Bass Guitar Synthesizer and Analog Modeling MIDI

Bass Guitar Synthesizer and
Analog Modeling MIDI Synthesizer
Expander
from Panda-Audio Ltd.
User Guide Version 1.22
Apr. 23, 2016
Panda-Audio Ltd.
www.panda-audio.com
Product web site: www.pandamidi.com
EU Directives on the Protection of the Environment
RoHS This product is compliant with the EU Directive 2002/95/EG for the Restriction of the use of
Certain Hazardous Substances in Electrical and Electronic Equipment. No lead (Pb) cadmium (Cd),
mercury (Hg), hexavalent chromium (Cr + 6), PBB or PBDE is intentionally added to this device. Any
traces of impurities of these substances contained in the parts are below the RoHS specified threshold
levels.
REACh This product is compliant with the European Union Directive EC1907/206 and contains none or
less than 0.1% of the chemicals listed as hazardous chemicals in the REACh regulation.
WEEE As with the disposal of all old electrical and electronic equipment, this product is not to be
treated as regular household waste. Instead it shall be handed over to the applicable collection point for
recycling of electrical and electronic equipment.
This product complies with the European Union Council Directives and Standards relating to
electromagnetic compatibility EMC Directive (2006/95/EC) and the Low Voltage Directive
(2004/108/EC). EMC compliance test report: EMC – 130930/1
Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and;
(2) This device must accept any interference received, including interference that may cause
undesired operation.
Panda-Audio Ltd.
Széchenyi u. 8
2040 Budaörs, HUNGARY
Tel.: +36-23-441-071
Email: info@panda-audio.com
Parts of the package:
1.
2.
A Future Impact I pedal
Quick Start Guide.
Part that you will need, but not contained in this delivery:
1.
A 9V stabilized, 100mA, Roland-Boss type supply with minus pole in the middle.
2.
Additionally, if you use it with a computer: PC or MAC with a MIDI interface and two MIDI cables.
Minimum screen resolution of the computer: X>=1280, Y>=900. OS on PC: XP or Windows 7. OS on MAC:
Intel-based Macintosh Computer with Mac OS X 10.5+.
Warranty
If your Future Impact I system defects or malfunctions as a result of any defected electronic parts or our
design fault we provide you two years warranty of repairing or replacing it.
WARNING: NEVER press the Bank button by foot. It must be controlled by hand only. Damage of the
Bank switch will not be covered by warranty.
Introduction
The Future Impact I. (FI) is a synthesizer effect for bass guitar players. Additionally it can be used through the MIDI input as a monophonic synthesizer
expander using it with a keyboard, a wind controller, a computer or any MIDI
source. You find in the FI_quickstart-V122.pdf document how to use it on
stage, with a bass guitar. This information will not be repeated here, so read
FI_quickstart-V122.pdf first.
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Using the editor
Copy the software package into any directory on your computer, connect
your MIDI interface to the computer and start FIEditor.exe. The FI is a very
complex device with more than 100 parameters for a sound. In order to get
an overview it is worth to investigate first the block diagrams of the FI
algorithms in the Appendix. On the first page you find the whole device,
except the effects. However, the oscillators appear here just as a rough
outline, the detailed picture of the oscillators is on the second page. The third
page shows how the effect block is inserted into the structure of FI.
FI has two basic sound sources: The harmonizer/bass guitar sound block and
the synthesizer block. The synthesizer is driven by the information derived
from the bass guitar sound. The bass guitar must be played with clean,
monophonic riffs. The whole range of 6 string bass guitars is supported.
Slapping, tapping or chord playing does not provide appropriate information
about the pitch of the vibration, this can result in false notes of the
synthesizer. The sounds of FI can be created from the synthesizer sound, the
harmonizer/bass guitar sound, or a mixture of the two.
In the MIDI/Preferences pull-down menu you have to select the MIDI IN and
MIDI OUT ports that you want to use. If you want to write sound programs
into your FI then you must have two MIDI connections between FI and the
computer, one cable from the MIDI OUT of the interface to the MIDI IN of FI,
and one from the MIDI OUT of FI into MIDI IN on the computer. If you just
want to edit sounds and experiment with them, without writing them into FI,
then it is enough to have one MIDI connection, from MIDI OUT of the
computer into MIDI IN of FI. On this panel there is a second MIDI IN for a
Keyboard Input Device. If you want to design a sound using a keyboard
instead of the bass guitar you can connect the MIDI OUT of the keyboard into
this MIDI IN of the computer, and the computer will perform a through
function for the keyboard signals. It is important that you must not connect
the FI MIDI OUT to the Keyboard Input Device, only to FI Input Device. From
version 1.22 of the FI there is a MIDI through function implemented in the FI
software. Since the Keyboard Input Device also implement a MIDI through,
connecting the FI to this input would cause n infinite MIDI loop.
In the FILE pull-down menu you find six options, plus Exit. In Select Directory
you have to select the directory where you keep the sound programs. With
Load Program you can load a sound program into the FI, and with Save
Program you can save a sound program that you edited. You can save and
load a sound program with any name, but if you want to write it into the FI
then the name determines the location where it will be written to.
The first two characters must be a number between 01...99 in order to
address a memory location in FI.
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Write Program from File to FI will select one sound program, and write it into
FI. You have to select a sound program here that has the appropriate number
at the beginning of the name. If it does not, then Load it and Save it with an
appropriate name. While this option will work even if you have just one cable
from the PC to FI, the computer program will not get a confirmation of the
writing action and an error message will appear, so it is recommended to use
both cables. Write All Programs from Files to FI will copy all sound programs
from your selected directory into FI in a single run. When you use this option
then you must have a connection with two cables between FI and the
computer, otherwise after writing the first file the action will break down with
an error message. If the directory contains several files that have the same
leading number then the program will show an error message and it will not
perform this option until you remove all duplicates. If the directory contains
holes, some of the locations 01...99 are not filled, then the program will ask
you how to proceed. You can select between two options, holes will be
skipped or filled with the default which is the sound program with the
smallest number. These four options can be found directly on the program
top surface as LOAD, SAVE, WRITE ONE and WRITE ALL. Instead of LOADing a
program you can quickly step through those programs that are properly
named with a name that starts with a two digit number if you use the + and –
signs.
The last option in the FILE menu is Firmware Update. If a new software
version of the FI appears, you should load it into your device.
1. Connect a MIDI interface to the PC (see remarks about MIDI interfaces at
the end of this description). Connect the Future Impact bidirectionally to
the interface, with two MIDI cables:
FI/MIDI OUT -> MIDI Interface/MIDI IN (assigned to FI Input Device)
MIDI Interface/MIDI OUT (assigned to Output Device) -> FI/MIDI IN
2. Power up Future Impact with both footswitches kept pressed while
turning on power. The ON LED will start slowly blinking, all other LEDs
and displays stay dark.
3. Click Firmware Update and select the update file. The file has a name
format of FIxxx.ldr, where xxx is a three digit version number.
4. The program will first check if the FI is present. If not, then the update
process will be ignored and the message “Future Impact not present” will
appear. Otherwise, update will go on. The program will write “Loading
Update...”, the LED changes to blink quickly. At the end of the process the
program will write “Update successful!”, and the LED returns to blink
slowly. Otherwise the program will write “Error!” and updating is
stopped. The LED can be either on, or off, or quickly blinking.
After a successful update you have to power FI again. Check if the version
number appearing on the display is identical with the version number of the
update file. You can disconnect the MIDI cables, and start to use FI.
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Even if for some reason the update was not successful (e.g. bad data
transmission due to faulty driver software of the MIDI interface) you can use
FI further just as before, with the old software. Even if power is interrupted
during update do not worry, the FI software update process is foolproof.
Although the device may look dead in this case, you can repeat the updating
process in spite of the error until it will be successful.
While most MIDI interfaces are well implemented and can transfer large sysex
packages like the one that the FI software upgrade, some manufacturers do
not test their devices carefully enough, and data loss happens in a large
package. While such a MIDI interface can be useable for the FI Editor or for
other purposes, it cannot be used for the software upgrading. Do not worry,
even if updating will make errors it will not damage your FI in any way; after
an updating error the FI will remain useable just as it was before.
In the lower middle part of the screen you find a keyboard. If you do not have
a bass guitar handy (and the bass sound is not part of the sound that you
design) then you can use this keyboard to trigger notes in order to test the
sound. The keyboard is even “velocity sensitive”, it will produce different key
velocity values depending on where you press the key.
Parameters
We will discuss separately the parameter blocks of FI.
VCO Block
FI contains four identical Voltage Controlled Oscillators (VCOs). The VCOs
have the following parameters:
PITCH COARSE (-12..48): Determines the pitch of the oscillator in semitones. 0
will generate the same pitch as the input bass signal.
PITCH FINE (-63..63): You can detune the oscillator with a small musical interval. E.g. you can use this option to correct the imperfect harmonies of the
well-tempered scale to perfectly clean intervals.
PITCH BEAT (-63..63): This serves also for detuning, but instead of a fixed
musical interval it detunes with a fix number of Hz. The most important
function of this parameter can be explained with the example when you use
two oscillators in unison, and detune them in order to have a beating
between them. If you adjust a pleasant beating in the deep range of the
sound with FINE, and then you play it in the high range, the beating will
become painfully “out of tune”, since detuning will scale with the pitch. If you
use BEAT instead, then the beating between the two oscillators will remain
independent of the pitch.
AMPLITUDE SAW/SQR/TRI (0..127): The FI oscillators have three waveforms,
saw, triangle and square. Here you can mix these in arbitrary proportion.
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AMPLITUDE VOLUME (0..127): This is the master volume of the oscillator.
This will have an especially important role by the foldover distortion.
PULSE WIDTH OFFSET (0..127): The pulse width of the square waveform can
be adjusted between symmetric (0) and very thin pulse (127).
PULSE WIDTH LFO FRQ (1..127): Every oscillator has its own LFO (low
frequency oscillator) for modulating the pulse width of the square signal. Here
you can adjust the LFO frequency.
PULSE WIDTH LFO DEPTH (0..127): This controls the amount of LFO modulation. It is the programmer’s responsibility to make sure that a combination of
OFFSET and LFO DEPTH will not get out of the useable range of modulation.
SAW VCA DECAY TIME (0..127): As a special function, the amplitude of the
saw waveform can have an individual decay envelope which is triggered every
time when you pick the bass. This parameter adjusts the decay time.
SAW VCA SAW DECAY (-63..63): This parameter determines the amplitude of
the decaying portion of the saw waveform. A combination of SAW
AMPLITUDE and SAW DECAY allows you to have a wide range of possibilities.
E.g. see the following examples:
SAW AMPLITUDE=64, SAW DECAY=0; a steady saw waveform.
SAW AMPLITUDE=0, SAW DECAY=63; a decaying waveform that fades
out.
SAW AMPLITUDE=32, SAW DECAY=63; a decaying waveform, that
becomes steady after the decay.
SAW AMPLITUDE=64, SAW DECAY=-63; the saw waveform will fade in.
Foldover Distortion: A very unique feature of FI is the foldover distortion.
Depending on the implemented algorithm, when a signal processor is overloaded it will either clip the peak of the signal, or it will fold over. While
clipping is often used to generate a moderate amount of overtones, foldover
is practically never used since it generates such a high overtone content that
will make the sound unusable due to out of tune aliasing products. However,
the huge processing power used in FI allows to generate the oscillators with a
512 kHz oversampling rate, guaranteeing that the aliasing portion in the
sound remains negligible. Foldover Distortion will happen either in one
oscillator alone, or as a combination of separate oscillators.
Every oscillator waveform will drive the summation to maximum amplitude
alone, if it is set to 127. Foldover Distortion will happen if the sum of all waveform amplitudes becomes more than 127 (or, at least it can happen,
depending on the phase of the components). Since every oscillator can have
two dynamically changing portions of the sound, the pulse width modulation
and the SAW VCA, these can be used to generate a sound with dynamically
changing spectrum, even without a filter.
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Another step of foldover distortion can happen between separate oscillators.
When the four oscillators are summed, the sum will fold over if the sum of
the amplitudes is higher than 127. Therefore, in clean default sounds the
oscillator master volumes are set to 32, so foldover cannot happen. The effect
of foldover distortion between oscillators that are tuned to different
frequencies or just beating is rather unpredictable, it leaves a lot of freedom
for experimenting.
There is a COPY option in the lower left part of the screen to copy all
parameters of an oscillator to another one. You have to select a source VCO
at the left side and a destination VCO at the right side, then press COPY.
Harmonizer Block
The Harmonizer Block consists of the harmonizer with three transposed
voices, and the Distortion. The input to the Distortion is a mixture of four
voices, the original bass and the three harmonized voices.
MIXER BASS/VOICE1/VOICE2/VOICE3 (0..127): You can set an arbitrary proportion between these four sound sources. VOICE1 is fixed at +1 octave
transposition, the other two are variable in steps of 5TH, octave, octave+5TH,
two octaves.
HARMONIZER TRANSPOSE VOICE2/VOICE3 (0..3): For two voices the transposition is variable. Identical settings of the two voices are scaled so, that
they are not exactly equal, they will have a slight beating between them.
DISTORTION GRADE (0..31): The degree of distortion can be adjusted here.
Even at zero the distortion is not turned off.
DISTORTION TONE (0..127): The tone of the harmonizer/distortion part can
be set here. The filter is an equalizer set to 2100 Hz and Q=0.8. The controller
can adjust a cut or boost at this frequency. 0-> -11dB; 64-> 0dB; 127->+11dB.
Envelope Generator Block
VCA ATTACK/RELEASE, VCF ATTACK/DECAY, NOISE ATTACK/DECAY (1..127):
FI has three envelope generators that control the Voltage Controlled
Amplifier (VCA), the Voltage Controlled Filter (VCF) and the Noise Generator.
All three of them are triggered with every picking of the bass, but there is an
important difference between them: the envelope generator of the VCA is an
Attack-Release envelope, while the other two are Attack-Decay envelopes.
This means, the VCA envelope will start with an attack from zero, and when it
reaches the maximum level this will be kept until the end of the sound; then it
will fade out with a release time.
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The other two envelopes will start from zero with an attack, and when they
reach the maximum they immediately turn back and decay to zero. As a
further twist, the VCA envelope works this way as described here only when it
is driven from a keyboard or a computer; when it is driven from a bass, then
the sound decays either with the release time of the envelope, or with the
natural release of the bass sound as the sound is stopped, whichever is
shorter. This allows much more natural sounds from the bass guitar.
Please note that while the synthesizer sound is gated with the VCA envelope,
the noise source is not; therefore, if you play short notes and the NOISE
DECAY is long it can be sustained longer than the note itself.
Voltage Controlled Filter Block
The Voltage Controlled Filter (VCF) Block consists of three parts, an audio
mixer, the filter cutoff modulation part, and the filter parameters.
AUDIO BASS / DIST / AR.DIST / SYNTH / NOISE (0..127): This is a four channel
mixer at the input of the VCF. The first channel is the direct bass guitar sound
itself. The output of the Harmonizer / Distortion Block is connected to the
second input channel. The fourth channel is the synthesizer sound, and the
fifth is the noise generator. The third channel has a very special function,
which is coupled with the function of the fourth channel, the synthesizer
sound.
As we discussed earlier, the synthesizer sound is passing through the VCA.
This means, if you adjust a significant attack time, then the note will start with
a delay after picking. The AR.DIST channel consists of the distorted sound (like
the second channel) but processed through another VCA which is controlled
by the inverse envelope of the synthesizer VCA. This way, if you adjust
roughly same loudness levels for AR.DIST and SYNTH, and adjust a significant
attack time then you will get a sound which starts as a sound with
Harmonizer/ Distortion, and fades through to a synthesizer sound. Although
relatively few of the demo sounds use this feature, this can be used to cover
perfectly an eventual tracking error/delay of the synthesizer sound.
MODULATION FRQ VINTAGE (OFF,1..80) / FRQ NEW (36..122): These are two
controllers for the same function, the basic frequency of the VCF. While the
Deep Impact had an inaccurate approximation of the necessary exponential
filter control characteristic, The Future Impact has a perfect implementation.
However, in order to emulate the Deep Impact sounds it was necessary to
emulate the imperfection of the filter. Therefore, in the Deep Impact emulation sounds (the first 9 of the default set) FRQ VINTAGE is used to set the filter
frequency, and the setting of FRQ NEW is irrelevant. If FRQ VINTAGE is set to
-1, then FRQ NEW becomes active. The scaling of these parameters is roughly
10 units/octave for FRQ VINTAGE, and the number on the slider of FRQ NEW
is exactly the MIDI number of the filter frequency.
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MODULATION ENVELOPE FOLLOWER (0..127) / AD(0..127) / PITCH FOLLOW
(0..1): The frequency of the filter can be modulated dynamically from
different sources. The Envelope Follower signal is following exactly the
loudness envelope of the bass guitar, so a portion of the control from this
source can give a very dynamic modulation to the sound. The AD modulation
is the VCF Envelope Generator signal, with adjustable attack and decay times.
Pitch Follow can be set to either 0 or 1. If it is set to 0, the filter frequency is
steady, independent from the bass guitar signal. If it is 1, the filter frequency
is accurately tracking the bass guitar signal. This can be used for many
purposes, among others to generate whistling sounds with very sharp filter
adjustment.
MODULATION FRQ 2ND (0..24): FI has not only one VCF, but two of them.
They are connected in parallel. The second one has a single adjustable
parameter, FRQ 2ND. The resonance (Q) parameter is the same as the first
one, the filter is always in Bandpass mode. The cutoff control signal is the
same as for the first one, except that FRQ 2ND is an adjustable offset
corresponding to a fixed harmonic interval between them. Using two
resonances provides an excellent way to generate sounds with vowel-like
formants, resembling human voice. The offset is defined in semitone steps. If
you set it to zero, then the second filter is turned off.
FILTER TYPE: The filter type can be selected here. It can be LOWPASS,
HIGHPASS, BANDPASS, NOTCH or OFF. OFF means that the filter is bypassed.
FILTER RESONANCE (Q) (7..127): The resonance sharpness of the filter can be
adjusted on the scale of Q=0.7...12.7).
24 dB / 12 dB: The filter mode can be set as 24 dB/octave or 12 dB/octave.
LFO Block
A dedicated LFO can be used to modulate the VCF and the VCO.
LFO FREQ (1..127): Sets the frequency of the LFO.
LFO DELAY (0..127): An envelope is started at every picking of the bass that
fades in the LFO amplitude with a variable delay. If it is set to zero then the
LFO amplitude is set immediately.
LFO VCF DEPTH / VCO DEPTH (0..127): The LFO amplitude can be set for both
destinations.
MIDI + Portamento + Keyboard Block
The parameters in this block are relevant only if FI is used through MIDI IN.
Actually FI has internally separate modes for using it with bass or using it
through MIDI IN, but it does not require a “switch”. Switching between these
modes happens automatically. Whenever a proper audio signal appears at the
bass input, it switches to Bass Mode, and whenever a NOTE ON appears at
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the MIDI IN it switches to MIDI Mode. So, if you want to use it through the
MIDI input then take care that no audio signal appears on the bass input.
While in Bass Mode the filter cutoff can be controlled by the envelope of the
bass signal, in Keyboard Mode this control will adjust the effect of key velocity
on the VCF cutoff.
PBD RANGE (0..12): Pitch Bend Range in number of semitones. Determines
how FI will react on modification of the pitch with the pitch bend wheel.
TRANSP OCTAVE (-2..1): The incoming MIDI information can be transposed by
-2, -1, 0 or +1 octaves in order to match the external source to the sounds of
FI.
PORTAMENTO TIME (0..127): If this is set to non-zero value, the pitch will
glide from one note to the other with an adjustable time.
PORTAMENTO MODE: FIX TIME means that the portamento time will always
be the same, no matter how large is the pitch step. FIX RATE means that the
portamento rate will always be the same, so the time to reach the target note
will depend on the distance between the starting note and the target.
TRIG/GATE: In GATE MODE a new attack of the sound will be started only if
you release all keys before starting a new one. In TRIGGER MODE a new
attack will be started every time when a key is pressed.
PRIORITY: This parameter will determine what happens if you play more than
one note at a time. LOWER: Whichever note is the lowest it will be played.
UPPER: Whichever note is the highest it will be played. FIRST: Whichever not
was pressed first it will be played. LAST: Whichever note was pressed last it
will be played.
Main Output Mixer Block
This is a simple two channel mixer, before the final output to the effect
section.
BASS / VCF (0..127): Setting these will determine the loudness ratio between
the direct bass sound and the sound coming from the synthesizer /
harmonizer through the VCF.
Effect Block
The effect block contains three effects at the time of the product release, and
it will be enhanced further later.
TYPE (0..3): The effect type can be selected here. The choices are: BYPASS (0),
CHORUS / FLANGER / SLAPBACK / REVERB (1), OVERDRIVE (2), EQUALIZER (3).
The parameters of the different effects will be discussed separately.
BASS/VCF (0..127) or (0..1): With these controls you can determine which of
the two main signals (BASS and VCF) will be routed through the effect section.
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This is slightly different for effect type 1 and 2 or 3. For the time modulation
effect you can determine on a 0..127 continuous scale the blend ratio
between the dry and the effected signal. In case of Overdrive or Equalizer
such a blend control makes no sense, so the controller is either 0 for dry only
or 1 for effect only.
Effect 1 : Chorus/Flanger/Slapback/Reverb
This effect has a very flexible set of blocks and control parameters, which
enable it to be configured as a Chorus, a Flanger, a Slapback Echo or a simple
Reverb by just setting the parameters differently.
This effect consists of two delay lines that can be modulated, and two LFOs
that can be used as modulator. However, the two LFOs are not assigned to
the two delay lines in a fixed configuration, each can modulate either delay
line.
LFO A FRQ, LFO B FRQ (0..127): The frequency of the two LFOs can be
adjusted here.
LEVEL1, LEVEL2 (-64..63): The output level of the two delay lines. The amplitude can be negative, which is important for flanger sounds if the delay value
is very small, or if the two delay values are very close to each other.
DELAY1, DELAY2 (0..127): The delay time can be adjusted here. The maximum
value is about 160 msec. It is the sound designer’s responsibility that (delay +modulation) remains within the range that makes sense.
MOD1A, MOD1B, MOD2A, MOD2B (0..127): The modulation amplitudes of
the LFOs A and B to the delay lines 1 and 2.
FBCK LEVEL (0..127): Feedback level. It is the sound designer’s responsibility
to set the feedback level moderately so that no oscillation happens.
Oscillation can completely block the sound.
FBCK DMP (0..127): Feedback Damp. A lowpass filter applied to the feedback
path. It can emulate the natural damping of walls in a room.
Effect 2: Overdrive
DRIVE (0..127): This will adjust the amount of distortion.
LEVEL (-6..+6): Output level adjustment in dB steps. Adjusting DRIVE will also
change the level of the signal in a somewhat unpredictable manner, therefore
an output level adjustment is necessary here.
Effect 3: Equalizer
The Equalizer consists of a bass shelf tone control, two parametric band equalizer stages, and a treble shelf tone control.
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BASS FRQ (0..127): This control will adjust the frequency of the bass shelf
filter in the range of 50...270 Hz.
BASS SLOPE (0..127): the steepness of the bass filter can be adjusted here in a
range of 3...10dB/octave.
BASS BOOST (-20..+20): The bass can be boosted or cut by up to 20dB.
MID1 FRQ, MID2 FRQ (0..127): The center frequency of the equalizer stages
can be adjusted in the range of 170...7000Hz.
MID1 Q, MID2 Q (10..100): The resonance (Q) of the equalizer stages can be
adjusted in a range of 1...10.
MID1 BOOST, MID2 BOOST (-20..+20): Boost and Cut of the equalizers can be
adjusted in the range of -20dB to +20dB.
TREBLE FRQ (0..127): This control will adjust the frequency of the treble shelf
filter in the range of 2000...7000 Hz.
TREBLE SLOPE (0..127): the steepness of the treble filter can be adjusted here
in a range of 3...10dB/octave.
TREBLE BOOST (-15..+15): The treble can be boosted or cut by up to 15dB.
Using Parameter (Effect) on the FI to adjust EQUALIZER: The default
Equalizer setting that was adjusted in the editor will be active by setting 5 of
the data wheel. Increasing up to 9 will increase treble boost/cut in steps of 2
dB, while reducing bass boost/cut also in steps of 2dB, and leaving the mid
controls unchanged. So, effectively turning the control to higher value will
make the sound sharper, while decreasing to 1 will damp the sound.
The Equalizer section has an optional graphical editor too. On top of the
Equalizer section you find two small icons. The left one selects the editor with
sliders as described before, the right one selects the graphical editor. If you
use the graphical editor you can adjust with the mouse the frequency of a
filter stage (left-right), and the boost-cut (up-down). If you use the right
mouse button, you can edit the steepness of the low and high shelving filters
in dB/octave, or the Q value of the mid filters.
Block Adjust Mode
There are three options to adjust a complete block (or even all of them) in
one single step. In the lower right corner you can select one or more of the 8
processing blocks that were discussed here. You can even Select All or Clear
All of them. Once selected, you can press:
Default: It will set the block to useful default parameters.
Reset: It will inhibit the block.
Random: This option will generate random values for all parameters in the
selected block(s).
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MIDI Implementation details
The MIDI input of the FI will receive the following information:
NOTE ON with velocity
NOTE OFF
PITCH BEND
PROGRAM CHANGE (1...99 for programs 1...99)
MODULATION (Control 1; default value: 127)
BREATH CONTROL (Control 2; default value: 127)
MIDI VOLUME (Control 7; default value: 127)
SOSTENUTO (Control 66; Effect On/Off). If <64 then switch the relay to
bypass, if >=64 then to effect.
SOFT PEDAL (Control 67; Program decrement switch). If >=64 then first it
makes one step down, then it starts to scroll, just like the Program Up does.
Stops if <64.
FILTER CUTOFF (Control 74; default value: 64)
Remark1: Modulation (Control 1) is routed to both VCF and VCO LFO Modulation. This means, that whatever depth is set in the program, this depth value
will be reached if Control 1 is at maximum, 127. Practically, the modulation
value(s) in the program will be multiplied with the MIDI controller value / 127.
Beware, if you use FI with a keyboard and use the Mod Wheel, when you
release it, it will reset the controller to zero. If you disconnect now the
keyboard and play the FI further with a bass, you will find that there is no
modulation in the programs where you expect it, because the default of 127
has been reset to zero. You have to turn FI off and on again.
Remark2: MIDI Volume (Control 7) is implemented at the final output of FI. It
is independent of all program parameters. Beware, if you use a keyboard or a
MIDI pedal to adjust the volume of FI and you disconnect it, the volume will
return to the default maximum value only if you turn FI off and on again.
Remark3: The breath controller (2) adjusts the VCF volume of the Output
Mixer in the same way as the LFO modulations work: when the MIDI breath
controller is at maximum (127) then this corresponds to the preset value in
the program. This differs from Volume Control (7) in two aspects:
1.) It adjusts only the synth voice volume, does not change the bass;
2.) It is before the effects, so delay effects will not be muted out when
this controller is pulled down.
Remark4: NOTE ON, NOTE OFF and PITCH BEND are active in MIDI Mode only
(it is actually NOTE ON what switches the FI to MIDI Mode), the other
controllers can be used in either MIDI Mode or Bass Mode.
Page | 13
MIDI Through: The MIDI OUT of the FI will mirror back all information coming
through MIDI IN, except Control 6 (Data Edit), NRPN controllers and sysex.
Program Change Out: Whenever a program change happens on the FI, it
sends out the appropriate Program Change command on the MIDI OUT on the
effective MIDI Channel, if it was caused by pressing the Program pedal, or a
Program Decrement command on the MIDI IN, but not by a Program Change
on MIDI IN (this will appear on MIDI OUT anyway, due to THRU).
Editing the Configuration Parameters
The FI has 99 sets of Program Parameters, that can be edited with the
computer editor, as described before; it also has 99 sets of modifier
parameters, that can be edited on the FI with the Edit dial, as described in the
Quickstart manual; if has two Global Parameters, NOTE OFF LEVEL and NOTE
ON LEVEL, these can also be edited with the Edit Dial; and it also has a few
Configuration Parameters, that are common for all Programs. These can be
edited on the FI in a special startup mode. Two of these were already
discussed in the Quickstart Manual, Reset All and Program Mode, but for
completeness they are repeated here as well.
Press the left footswitch while you power on. Turn the Parameter dial to the
leftmost position, Note Off Level to see the name of a parameter, and turn it
to right to any other position to see the value of the parameter. The value can
be changed with the edit dial. Step through the parameters with pressing the
left footswitch again. When ready with editing turn FI off and on again.
RESET ALL: Name: “rS”, meaning RESET. Value: 0. If it is changed to 1 all sound
parameters will be reset to default (5). The default sound at power on will be
reset to (1).
DEFAULT Mode or DIRECT Mode: Name: “PrG”, meaning PROGRAM. Value:
Either “0” (DEFAULT) or “1” (DIRECT). DEFAULT Mode is as described in
“Operating FI”. In DIRECT Mode you get a program change immediately when
you hit the PROGRAM button. Single step will increase program, double-step
will decrease it. If you keep PROGRAM pressed, the number starts to scroll up,
first slowly, then faster. If you keep it down after a double-step, it will scroll
down. In DIRECT Mode increment-decrement will step over bank borders, you
can access any of the 99 programs.
MIDI Channel: Name: “GLb”, meaning Global MIDI Channel. Value:
All,1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16. All means global OMNI mode. 1…16
means global receive channel set to any of these. If OMNI mode is selected
then the MIDI output channel for Program Change that is sent out will be
channel 1.
VCF Control: Name: “vCF”, meaning VCF control range adjust. Value: 1:+-1
octave; 2:+-2 octaves; 4: +-4 octaves
Page | 14
Specifications
Technical specifications:
Size: 155 x 125 x 65 mm, 6.1 x 4.9 x 2.6 inch
Weight: 600g
Power: 9V stabilized, 100mA, Roland-Boss type supply with minus pole in
the middle. Supply not included.
True bypass (relay switching)
Super high performance DSP
All algorithms calculated with 32 bit accuracy
24 bit AD/DA converters
Oscillators generated at 512 kHz oversampling
Distortion calculated at 128 kHz oversampling
Connectors:
Audio in jack
Audio out jack
5 pin DIN MIDI in
5 pin DIN MIDI out
5.5/2.1 mm DC socket for 9V stabilized supply, minus in the middle
Controls:
Input Level potentiometer
Output Level potentiometer
Parameter Selector potentiometer
Edit Wheel for parameter editing
Bank Up pushbutton (in the Edit Wheel)
Program Footswitch
On/Off Footswitch
Displays:
3 VU meter LEDs, green: -18dB, yellow: -11dB, red: -5dB
On/Off indicator LED
3 digits 7 segment display: Bank Number, Program Number, Edit Data
Features:
Covers the full range of 4, 5 and 6 string bass guitars
99 Programs, 9 Programs in Bank 0, 10 Programs in Banks 1…9 each
First 9 programs Deep Impact compatible
Sounds can be designed and archived with a PC Editor software
Major sound parameters can be changed easily on the device itself
Page | 15
Free sound libraries will be published
Software can be updated through MIDI
Software update is free
MIDI Expander Features:
Portamento can be either fixed time, or fixed rate
MIDI channel, pitch bend range, octave transposition settings
Trigger / Gate mode
Key priority: Lower, Upper, First, Last
Signal Processing Building Blocks:
4 VCOs with saw, square and triangle waveform each
Every VCO has separate LFO for PWM
Every VCO has separate decay envelope for saw amplitude
Every VCO can generate complex dynamically changing waveforms by
foldover distortion
Harmonizer with 3 voices, variable transposition
High quality guitar distortion for the harmonizer voices
EQ control and noise gate for the harmonizer voices
Attack-Decay envelope for VCF and Attack-Release envelope for VCA
Smooth crossfade between harmonizer and synthesizer voices
VCF with Lowpass, Highpass, Bandpass and Notch mode
VCF has 12dB/oct or 24dB/oct mode
LFO with delay acting on VCO or VCF
Effects:
Bass guitar sound or synthesizer sounds can be routed separately to
effect
Chorus, Flanger, Slapback, Reverb, Overdrive and 4 band parametric
Equalizer effects
Requirement for using FI:
9V stabilized, 100mA, Roland-Boss type supply with minus pole in the
middle.
Additional requirement for sound editing:
PC or MAC with a MIDI interface and two MIDI cables. Minimum screen
resolution of the computer: X>=1280, Y>=900. OS on PC: XP or Windows
7. OS on MAC: Intel-based Macintosh Computer with Mac OS X 10.5+.
Page | 16
Algorithm Block Diagrams
Future Impact
BASS GUITAR IN
A.SZALAY, 2015
INPUT LEVEL
(ANALOG)
HARMONIZER+DISTORTION
MIXER
HARMONIZER
DISTORTION
BASS
HARMONIZER
1 OCT. UP
VOICE1
HARMONIZER
VARIABLE
FORMANT
LPF
+
BPF
DISTORTION
FORMANT
EQ
GRADE
TONE
NOISE
GATE
VOICE2
TRANSPOSE V2
HARMONIZER
VARIABLE
OUTPUT MIX
VOLTAGE CONTROLLED FILTER
AUDIO MODULATION
VOICE3
FILTER
TO EFFECTS
BASS
TRANSPOSE V3
TO EFFECTS
AUD
NOISE ENVELOPE
VCF
CV
BASS
VCF
ATTACK-DECAY.
ENVELOPE
DIST
AUD
VCA
CV
ATTACK DECAY
Q
TYPE
SLOPE
FRQ
AR.DIST
LFO VCF
CV
SYNTH
VCA
AUD
NOISE
GENERATOR
LFO
NOISE
ENV
LFO VCO
VCF ENVELOPE
LFO
ENV. FOLLOWER
ATTACK-DECAY
ENVELOPE
FREQ
AD
ENVELOPE
FOLLOWER
T
GATE & TRIG.
DETECTOR
G
ATTACK DECAY
NOTE ON. NOTE OFF
GLOBAL
VU METER
PITCH FOLLOW
VCA ENVELOPE
ATTACK-REL.
ENVELOPE
VCO 1.
-1
VCO 2.
ATTACK RELEASE
PITCH / V.
CONVERTER
CV
VCO 3.
VCO 4.
Page | 17
CV
VCA
AUD
DELAY
Future Impact Oscillators
TRIG
A.SZALAY, 2015
CV
TRIG
SAW DECAY
CV
DECAY
ENVELOPE
COARSE
VCA
FINE
DECAY TIME
BEAT
CV IN
SAW
LFO
VCO 1.
DEPTH
FRQ
OFFSET
SQR PWM IN
FOLDOVER
DISTORTION
SQR
TRIANGLE
TRIG
SAW DECAY
CV
DECAY
ENVELOPE
COARSE
VCA
FINE
DECAY TIME
BEAT
CV IN
SAW
LFO
VCO 2.
DEPTH
FRQ
OFFSET
SQR PWM IN
FOLDOVER
DISTORTION
SQR
TRIANGLE
TRIG
SAW DECAY
CV
DECAY
ENVELOPE
COARSE
VCA
FINE
DECAY TIME
BEAT
CV IN
SAW
LFO
VCO 3.
DEPTH
FRQ
OFFSET
SQR PWM IN
FOLDOVER
DISTORTION
SQR
TRIANGLE
TRIG
SAW DECAY
CV
DECAY
ENVELOPE
COARSE
VCA
FINE
DECAY TIME
BEAT
CV IN
SAW
LFO
DEPTH
FRQ
OFFSET
VCO 4.
SQR PWM IN
SQR
FOLDOVER
DISTORTION
TRIANGLE
Page | 18
Future Impact Effect Routing
A.SZALAY, 2015
FROM BASS
BLEND
+
EFFECTS
AUDIO OUT
+
FROM VCF
BLEND
Page | 19
+
OUTPUT LEVEL
(ANALOG)
Warranty and Return Policy
The customer must never send back a device without consulting the
manufacturer by e-mail first. A device should be returned to the manufacturer
only after consultation, if the manufacturer explicitly requests to do so. The
customer must pay for the cost of shipping the device back to the manufacturer.
It is up to the customer what shipping service will be used for the return, but it is
the customer's responsibility to ensure that the manufacturer receives the
device. The cost of repairing the device and sending back the repaired device to
the customer will be covered by the manufacturer during the warranty period of
two years. After the warranty period the cost of repairing and postage has to be
paid by the customer. It is the manufacturer's responsibility to ensure that it is
received by the customer.
Page | 20
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