnssnensonssvessonsssossacsensasseesncatensonasedensoassnsdeecusnss seentesssuasesoassesonss 5 The NOXIGUS CAT D tte 6 COR TITRE tn bei 6 Partial MO ARR A M eere eea 7 jg RP A A RR 7 Mo od lati a a ia QUON aetna a DH RR 8 OA A HP 9 PO default positions ic ii 9 PONS Rad e E pU a aree EM aO MR lu E node dant CN 9 Pitch Bend and Modulation wheel 9 Keyboard Mode and lide uii urne reris deserve e Metu pe trei ta dein PA rt Ue onu 10 O O TR 10 A 10 WAV 10 A ne tt A a MU 10 OR COTON 11 NO a dde cad Gien dd ie ni At 11 PAM eem 11 CPU TANS Set BS aoo te ae E ln 11 Partial COIE ad na 11 o A A E A 11 O 11 MOI e meee 12 PP AU A a A O A A N 12 Ho 13 o A A A EE re 13 Specific Parameters ono 13 Keyboard Tac C n a KEE EREE denim 13 Wn up AE E E O o nn 13 Ievbonrd Trackin a 14 Pilte Sena C rue 14 Fiter mode mrien e A EO oe 14 Keyboard Tracking id 14 Amplitude and EB Virol TET 14 Filter MUR den EEE EEA AE A A 14 VS TETE DOU LT HON
7. acking value of the modifier To do so you explicitly create a link in the modulation matrix 20 ZVORK NOXIOUS User Manual Feedback This modifier applies a positive or negative comb feedback effect to any section of your spectrum Limit To prevent certain partial levels from becoming to high especially when using the Equalizer modifier with a high gain value you can apply this modifier The first parameter determines the threshold maximum value of the partial levels The effect is softer than a hard clip Pitch Tune The Tune modifier lets you adjust the pitch of the influenced partials by a particular relative amount The two parameters Semi and Fine changes the pitch by semitones or cents Level 4 i gt lt gt Frequency tt Scale This modifier changes the pitch of the partials relatively to the modifier center The center defines a central frequency and the Amount and Fine control how close the partial pitch is moved towards or away from this central frequency If the amount is set to 100 the partial pitch is exactly the central frequency If it is 50 it will be halfway between its original pitch and the central frequency Finally at 100 the partial pitch will be at double the original frequency distance from the center frequency 21 ZVORK NOXIOUS User Manual Level 4 Center Offset Whereas the Tune modifier changes the pitch in a relative manner the Offset m
8. ations in pitch which corresponds to the slight detuning of each partials to produce the chorus effect Finally the cymbal waveform which is absolutely inharmonic has an even distribution of frequencies across the spectrum all with approximately equal level Their pitch also seems to be a bit random as we can see that there is a lot of deviation from the harmonics There are up to five possible active modifiers Each modifier is applied in sequence starting with modifier A and ending with modifier E A modifier thus is applied to the output of the previous active modifier Activation A modifier is active if it is enabled by pressing the button at the top left of the corresponding modifier section 12 ZVORK NOXIOUS User Manual Type The type of the modifier can be selected by navigating through the list with the left or right button or by pressing on the label which displays the list of all available modifier types For a complete list and description of these modifier types please refer to the specific chapter at the end of the documentation Influence A modifier is applied to a subset of partials This selection or partial influence is controlled through the parameters Center Spread and Falloff The center parameter controls the center frequency of the modifier the spread controls the frequency range of its influence and finally the falloff determines how this influence will decrease to zero between the cent
9. behave somewhat differently First of all only the Center and Falloff parameters are used The Spread parameter has no effect The center frequency sets the upper limit of the partial spectrum that will be repeated All the partials above this limit will be replaced by copies of the low spectrum partials and offset in frequency by multiples of the center frequency The Falloff controls the progressive attenuation of these copies The first specific parameter Harmonic forces the center frequency to the closest harmonic frequency when set to 100 This has the effect of ensuring that the partial copies remain harmonic if the originals where At value 100 the center frequency is unconstrained The second specific parameter Mix controls the dry wet mix of the effect Level 4 Center ull Mirror The Mirror modifier has a very similar effect to the Repeat modifier but instead of copying the partials with offset it also flips the partial frequencies every odd numbered copy Odd numbered copies thus have their lowest frequency partials equal to the highest frequency partials of the original partials However complicated this may seem this mimics the effect of sampling the wave form with a sampling rate equal to the center frequency Center Randomize The Randomize modifier is a fast way to create brand new wave forms by adding noise to both level and pitch of the partials The effect does not vary over time The Amount para
10. dding up individual sinusoidal oscillators called partials in Noxious Sine waves have the particularity of producing sound in a single frequency band of the spectrum By adding up multiple sine waves of different frequency we can in theory reproduce any frequency spectrum In fact science demonstrates that any sound of any length can be created with an infinite number of sine waves properly tuned and equalized This of course isn t practical and in reality additive synthesis constrains you to a finite number of sinusoidal oscillators but with controllable pitch and level Typical sounds consists of hundreds of sine waves so controlling each one of them is a bit of a challenge We will see how Noxious handles the problem later on but in the mean time let us see how typical sounds are built from these individual partials Harmonic sounds Musical harmonic sounds such as created by acoustic instruments or analog subtractive synthesizers are produced by periodic wave forms The frequency of these wave forms determine the pitch of the note Typical periodic wave forms in subtractive synthesis include sawtooth triangle and square waves They are all made up of sine waves of frequencies multiple of the wave form s note frequency This note frequency is called fundamental frequency in additive synthesis For example if you hit the A4 key on your keyboard which corresponds to a frequency of 440 Hz and produce a saw tooth wave form this saw tooth is
11. er and the edge of the selection The illustrations below present two modifiers with decreasing falloff Level Level Center 4 Center H Falloff d Falloff gt gt C Frequency gt Frequency Spread Spread Specific Parameters A modifier has two specific parameter knobs which control the type specific parameter 1 amp 2 A display at the right of the knob presents the name of the parameter for the current modifier type Keyboard Tracking When keyboard tracking is set to 100 the modifier center and spread follow exactly the note frequency This corresponds to the modifier being applied the same on the wave form partials regardless of the note pitch which is usually what we want When the tracking is set to 0 the modifier center and spread are constant across the note range and fixed in the spectrum For instance on an equalizer this corresponds to a fixed peak or notch on the spectrum just like a normal equalizer or formant filter would behave For values of the keyboard tracking under O the center and spread increase when the note frequency decreases Tuning There are two knobs to define the basic pitch of the oscillator The main one is used to adjust the pitch in semi tones from 48 to 48 The second one lets you finely tune the oscillator in cents or hundredth of semi tones 13 ZVORK NOXIOUS User Manual Keyboard Tracking When set to O
12. ereo space Pan Like the name suggests this is the parameter used to offset the center of the waveform in the stereo space Quality Settings Additive synthesis can be very CPU hungry on low end computers depending on the number of partials manipulated and the rate at which they are modified These settings let you strike a balance between quality and CPU performance or just push the quality to its maximum Partial Count By setting the partial count to one of the three possible settings Low Medium or High you can lessen the CPU load of your patches Each quality setting corresponds to a certain number of partials per voice which affects the spectrum of the waveforms Precision On most occasions you won t notice a difference when changing the precision but when you are changing your spectrum at a very fast rate with a high rate LFO for instance or a high rate noise modifier you might want to try a higher setting If on the contrary you are creating a very slowly evolving pad you can switch to the low setting without noticing any difference Changing the spectrum includes modifiers and filters so very fast modulation of filter cutoff can also be of higher quality if you push this setting to its highest value Display When all partial modifiers are turned off the default situation the partial display lets you visualize the levels in dB and pitches of the selected wave form s partials Due to a limited display size
13. hich modifier you are using to make a sound that starts with a rich inharmonic spectrum and gradually changes to a harmonic one A note on CPU DSP performance The CPU load of Noxious is directly proportional to the number of audible partials Very high frequency partials are not computed to save CPU time Some wave forms the offset and tune modifiers can lead to a great number of partials in the lower part of the spectrum The Strings Dark Noise and Razor wave forms are the perfect examples This implies that most of the partials will always be audible and thus need more CPU power to render There is always a balance between spectrum richness in the lower end and CPU performance The most CPU demanding patch would be all the partials tuned or offset in the lower part of the spectrum in high partial count and high precision quality settings 25 ZVORK NOXIOUS User Manual MIDI Implementation Chart MIDI Controller Parameter 4 Pan 5 Pitch Semi y Pitch Fine 8 Amplitude envelope Attack time 10 Amplitude envelope Decay time 12 Amplitude envelope Sustain level 13 Amplitude envelope Release time 14 Oscillator Waveform 15 19 Modifier A E On Off 20 24 Modifier A E Center 25 29 Modifier A E Spread 30 31 33 35 Modifier A E Falloff 36 37 39 41 Modifier A E Type 42 46 Modifier A E Parameter 1 47 51 Modifier A E Parameter
14. ials Level High Pass 12dB apply a high pass filter with a 12 dB octave slope to the selected partials Level Feedback apply a feedback comb filter to the selected partials Level Limiter limit the level of the partials to a certain level by applying a soft clip to their level Pitch Tune tune the partials to a different fundamental frequency Pitch Scale scale the partial pitch away or towards a center frequency Pitch Harmonize detune the partial pitch away or towards the nearest harmonic frequency Very handy to transform an inharmonic wave form into an harmonic one Pitch Noise add a time varying randomness to the existing partial pitch Combined Repeat Repeat the low frequency partials across the spectrum Combined Mirror Mirror Repeat the low frequency partials across the spectrum Combined Randomize Shuffle both levels and pitches Combined Duplicate Create detuned copies of the partials A more thorough description and documentation on the partial modifiers is available in a dedicated chapter Filters After the partial modifiers the wave form can be modified furthermore with two multi state fillers in series featuring resonance This is classical territory if you know subtractive synthesis but the filters operate directly on the partials without touching the phase Here is the list of filter modes ZVORK NOXIOUS User Manual Low Pass Type
15. in fact made up of sine waves of frequency 440 Hz 880 Hz 1320 Hz or 1760 Hz or 1 x 440Hz 2 x 440Hz 3 x 440Hz and 4 x 440Hz The multiples of the fundamental frequency are called harmonics The sine waves also have a particular amplitude but these amplitudes only change the timbre of the wave not its note frequency or harmonicity This difference in amplitude is what makes a sawtooth sound different from a square wave Inharmonic sounds The vast majority of sounds are not harmonic or tuned Percussion or noise sounds for instance don t have a clear pitch and thus don t have partials tuned so simply as harmonic sounds In fact most inharmonic sounds have partials tuned with no relation between one another In reality acoustic instruments are not totally harmonic in the pure sense of the term but are almost harmonic Their partials are not strictly tuned to multiples of the fundamental frequency and this is what gives their richness as this introduces some slight chorus beating effects Typical inharmonic sounds are metallic sounds such as mistuned bells or rigid strings and these can be easily built from harmonic sounds by detuning some of their partials ZVORK NOXIOUS User Manual The Noxious engine In this chapter we will describe in detail how Noxious lets you manipulate these partials to create a wide variety of sounds and how it relates to additive synthesis and even to subtractive synthesis Oscillator Instead of c
16. lope 1 amp 2 attack decay and release times Filter 1 amp 2 cutoff frequency Filter 1 amp 2 resonance Filter mix Waveform variation Oscillator pitch Oscillator output level Oscillator pan Oscillator width Amplitude envelope attack decay and release times Modifiers A E center 16 ZVORK NOXIOUS User Manual e Modifiers A E spread e Modifiers A E falloff e Modifiers A E parameter 1 e Modifiers A E parameter 2 17 ZVORK NOXIOUS User Manual NOXIOUS evel Modifiers Peak notch equalizer Affect y Ok or even harmor with a posit jatrve Parity va Attenuate inharmonic or harmonic ials witha tive or tive Mix value Narrow controls how ARC RE rarmonie aane slecwion shed os ve orage r 58 toaexistingr lav lE 155102 ir tie Shuffle levels Apply alow pass filter on the ected partial DD Qn pass filter on the selected partials Limit and soft clip the selected partial levels to a certain value Scale the partials towards oc away of the selection center Mirror repeat the partials along the spectrum Canter controls the mirror point Harmonic snaps the center to a harmonic frequency pa al with a user definable detune factor The back panel exposes the input output CV and audio output sockets CV Inputs Some of Noxious parameters can have their values modulated by control voltage signals coming from other devices Trim knobs let you control the amplitude of the modulation Four special CV inpu
17. meter controls the amount of shuffling both in level and pitch while the second specific parameter Seed determines the noise distribution Changing this will completely change the random values in unpredictable ways 23 ZVORK NOXIOUS User Manual Duplicate This modifier steals the partials of lowest amplitudes and reuses them to add one new partial for each partials in the zone of influence This new partial can be detuned with the Interval and Depth parameters The first parameter sets the interval in semi tones between the new partial and the original one The second parameter does the same but in cents These new partials are in fact existing partials that are retuned and set to the correct level based on their level and frequency The modifier will try to reuse partials with low levels and high frequency Because of this rapid changes of spectrum in drastic ways using modifiers may result in audible disappearance and reappearance of partials if a Duplicate modifier is applied in the final stages of the modifier stack 24 ZVORK NOXIOUS User Manual Tips and Tricks If you want to start making your presets for Noxious there are a few tips tricks and starting points you might want to know Adjust the quality according to your bandwidth The higher the quality the heavier will playing Noxious tax your CPU power But increasing partial count adds high frequencies that might not be audible especially if you are usi
18. monic and inharmonic is controlled with the narrow parameter At 100 the harmonic and inharmonic selection depending on the value of the mix parameter is extremely narrow and only partials which have frequencies almost exactly harmonic are considered harmonic When the narrow parameter is a 100 the difference between harmonic and inharmonic is less constrained Noise This modifier randomly changes the level of the influenced partials over time The range of the random gain is controlled with the Amount parameter while the rate at which this evolves is set with the Rate parameter The randomness is voice dependent so if you strike a chord each note will have a different spectrum Be careful as this modifier can be CPU intensive Randomize The effect does not vary over time The Amount parameter controls the amount of shuffling of the partials levels while the second specific parameter Seed determines the noise distribution Changing this will completely change the random values in unpredictable Ways Low Pass and High Pass These modifiers act like the respective filter types but there effect are weighted by spread center and falloff You can for instance apply low pass effect on just a part of the spectrum by correctly setting the center on the desired zone The first parameter controls the filter cutoff frequency and the second resonance But be aware that like all modifier parameters their value isn t influenced by the Keyboard Tr
19. nd WICKS m 25 Adjust the quality according to youcband io 25 Stealing high frequency partials with the Offset modifier 25 Attack partials with inharmonic wave TO iaa 25 A note on CPU DSP performan dde 29 MIDI Implementation Charat a 26 ZVORK NOXIOUS User Manual Y Pan gt ADDITIVE WAVE SYNTHESIZER Introduction Noxious is a polyphonic additive synthesizer Additive synthesis consists of adding tens hundreds or thousands of individual sinusoidal oscillators to create complex waveforms or sounds In theory additive synthesis is able to recreate any sound imaginable but is usually a challenge to manipulate Noxious takes an intermediate route to additive synthesis by offering a limited mean of manipulating these sinusoidal oscillators called partials through modifiers and classical filters ZVORK NOXIOUS User Manual A brief introduction to Additive Synthesis A majority of synthesizers are based on a particular form of synthesis called subtractive synthesis It consists in producing a spectrally rich wave form such as sawtooth square or noise and applying a filter on these wave forms to remove or subtract parts of their spectrum By varying the types of filters and their parameters they can produce a fairly wide variety of sounds Additive synthesis works the other way around It consists in building this rich spectrum from scratch by a
20. ng a low pass filter further down the line So as a final touch try adjusting to the lowest partial count The same thing applies to the precision Try changing to the lowest quality to hear if there are any differences It will most noticeable if there are very fast variations of you spectrum because of high LFO or envelope rates for instance Stealing high frequency partials with the Offset modifier When your sound doesn t really need those high frequencies because you re a huge fan of dark resonant muted sounds you can still use them for other purposes With the Offset modifier you can move your partials down to lower frequencies and use them for good effect like fattening your sounds if you have previously slightly detuned them with the Tune modifier or add a touch of inharmonicity during the attack phase Attack partials with inharmonic wave forms Starting with an inharmonic waveform is sometimes a great idea if you want to create nice percussive sounds with a musical tone If you apply a Harmonize modifier on an inharmonic wave form and pull the intensity parameter to 100 you will hear the sound transforming into a completely harmonic wave Likewise if you apply a Harmonic Mix modifier instead and put the mix parameter to 100 playing with the narrow parameter will enable you to progressively remove the inharmonic partials With that in mind it is easy to link one of the envelopes to the intensity or mix parameter depending on w
21. nthetic female oh sound Strings an orchestral string wave form Saxophone a tenor saxophone Nasal a very nasal sounding wave form with lots of medium frequencies Cymbal an inharmonic metallic cymbal sound Dark noise an inharmonic low bandwidth noise Razor imagine an electric razor and you get a good idea of what this sounds like Quasi Sawtooth like a sawtooth but with all the partials slightly detuned Fractal a synthetic wave with a lot of high frequencies ZVORK NOXIOUS User Manual Shepard this wave has only octave separated partials perfect for organ or clear sounds Alien a spectrum halfway between noise and metal with a slight pulsation Partial Modifiers The partials produced by the oscillator can then be transformed by a stack of up to five modifiers A B C D and E The modifiers are applied in sequence and can modify the levels of the partials their pitch or both Each modifier can operate on a subset of partials Here is the list of available modifiers Level Equalizer this is the basic modifier as it lets you boost or cut partials as a classic parametric equalizer but with the added possibility of modifying only even or odd harmonics Level Harmonic Mix remove harmonic or inharmonic partials Level Noise add a time varying randomness to the existing partial levels Level Low Pass 12dB apply a low pass filter with a 12 dB octave slope to the selected part
22. nvelope has a destination freely selectable from all the modulation destinations with an adjustable modulation strength Modulation Matrix The modulation matrix is where you can create extra modulations by routing modulation sources to modulation destinations Each route has an adjustable strength parameter to define the influence of each source on the corresponding destination Sources Here is the list of available modulation sources Key pressed velocity 15 ZVORK NOXIOUS User Manual Amplitude envelope Modulation envelopes 1 amp 2 LFO 1 amp 2 Aftertouch Modulation wheel Keyboard tracking Sustain pedal Expression controller Breath control External CV inputs 1 to 4 see back panel Random on note 1 amp 2 this delivers a completely random bipolar value on each note pressed Destinations Here is the list of available modulation destinations LFO 1 amp 2 frequency LFO 1 amp 2 level this will modify the strength of the modulation set in the corresponding LFO section It will not modify the strength of other modulations as set in the modulation matrix and having the LFO as the source LFO 1 amp 2 delay Modulation envelope 1 amp 2 level this will modify the strength of the modulation set in the corresponding Modulation Envelope section It will not modify the strength of other modulations as set in the modulation matrix and having the Modulation Envelope as the source Modulation enve
23. odifier adds or subtracts the same frequency value to all the influenced partials This can have the effect of changing the harmonic rank of the partials for instance The Amount and Fine parameters control the frequency value added or removed from the partial pitch Level 4 f Frequency Harmonize The Harmonize modifier is extremely useful to transform a non harmonic wave form such as Cymbal or Dark Noise into an harmonic one or vice versa with negative parameter values With the help of the Amount parameter it moves the partial pitch towards the closest harmonic frequency when this parameter is positive or away from the closest harmonic when this parameter is negative Noise This modifier randomly changes the pitch of the influenced partials over time The range of the random tuning is controlled with the Leve parameter while the rate at which this evolves is set with the Rate parameter The randomness is voice dependent so if you strike a chord each note will have a different spectrum Be careful as this modifier can be CPU intensive Randomize The effect does not vary over time The Amount parameter controls the amount of shuffling of the partials pitches while the second specific parameter Seed determines the noise distribution Changing this will completely change the random values in unpredictable Ways 22 ZVORK NOXIOUS User Manual Both Repeat For this modifier the selection parameters
24. oft Center Ji pi Freauencs MES D Gain ey Combined Durlicate Y Spread 7 Fatioft I j Temoo Kay Toggle Display 4 Center V NI ad equency Modif A Param FR I Fine Combined Duplicate D B PB ETC Center Jia PLU Sem OT cmm cale lt Spread Falioff l Center Ic Modif Param 1 Modif E Param Modif E Param Rftertouch Mod Wheel Knob default positions On Noxious every knob corresponding to an important parameter has a small LED light underneath When this light is on it indicates that the knob is set to a non default value This lets you quickly see what has changed from the default on your panel Performance Pitch Bend and Modulation wheel The range of the pitch bend can be adjusted with a maximum range of 2 octaves 24 semitones ZVORK NOXIOUS User Manual Keyboard Mode and Glide There are three keyboard modes e Polyphonic the default mode where each new pressed key creates a new voice The maximum number of simultaneous notes can be adjusted with the Polyphony setting Noxious has a maximum polyphony of 16 voices e Mono Retrigger when pressing a key the synth retriggers the envelopes and changes the pitch if a previous key is pressed Mono Legato this is the same as mono retrigger but the envelopes are not retriggered By changing the Glide duration you can add portamento effect that will make the pitch glide from the previous n
25. only the partials with pitches up to hundred times the fundamental frequency will fit in the display Nonetheless especially in high quality extra partials can exist after the far right of the visible spectrum If all the partials are harmonics for instance with a saw tooth or square wave the pitch display will be empty If this is not the case inharmonic partials will display a bar with an amplitude indicating its distance to the nearest harmonic in cents If multiple partials overlap on the display with very similar pitches the partial with the greatest deviation from the harmonic will be used to display this pitch ZVORK NOXIOUS User Manual Sawtooth wave Square wave Sawtooth with chorus Cymbal When modifiers are active the display will reflect the state of the partials after all active modifiers are applied just before being sent to the filters Modifiers The saw tooth as seen in the display You can see the levels of each partials decrease as we go up in frequency The pitch display is a flat line which indicates that all partials are harmonics The square wave has the same decrease in level but you can see that one out of two partials are missing Again the pitch display is a flat line which indicates that all partials are harmonics The levels of the partials are identical to the sawtooth wave so the level display has an identical aspect The pitch display however displays some small devi
26. ote to the next This also works in polyphonic mode but in this case the portamento will take place only if you press a new key will previous notes are in release mode O O O O Sound Architecture In Noxious you don t directly create partials You start from a set of partials corresponding to a wave form which you then modify These modifications are done through two classic filters and up to five modifiers All these are applied in sequence to the partials This architecture is summarized by a schematic on the back panel reproduced on the right of this page SJSJIPON e a zt D D a Parallel Filter 1 Filter e Filter e Output Output Each waveform has a number of variations for example pulse width for the sawtooth waveform that can be selected in a continuous manner Sweeping smoothly between each variation is a first method of changing your sound over time Filter 1 Waveform The wave form is selected by navigating through the list of wave forms with the left or right buttons or by directly selecting it in a list by clicking on the current wave form label Variation 10 ZVORK NOXIOUS User Manual Stereo control Width Each partial of a waveform can furthermore be spread of the stereo space This is controlled through the waveform s width parameter A zero width gives a very narrow sound the default whereas set to 100 partials are balanced across the entire st
27. reating partials from scratch Noxious will allow you to start with a basic wave form from a predetermined list These wave forms are not purely periodic which is what you find in most synthesizers Noxious can produce inharmonic wave forms Being an additive synthesizer it can generate up to 200 partials in highest quality per wave form Here is the list of available wave forms Saw tooth classical saw tooth with a rich full spectrum Saw tooth Chorus a fat saw tooth consisting of triplets or duos of slightly detuned partials The spectrum has a lower bandwidth than the normal saw tooth Square classical square wave with a rich albeit empty spectrum Square waves have the particularity of lacking all harmonics with pitches of even multiples of the fundamental frequency In fact all wave forms lacking these even harmonics have the same empty quality to them Square Chorus the same square wave with a narrower bandwidth but with slightly detuned partials for a fatter sound Pulse 1 10 a classic pulse wave with a 1 10 pulse width Pulse 2 10 same thing but with a 2 10 pulse width Pulse 3 10 again but with a 3 10 pulse width Dirac this is an interesting wave form as it has all harmonics all with equal level Triangle the third classical wave form with the same empty quality to it as the square wave but without its brightness Male Voice a slightly synthetic male choir Female Voice a slightly sy
28. ts labeled CV 1 2 3 4 are by default not routed to a specific parameter It is up to you through the modulation matrix to route them to a particular modulation destination CV Outputs Noxious exposes for internal parameter to CV outputs e LFO 142 this the value of the LFO if it were not key synced 18 ZVORK NOXIOUS User Manual e Modulation envelope 1 amp 2 the value of the modulation envelope of the first pressed voice is sent to this output Audio Outputs The panned stereo output is sent to the left and right audio socket If only the left socket is connected to another device Noxious sends the mixed mono signal to the left socket 19 ZVORK NOXIOUS User Manual Partial Modifiers Level Equalizer This is the most basic of all modifiers and resembles the classic peak notch equalizer in that it enables you to increase or decrease the levels of the influenced partials Parameter 1 Gain controls the gain Parameter 2 Parity enables you to modify all influenced partials only even harmonics if set to 100 or only odd harmonics if set to 100 Harmonic Mix This modifier lets you control the mix between harmonic and inharmonic partials It has two parameters Mix and Narrow Mix controls which of the two sets of partials to keep On zero all partials are kept On 100 inharmonic partials are attenuated while on 100 the harmonic ones are attenuated The discrimination of partials between har
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