Tascam GVI User's Manual
Contents
1. LFO Frequency The Pitch LFO Frequency value can be set between 0 1 and 10 Hz and controls the rate at which the Pitch LFO oscillates Control Source The Control Source selects between Internal LFO Mod Wheel Aftertouch or a combination of either Internal LFO and Mod Wheel or Internal LFO and Aftertouch Synch This option provides a single synchronized Pitch LFO across all regions When Synch is enabled the LFO will be constant no matter what note is played or when it is struck When Synch is disabled the LFO begins at the point in time when each individual note is struck and will have its own out of synch and independent cycle When Synch is enabled the LFO cycle will stay in synch for all the notes no matter when they are triggered Internal Depth This parameter applies a fixed Pitch LFO depth that is always present when Internal is selected as a Control source External Depth An external MIDI continuous controller can also be used to control LFO Depth This setting works the same way as the Internal depth settings but you won t hear its effect until the assigned MIDI controller is engaged Note The attack of the Pitch LFO is determined by the Pitch Envelope Attack time In other words the Pitch LFO will not begin to oscillate until the Pitch Envelope has completed 15 GVI FILTER TAB MIDICONTROL FILTER ENVELOPE MODULATION eneral Amplitude Pitch FILTER SECTION F2. Internal is selected as one of the Control sources External Depth An external MIDI continuous controller can also be used to control LFO Depth This setting works the same way as the Internal depth settings but you won t hear its effect until the assigned MIDI controller is engaged 20 GVI LOOP TAB Filter General Amplitude Pitch SAMPLE START SECTION Sample Start This option alters the sample attack to start after the beginning of the wave sample The value is measured in samples and has maximum limit of 2000 samples This is useful to soften the attack of a sample or to eliminate create pops at the beginning of a sample LOOP SECTION This section is only available for samples that already have a loop enabled Loop Start Adjusts a defined loop s start point Loop End Adjusts a defined loop s end point Note The loop points are also visible and adjustable in the Waveform View window The Green marker is the loop start and the Red marker is the loop end 21 QUICKEDIT WAVEFORM VIEW The Waveform view provides valuable visual feedback when adjusting Envelope LFO and sample loop points There are three basic sections to the waveform display including the zoom tools a time display and the actual waveform window WAVEFORM VIEW ZOOM TOOLS Zoom Bar The purple rectangle located just above the time display can be used to scroll through a sample as well as to zoom in and out The light purple section of th
3. O 01 87 90 z J Slap 3 Jam Bass oo aa 4 BAIA MULTI EE 1 Dholak we O3 MS 95 Undo Redo unsa eso GVI allows ninety nine levels of Undo Redo The Undo Redo buttons are located just above the Zoom Bar navigation buttons EDIT MODES AND SELECTIONS In a Giga instrument every keyboard region has its own parameter settings for envelopes LFOs filters and the like The keyboard regions each covering one or more keys are displayed in the horizontal strip just above the virtual keyboard You ll notice that one of the regions is always highlighted in bright yellow This 1s the region whose parameters are displayed in the upper sections of the Editor When you change a parameter you ll be modifying this region plus any other regions highlighted in dim yellow Keyboard regions are further subdivided into splits For example a piano might be sampled at 12 different velocity levels yielding 12 velocity splits each with its own audio sample and its own parameter settings The same piano might have been sampled with the sustain pedal in both the up and down positions for a total of 24 splits per region In fact if the samples are stereo there are even separate parameter values for the left and right sides making a total of 48 complete parameter sets per region To show which split you are currently editing the instrument s dimensions are displayed as horizontal strips just below the editing tabs In the example abov
4. AMPLITUDE ENVELOPE SECTION Preattack The Pre attack level is adjusted with percentage numbers 0 100 It is the very first point of a sample s ADSR envelope and sets the initial volume level of the attack For example a Preattack level of 50 00 sets the beginning of the attack envelope to half the potential volume of the sample This allows for a sample to begin at any level from silent to full volume Attack The amplitude Attack time 1s measured in seconds 0 10 This value sets the amount of time that it takes for a sustained sample attack to reach its full volume For most acoustic instrument samples this time will range from zero to any value yielding a natural sounding attack However extreme settings can be used for musical effects like crescendos Decay1 The Decayl time is measured in seconds 0 60 This parameter defines the amount of time it takes to decay from the peak level of the attack down to the sustain level Sustain The Sustain level is adjusted with percentage numbers 0 100 After the first decay completes the sample will sustain for a period of time dependant on the Decay2 setting The Sustain setting determines the volume level of the sustain portion of the ADSR that occurs between Decay and Decay2 Hold If a sample has a loop point the Hold function will prevent the first Decay Decay1 from happening until the sample has played through its entire loop one time Hold is handy for natural decaying instr
5. R 23 Eovelope and LFO SE CON 23 CHAPTER IS GIGA PULSE VIEW eoi e A il 24 GIGAPULSEIN ITHE MIDI MI ER ce E E tre tere Rie nere tae ra nr rar rae 29 OPENING THE APRUESE Ms E E E O 25 INPUT SECTION cea N nod 26 ACOUSTIC SPACESECTION una o 26 MIC GROUP SECTION sucias 2 MIE FREPLACEMENTSECTO Nissan 30 MIC TOSBUS ROUTING SEC LION 2isessetcueetectsaeenaesuenteadicahtedsmeateadsacendmsuenteudiedehsateweateudsadens 33 CHAPTER 12 QUICKEDIT VIEW QuickEdit is a powerful tool that provides easy access to instrument dimension specific synth parameters like attenuation pan tuning envelopes filters LFO s and loop points Edits made in QuickEdit are non destructive meaning they do not alter the original GIG files Instead instrument specific QuickEdit modifications are stored and recalled by saving either a preset or GSI file The QuickEdit view can be opened using either the global EDIT button located on the GVI navigation toolbar or the green channel specific EDIT buttons located on MIDI Mixer channel strips that contain loaded instruments Instrument Select Drop Down Menu Once in the QuickEdit View it 1s possible to select any instrument currently attached to a MIDI channel or Stack Sub channel using the QuickEdit instrument select drop down menu The menu is located just beneath the GVI File Management toolbar and above the waveform display Only one instrument may be edited at a time Load Save X Unload a Reset 03 M5 93
6. Relative mode but uses multiplication rather than addition If you change an LFO rate from 4 Hz to 6 Hz every selected split gets a 50 increase Note that if a relative or proportional edit tries to push a parameter outside its legal range the parameter will be set to its minimum or maximum legal value KEYBOARD SELECT DROP DOWN MENU Individual regions sj regions Individual regions We noted above that a GVI instrument can contain a large number of regions each subdivided into many independent splits Often you will want to apply an edit globally across an entire instrument At other times you may need to edit only a particular region or group of regions The Keyboard Select setting helps make either kind of editing possible The options are All regions In this mode all of the keyboard regions are locked into the selected state Clicking on any keyboard region will make it the current region highlighted in bright yellow But all other regions will retain the dark yellow highlight and any edits you make will always be applied to all regions across the keyboard Individual regions In this mode it s possible to select any set of keyboard regions you like Click on a region to select that region Click while holding down the CTRL key to add individual regions to the selection or click with the SHIFT key to select a range of regions Note that while this mode allows more detailed editing 1t requires you to be aware of the regi
7. controller here Invert When enabled this setting reverses the incoming MIDI controller data values Resonance Controller This parameter allows you to assign a MIDI controller to the Filter Resonance for real time continuous control This assignment overrides the Filter Resonance value which will be disabled once you assign a MIDI controller here FILTER ENVELOPE MODULATION SECTION FILTER ENVELOPE MODULATION l Controller The Filter Envelope Modulation controls e iano allow external MIDI control of the Attack Decay and None F paa E Release of a regions Filter envelope Use the O Invert Pon Tor ao 1 Controller drop down menu to choose the MIDI i controller from the list of standard MIDI controllers Invert When enabled this setting reverses the incoming MIDI controller data values Attack Decay and Release depth These sliders allow you to enable MIDI control of Filter Envelope parameters Enabling these parameters allows the specified MIDI Modulation Controller to affect one two or all three parameters at once and with varying intensity for each KEY RESPONSE SECTION KEY RESPONSE A Velocity Vel Curve This parameter allows you to urva reer select how filter parameters respond to the incoming Note On velocity of each region You can choose between Linear Non Linear and Special curves Velocity Vel Dynamic Range With this setting you can lower or raise the dynamic range of the response of the Filte
8. disable the GigaPulse effect When Bypass 1s enabled the button will be lit up green Note If you bypass convolution that is an integral part of the instrument s sound such as that used in GigaPiano ll the instrument may essentially become unplayable sonically Master Left and Right The input levels adjust the amount of signal that passes through GigaPulse You can adjust the left and right signal levels independently or set them both at once using the master input knob If the Master is moved such that it forces one but not both of the Left Right faders to the maximum or minimum value the Master will maintain the average of the two faders trajectory the position of the fader if it had NOT been limited by the maximum or minimum As such a maximized Left Right slave fader will not move until the master has pulled the slave s trajectory below the maximum value ACOUSTIC SPACE SECTION ACOUSTIC SPACE The overall graphics in the Acoustic Space Section show display graphics provided by the soundware developer In most cases the soundware developer creates the graphics in order to give the user a visual idea of what they are listening to Alternate view button 1 The Alternate View Button changes the overall graphic to an alternate picture if one has been provided by the soundware developer Quite often this will be a credit for somebody perhaps the recording engineer or information about the impulse library It can also b
9. least dynamic release curve Release Trigger Decay This parameter determines the rate of attenuation for the amplitude of an existing release triggered sample In other words when using a Release Trigger dimension this parameter allows you to control the volume of its playback depending on how long you hold down a key before releasing With slower decay values you can sustain a note longer and still get the release trigger sample to play at full volume With faster settings the release trigger sample will be quiet or even silent unless you release a note quickly 10 INSTRUMENT GLOBAL SECTION INSTRUMENT GLOBAL Pitch Bend Range Instrument Global settings apply to all regions and dimensions of the instrument currently being edited You can set the Pitch Bend Range between 0 and 12 semitones half steps The Pitch Bend Range value represents both the upward and downward transposition boundaries G di Piano Release Mode This option 1s intended for Acoustic Piano sample libraries On an actual acoustic piano you can step on the sustain pedal very quickly after releasing a note and hear some string resonance Enabling this option emulates that phenomenon within GVI using an instrument s pedal down samples This option is only needed for piano libraries that use actual pedal down samples GVI AMPLITUDE PITCH TAB LIL 8 a a a nL Md ADL a iJ Ih iA IN Ml LL LM a PITCH ENVELOPE a dl AmplitudefPitch 11
10. Curve There are three general response curves available Linear Non Linear and Special See the diagrams below for a graphical representation of each curve class Linear Curve 0 input Velocit eto Non Linear Curve Special Curve Low Dynamic Range Jutpul High Dynamic Range 0 input Velocity lai Velocity Range Use the velocity range slider to select one of five velocity response offsets for the specified velocity response curve Linear Non Linear Special The velocity range is set from High to Low High producing the largest dynamic range softer and Low producing the smallest dynamic range louder Scale This knob works in conjunction with the Velocity Range setting to give even finer control of the velocity response curve Find a Dynamic Range setting that works best and then use this to fine tune the feel Release Curve The Release Curve setting affects the release note decay time based on the Note On Velocity This becomes more noticeable with longer Amplitude Envelope release times Basically this feature allows you set longer or shorter release times depending on how hard you hit the note Release Range Use the Release Range slider to select one of five velocity release range offsets for the specified Release Curve Linear Non Linear Special Like Velocity Range the release range is also set from High to Low High producing the most dynamic release curve and Low producing the
11. IDI Mixer just like other sampled instruments Instead of samples however embedded convolution presets contain IR s impulse responses that are automatically routed through an FX Bus when loaded onto a MIDI channel It is also possible to load an instrument such as GigaPiano II which uses convolution to model the instruments resonance and natual decays For extensive documentation on GigaPulse you can download the full GigaPulse VST manual from the following link http www tascamgiga com support html PLACEMENT SELECTION fF FRONTMICGROUP MICLEVEL PERSPECTIVE WET IDRYMIX PRE DELAY MIC TO FX BUS ROUTING MUTE Jon a e fF m MUTE On Ria il a f ORIGINAL MIC i AENT MIC 24 GIGAPULSE IN THE MIDI MIXER GigaPulse Convolution can be used to model environments instrument bodies signal paths digital reverbs and pretty much anything else you can send audio through It is up to the library or soundware developer as to how these impulse responses appear to the end user within GVI For instance in the case of GigaPiano II a piano soundboard resonance IR was embedded directly into the GIG instrument that the actual piano sample data is stored in Because of this integration the GigaPiano II appears as a single instrument when loaded into GVI the illuminated FX button indicates that the instrument also contains embedded convolution Integrated ple and GigaPulse PET Alternatively a developer might cho
12. TASCAM Giga Virtual Instrument Owner s Manual QuickEdit and GigaPulse Addendum 100206 CHAPTER 12 QUICREDIE NTE ost sti 3 Instrument Select Drop Down Men tada ae 3 Vado Bo O O ee Teer en Nene nr enon ere net en eee eno err net O er TTT 3 EDTEMODESAND SEEECTON Sustancia 4 MI DESELEC Torreren otro ocios 4 EDIT MODE a E E E E diennece beet janeedendeactxaneetedeennecctss 5 KEYBOARD SELECT DROP DOWN MENU suis aida 5 DIMENSION SELECT DROP DOWN MENU osa i 6 QUICKEDITARTICULATION TADS 10 a 7 GVEGENERAL TADA Rate 7 VOLUME MODUCATION SECTION adoos 8 VELOCITY RESPONSE SECTION contada aio 8 INSTRUMENT GEOB Ads SECTION aaa ai 11 GVELAMPLITUDE PIE C TAB rs doi iodo iio csnis 11 AMPLITUDE ENVELOPE SECTION aiii iia 12 PITCEDENY ELOPE SEC HON unica eos 13 AMP ENVELOPE MODULATION SECTION esca ais 13 AMPLITUDE PO SEC HON cupra 14 PETER Fc Ol lO scsi catas 15 OV Te TR MN tear rt eee cn ae ene het T 16 FIETER SECTION o do doo doi 16 FILTER ENVELOPE SEC TION cosacos lalala 18 MIDECON TROL ECON titi 19 FILTER ENVELOPE MODULATION SECTION cunas aid icinds 19 KEY RESPONSE SECTION sticanaancae readin iii did io 19 PIETER GEO SEC TION sosa 20 ONEELOO PTAD ad Senne Tn NENT an Seer nr a Ere Se Sr een er 21 SANIPLE CARESEGION mosina E E E ETT S 21 LOOP SECTION etree rem atte ee ee Nr Or ee oiicOR 21 QUICREDITWAVEFOR ME VIEW casos sieintn soot o idos eaeataine 22 WAVEFORM VIEW ZOOM TOO Scania ii 22 WAVEFORM DISPLAY WINDO Wzuimonrinion aee E
13. ay1 time is measured in seconds 0 60 This parameter defines the amount of time it takes for the Filter Cutoff to morph from the peak Cutoff value down to the Filter Sustain value Sustain The Filter Sustain value is also adjusted with percentage numbers 0 100 The Sustain setting determines the Filter Cutoff value during the sustain portion of the Filter ADSR that occurs between Decay and Decay2 Decay2 The Decay2 time 1s either measured in seconds 0 60 or set to Infinite which overrides the time setting Decay2 determines how long the Sustain section of the Filter envelope will last before releasing even without letting go of the note Setting Decay2 to Infinite will cause the Filter Cutoff to remain at the specified Sustain value until you release the note Release Filter Release time is measured in seconds 0 60 This value determines how long it will take for the Filter Cutoff to ramp down from the Filter Sustain value to zero If Decay2 is set to Infinite the release will begin when the note is released If Decay2 1s set to an amount of time the release will begin either after that amount of time passes or if you release the note before the Decay2 time passes 18 MIDI CONTROL SECTION _ Cutoff Controller This parameter allows you to assign a MIDI controller to the Filter Cutoff Frequency for real time continuous control This assignment overrides the Cutoff Frequency value which will be disabled once you assign a MIDI
14. c Group specific meaning that original and replacement Mic selections only affect the currently selected Mic Group Different microphones have different sonic characteristics Microphones come in different quality levels and they also have different directional characteristics Omni directional Cardioid Wide Cardioid Hyper Cardioid Figure 8 They may also give different responses according to the pitch or timbre of the source audio To cover all these possibilities GigaPulse includes a generous selection of Microphone impulse models You can use these to remove the characteristics of one microphone and replace it with the characteristics of another Experimentation can lead to unique and interesting results Note Using original inverse and or replacement mics as well as Pattern and Filter selections will cause GigaPulse to pause and run a short calculation when the mic models are chosen but they do not require additional CPU when processing audio Original Mic This drop down menu provides a list of microphones that might have been used in the original recording being processed by GigaPulse By selecting the appropriate mic you apply the inverse impulse response which effectively removes the character of the selected mic model from the original audio This is why inv is at the beginning of these choices Replacement Mic This drop down menu provides a similar list as the Original Mic list but these microphones are used to a
15. continuous controller for real time volume attenuation control _ By assigning the same attenuation controller to groups of related notes or samples a MIDI controlled sub mix capability can be designed into the instrument so that individual sounds can have discrete MIDI volume control Attenuation Controller Invert This option reverses the MIDI controller This is necessary when creating a simple MIDI controller cross fade layer Both layers would be set to the same MIDI controller for attenuation but one would be inverted using this parameter The result would be a cross fade between both layers Attenuation Controller Threshold This parameter allows you to assign a minimum threshold to the external volume attenuation controller This is useful for volume crescendo decrescendo and expressive dynamics It is very similar to the threshold knob found on controller volume pedals For example this allows a MIDI controller to set the volume from full volume to soft instead of full volume to silent 99 VELOCITY RESPONSE SECTION The velocity response section specifies how an instrument region s volume responds to incoming MIDI velocity values Once you have chosen a basic velocity curve you can further modify that curve using the velocity range and scale parameters Keep in mind that if you are also filtering the overall volume velocity response is affected by the response of the filter _ VELOCITY RESPONSE Velocity
16. e you d find three strips for velocity sustain pedal and stereo This is only an example every Giga instrument has its own structure One segment in each strip 1s highlighted in bright yellow to indicate the split whose parameters are currently on display Again when you change a parameter you ll be editing this split plus any other splits highlighted in dim yellow more about this below Several buttons just above the keyboard influence how the selection process works MIDI SELECT When this button 1s enabled green MIDI note on and controller messages will change the current region and split selections This can be a convenient way of selecting a particular split for editing But if you re playing a piece you may want to disable this feature to avoid a frenzy of screen updates which may tax your CPU EDIT MODE Absolute Relative Proportional This affects how changes are applied when more than one region or split is selected for editing Absolute When you change a value in the QuickEdit every selected bright or dark yellow region and split is set to exactly the value shown If the selected regions were originally set to various unique values they ll all be changed to the same value for any parameter that you edit Relative In this mode every selected split is changed by an offset For example 1f you change and LFO rate from 4 Hz to 6 Hz every selected split gets a 2 Hz increase Proportional This similar to
17. e Zoom Bar represents the visible section of the waveform the dark purple section represents sample data beyond the waveform display window When you roll over the Zoom Bar with your mouse a unique scroll icon replaces the usual mouse pointer To scroll simply click within the light purple visible Zoom Bar area and drag to the left or right You can also scroll by clicking in the Zoom Bar either to the left or right of the light purple Zoom Bar area To zoom in and out simply click on one of the outside edges of the light purple Zoom Bar area and drag to the left or right The direction of zoom depends on whether you grab the left or right boundary of the light purple Zoom Bar area You can also double click the Zoom Bar in order to zoom to the full waveform which frames the full length of the sample within the waveform display window Zoom Buttons To the right of the Zoom bar are a group of four buttons that can alternatively be used to zoom and scroll lt Click to scroll left Click to zoom in DADO Click to zoom out gt Click to scroll right Time Display The Ruler located above the waveform window is a scalable time readout measured in seconds When looping is enabled for a sample loop start and end points handles will appear within this time display as well as a handle for Sample Offset To adjust loop points or sample offset 22 simply click and drag one of the handles WAVEFORM DISPLAY WINDOW I
18. e relevant information about using the impulse set Note You can also toggle the view by simply clicking on the picture itself 26 Acoustic Space Bank Menu The Bank Menu brings up a drop down list of all the available CEEE GIG Instrument Banks GIB that were encoded into the loaded GigaPulse instance by the J instrument designer Note that ctrl clicking on the Bank Menu will toggle between the internal embedded preset name and the original bank file name that was used to create the GIB Acoustic Space Impulse Set Displays the GIG file where the impulse set was retrieved Preset Displays the name of the currently selected preset Instrument Displays the GIG instrument into which the active preset was encoded MIC GROUP SECTION EJ FRONT MIC GROUP MICLEVEL PERSPECTIVE __WETIDRY N MIX _ PRE DELAY GigaPulse is capable of loading Stereo 5 1 Surround and 7 1 Surround Impulse sets When a multi channel impulse set has been loaded it becomes possible to switch which mic group 1s being used as well as combine mic groups for a thicker sound Changing the GigaPulse mic group is effectively the same thing as moving the position of the microphone relative to the performer and can have dramatic effects on perceived distance and timbre Mic Group Selection Menu w FRONT MIT GROUP WIDE MIT GROUP SURROUND MIC GROUP CENTER MIC GROUP MASTER MIC GROUP Each Mic Group has a unique set of controls that are updated as you switch p
19. es 13 AMPLITUDE LFO SECTION AMPLITUDE LFO x PA e a id es 7 A a m LFO Frequency The Amplitude LFO Frequency value can be set between 0 1 and 10 Hz and controls the rate at which the Amplitude LFO oscillates Control Source The Control Source selects between Internal LFO Mod Wheel Breath Control or a combination of either Internal LFO and Mod Wheel or Internal LFO and Breath Control Invert When enabled this setting reverses the incoming MIDI controller data values Synch This option provides a single synchronized LFO across all regions When Synch is enabled the LFO will be constant no matter what note is played or when it is struck When Synch is disabled the LFO begins at the point in time when each individual note is struck and will have its own out of synch and independent cycle When Synch is enabled the LFO cycle will stay in synch for all the notes no matter when they are triggered Internal Depth This parameter applies a fixed Amplitude LFO depth that is always present when Internal is selected as a Control source External Depth An external MIDI continuous controller can also be used to control LFO Depth This setting works the same way as the Internal depth settings but you won t hear its effect until the assigned MIDI controller is engaged Note The Amplitude LFO works completely independent of the Amplitude Envelope settings 14 PITCH LFO SECTION PITCHLFO _
20. ilter Type This drop down menu allows you to enable disable filtering and select which type of filter will be used from the following list None The Filter mode is completely bypassed Lowpass This option filters out high frequencies above the Cutoff point Highpass This option filters out low frequencies below the Cutoff point Bandpass _ This option filters out frequencies above and below the Cutoff point Bandreject This option performs inverse filtering of mid frequencies Turbo Enabling the Turbo option adds additional poles of attenuation to the Lowpass filter algorithm This creates a more intense analog filter effect This option is only audible when the selected Filter type is set to Lowpass Note When used with certain resonance settings Turbo LPF can generate high amplitude resonant frequency oscillations Proceed with caution when editing at loud volumes This could be damaging to your ears or speakers Cutoff This parameter behaves differently for each Filter type For Lowpass Cutoff sets the maximum filter cutoff frequency For Highpass Cutoff sets the minimum filter cutoff frequency For Bandpass and Bandreject Cutoff sets the Filter s center frequency 16 Note This parameter is only available if the Cutoff Controller is set to None Minimum Min Cutoff This value places a limit on the lowest filter cutoff frequency when using a MIDI Cutoff Controller The low range of the MIDI controller
21. ings for the left and right sides of every split In practice it s rare to find any parameter set differently for the two sides of the same split so edits are normally applied to both sides simultaneously If you do need to apply an edit to only the left or right side of a region Individual splits mode will let you do it We suggest you use this mode only when you absolutely need to otherwise you may find yourself applying more general edits accidentally to only one stereo channel QUICKEDIT ARTICULATION TABS GVI GENERAL TAB AA A Petete apio dsp eira hp Amplitude Pitch Volume The Volume knob simply attenuates a region s playback level between 0 and 98 decibels A Volume value of 0 0 indicates that the region will play back un attenuated Pan This setting sets the pan position by a value from 64 hard left to 63 hard right Tune The Tune knob adjusts a region s fine tuning between 49 and 50 cents Self mask When checked this causes high velocity notes to terminate lower velocity voices This feature conserves polyphony and should be tried on all samples with percussive attacks and releases pianos guitars cymbals etc Sustain Defeat This setting enables or disables the sustaining action of the sustain pedal This allows the sustain pedal to simply be used as a dimension switch without sustaining the samples VOLUME MODULATION SECTION AS Controller Drop Down This menu allows you to assign a MIDI
22. l the frequencies below the roll off frequency The roll off is often used to reduce the excess low end sound of a bass instrument or the boominess in a close proximity vocal recording The roll off frequencies or cutoff points are microphone specific 31 GVI PLACEMENT SECTION PLACEMENT SELECTION There are two types of buttons present in the Placement Section window the source placement where the performer is located on the sound stage and the microphone placements The source placement button is square by default and labeled numerically while the microphone placements are round and labeled according to which Mic Group they belong to surround wide etc The Placement Section Window provides a quick and easy way to enable and disable microphone placements This 1s especially useful for Impulse sets that contain multiple Mic Groups or placements Microphone placements that are enabled appear yellow while disabled microphones appear gray All encoded GIG Instrument Banks are comprised of single source placement Impulse Sets This means that only one stage or source placement is possible while up to seven microphone placements may be available Gro Grid The Grid Button turns the grid pattern in the Placement Selection window on and off The button appears green when Grid is on 32 MIC TO FX BUS ROUTING SECTION MIC TO FX BUS ROUTING Sim Stereo The FX Bus Routing Matrix allows you to independently route each micro
23. n addition to being a simple graphical display for the sample waveforms the Waveform Display window can be used to make changes to Amplitude Filter and Pitch Envelopes as well as LFO s Once an Envelope or LFO has been selected see below an editable envelope appears superimposed over the waveform that contains a handle for each available parameter MCa 286 LR we me Envelope and LFO Selection In addition to the Loop Points and Sample Offset discussed in the previous section the following Envelopes and LFO parameters are made available for graphical editing within the Waveform Display window Amplitude Envelope Preattack Attack Decay1 Sustain Decay2 and Release Filter Envelope Preattack Attack Decay1 Sustain Decay2 and Release Pitch Envelope Attack Amplitude LFO Frequency Filter LFO Frequency Pitch LFO Frequency To edit a parameter simply highlight the desired Envelope LFO from the menu located to the right of the waveform display then click and drag one of the graphical parameter handles As you move a handle you will see the corresponding parameter knob update with the new value 23 CHAPTER 13 GIGAPULSE VIEW GigaPulse is a world class Convolution Modeling and Reverb Plug in that has been integrated directly into GVI for automatic processing of instruments that are embedded with GigaPulse convolution presets An embedded convolution preset is a GIG Instrument file that is loaded or stacked into the M
24. on selection at all times DIMENSION SELECT DROP DOWN MENU Stereo pairs 7 All splits Stereo pairs Individual splits This is similar to the Keyboard Select menu but it governs the selection of splits within each keyboard region as displayed in the dimension strip area just below the editing tabs The options are All splits Edits will always be applied to every split within a region In the dimension selector strips you can click any split to give 1t the bright yellow highlight and display its parameters But all other splits will retain the dark yellow highlight indicating that they will also be modified 1f you change a value Stereo pairs In this mode splits can be selected in any combination As an illustration recall our piano instrument with the 24 splits per region 12 velocity levels times 2 sustain pedal positions In Stereo pairs mode you could for example select only the three loudest velocity levels for editing by highlighting the last three segments in the velocity strip The sustain pedal strip would control whether you re editing the three loudest pedal up splits the three loudest pedal down splits or both six splits in all To select multiple splits in any dimension click in that dimension strip while holding down the CTRL or SHIFT keys Individual splits When viewing a stereo instrument you ll notice an additional dimension strip labeled Stereo Stereo GVI instruments have independent parameter sett
25. ose to leave their GigaPulse content and Sample content separate or modular In these cases the GigaPulse convolution appears as its own instrument on a Stacked Instrument Sub Channel This kind of Stack contains two types of instruments those containing traditional sample data and those containing encoded GIG Instrument Banks Impulse Responses Again the illuminated FX button indicates that the instrument sub channel contains embedded convolution 4 Penthouse Flute Modular Sample and GigaPulse instrument OPENING THE GIGAPULSE UI There are two methods by which the GigaPulse UI can be opened from within the MIDI Mixer FX Button The FX button is located on the channel strip or sub channel strip that contains the instrument with embedded convolution Clicking on the green FX button will open a menu that lists all of the GigaPulse Instances and encoded GIG Instrument Banks available for that particular channel From this FX menu select Edit to open the GigaPulse UI when only one bank is available simply click on the bank name GigaPulse GigaPulse Button This global GigaPulse button is located in the GVI Navigation toolbar The GigaPulse Button only becomes active when a channel containing an embedded GigaPulse instrument is selected Clicking on this button will then open the GigaPulse instance that exists on the selected channel 25 INPUT SECTION Bypass Use the Bypass Button to quickly enable or
26. ositions Click on the small black arrow at the top left corner of the Mic Group section to choose from the avallable Mic Group positions 2 a na Mid Side Decode MSDEC stands for Mid Side Decoding which is a common F fest method of recording mono compatible stereo sound This technique also offers fene custom control of the stereo width and volume levels This button will illuminate if the soundware developer has employed this technique in the recording of their IRs Imurz Mute Silences the Master or the individual channels but the processing is still occurring using CPU resources The button is yellow when the signal is muted On The On button turns off the individual microphone placements freeing up CPU resources The mics can also be enabled amp disabled by clicking on them in the Placement Selection window When a mic is enabled it will be highlighted in the Placement Selection window and its On button will be lit yellow a disabled mic 1s unlit or gray E Sum to Mono This option is only available for the Center Mono Mic Group channel Enabling this option will output identical information on both the left and right channels When disabled audio is routed only to the output channel specified in the FX Bus Routing section mm Mic Level Adjusts the volume of the Master or individual Left Right mic C Er channel relative to all other available Mic Groups A center channel Mono Mic Gr
27. oup only contains a single level fader Perspective Adjusts the relative perspective of the Master or individual mic channels Perspective 1s the relative distance of the performer to the MA A sw microphone and is simulated by subtle variations of timing and resonance Es Perspective is most often used in rooms amp halls to modify the front to back distance between stage positions A positive Perspective value is perceived as a greater distance between performer and microphone Conversely a negative Perspective value creates a tighter more intimate sound emphasizing the early transient information over the impulse decay Wet Dry Mix Adjusts the ratio balance of wet versus dry signal for the Master or individual mic channel This option is used most often when an impulse bank is of a digital processor in other words when an accurately modeled acoustical environment is not the ultimate goal Pre Delay Adjusting the Pre Delay nudges the impulse start point forward or backward in time A positive Pre Delay value adds silence to the beginning of the Impulse Response whereas a negative value cuts directly into the attack of the Impulse Response sample by sample Note In cases where an Impulse Response has been edited directly to it s peak transient a negative Pre Delay value can have dramatic effects on the timbre and volume of the convolved audio 28 29 MIC REPLACEMENT SECTION The Mic Replacement section is Mi
28. phone placement contained within an impulse set to either the left or right channel of the FX Bus The routing section also allows you to create simulated stereo signal from a mono impulse response MIC TO FX BUS ROUTING True Stereo Limits the number of Mic Placements to two and assigns one to the Left output channel and the other to the Right output channel Mic TO FX BUS ROUTING 7 Channel Allows for independent routing of each mic placement within the FX Bus channels Simulated Stereo Simulates a stereo signal from a mono source audio stream passing through GigaPulse When simulated stereo is enabled GigaPulse will disable all but one microphone placement Because only one channel of convolution 1s used for Simulated Stereo less CPU resources are used than with Stereo Banks Image Simulates the perceived depth of the convolved signal from front to back by creating extra voices and shifting them slightly temporally 33
29. pply the character of the selected mic model that will effectively replace the original It is important to understand that the matching a microphone is not an absolutely perfect process The impulse characteristics employed by GigaPulse are those of good condition unmodified models and there may be variations according to age and wear The match should be fairly close in most cases though 30 Pattern Most microphones have a choice of polarity patterns Some have just one pattern faim while others have up to 3 patterns Click on the Pattern Button dropdown to see what is available for each mic The choice of pattern can dramatically affect the sonic character of a microphone S Omni Short for Omni directional this type of microphone records fairly evenly from any direction around it Typically this choice provides an open sound with clear highs Cardioid This is a unidirectional microphone a graphic representation of its recording pattern resembles a heart hence the name Cardio Variations include Wide Cardioid and Hyper Cardioid El Figure 8 This is a bi directional microphone often used to record two performers while rejecting off axis sound The Figure 8 pattern is also used to creating Mid Side recordings gt Filter The type of microphone roll off filter is selected here While some mics have only a flat response others have the ability to select a roll off The roll off filters out al
30. r Velocity Curve Note Please see the Velocity Response Section for diagrams of each Velocity Curve type Key Tracking Enabling Key Tracking scales the Filter Cutoff frequency based on key position relative to the assigned Breakpoint value With this feature you can have the filter go from dark to bright as you play from one end of the keyboard to the other Break Point Adjust this value to set the breakpoint for the filter Keyboard Tracking Range is from 0 127 with a default value of 60 Middle C 19 FILTER LFO SECTION Frequency The Filter LFO frequency value can be set between 0 1 and 10 Hz and controls the rate at which the LFO oscillates Control Source The Control Source selects between Internal LFO Mod Wheel Foot Control or a combination of either Internal LFO and Mod Wheel or Internal LFO and Foot Control Invert When enabled this setting reverses the incoming MIDI controller data values Synch This option provides a single synchronized LFO rate across all regions When Synch is enabled the LFO will be constant no matter what note is played or when it is struck When Synch is disabled the LFO begins at the point in time when each individual note is struck and will have its own out of synch and independent cycle When Synch is enabled the LFO cycle will stay in synch for all the notes no matter when they are triggered Internal Depth This parameter applies a fixed LFO depth that is always present when
31. uments like Piano or Guitar that have small looped samples When Hold is enabled the sample will hold its peak volume until it plays through the loop once The envelope will then start the first decay down to the sustain level This can help to create for a more realistic ADSR envelope for short looped samples It can give them a little more of a natural personality despite the artificial looping Decay2 The Decay2 time 1s either measured in seconds 0 60 or set to Infinite which overrides the time setting Decay2 determines how long the Sustain section of the envelope will last before going into the release section of the ADSR envelope even without letting go of the note Setting Decay2 to Infinite will cause the sample to sustain indefinitely until you release the note Release Release time is measured in seconds 0 60 This value determines how long it will take for the sample volume to ramp down depending on the Decay2 setting If Decay2 1s set to Infinite the release will begin when the note is released If Decay2 is set to an amount of time the release will begin either after that amount of time passes or if you release the note before the Decay2 time passes 12 PITCH ENE PaA Ta Attack The pitch Attack time is measured in seconds 0 60 This value determines the amount of time that it takes for a sustained note to be tuned from the specified pitch Depth value back to its original pitch Depth Pitch Envelope Depth is meas
32. ured in cents and represents the Attack or Note On pitch of a sample In other words when a note is played the sample begins playback with the specified Depth offset and is then bent back to its original pitch over the time interval specified in the Attack parameter AMP ENVELOPE MODULATION SECTION AMP ENVELOPE MODULATION Controller The amplitude modulation controls allow real time MIDI control of the Attack Decay and Release of a samples amplitude envelope Use the Controller drop down menu to choose the MIDI controller from the list of standard MIDI controllers Invert When enabled this setting reverses the incoming MIDI controller data values Attack Decay and Release depth These sliders allow you to enable MIDI control of amplitude envelope parameters Enabling these parameters allows the specified MIDI Modulation Controller to affect one two or all three parameters at once with varying intensity for each The overall audible effect of the MIDI controller will depend on the region s amplitude envelope settings For example if the amplitude envelope Attack time is set to zero you will not hear any effect by altering the Modulation Controller With an envelope Attack higher than zero the Modulation Controller will start working smaller Attack time settings will result in subtle changes while larger Attack time settings result in more dramatic changes The same paradigm also applies similarly to the Decay and Release valu
33. will start with this value Resonance Res Resonance also referred to as Q creates a peak in amplitude at the specific Cutoff frequency and 1s used to generate classic analog synth textures The maximum resonance 1s set close to the point of self oscillation and will resonate according to the frequency content of the waveform that is being filtered Q 127 Gain dB o 002 003 OOF OOF 010150 03 OF OF 10 15 20 30 50 70 10 15 20 Frequency khz Dynamic Dyn Enabling Dynamic increases the overall resonance by dynamically scaling the Q in addition to the cutoff frequency of the filter over changes of envelope and or external control 17 FILTER ENVELOPE SECTION co C 7 an AT ee TEA TENE FILTER ENVELOPE TE z ent ihe re oad Pa 3 gt ri PE le Te al A Al I sip iat i 5 5 E 2 cla i j a r 3 y Preattack The Filter Pre attack value is adjusted with percentage numbers 0 100 Preattack offsets the initial Filter Cutoff value for the attack of the Filter Envelope For example a Preattack offset of 50 00 sets the envelope s initial Filter Cutoff value to halfway between the lowest Cutoff value 0 and the user specified Cutoff Value Attack The Filter Attack time is measured in seconds 0 60 This value sets the amount of time that it takes for a sustaining sample s Filter envelope to morph between the lowest Cutoff value 0 and the user specified Cutoff Value Decay1 The Dec
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