Waldorf Attack Percussion Synthesizer Operation Manual

Attack
Waldorf Music will not be liable for any erroneous information contained in this
manual. The contents of this manual may be updated at any time without prior notice. We have made every effort to ensure that the information herein is accurate and
that the manual contains no contradictory information. Waldorf accepts no liabilities
in regard to this manual other than those required by local law.
This manual or any portion of it, may not be reproduced in any form without the
manufacturer's written consent. All product and company names are or trademarks of their respective owners.
Waldorf Music, Germany 2006
www.waldorfmusic.de
Programming:
Wolfram Franke, Giuliano Orsini, Stefan Stenzel
Graphic Design:
Design Box
Manual/ Diagrams:
Holger "Tsching" Steinbrink
Sound design and beta testing:
Holger Bahr, Raymund Beyer, Mert Ergün, Wolfram Franke, Christian Halten, Axel
Hartmann, Jörg Hüttner, Arnd Kaiser, Dirk Krause, Till Kopper, Peter Kuhlmann,
Sascha Kujawa, Dominik De Leon, Hubertus Maas, Dr. Georg Müller, Michael
Johnson, Mark Pulver, Jörg Schaaf, Marcus-S. Schröder, Henry Stamerjohann, Sven
Steglich, Holger Steinbrink, Stefan Stenzel, Wolfgang Thums
Many thanks to Wolfgang Düren, Achim Flor, Yvan Grabit, Achim Lenzgen, Amanda
Pulver, Manfred Rürup, Stefan Scheffler, Karl Steinberg and Lu Wangard.
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Content
The Controls ...................................................11
Introduction.......................................................4
System Requirements for Windows...................5
Key Combinations....................................... 11
The "Automatic" Keyboard......................... 12
Installation under Windows ...............................5
The User Interface of the Attack......................13
System Requirements for Mac OS .....................5
Oscillator Section ...........................................14
Installation under Mac OS .................................6
Mixer Section ..................................................16
Using the Attack as VST or AudioUnit
instrument.........................................................6
Filter Section...................................................18
Using the Attack ............................................6
Audio Channels of the Attack ......................6
Loading Banks and Kits.................................7
Storing Banks and Kits ..................................7
Importing VST or AudioUnit Presets into
corresponding plug-in format ...............7
Selection of a Kit............................................8
Selection and Naming of Sounds ................8
Playing the Attack Live .................................8
The Solo Function of the Attack ..................8
Functions of the Edit Menu ..........................9
Functions of the Preset Menu.......................9
Amplifier Section ............................................21
MIDI Functions ................................................10
MIDI Controller List .........................................36
Delay Effect Sections......................................23
Envelopes.......................................................24
Appendix ........................................................25
Programming Drum Sounds............................25
Concluding Remarks.......................................30
Glossary .........................................................31
Playing the Attack Polyphonically.............10
MIDI Control of the Attack.........................10
Special Function Modulation Wheel ........10
Controlling the Attack through the
Novation RemoteSL .............................11
Polyphony of the Attack ..................................11
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Waldorf Attack Percussion Synthesizer
Introduction
Thank you for purchasing the Waldorf Attack software synthesizer. The Attack combines many exciting possibilities for analog drum and percussion production with the advantages of a software plug-in.
The Waldorf Attack offers a straightforward sound structure that faithfully emulates a
wide range of percussion sounds, from those of well-known classic drum or rhythm generators to new, unique drum sounds such as bass drums and snare drums over shakers
as well as heavily modulating synth effects. In addition, the Attack offers ways to create
amazing bass and lead sounds.
To understand how to create these sounds, you should know a little about how the
classic drum machines worked. Basically, those drum machines had special analog circuitry for each drum sound they could produce. These analog circuits were often built
in a very strange manner, sometimes consisting only of a handful of filters without any
kind of oscillator or envelope, or perhaps simply a noise generator with one envelope.
Each was made to create just one particular drum sound in a more or less authentic
way. But it was just this assertiveness and distinctiveness of character which are
responsible for the fame and popularity of these sounds that endures today.
For this Millennium, the Attack will continue this story!
Besides the regular manual, the following sections offer some insights as to how particular sounds were built, and give information about how to achieve similar results with
the Waldorf Attack.
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System Requirements for Windows
In order to be able to use the Waldorf Attack, you will need at least:
A PC with a Pentium III / AMD Athlon 600 processor or better
64 MB free RAM
Windows 2000 / XP
VST 2.0 compatible host application supporting virtual instruments, such as Cubase
VST 3.7 or higher, Cubase SX/ SL/ SE or Nuendo 1.5 or higher. This must be correctly installed on your computer.
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Please also observe the system requirements of your host application!
Installation under Windows
Proceed as follows to install the Attack:
1. Start your computer and launch your operating system.
2. Insert the Attack CD-ROM into your CD-ROM drive.
If you have enabled the Autostart function in Windows, the Installer will start automatically and you can proceed with Step 6 below. If not, please proceed as follows:
3. Launch the Explorer or open the “My Computer” window.
4. Double click on the icon for the CD-ROM drive that holds the Attack-CD-ROM.
5. Double click on the Attack Installer icon. This launches a special installation program.
6. Follow the on-screen instructions
The Attack CD-ROM is your verification that you have purchased the program. Please
store it in a safe place. If you lose it, you have lost the Program.
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Please note the “Read Me” and “Important Changes” text files on the Attack CDROM, which contain additional information and/or any changes.
System Requirements for Mac OS
In order to be able to use the Waldorf Attack, you will need at least:
Macintosh with 400 MHz G4 PowerPC processor or better
Mac OS X 10.3.9 or newer
128 MB free RAM
or
Macintosh with 1.5 GHz Intel CoreSolo processor or better
Mac OS X 10.4 or newer
128 MB of free RAM.
A VST 2.0 compatible host application that supports virtual instruments, such as Cubase SX / SL / SE or Nuendo. This must be correctly installed on your computer.
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or
An AudioUnit 2.0 compatible host application that supports AudioUnit Instruments,
such as Apple Logic or GarageBand. This must be correctly installed on your computer.
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Please also observe the system requirements of your host application!
Installation under Mac OS
Proceed as follows to install the Attack:
1. Quit all other applications so that you return to the Finder. Disable any system activity monitoring software or extension, in particular anti-virus software. Then insert the
Attack CD into your computer’s CD-ROM drive.
2. If you need to, double click on the Attack icon to open the CD window.
3. Double click on the Attack Installer icon to load the installation software. Follow the
instructions on the screen.
The Attack CD-ROM is your verification that you have purchased the program. Please
store it in a safe place. If you lose it, you have lost the Program.
�
Please note the “Read Me” and “Important Changes” text files on the Attack CDROM, which contain additional information and/or any changes.
Using the Attack as VST or AudioUnit Instrument
For users of VST or AudioUnit (Macintosh only) compatible host applications, Waldorf
offers the Attack as a completely plug-in-based synthesizer that fully utilizes Steinberg's
VST and Apple's AudioUnit interface technology. If you wish to use it in a VST or AudioUnit compatible host application, please consult its documentation to find out what
you have to do to set up the plug-in.
Using the Attack
You can play the Attack via MIDI like any other instrument, and record what you play
on a MIDI track. To make sure, press a key on your MIDI keyboard. You should now
hear a sound. If you don’t hear anything, determine first whether your host application
receives MIDI data at all. If you notice considerable latency times (delay) when you
play the Attack via MIDI, please read the chapter "Playing the Attack Live". For more
information about MIDI functionality, refer to page 7 of this manual.
If you don’t want to play the Attack exclusively from the integrated screen keyboard,
make sure that your host application receives MIDI data that you generate from your
external MIDI Master keyboard.
To activate the Attack as a virtual instrument please consult the corresponding documentation of your host application.
Audio Channels of the Attack
The audio signals that are created by a virtual instrument are automatically routed to
the Channel Mixer of your host application. Open this mixer. For each open Attack
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plug-in, you find six stereo channel strips in the Channel Mixer. These are named „Atk
1L“, „Atk 1R“ through „Atk 6L“ and „Atk 6R“ (note that some hosts only show the names of the left channels). By using the Output parameter in the Amplifier section, you
can assign the audio signals to any of the output channels. Find more information on
page 21 of this manual.
Using the Channel Mixer, you can comfortably mix the signals created with the Attack
and treat them in the same manner as audio tracks. You can apply EQ, effects, or other
external studio gear, and process the audio in diverse ways.
If needed, you can transform any or all Attack tracks into an audio file. To do this,
simply use the “Export Audio” function of your host application. Please find more
information in the corresponding documentation.
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To get the most out of the Attack, please make sure that you use the latest software
version of your host application.
Loading Banks and Kits
An Attack (drum-) Kit consists of 24 different sounds. The Attack comes with several
preset kits, created by renowned sound designers.
A Bank consists of 16 complete kits, each with 24 sounds.
You can load complete banks or single kits. For information on loading, please read the
corresponding manual section of your host application.
When you use the Attack as AudioUnit on the Macintosh, you can only play the first kit
of a loaded bank. You can, however, copy individual sounds from one of the other 15
kits to the first kit through the Preset menu, if you have loaded a bank that contains 16
kits.
Storing Banks and Kits
In the Attack, you can save both single kits or a complete bank.
You can save complete banks or single kits. For information on saving, please read the
corresponding manual section of your host application.
When you save your song or project file, the following information is saved with it:
The number of Attack modules used in the song.
Which banks and kits were used.
The changed settings of edited sounds are also stored.
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However, if you wish to use the edited version of a program in another song, then
you must save that kit manually before.
Importing VST or AudioUnit Presets into the corresponding plug-in format (Macintosh only)
VST and AudioUnit use different formats to save the plug-in data. If you had created a
kit in a VST host and want to use it in an AudioUnit host (or vice versa), please proceed
as follows:
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Save the kit in the original host as a single Preset or Program. In VST hosts, those files typically have the suffix „fxp“, in AudioUnit hosts they are called „aupreset“.
Quit that host and start the other host that supports the corresponding plug-in format. Open an instance of the plug-in.
Select „Import File...“ in the „Edit“-menu of the plug-in editor.
Select the file to import from the Open dialog.
Confirm the selection with OK.
The Preset or Program is loaded and can be played as usual.
Selection of a Kit
To select a kit from a bank, please read the corresponding chapter in the manual of
your host software.
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AudioUnits (Macintosh only) only support the first kit natively. The other kits of a
bank are stored and loaded anyway but you should avoid to use them because
AudioUnits don’t support anything like „Program Changes“.
Selection and Naming of Sounds
To select a sound from a kit, please proceed as follows:
Click on the Sound selector button on the left hand side of the plug-in.
You will hear the chosen sound. If you want to disable this, hold down the shift button on your computer keyboard while selecting the sound.
To (re-) name a sound, please proceed as follows:
Hold down the [Alt] key on your computer keyboard while selecting a sound. Now
you can enter a new name.
Playing the Attack Live
If you notice considerable latency times (delay) when you play the Attack via MIDI,
then the sound/audio card that you use and/or its driver is the source of the problem. If
the problem occurs within your system and recording by playing in real time is important to you, then it is recommended that you replace your sound card and its driver
with a fast audio card and an ASIO driver (or CoreAudio driver for Mac OS X) that have
been optimized for the shortest possible latency time. When playing back Attack data
from a MIDI Track, latency does not occur.
The Solo Function of the Attack
With the Solo button in the upper left corner of the plug-in, you can listen to a
sound by itself. This is helpful if you want to listen to one particular sound
while triggering different sounds with the sequencer. All other sounds are muted when
this function is active. The Solo button lights up in red when the function is active. Of
course you can choose different sounds while soloing, and only the selected sound will
be heard. To deactivate the Solo function, simply click the button again.
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Functions of the Edit Menu
The Attack offers several different functions for convenient organization of kits and
sounds. In the edit menu in the upper left corner of the plug-in you can choose the following functions:
Import File... (Macintosh only) imports a VST or AudioUnit program.
Copy Sound copies the sound into the buffer.
Paste Sound puts the copied sound into any desired place. This is useful when
creating variations of one particular sound.
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Please take into consideration that the buffer can hold only one sound at a time.
As soon as a second sound is copied with the Copy Sound function, the previously selected sound is erased from the buffer. After inserting a sound with Paste
Sound, the sound is still in the buffer and can be inserted into yet another position.
Copy Kit copies the kit into the buffer.
Paste Kit inserts the copied kit at any position. This is useful when exchanging kits
between different songs.
With Compare Sound you can compare the edited sound with the original. As soon
as the Compare function is activated, the sound changes back to its original settings
and the Compare function in the edit menu gets a flag. Reselecting the function
brings up the edited version again.
With Compare Kit you can compare the edited drum kit with the original. As soon
as the Compare function is activated, the kit changes to its original settings and the
Compare function in the edit menu gets a flag. Reselecting the function brings up the
edited version again.
Recall Sound restores the sound to its original saved settings. Use this function if
you’re not happy with the edited sound.
Recall Kit restores the drum kit to its original saved settings. Use this function if
you’re not happy with the edited drum kit.
Functions of the Preset Menu
The Preset menu in the upper left corner of the plug-in offers different entries with
suggested default preferences for the various drum sounds and kits as well as two
random functions. Select the corresponding entry when you know what sort of drum
sound you wish to program.
Init Sound restores the selected sound to its basic settings.
Random Sound creates a random sound. With this parameter you easily can create
new and possibly interesting sounds.
Init Kit restores the drum kit to its basic settings.
Random Kit creates a random drum kit. With this parameter you easily can create
new and interesting kits.
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MIDI Functions
The MIDI interface of the Attack is identical in its most aspects to the interface of most
common synthesizers. When the MIDI connection is set up, the Attack can be played
over the key range from C1 to G9 if required. The 24 sounds can be played through
MIDI notes C1 to B2, thus affording 1 sound per key. This is a common layout for a
drum and percussion synthesiser, making it possible to play the sounds on the keyboard
next to each other.
Additionally, the upper 12 sounds of the Attack can be played melodically and polyphonically on the keyboard on MIDI Channels 1 through 12. This is because the Attack is capable of producing other sounds such as basses or leads with its synthesis
functions. These sounds call for playing over a greater key range than 1 key. For these
12 sounds, the key range from C3 to G9 is available for melodic playing.
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Please note that playing sounds melodically is only possible for the upper 12
sounds on MIDI channels 1 to 12.
Playing the Attack Polyphonically
The Attack offers a 5 octave keyboard. If you choose one of the upper 12 sounds with
the sound select button, the Attack’s keyboard and pitch bender appears on-screen, allowing you to play the selected sound melodically with your mouse on that keyboard
or via a connected MIDI keyboard. As soon as you select one of the lower 12 sounds,
the keyboard becomes invisible.
MIDI Control of the Attack
All functions of the Attack can be controlled by MIDI controller data. The sounds 1
through 12 receive MIDI controllers from #12 to #59, while sounds 13 through 24 receive #72 to #119. This is only possible when transmitting on channels 1 through 12.
Channel 16 is reserved for controlling both delays with controllers. As an addendum to
this manual, you’ll find a table showing all the controller assignments.
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Example: You want to distort a snare drum on Sound 2 dynamically. Therefore,
you create controller data on MIDI channel 2 (= Sound 2) for the Drive parameter
(MIDI controller #39). At the same time you want to bring up ring modulation for
a bass on Sound 16. To do this you create a MIDI controller #89 on MIDI channel
4 (= Sound 16). If you want to change the parameter of Delay 1, use the corresponding MIDI controller on MIDI channel 16.
You can control the knobs of the Attack with an external MIDI controller unit (a hardware fader or knob box) or a MIDI master keyboard. Additional MIDI controller data
can be created graphically or numerically on an editor (e.g. the List or Controller Editor
of Cubase VST). The corresponding MIDI controllers and their assignments can be
found in the table on page xx in this manual.
Please note that control changes edit the sound instantly, just like automation that uses
system exclusive data.
Special Function Modulation Wheel
The modulation wheel of your master keyboard (MIDI controller 1) is only available for
sounds 13 through 24 on the MIDI Channels 1 through 12. It controls Cutoff, in a ranOperation Manual
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ge beginning at the selected value to the maximum, which is useful for bass and lead
sounds.
Controlling the Attack through the Novation RemoteSL
Certain parameters of the Attack can be controlled through the Novation RemoteSL.
The RemoteSL offers 24 encoders, potentiometers and sliders that can be mapped on
up to 72 different parameters.
As you can immediately see, 72 parameters is by far not enough to control every parameter of each of the 24 sounds. Therefore, we mapped the 9 most important parameters of the first 8 sounds on the RemoteSL. These parameters are:
RemoteSL Controls
Page 1 Encoders 1...8
Page 1 Pots 1...8
Page 1 Sliders 1...8
Page 2 Encoders 1...8
Page 2 Pots 1...8
Page 2 Sliders 1...8
Page 3 Encoders 1...8
Page 3 Pots 1...8
Page 3 Sliders 1...8
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Attack Parameter
Oscillator 1 Pitch Sound 1...8
Oscillator 1 FM Sound 1...8
Envelope 2 Decay Sound 1...8
Oscillator 2 Pitch Sound 1...8
Oscillator 1 FM Envelope Sound 1...8
Envelope 1 Decay Sound 1...8
Filter Drive Sound 1...8
Filter Cutoff Sound 1...8
Amplifier Volume Sound 1...8
The host application must support the Novation RemoteSL and its „AutoMap“
feature to be able to control the Attack. Please read the documentation of the corresponding host application.
Polyphony of the Attack
The Attack has up to 64 voices. The number of available voices depends on
available processor power. The number of voices can easily be set on the plugin user interface. All you have to do is use the mouse button to increase or
decrease the value in the voice display.
Keep in mind that each additional voice demands additional calculating power from
your computer. Try to set the number of voices to a sensible value, especially if you simultaneously use other plug-ins and if you also play back audio tracks with your host
application.
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Hint: Even if no voice is sounding, the Attack creates a little processor load because of the two stereo delays which have to be calculated.
The Controls
Simply use the mouse to set the Attack’s controls.
Dials: To set this type of control, click on it, hold down the mouse button
and drag the mouse around the dial in a circle. Dragging in a larger circle
increases the value resolution that is available. The Attack display
simultaneously shows the actual value of the corresponding parameters.
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Cubase VST 5.0 offers you a choice between different mouse movements for parameter setting. Find more information in your Cubase VST documentation.
Sound select button: By clicking a Sound select button once,
you select the corresponding sound.
Display: If your turn a dial, its parameter name
and numeric value is shown in the display. If you move the cursor over a parameter
without clicking, the current numeric value is displayed.
Switches: By clicking a switch once, you switch the corresponding function
on or off.
Button group: By clicking a button of a group, you select the corresponding function.
Value selector: Position the mouse pointer on the value, hold down the mouse button and drag up or down. If you hold down the [Shift] key while changing the
value, you will get another value scale area.
Envelope graphic display: Click on one of the handles
and drag the mouse to continuously and smoothly change the envelope parameters,
or click into any envelope phase to let its value jump there.
Pitch bender: To change the pitch, click on the bender and
drag the mouse to the left or right. The pitch bender snaps back into its center position as soon as you let go of the mouse button.
Attack logo: If you click on the Attack logo, a window opens with
program information and MIDI controller documentation.
Automatic keyboard: This integrated keyboard pops up automatically. For more information, refer to the chapter “The automatic keyboard”.
Key Combinations
If you hold down the [Strg] key (on the PC) or [Command] key (on a Macintosh
computer) when you click on a control, its value is automatically set to its default
(e.g. Cutoff is set to 100%, Env to 0%).
You can increase the resolution of a dial by holding down the [Shift] key on your
computer keyboard when use the “linear knob mode”. If a dial is set to “circle
mode” (so that you change a value by dragging around the dial in a circle), then you
can temporarily change to “linear knob mode” by holding down [Alt].
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The "Automatic" Keyboard
The Attack has a 5 octave keyboard in its user interface. When selecting one of the upper 12 sounds, the Attack’s keyboard screen will appear. You can play these sounds
melodically through your MIDI keyboard or by clicking on the displayed keyboard with
your mouse. When selecting one of the lower 12 sounds, the keyboard is hidden.
The User Interface of the Attack
The user interface of the Attack is split into useful segments for easy access to different
parameters. Though the Attack is primarily designed for creating drum and percussion
sounds, the setup is reminiscent of a synthesiser offering subtractive synthesis. To the
left you can see 24 Sound Select buttons in the form of a stylized keyboard positioned
vertically. With these buttons you can select the sounds of a drum kit. Next appear parameter groups for both Oscillators, the Mixer, the Filter, the Amplifier, the Delay effects, the Crack Modulator and settings for both Envelopes. A display as well as some
pop-up menus round out the programming interface.
Due to its flexible synthesis structure, the Attack is capable of creating classic synthesiser sounds, especially basses and leads.
In the chart you see a graphical presentation of the signal flow within the Attack. Following this chart, the parameter groups and their functions are explained in detail.
MIDI Eingang
Envelope 1
Envelope 2
Audio Signal
Controller Signal
FX 1
Oscillator 1
+ FM
É
1
2
FX 2
Ring Modulator
Outputs
Mixer
Amplifier
Filter
É
3
4
5
6
7
Oscillator 2
LFO
É
8
9
10
11
Crack
Modulator
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Oscillator Section
The Attack is equipped with two oscillators that have almost
identical functionality. Oscillator 1 additionally contains an
integrated FM (frequency modulation) section. The following
explanation is valid for both oscillators.
0.007984...<20000 Hz
Pitch
Sets the pitch of the oscillator over a very wide range. This is necessary to reproduce
drum and percussion sounds.
C-11...E 10
Semitone
This parameter works with Pitch, setting the pitch of the oscillator in semitone steps.
This is useful for melodic sounds. Lead and Solo sounds sound interesting when you set
one oscillator to e.g. a fourth (+5 semitones).
-50...+50
Detune
This parameter also works with Pitch, fine-tuning the oscillator in cents. The audible
result of detuned oscillators is a chorus or flanger effect. Use a positive setting for one
oscillator and an equivalent negative setting for another.
Tri, Sine, Pulse, Saw, S&H, Noise, Sample 1-3
Shape (Waveform)
Sets the type of waveform to be generated by the oscillator. The parameter is called
Shape instead of “waveform”, because it doesn’t necessarily set only classic synthesizer waveforms, but it also generates noise, sample&hold and three samples. However,
the term “waveform” is used interchangeably throughout this manual. The following
shapes are currently available:
Triangle selects the triangular waveform. The triangle mainly consists of odd
harmonics with very low magnitudes. It is perfect for nearly all drum and percussion
The Sine waveform consists of the fundamental frequency only. It has no
sounds.
harmonics at all. With a sine wave you can create clean bass drums and snares. The
Pulse selects the pulse waveform. This waveform
sine wave is also perfect for FM.
produces a hollow / metallic sound and is perfect for bass drums and snare drums.
Saw selects the sawtooth waveform. A sawtooth wave has all the harmonics of
the fundamental frequency in descending magnitude. This waveform is pleasing to
the ear. You can use it for bass and lead sounds.
S&H (Sample&Hold): S&H samples a random value and holds it. Pitch selects
the time of this process. S&H is perfect for industrial-type FX sounds and as an FM
source.
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Noise is a fundamental source for any kind of analog-type percussion, especially
hi-hats and snare drums. Also, wind and other sound effects can be created by using
noise. If noise is selected, you can “color” it with the Pitch knob. Negative values
create pink noise (fewer high frequencies), positive values a blue noise (fewer low
frequencies).
The next three buttons don´t set an oscillator waveform; instead, you can choose a
sample for further programming.
Sample 1 contains a closed hi-hat. It can be processed with Pitch and FM and all
other synthesis functions.
Sample 2 contains an open hi-hat. It can be processed with Pitch and FM and all
other synthesis functions.
Sample 3 contains a crash cymbal. It can be processed with Pitch and FM and all
other synthesis functions.
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The square, sine, triangle and sawtooth waveforms always start at full amplitude
to create a necessary start click. This is characteristic of drum and percussion
sounds. To avoid this click, simply open up the attack value for Envelope 2 by a
small amount. When creating typical synthesizer sounds you might like to avoid
the flanging effect caused by detuned oscillators. This effect is caused by the fixed
phase of the waveforms. To do this, assign a short pitch envelope to one of the
oscillators.
-100%...100%
Pitch Env (Envelope)
Sets the amount of pitch modulation from Envelope 1 or 2 (depending on the settings).
Positive amounts will raise the pitch when envelope modulation is applied. Negative
amounts will lower the pitch when envelope modulation is applied. Use this parameter
to create time-dependent pitch changes.
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Pitch Env is one of the most important parameters in drum programming because
it simulates the character of a real drum.
-100%...100%
Pitch Vel (Velocity)
Determines the amount of influence the selected envelope has on the pitch, based on
key velocity. This parameter works similarly to the Pitch Env parameter, with the difference that its intensity is velocity based. Use this feature to give a more expressive character to the sound. When you hit the keys smoothly, only minimal modulation is applied. When you hit harder, the modulation amount also gets stronger.
The overall modulation applied to the pitch modulation is calculated as the sum of
both the Pitch Env and Pitch Vel parameters. Therefore you should always bear this
total in mind, especially when pitch does not behave as you expect. You can also
create interesting effects by setting one parameter to a positive and the other to a negative amount.
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FM (Frequency Modulation)
Sets the amount of frequency modulation that is applied to Oscillator 1 by Oscillator 2.
The sound will get more metallic and sometimes even drift out of tune. Triangle waves,
sine waves and noise are especially suited for FM. To change the frequency modulation
dynamically, use an envelope or velocity. The FM range of the Attack is very wide, so
that you can generate nearly chaotic FM out of periodic waveforms like sine waves.
This is necessary to create hi-hats.
If you use noise as FM source, the sound will become more tonal when you use higher
FM settings. To create a vibrato, set Oscillator 2 to a deep pitched triangle waveform
and use very low FM settings. Playing this sound at low octaves creates a wobble effect.
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FM background hints: The frequency modulation of the Attack modulates the phase of Oscillator 1 with the amplitude of Oscillator 2. This effect can be very
strong, such that there can be phase overflows by a factor of 8. This creates noisy
waveforms – perfect for drum sounds. Lower FM settings generate many different
spectra of a metallic character. A FM envelope can change the metallic character
to chaotic FM, also necessary for drum sounds. Another point to observe is that
FM into the Attack is scaled linearly.
-100%...100%
FM Env
Sets the amount of FM with Envelope 1 or 2 (depending on the settings). Positive amounts will raise FM when envelope modulation is applied. Negative amounts will lower FM when envelope modulation is applied. Use this parameter to create timedependent FM changes.
-100%...100%
FM Vel
Determines the amount of influence the selected envelope has on FM, based on key
velocity. This parameter works similarly to the FM Env parameter, but with the difference that its intensity is velocity based. Use this feature to give a more expressive character to the sound. When you hit the keys smoothly, only minimal modulation is applied. When you hit harder, the modulation amount also gets stronger.
The overall modulation applied to FM is calculated as the sum of both the FM Env and
FM Vel parameters. Therefore you should always bear this total in mind, especially
when FM does not behave as you expect. You can also create interesting effects by setting one parameter to a positive and the other to a negative amount.
Mixer Section
In the Mixer, you control the volumes of the two oscillators. Ring
modulation and Crack modulation can be applied optionally to extend
the Attack´s tonal range.
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0%...100%
Osc 1
Volume of Oscillator 1.
0%...100%
Osc 2
Volume of Oscillator 2.
�
If the sum of all mixer signals (Osc 1, Osc 2 and Ring Modulator) is higher than
100%, filter saturation will be attained. At this point Resonance doesn´t make any
volume difference, as it does in the normal filtering process. Use this phenomenon for additional sound manipulation.
-100%...100%
Env (Envelope)
This controls the influence of Envelope 1 or 2 on the Oscillator 2 level. With positive
settings, the level is increased by the modulation of the envelope, and with negative
settings, the level is decreased. Use this parameter to change the volume of Oscillator 2
independently over time.
-100%...100%
Vel (Velocity)
Determines the amount of influence the selected envelope has on level of Oscillator 2,
based on key velocity. This parameter works similarly to the Env parameter, with the
difference that its intensity is velocity based. When you hit the keys smoothly, the level
of Oscillator 2 only rises minimally. When you hit harder, the level will rise higher.
The overall modulation applied to Oscillator 2 level is calculated as the sum of both
the Env and Vel parameters. Therefore you should always bear this total in mind,
especially when the level does not behave as you expect. You can also create interesting effects by setting one parameter to a positive and the other to a negative amount.
0%...100%
Rmod (Ring Modulation)
Volume of the ring modulation between Oscillators 1 and 2. From a technical point of
view, ring modulation is the multiplication of two oscillators’ signals. The result of this
operation is a waveform that contains the sums and the differences of the source frequency components. Since ring modulation generates disharmonic components, it can
be used to add metallic distorted sound characteristics. This is useful when generating
crashes or cowbells. Please note that in a complex waveform all harmonic components
behave like interacting sine waves, resulting in a wide spectral range of the ring modulated sound.
Ring modulation can result in unwanted low frequencies when the pitches of Oscillators 1 and 2 don’t differ very much. This is logical because, for example, when you use
one oscillator set to 100 Hz and the second set to 101 Hz, the resulting ring modulation is 201 Hz and 1 Hz, and 1 Hz is very low.
0%...100%
Crack
Fades in the Crack Modulator. The Crack Modulator was designed
especially for creating hand clap sounds. Technically it is an amplitude
modulation using a sawtooth waveform. The speed and the number of
waveforms can be chosen. After transmitting its intended modulation,
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the Crack Modulator resumes emission of a constant signal.
The Crack Modulator superimposes its effect on all other mixer signals (Oscillator 1 and
2, Ring Modulator).
1Hz...5000Hz
Crack Speed
Determines the frequency of the Crack Modulator.
1 Cycles... Cycles
Crack Length
Determines the number of modulations the Crack Modulator creates.
�
To program an authentic sounding handclap, set Crack Speed to 105 Hz and
Crack Length to 3 cycles.
Filter Section
Once the audio signal leaves the mixer, it is sent to the filters. The Attack
offers a multimode filter with different filter types.
In a subtractive synthesizer a filter is a component that have significant
influence on sound characteristics. But the Attack was designed to make
drum and percussion sounds, for which the filter is used merely for fine
tuning the sound. Yet you can also create bass and lead sounds which
definitely require a filter.
For now, we’ll explain the basic function of a filter, discussing the type
used most commonly in synthesizers: the low pass filter.
The low pass filter type dampens frequencies that lie above a specified
cutoff frequency. Frequencies below this threshold are barely affected.
The frequency below the cutoff point is called the pass band range, and
the frequencies above are called the stop band range. The Attack´s filter
dampens frequencies in the stop band with a certain slope. The slope is
12dB per octave. This means that the level of a frequency that lies an octave above the
cutoff point will be 12dB less than those frequencies of the signal that fall into the pass
band. The following picture shows the basic principle of a low pass filter:
Level
Frequency
Cutoff
Low pass filter principle
The Attack´s filter also features a resonance parameter. Resonance in the context of a
low, band or high pass filter means that a narrow frequency band around the cutoff
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point is emphasized. The following picture shows the effect of the resonance parameter
on the filter’s frequency curve:
Level
Resonance
Frequency
Cutoff
Low pass filter resonance
If the resonance is raised to a great enough extent, then the filter will begin selfoscillation, i.e. the filter generates an audible sine wave even when it does not receive
an incoming signal.
Beside the low pass filter, the Attack offers the following filter types:
Type (Filter Types)
The following filter types are available when selected with the mouse:
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12 dB Low Pass Filter. Use this type if you want to create sounds with a typical audible filtered character; for example, bass or lead sounds. With a low
pass filter you can shape bass drums or snare drums.
12 dB Hi Pass Filter. This type is useful to thin out a sound’s bass frequencies. This may also give interesting results in conjunction with cutoff frequency modulation. By doing this you can "fly-in" a sound, starting with its high
harmonics and then coming up to its full frequency range. You can cut the
bass and mid range of high frequency drum sounds like hi-hats or crashes.
12 dB Band Pass Filter. This type removes frequencies both below and above the cutoff point. As a result, the sound character gets thinner. Use these
filter types when programming effect and percussion-like sounds.
12 dB Notch Filter. This type is the opposite of the band pass type. It dampens frequencies around the cutoff point. Frequencies below or above the
cutoff point are passed through. Use this filter type for programming effect
sounds. Resonance has no great influence because it raises the frequencies
that the notch filter dampens. You can hear a little effect of phase changes, but
not to any great degree.
EQ Lo- or Hi- Shelf Filter: Unlike a normal synthesiser filter, this filter type
works like an equalizer. When the resonance parameter is set below 50%, the
filter works as Hi Shelf, raising high frequencies up to 12 db. Values over 50%
cause the filter to work as Lo Shelf. Now, deep frequencies can be raised up to
12db. The Cutoff knob sets the center frequency of the Shelf EQ.
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EQ Bell Type Function: Like the EQ Lo- or Hi-Shelf, this filter type has an
equalizer function. The Resonance knob serves as gain, raising or lowering the
frequency set with the Cutoff knob up to 12db.
Cutoff
11.56 Hz...18794 Hz
Controls the cutoff frequency for the low pass and high pass filter types, and the center
frequency for the band pass and notch filter types. It has a special function for the EQ
Type Filter.
When the low pass type is selected, all frequencies above the cutoff frequency are
dampened.
When the high pass type is selected, all frequencies below the cutoff frequency are
dampened.
When the band pass type is selected, only frequencies near the cutoff setting will be
passed through.
When the notch type is selected, the frequencies near the cutoff frequency are dampened.
When EQ Lo- or Hi-Shelf is selected, the cutoff knob selects the start frequency of
the Shelf EQ.
When EQ Bell Type is selected, the frequencies near the cutoff frequency are
boosted or dampened with the Resonance parameter.
0%...100%
Resonance
Controls the emphasis of the frequencies around the cutoff point (exept the EQ filter types). Use lower values to give more brilliance to the sound. At higher values the sound
acquires a typical filter character with a strong boost around the cutoff frequency.
When the setting is raised to maximum, the filter starts to self-oscillate, generating a pure sine wave. This feature can be used to create typical solo sounds.
-100%...100%
Env (Filter Envelope Amount)
Determines the amount of influence the selected envelope has on cutoff frequency. For
positive settings, the filter cutoff frequency is increased by the modulation of the envelope, and for negative settings, the cutoff frequency is decreased. Use this parameter to
change the timbre of the sound over time. Sounds with a hard attack usually have a positive envelope amount that makes the start phase bright and then closes the filter for a
darker sustain phase.
-100%...100%
Vel (Filter Velocity)
Determines the amount of influence the selected envelope has on the cutoff frequency,
based on key velocity. This parameter works similarly to the Filter Env parameter, with
the difference that its intensity is velocity based. Use this feature to give a more expressive character to the sound. When you hit the keys smoothly, only minimal modulation
is applied. When you hit harder, the modulation amount also gets stronger.
The overall modulation applied to the filter’s cutoff frequency is calculated as the sum
of both the Filter Env and Filter Vel parameters. Therefore you should always bear
this total in mind, especially when the filter does not behave as you expect. You can alOperation Manual
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so create interesting effects by setting one parameter to a positive and the other to a negative amount.
0 dB...54 dB
Drive
Determines the amount of saturation that is added to the signal. If set to 0, no saturation
will be added or, in other words, the signal will remain clean. Lower values will add
some harmonics to the signal, resulting in a warm character. Increasing the value will
bring in more and more distortion, suitable for harder lead sounds and effects.
Sync
Makes the low frequency oscillator (LFO) sync the filter modulation either to the key
press or to the tempo of the host application (assuming that it is capable of sending the
needed timing information to the Attack). When you click on the Sync button, a pop-up
menu will appear to select the different settings.
�
Off lets the LFO run freely.
Key makes the triangle waveform of the LFO start at the maximum amplitude
whenever a key is pressed.
8 Bars to 1/64 syncs the triangle waveform of the LFO in musical note values.
1/2. Bars to 1/64. syncs the triangle waveform of the LFO to dotted note values.
1/1t Bars to 1/64t syncs the triangle waveform of the LFO to third note values.
With positive Mod Depth values the LFO starts at maximum amplitude, and inversely, with negative values it starts at minimum amplitude.
S&H...1000 Hz
Mod Speed
The integrated Low Frequency Oscillator (LFO) creates a Triangle wave to modulate
filter frequency. Mod Speed determines the frequency of the LFO. At low values, it
might take several minutes for the LFO to perform a complete cycle, while higher values are in the audible range. A setting of S&H creates a random value which will be
held for the length of a tone (independent from the Sync settings).
-100%...100%
Mod Depth
Determines the amount of filter frequency modulation by the LFO.
Amplifier Section
This section is found near the end of the Attack’s signal routing, followed
by the Delay FX section. Its purpose is to set the volume of the sound.
It is important to know that Envelope 2 always controls the amplifier
level.
Additionally the Amplifier section offers sound output, panning and effect
send levels.
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1...6
Output
The Attack offers 6 stereophonic audio outputs. This parameter sets the audio output of
the selected sound. You can use this function to assign different effects or EQ settings to
sounds of a kit.
Please take into account that Delay 1 only appears on stereo output 1, and Delay 2
only on stereo output 2. Outputs 3 to 6 are always dry.
- dB...0 dB
Volume
Sets the output volume of the selected sound.
-100%...100%
Vel (Velocity)
Specifies by how much volume will be affected by keyboard velocity. Use this feature
to give more expression to the sound. With a setting of 0, velocity will have no effect
on volume. For positive settings, the volume rises with higher velocities. This is the
most commonly used setting. With negative settings, the volume decreases at higher
velocities. This gives an aypical character suitable for effect sounds. The maximum volume is always set with the Volume parameter.
100%L...Center...100%R
Pan (Panning)
Determines the position in the stereo panorama. When the setting is to the left, the
sound is panned far left; when the setting is to the right, it is panned far right. If you
want to situate the sound in the middle of the stereo panorama, use the Center setting.
Because the delay effects are independent from the pan settings, the higher the proportion of delayed signal in your mix, the less pronounced the panning effect wil be.
100:0%...0:100%
Mix
This parameter controls the volume ratio between the original signal and the effect
output of the integrated delay effects. If set to 100:0, the dry signal is sent to the outputs
only, so that no effects can be heard. Higher values will increase the effect signal. At
the maximum setting, 0:100, the pure effected signal will be heard.
Off, 1, 2, 3
XOR Group
Assigns the selected instrument to one of the three XOR groups. When several
instruments of the same XOR group receive MIDI notes, the sounding instrument will
be muted by the succeeding one. Use this function to program realistic hi-hats,
especially if only the open or closed hat should be heard. This parameter can also be
used to create monophonic synth sounds. When you set the sync parameter in the filter
section to Off and assign different instruments to the same XOR group, the LFO stays in
sync nonetheless, since the same voice is always triggered.
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Delay Effect Sections
The Waldorf Attack offers two independent Modulation Delay effects.
These effects are tied to outputs 1 and 2. When a sound is routed to 1,
delay 1 is selected automatically, and similarly delay 2 appears at output
2.
A delay creates repeats of the input signal. The delay time can be set
either in milliseconds or in musical note values if Sync is selected (this
assumes that your host application can send tempo information to the
plug-in). The maximum delay time is 2 seconds. Additionally, the delay
can be modulated.
0ms...2000ms
Time
Sets the length of the delay tap in milliseconds or note values depending on the Sync
setting (if your host application supports VST 2.0).
Sync
Syncs the delay time to the tempo of the host application (assuming that it is capable of
sending needed timing information to the Attack). When you click on the (delay-) Sync
button, a pop-up menu will appear to select the different settings.
Off allows no synchronisation. Time can be set in milliseconds.
2 Bars to 1/64 syncs the delay time in musical note values.
1/2. Bars to 1/64. syncs the delay time in dotted note values.
1/1t Bars to 1/64t syncs the the delay time in third note values.
Cubase VST offers an internal synchronisation with version 3.7 (PC) and 4.1 (MAC) or
higher, offering more precision than MIDI clock.
-100%...100%
Feedback
Controls the amount of signal that is routed back into the delay line. Lower feedback
values will by definition produce fewer echoes than higher values. Very short delay
time settings can be colored by feedback settings.
50:100%...100:50%
Spread
Spreads the left and right delay output to half of the delay time maximum. Settings from
50:100% or 100:50% create a typical ping pong delay.
0.01 Hz...10 Hz
Speed
The delay effect can be modulated in its delay time with the integrated low frequency
oscillator (LFO). Speed determines the frequency of the LFO.
0%...100%
Depth
Controls the modulation depth when delay time is changed by means of the LFO. The
depth ranges from no delay to the amount set by the Time parameter.
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Lo Cut
Dampens the lower frequencies of the signal generated by the delay effect. The filter is
inserted before the feedback loop, thus dampening each successive step. Lower values
suppress deeper frequencies from the feedback. In conjunction with the Hi Cut Parameter, the delay effect can thus be narrowed to a certain frequency range.
Hi Cut
Dampens the higher frequencies of the signal generated by the delay effect. The filter is
inserted before the feedback loop, thus dampening each successive step. This creates
the typical dulled effect familiar from natural delays. Lower values suppress deeper frequencies from the feedback. In conjunction with the Lo Cut Parameter, the delay effect
can thus be narrowed to a certain frequency range.
Envelopes
The envelopes create a control signal that varies with time.
They are used, for example, to modulate the filter settings or
the level of a sound within a given period of time. The
envelopes are structured identically, and offer Attack, Decay,
Shape and Release. Attack and Decay can also be graphically
edited. If you press a key, the envelope is started. The
envelope parameter has the following functions:
Attack defines the period of time for the envelope to rise to its maximum.
Decay defines the time for the envelope to fall to 0.
Shape controls the shape of the Decay and Release phases. You can shade
from exponential to linear to inverse exponential, or to a combination of exponential and inverse exponential (cosine like).
After you let go of the key, Release defines the period of time it takes for the
envelope to sink back to zero. If you turn Release fully left, this parameter is
ignored. This is the most useful setting for drum sounds.
Both envelopes can be edited quickly and easily with the mouse. Editing is simplified
by the graphic changes you see in the corresponding function.
To edit, click on the respective handle and drag in the desired direction. The changes
and their parameter names are visible in the display. Keep the following in mind:
�
Envelopes 1 and 2 are structured identically. Attack and Decay are timedependent parameters, which is why they can only be moved horizontally.
Envelope 1
Envelope 1 allows you to manipulate different sound parameters. The intensity of modulation is controlled with the corresponding Env or Vel parameter.
Envelope 2
Envelope 2 is structured identically to Envelope 1, but is pre-routed to the amplifier level.
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Appendix
Programming Drum Sounds
To understand how to create drum sounds, you should know a little about how the
classic drum machines worked. The following sections give some insights how particular sounds were built and information how to achieve similar results on the Waldorf
Attack.
Roland TR-808 Bass Drum
On the Roland TR-808, this sound was made by one filter with a high resonance setting,
triggered by a short impulse. Two controls were provided to adjust the bass drum: "Tone" was used to set the pitch by changing the filter's cutoff frequency, and "Decay" was
used to set its resonance, which in turn controlled the decay rate.
On the Attack, you could use the filter´s self-oscillation by triggering it with a short noise impulse made by the second oscillator, whose volume you can control by an envelope.
But a better way is to use Oscillator 1 playing a sine wave, and by changing the initial
click impulse by means of the filter.
Roland TR-909 Bass Drum
The Roland TR-909 used an oscillator and a noisy click, controlled by three envelopes,
to create a bass drum sound. The oscillator played a sine wave whose pitch was
controlled by an envelope and the "Tune" control. The rate of the envelope’s decay was
not adjustable.
This oscillator signal was routed to an amplifier with an envelope whose "Decay" parameter adjusted the decay rate of the envelope. The second part of the bass drum
sound was made with a short impulse and a low pass filtered noise generator, both
summed and routed into another envelope that controlled their output volume. The
"Attack" parameter controlled the overall pulse/noise level, and the decay rate of the
envelope was not adjustable.
On the Attack, you can make this sound as follows: Oscillator 1 plays a sine wave, and
Envelope 2 is used to modulate its pitch. This means that the pitch of the oscillator becomes higher or lower depending on the setting of the Decay parameter of Envelope 2,
but this slight variation doesn't affect the drum sound once it has been set up.
The noise of the impulse can be ignored, because it is low pass filtered anyway. But
how do we create an impulse with the Attack? The answer is simply to use a square
wave with a very low pitch setting for Oscillator 2, and to control its level with a very
short envelope. Now we have an impulse. This impulse is low pass filtered afterwards
with a slightly resonating filter, preferrably set to around 5000Hz with a resonance of around 18%.
With the Oscillator 1 Pitch and Pitch Env controls you can adjust the sound of the bass
drum, while Envelope 2 Decay controls its length.
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Simmons SDS-5 Bass Drum
The Simmons SDS-5 bass drum consists of an oscillator and a noise generator, both
routed into a low pass filter and an amplifier. An envelope controls the oscillator pitch,
the filter cutoff, and the amplifier volume. The envelope has a decay shape that is inbetween exponential and linear.
The oscillator plays a triangle wave whose pitch is controlled by a "Tune" control and a
"Bend" parameter that controls the influence of the amp envelope to oscillator pitch.
A "Noise - Tone" parameter controls the mix between the oscillator and the noise generator.
A "Noise" parameter controls the filter cutoff. (Very confusing, isn't it?)
A "Decay" parameter controls the envelope decay rate.
A "Click - Drum" parameter controls the most important aspect of the Simmons drums:
the mix between the original signal from the pad trigger microphone and the triggered
drum sound.
On the Attack, you can make this sound as follows:
Oscillator 1 plays a triangle or sine wave pitched at around 30Hz, and Envelope 2 is used to modulate its pitch. Use the "Vel" control to simulate the velocity-dependent pitch
bend amount that you would find on the SDS-5. You can simulate the click by setting
FM Env to a medium value, with Envelope 1 set to a very short decay. Oscillator 2 generates noise, and the pitch is set to center. The Filter Cutoff can vary between 100Hz
and 5000Hz, and Vel should be set at 25% or so. Filter Resonance should be set to
10%. Envelope 2 should be set to an almost linear shape. Use Osc 1 and Osc 2 Level
to adjust the mix of tone and noise, and use Osc 1 FM Env to vary the click strength.
Roland TR-808 Snare Drum
On the Roland TR-808, the snare drum was made of two resonating filters and a noise
generator with high pass filtering. The "Tone" parameter controlled the output mix from
the first and the second filters, while "Snappy" controlled the volume of the noise generator. The noise generator was routed through a separate envelope and a high pass filter.
On the Attack, you can make this sound as follows:
Oscillator 1 plays a sine wave at around 150Hz, and you can use a little FM to disturb
the periodic character of the sine wave. This trick makes the oscillator sound thicker,
almost as if two oscillators were running at once.
Oscillator 2 generates noise, and you should use Pitch to high pass filter it.
In the Mixer, turn up Osc 1 to 50% and Osc 2 Env to 50%, set to Envelope 1.
Set Envelope 1 to a shorter decay phase than Envelope 2.
Use the filter with a low pass setting and add a little resonance to emphasize the high
frequency range.
Roland TR-909 Snare Drum
The TR-909 Snare Drum was made with two oscillators and two filters for noise. The
two oscillators started in phase but were slightly detuned, and one of the oscillators was
modulated a bit by a pitch envelope. The "Tune" parameter controlled the basic pitch
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of the two oscillators. The noise was split in two parts: there is always some low pass
filtered noise during the whole snare drum sound, while a high pass filtered sound is
routed through another envelope whose level can be controlled by the "Snappy" parameter.
One Attack sound doesn't feature as many different modules as the TR-909 snare drum
had. One solution can be to use two sounds, one emulating the first oscillator and the
low pass filtered noise, and the other emulating the second oscillator plus the high pass
filtered noise. You will have to play the two simultaneously in your track, but this
shouldn't be a problem because the Attack has sample-exact timing.
However, you can re-create the TR-909 snare drum with just one Attack sound instead,
by doing the following:
Set up Oscillator 1 to play a sine wave, modulate its pitch slightly with Envelope 2, and
add a little FM to it - around 0.1 to 0.5%. When you set the second oscillator to produce noise, you will hear that the sine wave gets smeared, which means that you are not
hearing an exact tone any more. This already sounds very close to two slightly detuned
oscillators and a low pass filtered noise. Now you only need the "Snappy" part, which
is added simply by using Envelope 1 to modulate Oscillator 2's mix level. You can high
pass filter the noise with the Pitch control, but in fact the result is already quite similar
without doing so. If you want a little more punch, use the Drive control carefully until
you can hear a slight distortion at the beginning of the sound.
Another variation can be heard in the sound library that comes with the Attack. This one uses a very low noise signal level that is boosted greatly behind the high pass filter.
The reason for this is that Oscillator 2 plays the tone of the snare drum while the high
pass filter dampens this tone heavily. To raise it back up to a good volume, Drive boosts it to a normal level.
Simmons SDS-5 Snare Drum
The Simmons SDS-5 Snare Drum module was laid out identically to the Bass Drum
module. However, a number of parameters were set in a different way internally to
create snare drum sounds.
When you want to create Simmons snare drum sounds on the Attack, just keep in mind
that you should use a very short envelope to frequency modulate the first oscillator, set
the envelopes to almost linear shapes, and use the "Vel" control for all envelope modulations.
TR-808 Side Stick
The TR-808 Side Stick (called RS on the 808, which stands for Rim Shot) sound is very
tricky: although it consists of only two oscillators running through an amplifier and a
high pass filter, the sound is very complex. This comes from the fact that one oscillator
seems to “cut” the other oscillator and that the VCA is used to add high harmonics.
How Roland did it is something only they and maybe a handful of people know. If you
happen to be one of these people, let us know!
If you want a sound of this type from the Attack, use the representative sound from the
library instead of trying to simulate it on your own. Look at the parameters and try to
find out why it sounds quite close. A couple of hints: Crack is used with a very high
frequency setting doing amplitude modulation on the oscillators’ summed signal, and
Drive is used to add further harmonics by distorting the signal.
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TR-909 Side Stick
The TR-909 Side Stick is made of 3 resonating band pass filters that are triggered by a
short impulse. Behind the band pass filter cluster there is a distortion unit, followed by
a VCA with an envelope and a high pass filter.
Its specific sound comes from the cutoff frequencies, the resonance, and the volumes of
the trigger impulses of the three band passes. These settings are:
* 500Hz, 20ms decay, full volume
* 222Hz, 45ms decay, half volume
* 1000Hz, 5ms decay, full volume
Now, the Attack doesn't have three band passes plus a high pass filter, but there's a
way to simulate the architecture with the Attack.
What produces a resonating band pass filter? Nothing more than a sine wave. So, why
not just use two oscillators producing two sine waves, plus a high pass filter that uses
the lowest frequency setting as the third sine wave generator. Thus the filter will include both oscillator signals and add its own resonance to the sum.
The high pass filter is therefore set to 222Hz, with a resonance of 100%. Oscillator 1
produces the 500Hz sine wave, while Oscillator 2 is set to a 1000Hz sine wave, but is
controlled by a very short Envelope 1 set to around 75% to produce the 5ms signal.
The fact that oscillator 1 plays longer than 20ms can be ignored, because it's not that
noticable. Don't add it with full volume, however; set it only to a level of around 25%.
This comes into play because there is an additional high pass filter on the original TR909 Side Stick that dampens lower frequencies.
Finally, add a good amount of Drive (around 30dB) to the signal, set Envelope 2 Decay
to 45ms, and you will have the sharp attack of the original sound.
TR-909 Hand Claps
TR-909 hand claps are made using the same signal routing as in the original TR-808.
However, due to the differing parts and internal parameter settings that were used in
the TR-909, the TR-909's hand clap sounded different. Essentially, the "Crack" (or as
Roland called it "Sawtooth Envelope") was clearer, and the reverb effect was longer.
Hi-hats
For hi-hats, we don't use references to classic drum machines, although there is a quite
good emulation in the TR-808 set included in the sound library. Hi-hats can be made in
various ways:
The simplest method is to use the built-in samples of the Attack. However, those are
provided just in case you don't have time to "synthesize" a good-sounding hi-hat.
If you like a really "vintage" sound, use a high pass filtered noise. This gives the very archaic hi-hat sound that was used by many drum machine companies for years. One of
the last examples of this sound was the good old Roland CR-78.
If you want more sophisticated results, use FM. Don't use noise as FM source, but
instead use a sine or triangle waveform with a very high pitch. The modulated oscillator
can be set either to square or sine. The FM of the Attack has a maximum amount of around 8 waveform cycles, which results in heavy but tonal noise. When you don't use
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a static FM but change the amount by an envelope, the sound gets really exciting. The
noisy FM effect changes over time, resulting in a very lively hi-hat sound. You will probably have to experiment with the settings of Oscillator 2 Pitch and FM Env, but the results are very much worth the work.
A good rule of thumb is to start with the Open Hi-hat sound, and copy that sound to
the location for the Closed Hi-hat. Making a hi-hat sound shorter almost always succeeds, but making a short hi-hat longer may result in an unwanted characteristics. Also,
don't forget to set the sounds to the same XOR Group so that they cut off one another.
Cymbals
With cymbals, the situation is similar to hi-hats. A sample is provided for an authentic
crash cymbal, though you can achieve more interesting and unique results using filtered noise or FM.
Ride cymbals are more difficult to create, and their sound is so special that you might
wish to use a good sampler or sample player to generate those sounds. If you want to
create your own ride cymbal sounds anyway, you might come up with interesting results using FM and ring modulation.
Toms
Tonal percussion instruments can be created easily. Just set one oscillator to produce a
sine or a triangle wave, modulate its pitch by an envelope, and set up the second oscillator to create either the attack noise or the resonance skin. When you want to do the
latter, just copy the settings of the first oscillator and change the pitch or the envelope
depth a little.
Also, it might be interesting to remove a little of the "tone" from Oscillator 1 by
applying FM from the second oscillator producing noise. Note that a short envelope used for FM creates astounding drum stick hit sounds. Furthermore, you can high pass
filter the result to get more punch and less tone into the sound.
Congas
Congas can be made by using a sine wave oscillator, with a very short envelope controlling the FM amount of Oscillator 2 producing noise. This, together with a medium
fast attack on Envelope 2, creates very authentic conga sounds.
Muted or slapped congas can be made by increasing the basic FM amount a little and
using a high pass filter to dampen the "tone".
Shakers and Maracas
Both are made with noise, either unfiltered or used to frequency modulate Oscillator 1
in order to create strong colorization. A high pass filter can be applied to remove some
low end.
The difference between shakers and maracas from the synthesist's viewpoint is that a
shaker has a longer attack and decay phase than maracas. Of course the sound depends a great deal on how you play, so don't forget to set up velocity-based changes to
the amplifier.
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Claves and Woodblock
Claves and woodblock sounds are also very similar. They both consist of very short sine
or triangle waveforms. A woodblock is lower in frequency, and you can add the second
oscillator to produce a different frequency. Claves should be made with only one sine
oscillator and a very short envelope.
TR-808 Cowbell
You are waiting for this one, aren't you? The TR-808 Cowbell is made of two square
oscillators, one oscillating at 540Hz, the other oscillating at 800Hz. The attack phase of
the envelope is emphasized heavily to create the strong click. Afterwards, the summed
signal is sent through a band pass filter and an envelope that stops abruptly.
A funny side note: on the TR-808, the square oscillators were the same that were used
for the cymbal and hi-hat sounds. However, those sounds used a cluster of six detuned
square oscillators with different band pass and high pass filter settings.
Concluding Remarks
We hope that this manual has helped you to familiarize yourself with the interesting
world of analog drum sound synthesis.
Since 1989, Waldorf has cultivated a tradition of synthesizers, and continues to develop a wide range of different units based on powerful sound generation systems. If you
like the sound character and expressiveness of the Attack, we invite you to drop by to
visit our web site at:
http://www.waldorfmusic.de
We wish you a lot of creative fun with your Attack!
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Glossary
Aftertouch
The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding
down, a MIDI aftertouch message is generated. This feature makes sounds even more
expressive (e.g. through vibrato).
Aliasing
Aliasing is an audible side effect arising in digital systems as soon as a signal contains
harmonics higher than half the sampling frequency.
Amplifier
An amplifier is a component that influences the volume level of a sound via a control
signal. This control signal is often generated by an envelope or an LFO.
Attack
An envelope parameter. "Attack" is a term that describes the ascent rate of an envelope
from its starting point to where it reaches its highest value. The Attack phase is initiated
immediately after a trigger signal is received, i.e. after you play a note on the keyboard.
Band Pass Filter
A band pass filter allows only those frequencies around the cutoff frequency to pass.
Frequencies both below and above the cutoff point are dampened.
Band Stop Filter (Notch Filter)
A band stop filter does the opposite of a band pass filter, i.e. it dampens only the frequencies around the cutoff point and lets all other frequencies pass through.
Clipping
Clipping is a sort of distortion that occurs when a signal exceeds its maximum value.
The curve of a clipped signal is dependent upon the system in which the clipping takes
place. In the analog domain, clipping effectively limits the signal to its maximum level.
In the digital domain, clipping is similar to a numerical overflow, and so the polarity of
the signal’s portion that exceeds the maximum level is negated.
Controller (Control-Change)
You can automate all Attack parameters using MIDI controller messages. This lets you
create interesting sound transformations in real time. Controller data are directly created when you use the corresponding dials, and can be recorded in your sequencer program. You can also graphically create MIDI controller data in the respective Editor of
your program. (Please read the manual of your host application for more information).
A list of all available MIDI controllers and their functions can be found at the end of
this manual.
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Cutoff
See Filter Cutoff Frequency.
CV
CV is the abbreviation for control voltage. In analog synthesizers, control voltages are
used to control sound parameters like pitch, cutoff frequency etc. To get a tremolo effect, for example, the output signal of a LFO must be routed to the CV input of one or
more oscillators.
Decay
"Decay" describes the descent rate of an envelope once the Attack phase has reached
its zenith and the envelope drops to the level defined for the Sustain value.
Envelope
An envelope is used to modulate a sound-shaping component within a given time frame so that the sound is changed in some manner. For instance, an envelope that modulates the cutoff frequency of a filter opens and closes this filter so that some of the
signal's frequencies are filtered out. An envelope is started via a trigger, usually a fixed
trigger. Normally, the trigger is a MIDI note. The classic envelope consists of four individually variable phases: Attack, Decay, Sustain and Release. This sequence is called
an ADSR envelope. Attack, Decay and Release are time or slope values, and Sustain is
a variable volume level. Once an incoming trigger is received, the envelope runs
through the Attack and Decay phases until it reaches the programmed Sustain level.
This level remains constant until the trigger is terminated. The envelope then initiates
the Release phase until it reaches the programmed minimum value.
Filter
A filter is a component that allows some of a signal's frequencies to pass through it and
dampens other frequencies. The most important aspect of a filter is the filter cutoff frequency. Filters generally come in four categories: low pass, high pass, band pass, and
band stop. A low pass filter dampens all frequencies above the cutoff frequency. A high
pass filter in turn dampens the frequencies below the cutoff. The band pass filter allows
only those frequencies around the cutoff frequency to pass, while all others are dampened. A band stop filter does just the opposite, i.e. it dampens only the frequencies around the cutoff frequency. The most common type is the low pass filter.
Filter Cutoff Frequency
The filter cutoff frequency is a significant factor for filters. A low pass filter, for example,
dampens the portion of the signal that lies above this frequency. Frequencies below this
value are allowed to pass through without being processed.
Gate
The term "gate" has different meanings in a technical context. Like a real gate, it describes something that can be open or closed, or - to use a technical term - active or inactive. A gate in the sense of a device is a unit that prevents a signal from passing through
under specific conditions. For example, in a noise gate a signal is cut off when its level
falls above a predetermined threshold. Gate stands also for a control signal of analog
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synthesizer systems. A keyboard generates an active gate signal as long as a key is held
down. When the key is released, the gate signal becomes inactive again. An envelope
generator can use this signal for triggering purposes, and as a result a VCA unit can be
controlled.
High Pass Filter
A high pass filter dampens all frequencies below its cutoff frequency. Frequencies above the cutoff point are not affected.
LFO
LFO is an acronym for low-frequency oscillator. The LFO generates a periodic oscillation at a low frequency and features variable waveshapes. Similar to an envelope, an
LFO can be used to modulate a sound-shaping component.
Low Pass Filter
Synthesizers are often equipped with a low pass filter. It dampens all frequencies above
its cutoff frequency. Frequencies below the cutoff point are not affected.
MIDI
The acronym MIDI stands for "musical instrument digital interface." It was developed in
the early '80s so that diverse types of electronic musical instruments by different manufacturers could interact. At the time a communications standard for heterogeneous
devices did not exist, so MIDI was a significant advance. It made it possible to link all
devices with one another through simple, uniform connections. Essentially, this is how
MIDI works: One sender is connected to one or several receivers. For instance, if you
want to use a computer to play the Pulse, then the computer is the sender and the Pulse
acts as the receiver. With a few exceptions, the majority of MIDI devices are equipped
with two or three ports for this purpose: MIDI In, MIDI Out and in some cases MIDI
Thru. The sender transfers data to the receiver via the MIDI Out jack. Data are sent via
a cable to the receiver's MIDI In jack. MIDI Thru has a special function. It allows the
sender to transmit to several receivers. It routes the incoming signal to the next device
without modifying it. Another device is simply connected to this jack, thus creating a
chain through which the sender can address a number of receivers. Of course it is desirable for the sender to be able to address each device individually. Consequently, there
is a rule which is applied to ensure each device responds accordingly.
MIDI Channel
This is a very important element of most messages. A receiver can only respond to incoming messages if its receive channel is set to the same channel as the one the sender
is using to transmit data. Subsequently, the sender can address specific receivers individually. MIDI Channels 1 through 16 are available for this purpose.
MIDI Clock
The MIDI Clock message determines the tempo of a piece of music. It serves to synchronize processes based on time.
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Modulation
A modulation influences or changes a sound-shaping component via a modulation
source. Modulation sources include envelopes, LFOs or MIDI messages. The modulation destination is a sound-shaping component such as a filter or a VCA.
Note On / Note Off
This is the most important MIDI message. It determines the pitch and velocity of every
generated note. The time of arrival is simultaneously the start time of the note. Its pitch
is derived from the note number, which lies between 0 and 127. The velocity lies between 1 and 127. A value of 0 for velocity is similar to "Note Off".
Panning
Panning is the process of changing the signal's position within the stereo panorama.
Pitch Bend
A MIDI message. Although pitch bend messages are similar in function to control
change messages, they are a distinct type of message. The reason for this distinction is
that the resolution of a pitch bend message is substantially higher than that of a conventional controller message. The ear is exceptionally sensitive to deviations in pitch,
so the higher resolution is used because it relays pitch information more accurately.
Program Change
These are MIDI messages used to switch between sound programs. Program numbers 1
through 128 can be selected via program change messages.
Release
An envelope parameter. The term "release" describes the descent rate of an envelope to
its minimum value after a trigger is terminated. The Release phase begins immediately
after the trigger is terminated, regardless of the envelope's current status. For instance,
the Release phase may be initiated during the Attack phase.
Resonance
Resonance is an important filter parameter. It emphasizes a narrow bandwidth around
the filter cutoff frequency by amplifying these frequencies. This is one of the most popular methods of manipulating sounds. If you substantially increase the resonance, i.e,
to a level where the filter begins self-oscillation, then it will generate a relatively clean
sine waveform.
Sustain
An envelope parameter. The term "sustain" describes the level of an envelope that remains constant after it has run through the Attack and Decay phases. Sustain lasts until
the trigger is terminated.
System Exclusive Data
System exclusive data allow access to the heart of a MIDI device. They enable access
to data and functions that no other MIDI messages are able to address. "Exclusive" in
this context means that these data pertain only to one device type or model. Every deOperation Manual
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vice has unique system exclusive data. The most common applications for SysEx data
include transfer of entire memories and complete control of a device via a computer.
Trigger
A trigger is a signal that activates events. Trigger signals are very diverse. For instance, a
MIDI note or an audio signal can be used as a trigger. The events a trigger can initiate
are also very diverse. A common application for a trigger is its use to start an envelope.
VCA
VCA is the acronym for voltage-controlled amplifier. A VCA is a component that influences the volume level of a sound via a control voltage. This is often generated by an
envelope or an LFO.
VCF
VCF is the acronym for voltage-controlled filter. It is a filter component that allows you
to manipulate the filter parameters via control voltages.
Volume
The term describes a sound's output level.
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MIDI Controller List
Please be sure to note:
Sounds 1 to 12 recognize MIDI controllers #12 to #59 on MIDI channels 1 to 12.
Sounds 13 to 24 recognize MIDI controllers #72 to #119 on MIDI channels 1 to 12.
Both Delay sections recognize MIDI controllers only on MIDI channel 16. Delay 1 recognizes MIDI controllers #12 to #18, and Delay 2 recognizes MIDI controllers #72 to
#78.
MIDI
Parameter
MIDI
Parameter
Controller Controller
Sound 1-12 Sound 13-24
MIDI
MIDI
Controller
Controller
Sound 1-12 Sound 13-24
Modwheel
1
1
Drive
39
99
Volume
7
7
Filter Env
40
100
Osc 1 Shape
12
72
Filter Env Select
41
101
Osc 1 Pitch
13
73
Filter Env Vel.
42
102
Osc 1 PitchEnv
14
74
Filter Mod Sync
43
103
Osc 1 PEnvVel
15
75
Filter Mod Speed
44
104
Osc 1 PEnv Select
16
76
Filter Mod Depth
45
105
Osc 1 FM
17
77
Output
46
106
Osc 1 FM Env
18
78
Amp Volume
47
107
Osc 1 FM EnvVel
19
79
Amp Velocity
48
108
Osc 1 FMEnv Select
20
80
Pan
49
109
Osc 2 Shape
21
81
Delay Mix
50
110
Osc 2 Pitch
22
82
XOR Group
51
111
Osc 2 PitchEnv
23
83
Env 1 Attack
52
112
Osc 2 PEnvVel
24
84
Env 1 Decay
53
113
Osc 2 PEnv Select
25
85
Env 1 Shape
54
114
Crack Speed
26
86
Env 1 Release
55
115
Crack Length
27
87
Env 2 Attack
56
116
Osc 1 Level
28
88
Env 2 Decay
57
117
RingMod Level
29
89
Env 2 Shape
58
118
Osc 2 Level
30
90
Env 2 Release
59
119
Osc 2 LevelEnv
31
91
Delay Time
12
72
Osc 2 LevelEnv Vel
33
93
Delay Sync
13
73
Osc 2 Level Env Sel.
34
94
Delay Feedback
14
74
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Crack Level
35
95
Delay Spread
15
75
Filter Type
36
96
Delay Mod Depth
16
76
Cutoff
37
97
Delay Lo Cut
17
77
Resonance
38
98
Delay Hi Cut
18
78
Controller List for Novation RemoteSL
RemoteSL Controls
Page 1 Encoders 1...8
Page 1 Pots 1...8
Page 1 Sliders 1...8
Page 2 Encoders 1...8
Page 2 Pots 1...8
Page 2 Sliders 1...8
Page 3 Encoders 1...8
Page 3 Pots 1...8
Page 3 Sliders 1...8
Waldorf
Attack Parameter
Oscillator 1 Pitch Sound 1...8
Oscillator 1 FM Sound 1...8
Envelope 2 Decay Sound 1...8
Oscillator 2 Pitch Sound 1...8
Oscillator 1 FM Envelope Sound 1...8
Envelope 1 Decay Sound 1...8
Filter Drive Sound 1...8
Filter Cutoff Sound 1...8
Amplifier Volume Sound 1...8
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