Korg OASYS PCI Guide
Advertisement
Advertisement
Patches & Effects Guide
This is a hypertext-enabled document. All references to page numbers are live links.
Just click on the page number, and the document will go there automatically!
ii
The FCC Caution
This device complies with Part15 of the FCC Rules. 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.
The FCC Regulation Warning
This equipment has been tested and found to comply with the limits for a ClassB digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
- Reorient or relocate the receiving antenna.
- Increase the separation between the equipment and receiver.
- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
- Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modi fi cation to this system can void the user's authority to operate this equipment.
Canada
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numerique de la classe B est conforme a la norme NMB-003 du Canada.
CE mark for European Harmonized Standards
CE mark which is attached to our company’s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark
Directive (93/68/EEC), and Low Voltage Directive (73/23/EEC).
Also, CE mark which is attached to our company’s products of battery operated apparatus means it conforms to EMC
Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
Trademarks
ADAT, ADAT XT, and BRC are registered trademarks of Alesis, Inc.; RD-8 and CX-8 are registered trademarks of the
Fostex, Inc.; MDA-1 is a registered trademark of Panasonic, Inc; Apple and MacOS are registered trademarks of Apple
Computer, Inc.; Windows 95 and Windows 98 are registered trademarks of Microsoft Corp. All other company names, brand names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners.
Licensor Indications
This product was developed by practicing physical modeling tone generator patents (listed in http://www.sondiusxg.com) owned by Stanford University USA and Yamaha Corporation. The rights to use these patents were provided under license from STACCATO Systems Inc. (www.STACCATOsys.com)
Third-Party Products
Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Korg assumes no responsibility with regard to the performance or use of these products.
Manual Version: 7/23/01
Copyright 1999-2001 Korg Inc. All rights reserved.
Onscreen graphics by GAS Brand Design.
KORG INC.
OASYS PCI
Tested to comply with FCC Standards
FOR HOME OR OFFICE USE
OASYS PCI
OASYS PCI
Contents
General Information ............................................................... 1
Patches ..................................................................................... 7
Analog Synths.......................................................................... 8
EP (Electric Piano)................................................................ 66
Guitar ..................................................................................... 69
Organ ..................................................................................... 85
PCM........................................................................................ 94
iii
iv
Percussion ............................................................................ 190
VPM ...................................................................................... 199
Waveguide ........................................................................... 218
Effects ................................................................................... 241
Amp & Speaker ................................................................... 242
Chorus .................................................................................. 245
Compressor & Gate............................................................ 284
OASYS PCI
OASYS PCI
Delay..................................................................................... 303
Distortion............................................................................. 356
Ensemble.............................................................................. 369
Early Reflections.................................................................. 374
EQ......................................................................................... 379
v
vi
Filters.................................................................................... 407
Flangers ................................................................................ 451
Modulations ......................................................................... 481
OASYS PCI
OASYS PCI
Organ FX ............................................................................. 503
Other Effects ....................................................................... 509
Pan & Tremolo.................................................................... 522
Phasers ................................................................................. 559
Pitch Shifters ....................................................................... 593
Reverbs................................................................................. 605
vii
Index ..................................................................................... 629
viii OASYS PCI
General Information
Modulation Sources
2
General Information
Modulation Sources
You can modulate any parameter on any Patch or Effect control panel, using any of these MIDI modulation sources. For more information, see the Using Modulation section in the Users Guide.
List of Modulation Sources
None.
No modulation will be applied.
Velocity.
MIDI note-on velocity. When modulating Effects, the most recent velocity will be used.
Exp. Velocity.
MIDI note-on velocity, through an exponential curve. This creates more variation at high velocities, and less variation at lower velocities. When modulating Effects, the most recent velocity will be used.
Note.
MIDI note number. When modulating Effects, the most recent note number will be used.
Note+Pitchbend.
This selection adds the Pitch Bend amount to the MIDI note number, for more precise pitch-related modulation. When modulating Effects, the most recent note number will be used.
Exp. Note.
MIDI note number, through an exponential curve. This creates more variation from note to note at the high end of the keyboard, and less variation at the low end. At C2, the value is very small; at C7, it is about 90% of maximum.
When modulating Effects, the most recent note number will be used.
Exp. Note+Pitchbend.
This selection adds the Pitch Bend amount to the exponential MIDI note number, for more precise pitch-related modulation. When modulating Effects, the most recent note number will be used.
Note Gate.
This is an on/off mod source. When the key is held down, the modulation is at maximum; when the key is released, the modulation goes to zero.
Note Gate is intended for use in Patches, and does not work for modulation of
Effects parameters.
Note Gate+Sustain.
This adds the Sustain pedal to Note gate. When the key or the
Sustain pedal is held down, the modulation is at maximum; when the key or the
Sustain pedal is released, the modulation goes to zero. Note Gate+Sustain is intended for use in Patches, and does not work for modulation of Effects parameters.
Any Note Gate.
This is a version of Note Gate which will work with both Patches and Effects. As long as any key is held down, the modulation is at maximum; when all keys are released, the modulation goes to zero.
Any Note Gate+Sustain.
This adds the sustain pedal to Any Note Gate, and will work with both Patches and Effects. As long as any key or the sustain pedal is held down, the modulation is at maximum; when all keys are released, and the sustain pedal is lifted, the modulation goes to zero.
OASYS PCI
General Information Modulation Sources
Mod Wheel.
MIDI Modulation Wheel (controller #1).
Aftertouch.
MIDI Aftertouch.
Mod Wheel+AT.
This is the sum of Mod Wheel and Aftertouch.
Mod Wheel+AT/2.
This is similar to Mod Wheel+AT, but the affect of Aftertouch is cut in half.
Pitchbend.
This is MIDI Pitchbend, exactly as received, prior to scaling.
Pitchbend Scaled.
This is MIDI Pitchbend, as scaled by the Global or Program
Pitch Bend parameters.
Sustain.
MIDI Sustain Pedal (controller #64).
MIDI A-H.
These are the eight assignable MIDI controllers, as set in the MIDI
Preferences.
MIDI Tempo.
This receives MIDI Clock, for synching delays, LFOs, and other tempo-based effects. In general, the Patch or Effect must be speci fi cally designed for MIDI Tempo in order to obtain meaningful results.
MIDI Start/Stop.
This receives MIDI Start/Stop, for controlling analog-style sequencers or other components which can start and stop with an external MIDI sequencer. In general, the Patch or Effect must be speci fi cally designed for MIDI
Start/Stop in order to obtain meaningful results.
Keytrack Linear.
Linear keyboard tracking, centered on C4. See the graphs below.
Keytrack Exp.
Exponential keyboard tracking, centered on C4, for more variation at the extremes of the keyboard. See the graphs below.
Keytrack Log.
Logarithmic keyboard tracking, centered on C4, for more variation in the middle of the keyboard. See the graphs below.
Keytrack Left Lin.
Linear keyboard tracking below C4, with no modulation above
C4. See the graphs below.
Keytrack Left Exp.
Exponential keyboard tracking below C4, with no modulation above C4. See the graphs below.
Keytrack Left Log.
Logarithmic keyboard tracking below C4, with no modulation above C4. See the graphs below.
Keytrack Right Lin.
Linear keyboard tracking above C4, with no modulation below C4. See the graphs below.
Keytrack Right Exp.
Exponential keyboard tracking above C4, with no modulation below C4. See the graphs below.
Keytrack Right Log.
Logarithmic keyboard tracking above C4, with no modulation below C4. See the graphs below.
OASYS PCI 3
Modulation Sources
Keyboard Tracking
Linear
+127 alue 0
-127
A0 C4
MIDI Note
C8
Left Lin
+127 alue 0
-127
A0 C4
MIDI Note
C8
+127
Right Lin
alue 0
-127
A0 C4
MIDI Note
C8
General Information
Exp
+127 alue 0
-127
A0 C4
MIDI Note
C8
Left Exp
+127 alue 0
-127
A0 C4
MIDI Note
C8
+127
Right Exp
alue 0
-127
A0 C4
MIDI Note
C8
Log
+127 alue 0
-127
A0 C4
MIDI Note
C8
Left Log
+127 alue 0
-127
A0 C4
MIDI Note
C8
+127
Right Log
alue 0
-127
A0 C4
MIDI Note
C8
4 OASYS PCI
General Information MIDI Tempo LFOs
MIDI Tempo LFOs
Use the LFO's MIDI Phase Reset
The OASYS PCI’s MIDI-synced LFOs can be triggered via MIDI. This ensures that the LFO starts in phase with the music.You can include one or more triggers in the
MIDI sequence, so that the LFO sounds the same every time. To do this:
1.
Create a track in the sequence to use speci fi cally for triggering the LFO.
Assign it to the same MIDI channel as the Effect or Program that you'll be controlling.
2.
In the control panel, assign a mod source for the LFO's Phase Reset.
“Any Note Gate” works well, unless there's also a Program on the same MIDI channel. In that case, select another controller.
3.
Enter a single MIDI event in the sequencer at the start of measure 2, using the mod source assigned to Phase Reset (from now on, we'll call this the
“phase reset trigger”).
4.
Duplicate the phase reset trigger at intervals at downbeats throughout the sequence (such as every 8 bars or so).
This ensures that no matter where you start playback, the LFO will be reset appropriately.
This is somewhat similar to triggering a loop on a sampler.
5.
Also, enter the phase reset trigger every time that the time signature changes.
Now, whenever the OASYS PCI receives the phase reset trigger, the LFO will reset to the position set by the Initial Phase parameter.
Note that you can trigger as many different LFOs as you like, using different triggers on different MIDI channels.
Adjust “feel” using the Initial Phase parameter
Using the LFO's Initial Phase parameter, you can start the LFO at any point of its waveform - at the peak, in the trough, at zero, or at any point in between. You can use this to subtly adjust the rhythmic feel of the LFO; this is especially useful for smooth waveforms, such as triangle, sine, and saw up.
You can also set the Initial Phase to 180 to shift the waveform to the offbeat.
Start on measure 2
We've found that triggering LFOs on the downbeat of the very fi rst measure may not always work properly (probably because the sequencer sends the MIDI message triggering the phase slightly after the actual downbeat). This can result in
OASYS PCI 5
MIDI Tempo LFOs General Information the LFO being out of phase, so that it doesn't sit properly in the groove. To avoid this:
1.
Leave a blank measure at the start of the sequence. Start your MIDI data, and send the fi rst LFO trigger, in measure 2.
6 OASYS PCI
Patches
Patches
OASYS PCI 7
Analog Synths
8
Analog Synths
OASYS PCI
Analog Synths Analog 1 Osc
Analog 1 Osc
Analog 1 Osc is a one-oscillator analog synth model, including a 24dB per octave lowpass fi lter, pulse width modulation, noise generator, fi lter and amplitude ADSR envelopes, and a routable LFO.
Oscillator
Frequency
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
Waveform
Sawtooth, Pulse, Triangle.
This selects the shape of the oscillator. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0.0-100.0.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. Pulse width can also be modulated via the LFO.
Pulse Width
0% 25% 50% 75% 100%
OASYS PCI
Level
0-100.
This controls the output level of the oscillator. You can use this to balance the level of the oscillator with that of the noise generator.
9
Analog 1 Osc
Glide
Noise
Filter
Analog Synths
Glide
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Noise
0-100.
This controls the output level of the noise generator.
Cutoff
0-100.
This controls the cutoff frequency of the 24dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Envelope
0-100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to the setting on the Cutoff knob. When Envelope is set to 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
10 OASYS PCI
Analog Synths
Envelope amount affect on cutoff frequency
+100
Analog 1 Osc
OASYS PCI
0
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
11
Analog 1 Osc Analog Synths
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Amplifier
LFO
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Frequency
0.0-20.0 Hz.
This controls the speed of the LFO.
12 OASYS PCI
Analog Synths
LFO Mod
Output
Analog 1 Osc
Waveform
Sine, Triangle, Saw, Square.
This sets the shape of the LFO.
Oscillator Freq
On, Off.
When this is enabled, the LFO will modulate the pitch of the oscillator.
Pulse Width
On, Off.
When this is enabled, the LFO will modulate the oscillator’s pulse width.
Filter Cutoff
On, Off.
When this is enabled, the LFO will modulate the fi lter cutoff frequency.
Initial
0-100.
This sets the initial amount of LFO modulation.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO amount. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the LFO amount.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 13
Analog 2 Osc
Oscillator 1
Analog Synths
Analog 2 Osc
Analog 2 Osc is a two-oscillator analog synth model, including a 24dB per octave multi-mode, multi-pole fi lter, pulse width modulation, colored noise generator, ring modulator, fi lter and amplitude ADSR envelopes, and a routable LFO.
Frequency
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
Waveform
Sawtooth, Pulse, Triangle.
This selects the shape of oscillator 1. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0.0-100.0.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. Pulse width can also be modulated via the LFO.
Pulse Width
0% 25% 50% 75% 100%
Oscillator 2
Frequency
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
14 OASYS PCI
Analog Synths Analog 2 Osc
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Key Track
+/- 100.
This sets the way in which the oscillator’s pitch tracks MIDI notes, centered on E4.
100 is normal tracking, with one octave of MIDI notes resulting in one octave of pitch change. With Key Track set to 50, two octaves of MIDI notes will map to only a single octave of pitch change; at 25, four octaves of MIDI notes will map to a single octave of pitch change, and so on.
Negative Key Track settings fl ip the keyboard upside down, centered on MIDI note
E4. For instance, a setting of -100 means that one octave of MIDI notes up results in one octave
down
in pitch.
Waveform
Sawtooth, Pulse, Triangle.
This selects the shape of oscillator 2. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0.0-100.0.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. For a diagram, see the fi
Width,” above. Pulse width can also be modulated via the LFO.
Mixer
OASYS PCI
Osc 1
0-100.
This controls the output level of oscillator 1. The button to the right of the knob turns the output on and off completely.
Osc 2
0-100.
This controls the output level of oscillator 2. The button to the right of the knob turns the output on and off completely.
Ring Mod
0-100.
This controls the output level of the ring modulator. The button to the right of the knob turns the output on and off completely.
The ring modulator multiplies the outputs of oscillator 1 and oscillator 2 together, creating a metallic sound. The timbre will change dramatically depending on the difference in pitch between the two oscillators. Oscillator 2’s fi ne tuning, especially when modulated, can be used to create all sorts of interesting effects. The classic ring modulation sound uses a constant pitch, so you may also want to set Oscillator
2’s key tracking to 0.
15
Analog 2 Osc Analog Synths
Glide
Glide
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Noise Generator
Color
0-100.
This is the cutoff frequency of a lowpass fi lter dedicated the noise generator.
Lower values will make the noise output darker, as well as more “speckly” and uneven.
Filter
Noise
0-100.
This controls the output level of the noise generator. The button to the right of the knob turns the output on and off completely.
Cutoff
0-100.
This controls the cutoff frequency of the fi lter. The meaning of the cutoff frequency will change depending on the fi lter mode.
When the fi lter is set to Lowpass mode, frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
When the fi lter is set to Highpass mode, frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
When the fi lter is set to Bandpass mode, frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling
16 OASYS PCI
Analog Synths Analog 2 Osc pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the fi lter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
-100
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, centered on E4, as shown below. Note that you can also modulate any parameter using the
“Key Tracking” modulators in the Mod Palette.
OASYS PCI 17
Analog 2 Osc Analog Synths
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Mode
Lowpass, Highpass, Bandpass.
This selects whether the fi lter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass).
Lowpass.
Frequencies above the cutoff will be attenuated, and frequencies below the cutoff will pass through unchanged.
Highpass.
Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Bandpass.
Frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Type
4 Pole, 2 Pole, 2 Pole > 2 Pole.
This parameter selects the amount of frequency attenuation in the fi lter, and the character of the resonance.
4 Pole.
This is a 24dB per octave fi lter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type. Many classic analog synths used this general type of fi lter.
2 Pole.
This is a 12dB per octave fi lter. Compared to the 4 Pole, this offers signi fi cantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance.
2 Pole > 2 Pole.
This is two 12dB per octave fi lters in series. Of the three types, this offers by far the most extreme resonance effect. Compared with the 4 Pole, it has just a little less attenuation of frequencies beyond the cutoff.
18 OASYS PCI
Analog Synths Analog 2 Osc
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Amplifier
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
OASYS PCI 19
Analog 2 Osc Analog Synths
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
LFO
Frequency
0.0-20.0 Hz.
This controls the speed of the LFO.
Waveform
Sine, Triangle, Saw, Square.
This sets the shape of the LFO.
LFO Mod
Osc 1 & 2 Frequency
On, Off.
When this is enabled, the LFO will modulate the pitch of the oscillators.
Filter Cutoff
On, Off.
When this is enabled, the LFO will modulate the fi lter cutoff frequency.
Pulse Width 1 & 2
On, Off.
When this is enabled, the LFO will modulate the pulse width of the oscillators.
Resonance
On, Off.
When this is enabled, the LFO will modulate the fi lter resonance.
Initial
0-100.
This sets the initial amount of LFO modulation.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO amount. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the LFO amount.
20 OASYS PCI
Analog Synths
Output
Analog 2 Osc
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 21
Analog Bass-Lead Analog Synths
Analog Bass-Lead
Analog Bass-Lead is a simple one-oscillator analog synth model, including a 12dB per octave lowpass fi lter, pulse width modulation, ADSR fi lter envelope, attackrelease amplitude envelope, and a routable LFO.
Oscillator
Frequency
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
Saw Amt
+/- 100.
The oscillator simultaneously produces two waveforms, sawtooth and pulse. This sets the level of the sawtooth output. Negative amounts invert the phase of the waveform.
Pulse Amt
+/- 100.
The oscillator simultaneously produces two waveforms, sawtooth and pulse. This sets the level of the pulse output. Negative amounts invert the phase of the waveform.
Pulse Width
0.0-100.0.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. Pulse width can also be modulated via the LFO.
Pulse Width
0% 25% 50% 75% 100%
22 OASYS PCI
Analog Synths Analog Bass-Lead
Glide
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Amplitude
Env. Select
AR, Filt. Env.
This selects which envelope is used to control the amplitude, or output volume, of the synth.
AR.
The AR envelope, controlled by the Attack and Release knobs in this section of the Control Panel, will control the amplitude.
Filt. Env.
The Filter Envelope will control the amplitude, as well as the fi lter cutoff.
Attack
0-100.
This sets the attack time of the AR envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Release
0-100.
This sets the release time of the AR envelope–the time that it takes from the moment that the key is released until the envelope falls to zero.
AR Envelope
Attack time Sustain while holding note
Release time
OASYS PCI 23
Analog Bass-Lead
Filter
Analog Synths
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
24 OASYS PCI
Analog Synths
Envelope amount affect on cutoff frequency
+100
Analog Bass-Lead
0
OASYS PCI
-100
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Attack
0-100.
This sets the attack time of the ADSR envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
25
Analog Bass-Lead Analog Synths
Decay
0-100.
This sets the decay time of the ADSR envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the ADSR envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the ADSR envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
LFO
LFO Mod
26
Frequency
0.0-20.0 Hz.
This controls the speed of the LFO.
Waveform
Sine, Triangle, Saw, Square.
This sets the shape of the LFO.
Oscillator Freq
On, Off.
When this is enabled, the LFO will modulate the pitch of the oscillator.
Pulse Width
On, Off.
When this is enabled, the LFO will modulate the oscillator’s pulse width.
Note that if the oscillator’s Pulse Amt parameter is set very low, this effect may not be audible.
OASYS PCI
Analog Synths Analog Bass-Lead
Filter Cutoff
On, Off.
When this is enabled, the LFO will modulate the fi lter cutoff frequency.
Initial
0-100.
This sets the initial amount of LFO modulation.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO amount. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the LFO amount.
Output
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 27
Comb Synth Analog Synths
Comb Synth
The Comb Synth is a one-oscillator analog synth model, but with a comb fi lter instead of a standard fi lter. It also includes pulse width modulation, fi lter and amplitude ADSR envelopes, and a routable LFO.
Oscillator
Frequency
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
Waveform
Sawtooth, Pulse, Triangle.
This selects the shape of the oscillator. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0.0-100.0.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. Pulse width can also be modulated via the LFO.
Pulse Width
0% 25% 50% 75% 100%
28
Level
0-100.
This controls the output level of the oscillator. You can use this to balance the level of the oscillator with that of the noise generator.
OASYS PCI
Analog Synths
Glide
Noise
Filter
Comb Synth
Glide
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Noise
0-100.
This controls the output level of the noise generator.
Comb fi lters create a series of resonant peaks, somewhat similar to a fl anger. They have the most pronounced effect when modulated over time, using envelopes, lfos, or MIDI mod sources.
Cutoff
0-100.
This controls the distance, in frequency, between the resonant peaks of the comb fi lter. Higher cutoffs mean more space between the peaks.
Resonance
0-100.
Resonance controls the level of the fi lter’s resonant peaks. The comb fi lter is completely dependent on resonance; with 0 resonance, the fi lter will have no effect.
Generally, the resonance should be set fairly high.
Feedback
Pos, Neg.
This sets where the fi rst resonant peak will appear.
Pos (Positive).
With positive feedback, the fi rst peak is at 0Hz, giving the sound a bass boost.
Neg (Negative).
With negative feedback, the fi rst peak is at 1/2 of the cutoff frequency.
Damping
0-100.
This is the cutoff frequency for a separate fi lter, built into the comb fi lter’s resonance. Lower values will cause more damping, so that the volume of the resonant peaks diminishes at higher frequencies.
OASYS PCI 29
Comb Synth
30
Analog Synths
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Using Key Tracking, you can “play” the pitch of the fi lter from the keyboard. To do this:
1.
Set the Noise to 100.
2.
Set the Oscillator’s Level to 0.
You can raise it again later, but the effect is easiest to hear using only the noise generator.
3.
Set Cutoff to 0.
This tunes the fi lter so that middle C = C4. To raise the pitch by one octave, set
Cutoff to 10; to raise by two octaves, set Cutoff to 20; and so on. To produce lower pitches, use the Program Edit window Transpose parameter.
4.
Set Resonance to 100.
5.
Set Key Track to 100.
6.
Set Damping relatively high (try 90).
7.
Set Envelope to 0.
8.
Turn off the Filter Cutoff button in the LFO Mod section.
Envelope and LFO modulation of the fi lter will affect the pitch.
9.
Set Glide as desired.
Yes, Glide affects the fi lter as well.
Now, the resonating fi lter will create a pitch, and you can play it from the keyboard.
Adjusting the Damping, Feedback, and Resonance parameters will affect the timbre; try it out!
OASYS PCI
Analog Synths Comb Synth
You can also make the fi lter produce one pitch, while the oscillator produces another. For instance, to make the fi lter play a fi fth above the oscillator:
1.
Follow instructions 1 through 9 above.
2.
In the Program Edit window, change the Patch’s Coarse Tune to +7.
This will make the fi lter play 7 half-steps (a fi fth) higher.
3.
In the Noise Synth control panel, set the Oscillator Frequency to -7.
This cancels out the coarse tune edit above, so that the oscillator plays at pitch again
- but the fi lter is still transposed up by a fi fth.
4.
Set the Oscillator Level to 100.
Now, try playing the sound! The Resonance and Noise parameters interact to control the volume of the fi lter’s pitch.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
OASYS PCI 31
Comb Synth Analog Synths
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will increase the cutoff to the maximum frequency, even if the Cutoff knob is set to 0. At -100, the envelope will decrease the cutoff to the minimum frequency, even if the Cutoff knob is set to
100.
Envelope amount affect on cutoff frequency
+100
0
-100
Amplifier
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
32 OASYS PCI
Analog Synths Comb Synth
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
LFO
Frequency
0.0-20.0 Hz.
This controls the speed of the LFO.
Waveform
Sine, Triangle, Saw, Square.
This sets the shape of the LFO.
LFO Mod
Oscillator Freq
On, Off.
When this is enabled, the LFO will modulate the pitch of the oscillator.
Pulse Width
On, Off.
When this is enabled, the LFO will modulate the oscillator’s pulse width.
Filter Cutoff
On, Off.
When this is enabled, the LFO will modulate the fi lter cutoff frequency.
Initial
0-100.
This sets the initial amount of LFO modulation.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO amount. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the LFO amount.
Output
OASYS PCI
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
33
Comb Synth Analog Synths
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
34 OASYS PCI
Analog Synths KB-303
KB-303
This is a very simple analog synth, structured after the tone generator of a particular synth/sequencer popular in the dance community. It features a resonant lowpass fi lter, a simple envelope, and a special “accent” feature.
KB-303
Waveform
Sawtooth, Pulse.
This selects the shape of the oscillator.
Tuning
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
Cutoff
0-100.
This controls the cutoff frequency of the lowpass fi lter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Env. Mod parameter also affects the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Env. Mod
0-100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to the setting on the Cutoff knob. When Env. Mod is set to 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
OASYS PCI 35
KB-303
Envelope amount affect on cutoff frequency
+100
Analog Synths
0
Decay
0-100.
This sets the decay time of the envelope, which controls how long it takes the envelope to fall to the minimum level.
Accent
0-100.
This sets the intensity of the Accent effect, which is triggered by the Accent
Source modulator, as set below. The Accent increases both the volume and the Env
Amt.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
Custom MIDI Mods
We added a few custom modi fi cations to this pre-MIDI tone generator.
Accent
Accent Src
List of Modulation Sources.
This sets the modulation source for triggering the
Accent. In general, this should be set to Velocity. For a complete list, please see
“Modulation Sources” on page 2.
Threshold
0-100.
This sets the mod level at which the accent is triggered. If this is set high, then only a fairly high mod amount will trigger the Accent.
Slide
This controls the portamento, or glide, for the oscillator pitch. Slide can be turned on and off by a modulation source.
36 OASYS PCI
Analog Synths KB-303
Time
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that this will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono Legato, and Unison modes are generally the most suitable for use with Slide, but you may fi nd that you like other settings as well.
Slide Src
List of Modulation Sources.
This sets the modulation source for turning Slide on and off. You might set this to the Portamento Switch, MIDI controller 65. For a
complete list, please see “Modulation Sources” on page 2.
Threshold
0-100.
This sets the mod level at which Slide is turned on.
OASYS PCI 37
Mini Synth
Controllers
Analog Synths
Mini Synth
The Mini Synth is a precise model of a classic analog mono synth, including a special 24dB per octave lowpass fi lter, three oscillators, colored noise generator, speci fi cally shaped fi lter and amplitude ADS envelopes, and VCA output nonlinearity. The third oscillator may also be used as an LFO. This synth is especially good for bass and lead sounds.
For completely authentic playing, set the Program Edit page Voice Allocation parameter to Mono Legato, and set the Key Priority to Last Note.
Tune
+/- 100.
This adjusts the master tuning of the synth, in cents (1/100 of a semitone).
Glide
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Glide button
On, Off.
This enables and disables Glide.
Mod. Mix
0:100 to 100:0.
Both oscillator 3 and the noise generator can be used as modulation sources. This knob determines the balance between the two. At 0:100, only the output of oscillator 3 is used; at 100:0, only the noise generator is used.
The Noise Color parameter affects the noise for the Mod Mix, as well.
The Mod Controller determines the modulation amount sent to the oscillators and fi
lter. Oscillator modulation is enabled by the Osc. Mod. button (see page 39), and
fi
lter modulation is enabled by the Filter Modulation button (see page 40).
Decay button
On, Off.
This enables and disables the release sections of the two envelopes.
On.
The envelopes will have a release segment after the note off, with the same time as set for the Decay.
Off.
The envelopes will immediately go to zero on note off.
38 OASYS PCI
Analog Synths Mini Synth
Mod Controller
List of Modulation Sources.
This sets the source for controlling the amount of the
Mod Mix sent to the fi lter and oscillators. For a complete list, please see
“Modulation Sources” on page 2.
The Mod Mix determines the modulation amount. Oscillator modulation is enabled
by the Osc. Mod. button (see page 39), and
fi
lter modulation is enabled by the Filter
Modulation button (see page 40).
Mod Depth
0-100.
This sets the amount by which the mod source affects the LFO amount.
Oscillator 1
Range
32’, 16’, 8’, 4’, 2’.
This sets the coarse tuning of the oscillator over a four-octave range.
Waveform
Triangle, Tri + Saw, Sawtooth, Square, Pulse 30%, Pulse 10%.
This selects the shape of the oscillator.
Osc. Mod.
Osc. Mod.
On, Off.
This enables and disables oscillator 1 & 2 pitch modulation by the Mod
Controller and Mod Mix, as set in the Controllers section. Oscillator 3 is not affected.
Oscillator 2
Range
32’, 16’, 8’, 4’, 2’.
This sets the coarse tuning of the oscillator over a four-octave range.
Waveform
Triangle, Tri + Saw, Sawtooth, Square, Pulse 30%, Pulse 10%.
This selects the shape of the oscillator.
Oscillator 3
Range
Lo, 32’, 16’, 8’, 4’, 2’.
This sets the coarse tuning of the oscillator over a four-octave range. Generally, you should select Lo when using oscillator 3 as an LFO.
OASYS PCI 39
Mini Synth Analog Synths
Waveform
Triangle, Reverse Saw, Sawtooth, Square, Pulse 30%, Pulse 10%.
This selects the shape of the oscillator.
Control
On, Off.
This enables and disables keyboard control of the oscillator.
On.
Oscillator 3’s pitch will track the keyboard. Generally, you should select this option when using oscillator 3 as an audio oscillator.
Off.
Oscillator 3’s pitch will be set by the Frequency knob, and will not track the keyboard. Generally, you should select this option when using oscillator 3 as an
LFO.
Mixer
Filter Control
Osc 1
0-100.
This controls the output level of oscillator 1. The button to the right of the knob turns the output on and off completely.
Osc 2
0-100.
This controls the output level of oscillator 2. The button to the right of the knob turns the output on and off completely.
Osc 3
0-100.
This controls the output level of oscillator 2. The button to the right of the knob turns the output on and off completely.
Filter Modulation
On, Off.
This enables and disables fi lter modulation by the Mod Controller and
Mod Mix, as set in the Controllers section.
Kbd. Control 1
On, Off.
This adds 1/3 of full keyboard tracking to the fi lter.
The tracking for both Kbd. Controls 1 and 2 is centered at note E2, which is the lowest note on the original synth. The fi lter cutoff frequency for notes above E2 will be increased above the Cutoff knob setting, and the cutoff frequency for notes below E2 will be decreased.
Kbd. Control 2
On, Off.
This adds 2/3 of full keyboard tracking to the fi lter. By enabling both Kbd.
Controls 1 and 2, you can apply full keyboard tracking.
40 OASYS PCI
Analog Synths Mini Synth
(This 1/3, 2/3, 1 granularity is authentic to the original instrument. If you like, of course, you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.)
Noise
Noise
0-100.
This controls the output level of the noise generator.
Color
White, Pink.
This controls the frequency content of the noise generator. White has more high frequency content than Pink.
Filter
Cutoff
0-100.
This controls the cutoff frequency of the speci fi cally modeled 24dB per octave lowpass fi lter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Emphasis
0-100.
Often called Resonance, this emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Contour
0-100.
This controls the amount of affect the envelope will have on the fi lter cutoff frequency, adding to the setting on the Cutoff knob. At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
OASYS PCI 41
Mini Synth
Envelope amount affect on cutoff frequency
+100
Analog Synths
0
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
If the Decay button is turned on (see the Controllers section, on page 38), then this
will also set the envelope release time.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
ADS Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time (with
Decay button on)
Loudness Contour
These parameters control an ADS envelope dedicated to the output volume. For a graphic explaining ADS envelopes, see the fi
42 OASYS PCI
Analog Synths Mini Synth
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
If the Decay button is turned on (see the Controllers section, on page 38), then this
will also set the envelope release time.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Output
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter emphasis (resonance) is high, settings above 0dB may cause clipping.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Nonlinearity
Soft, Hard, Saturate.
This controls the model of the VCA output nonlinearity. For bass sounds, we recommend Saturate; for very high-pitched lead lines, try the Hard option.
OASYS PCI 43
Noise Synth
Noise
LFO
Filter
Analog Synths
Noise Synth
The Noise Synth is an analog synth model with only a noise generator–no oscillators–for creating percussion and sound effects. It includes a 24dB per octave multi-mode, multi-pole fi lter, fi lter and amplitude ADSR envelopes, a routable
LFO, and a second noise source for fi lter modulation.
Color
0-100.
This is the cutoff frequency of a lowpass fi lter dedicated the noise generator.
Lower values will make the noise darker, as well as more “speckly” and uneven.
Level
0-100.
This controls the output level of the noise generator. The button to the right of the knob turns the output on and off completely.
Frequency
0.0-20.0 Hz.
This controls the speed of the LFO.
Waveform
Sine, Triangle, Saw, Square.
This sets the shape of the LFO.
Cutoff
0-100.
This controls the cutoff frequency of the fi lter. The meaning of the cutoff frequency will change depending on the fi lter mode.
When the fi lter is set to Lowpass mode, frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
When the fi lter is set to Highpass mode, frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
When the fi lter is set to Bandpass mode, frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
44 OASYS PCI
Analog Synths Noise Synth
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the fi lter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
OASYS PCI
-100
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, centered on E4, as shown below. Note that you can also modulate any parameter using the
“Key Tracking” modulators in the Mod Palette.
45
Noise Synth Analog Synths
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Mode
Lowpass, Highpass, Bandpass.
This selects whether the fi lter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass).
Lowpass.
Frequencies above the cutoff will be attenuated, and frequencies below the cutoff will pass through unchanged.
Highpass.
Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Bandpass.
Frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Type
4 Pole, 2 Pole, 2 Pole > 2 Pole.
This parameter selects the amount of frequency attenuation in the fi lter, and the character of the resonance.
4 Pole.
This is a 24dB per octave fi lter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type. Many classic analog synths used this general type of fi lter.
2 Pole.
This is a 12dB per octave fi lter. Compared to the 4 Pole, this offers signi fi cantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance.
2 Pole > 2 Pole.
This is two 12dB per octave fi lters in series. Of the three types, this offers by far the most extreme resonance effect. Compared with the 4 Pole, it has just a little less attenuation of frequencies beyond the cutoff.
46 OASYS PCI
Analog Synths Noise Synth
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Amplifier
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
OASYS PCI 47
Noise Synth Analog Synths
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Filter Cutoff Mod
This section controls the modulation of the fi lter by both an LFO and a dedicated modulation noise source (“Rand”).
LFO Amt
0-100.
This sets the initial amount of LFO modulation for the fi lter.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO amount. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the LFO amount.
Rand Amt (Random Noise Modulation Amount)
0-100.
This sets the initial amount of fi lter modulation from the “Rand” noise source.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
Rand amount. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the Rand amount.
Output
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
48 OASYS PCI
Analog Synths Noise Synth
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 49
Pro Synth
Poly Mod
Analog Synths
Pro Synth
The Pro Synth is a precise model of a classic analog synth, including a special 24dB per octave lowpass fi lter, two oscillators with multiple simultaneous waveform outputs and sync, noise generator, poly mod, speci fi cally shaped fi lter and amplitude ADS envelopes, and VCA output nonlinearity.
For completely authentic playing, set the Program Edit page Voice Allocation parameter to Poly Reuse.
The Poly Mod section allows you to route the fi lter envelope or oscillator B to modulate the frequency of oscillator A, the pulse width of oscillator A, or the fi lter itself.
Filt Env
0-100.
This sets the amount of the fi lter envelope to be used as a Poly Mod source.
Osc B
0-100.
This sets the amount of oscillator B to be used as a Poly Mod source.
Freq A
On, Off.
When this is turned on, the frequency of oscillator A will be modulated by the combination of the fi lter envelope and oscillator B, as set above. Among other things, you can use this to create frequency sweeps with the envelope, frequency modulation (as in “FM”) via oscillator B, or sync sweeps via the envelope, in conjunction with the Sync button.
PW A
On, Off.
When this is turned on, the pulse width of oscillator A will be modulated by the combination of the fi lter envelope and oscillator B, as set above.
Filter
On, Off.
When this is turned on, the fi lter will be modulated by the combination of the fi lter envelope and oscillator B, as set above. Modulating the fi lter with oscillator B can produce some interesting sounds.
LFO
Frequency
0.00-20.00 Hz.
This controls the speed of the LFO.
Waveform
Saw, Triangle, Square.
This sets the shape of the LFO.
50 OASYS PCI
Analog Synths
Oscillator A
Pro Synth
Frequency
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
Waveform
Sawtooth, Pulse, Triangle.
This selects the shape of oscillator A. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0.0-100.0.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. Pulse width can also be modulated via the LFO.
Pulse Width
0% 25% 50% 75% 100%
OASYS PCI
Sync
On, Off.
This syncs Oscillator A to Oscillator B. When this is on, Oscillator B will control the pitch of Oscillator A, and changing Oscillator A’s frequency will change
Osc A’s timbre, instead of its pitch.
For the classic sync sweep sound:
1.
Turn Sync on.
2.
Turn on Freq A in the Poly Mod section.
3.
Also in the Poly Mod section, set Filt Env to about 50, and Osc B to 0.
Now, the Filter Envelope is controlling the sync sound.
4.
Set the Filter Envelope parameters to create the desired sync sweep.
51
Pro Synth
Oscillator B
Analog Synths
Frequency
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Shape
Sawtooth, Pulse, Triangle.
This selects the waveform of oscillator B. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0-100.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. For a diagram, see the fi
Width,” above. Pulse width can also be modulated via the LFO.
Lo Freq
On, Off.
This shifts the oscillator to a low-frequency pitch range. The Lo Freq mode is most useful when oscillator B is being used as a Poly Mod source.
Keyboard
On, Off.
This enables and disables oscillator B’s pitch tracking, centered on B3. You might choose to disable tracking when using oscillator B as a Poly Mod source–and then again, you might not!
Mixer
Osc A
0-100.
This controls the output level of oscillator A.
Osc B
0-100.
This controls the output level of oscillator B.
Noise
0-100.
This controls the output level of the noise generator.
52 OASYS PCI
Analog Synths
Filter
Pro Synth
Cutoff
0-100.
This controls the cutoff frequency of the special 24dB per octave lowpass fi lter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope, Keyboard, and Poly Mod parameters can also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Env (Envelope)
0-100.
This controls the amount of affect the envelope will have on the fi lter cutoff frequency, adding to the setting on the Cutoff knob. At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
Envelope amount affect on cutoff frequency
+100
OASYS PCI
0
Keyboard
On, Off.
This enables and disables fi lter tracking of MIDI notes, using a tracking scale identical to the original synth. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
53
Pro Synth Analog Synths
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
NOTE: The Release button (see page 56) must be enabled for the release portion of
the envelope to sound. If the Release button is turned off, the envelope will fall to zero immediately upon note off.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time (with
Release button on)
Amplifier
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
54 OASYS PCI
Analog Synths Pro Synth
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
NOTE: The Release button (see page 56) must be enabled for the release portion of
the envelope to sound. If the Release button is turned off, the envelope will fall to zero immediately upon note off.
Master Tune
Master Tune
+/- 100.
This adjusts the master tuning of the synth, in cents (1/100 of a semitone).
Osc Edge
Key Track
0-100.
This adjusts the way that the brightness of the oscillator tracks the keyboard.
Controller Mod
Source Mix
0-100.
Both the LFO and the noise generator can be used as modulation sources.
This knob determines the balance between the two. At 0, only the output of the LFO is used; at 100, only the noise generator is used.
The Mod Controller and Initial parameters control the amount of modulation.
Freq A
On, Off.
This selects the frequency of oscillator A as a modulation destination.
Freq B
On, Off.
This selects the frequency of oscillator B as a modulation destination.
PW A
On, Off.
This selects the pulse width of oscillator A as a modulation destination.
PW B
On, Off.
This selects the pulse width of oscillator B as a modulation destination.
OASYS PCI 55
Pro Synth Analog Synths
Filter
On, Off.
This selects the fi lter cutoff as a modulation destination.
Mod Controller
List of Modulation Sources.
This sets the source for controlling the amount of the
Source Mix sent to the selected destinations. For a complete list, please see
“Modulation Sources” on page 2.
Initial
0-100.
This sets the amount of the Source Mix which will be applied to the selected destinations, even when the Mod Controller is at zero. Some of the sounds on the original synth called for you to set the mod wheel to the middle of its range, and then leave it there; you can use the Initial amount to replicate this.
Glide
Glide
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Release
On, Off.
This enables the release segments of the envelopes. If this is turned off, the envelopes will fall to zero immediately on note off.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
56 OASYS PCI
Analog Synths Pro Synth Mod
Pro Synth Mod
This is a slightly “hot-rodded” version of the Pro Synth, with the ampli fi er envelope available as a poly mod source, an extra AR envelope, a ring modulator, variable key tracking on oscillator B pitch and fi lter cutoff, inversion for the fi lter envelope, and individual amounts for the controller mod destinations.
Poly Mod
The Poly Mod section allows you to route the fi lter envelope or oscillator B to modulate the frequency of oscillator A, the pulse width of oscillator A, or the fi lter itself.
Filt Env
0-100.
This sets the amount of the fi lter envelope to be used as a Poly Mod source.
Osc B
0-100.
This sets the amount of oscillator B to be used as a Poly Mod source.
Freq A
On, Off.
When this is turned on, the frequency of oscillator A will be modulated by the combination of the fi lter envelope and oscillator B, as set above. Among other things, you can use this to create frequency sweeps with the envelope, frequency modulation (as in “FM”) via oscillator B, or sync sweeps via the envelope, in conjunction with the Sync button.
PW A
On, Off.
When this is turned on, the pulse width of oscillator A will be modulated by the combination of the fi lter envelope and oscillator B, as set above.
Filter
On, Off.
When this is turned on, the fi lter will be modulated by the combination of the fi lter envelope and oscillator B, as set above. Modulating the fi lter with oscillator B can produce some interesting sounds.
LFO
Frequency
0.00-20.00 Hz.
This controls the speed of the LFO.
Waveform
Saw, Triangle, Square.
This sets the shape of the LFO.
OASYS PCI 57
Pro Synth Mod
Oscillator A
Analog Synths
Frequency
+/- 24.
This sets the coarse tuning of the oscillator over a four-octave range, in halfsteps.
Waveform
Sawtooth, Pulse, Triangle.
This selects the shape of oscillator A. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0.0-100.0.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. Pulse width can also be modulated via the LFO.
Pulse Width
0% 25% 50% 75% 100%
58
Sync
On, Off.
This syncs Oscillator A to Oscillator B. When this is on, Oscillator B will control the pitch of Oscillator A, and changing Oscillator A’s frequency will change
Osc A’s timbre, instead of its pitch.
For the classic sync sweep sound:
1.
Turn Sync on.
2.
Turn on Freq A in the Poly Mod section.
3.
Also in the Poly Mod section, set Filt Env to about 50, and Osc B to 0.
Now, the Filter Envelope is controlling the sync sound.
4.
Set the Filter Envelope parameters to create the desired sync sweep.
OASYS PCI
Analog Synths
Oscillator B
Pro Synth Mod
Frequency
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Shape
Sawtooth, Pulse, Triangle.
This selects the waveform of oscillator B. If Pulse is selected, the Pulse Width control, below, sets the width of the pulse.
Pulse Width
0-100.
This sets the width of the pulse waveform, as a percentage of the full waveform cycle. 50.0 produces a square wave, smaller amounts produce a waveform with a shorter “up” time, and greater amounts produce a waveform with a longer “up” time, as shown below. For a diagram, see the fi
Width,” above. Pulse width can also be modulated via the LFO.
Lo Freq
On, Off.
This shifts the oscillator to a low-frequency pitch range. The Lo Freq mode is most useful when oscillator B is being used as a Poly Mod source.
Keyboard
1-100.
This adjusts oscillator B’s pitch tracking, centered on B3. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod
Palette.
Mixer
Osc A
0-100.
This controls the output level of oscillator A.
Osc B
0-100.
This controls the output level of oscillator B.
Noise
0-100.
This controls the output level of the noise generator.
OASYS PCI 59
Pro Synth Mod
Filter
Analog Synths
Cutoff
0-100.
This controls the cutoff frequency of the special 24dB per octave lowpass fi lter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope, Keyboard, and Poly Mod parameters can also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Env (Envelope)
0-100.
This controls the amount of affect the envelope will have on the fi lter cutoff frequency, adding to the setting on the Cutoff knob. At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
Envelope amount affect on cutoff frequency
+100
60
0
Keyboard
0-100.
This adjusts the fi lter cutoff in response to incoming MIDI notes. Note that you can also modulate any parameter using the “Key Tracking” modulators in the
Mod Palette.
OASYS PCI
Analog Synths Pro Synth Mod
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
NOTE: The Release button (see page 56) must be enabled for the release portion of
the envelope to sound. If the Release button is turned off, the envelope will fall to zero immediately upon note off.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time (with
Release button on)
Amp ADSR
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
The Amp Env switch determines whether the ampli fi er will use this ADSR envelope, or the simple Amp AR envelope. Switching to the AR envelope allows you to use the ADSR envelope as a poly mod source, and adjust it as desired without affecting the output volume.
OASYS PCI 61
Pro Synth Mod Analog Synths
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
NOTE: The Release button (see page 56) must be enabled for the release portion of
the envelope to sound. If the Release button is turned off, the envelope will fall to zero immediately upon note off.
Ring Mod
Ring Mod
0-100.
This controls the output level of the ring modulator.
The ring modulator multiplies the outputs of oscillator A and oscillator B together, creating a metallic sound. The timbre will change dramatically depending on the difference in pitch between the two oscillators. Oscillator B’s fi ne tuning, especially when modulated, can be used to create all sorts of interesting effects. The classic ring modulation sound uses a constant pitch, so you may also want to set Oscillator
B’s key tracking to 0.
Master Tune
Master Tune
+/- 100.
This adjusts the master tuning of the synth, in cents (1/100 of a semitone).
Osc Edge
Key Track
0-100.
This adjusts the way that the brightness of the oscillator tracks the keyboard.
62 OASYS PCI
Analog Synths Pro Synth Mod
Controller Mod
Source Mix
0-100.
Both the LFO and the noise generator can be used as modulation sources.
This knob determines the balance between the two. At 0, only the output of the LFO is used; at 100, only the noise generator is used.
The Mod Controller and Initial parameters control the amount of modulation.
Freq A
On, Off.
This selects the frequency of oscillator A as a modulation destination.
Freq B
On, Off.
This selects the frequency of oscillator B as a modulation destination.
PW A
On, Off.
This selects the pulse width of oscillator A as a modulation destination.
PW B
On, Off.
This selects the pulse width of oscillator B as a modulation destination.
Filter
On, Off.
This selects the fi lter cutoff as a modulation destination.
Mod Controller
List of Modulation Sources.
This sets the source for controlling the amount of the
Source Mix sent to the selected destinations. For a complete list, please see
“Modulation Sources” on page 2.
Initial
0-100.
This sets the amount of the Source Mix which will be applied to the selected destinations, even when the Mod Controller is at zero. Some of the sounds on the original synth called for you to set the mod wheel to the middle of its range, and then leave it there; you can use the Initial amount to replicate this.
Controller Mod Depths
This section adds modulation depth to the Pro Synth’s Controller Mod routings.
Each routing can still be enabled and disabled via the switches in the Controller
Mod section.
Freq A
0.0-36.0.
This sets the depth of oscillator A frequency modulation, in half-steps. This routing is turned on and off by the Freq A switch, in the Controller Mod section.
OASYS PCI 63
Pro Synth Mod Analog Synths
Freq B
0.0-36.0.
This sets the depth of oscillator B frequency modulation, in half-steps. This routing is turned on and off by the Freq B switch, in the Controller Mod section.
PW A
0-100
This sets the depth of oscillator A pulse width modulation. This routing is turned on and off by the PW A switch, in the Controller Mod section.
PW B
0-100
This sets the depth of oscillator B pulse width modulation. This routing is turned on and off by the PW B switch, in the Controller Mod section.
Filter
0-100
This sets the depth of fi lter cutoff modulation. This routing is turned on and off by the Filter switch, in the Controller Mod section.
Glide
Glide
0-100.
This sets the glide amount (also known as portamento) for the oscillator, which makes the pitch slide smoothly between notes. At 0, Glide is completely off.
At 100, notes will take a long time to glide to the new pitch.
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Amp AR
The Amp Env switch determines whether the ampli fi er will use this simple AR envelope, or the more complex Amp ADSR envelope. Switching to the AR envelope allows you to use the ADSR envelope as a poly mod source, and adjust it as desired without affecting the output volume.
Attack
0-100.
This sets the attack time of the AR envelope. This is the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Release
0-100.
This sets the release time of the AR envelope. This is the time that it takes from the moment that the key is released until the envelope falls to zero.
64 OASYS PCI
Analog Synths
AR Envelope
Pro Synth Mod
Attack time Release time
Amp Env
ADSR, AR.
The Amp Env switch determines whether the ampli fi er will use the simple Amp AR envelope, or the more complex Amp ADSR envelope. Switching to the AR envelope allows you to use the ADSR envelope as a poly mod source, and adjust it as desired without affecting the output volume.
Release
On, Off.
This enables the release segments of the ADSR envelopes. If this is turned off, the envelopes will fall to zero immediately on note off.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 65
66
EP (Electric Piano)
EP (Electric Piano)
OASYS PCI
EP (Electric Piano) Reed Piano
Reed Piano
This Patch models a reed-style electric piano, such as those made by a company whose name begins with “W.” It includes modeling of the hammer, the reed, and the pickup.
Hammer
Width
0-100.
This controls the width of the hammer. The default value is 50; values above or below this will cause the timbre to become darker.
Width Mod
List of Modulation Sources.
This sets the modulation source for controlling the
Hammer Width. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the Hammer Width.
Force
0-100.
This controls the force with which the hammer strikes the reed. Higher forces result in a brighter, more aggressive timbre. Often, it’s best to set the Force knob to a fairly low value, and then use velocity as a modulator under Force Mod.
Force Mod
List of Modulation Sources.
This sets the modulation source for controlling the
Hammer Force. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the Hammer Force.
Reed
Decay
0-100.
This sets the decay time for the reed.
Decay Mod
List of Modulation Sources.
This sets the modulation source for controlling the
Reed Decay. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the decay.
OASYS PCI 67
Reed Piano
Pickup
EP (Electric Piano)
Release
0-100.
This sets the release time for the reed.
Release Mod
List of Modulation Sources.
This sets the modulation source for controlling the
Reed Release. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the Reed Release.
Low Cut
0-100.
This controls the amount of low frequency attenuation.
Pickup Select
Pickup 1, Pickup 2.
The pickup type has a large affect on the sound.
Pickup 1.
This offers a classic reed piano timbre.
Pickup 2.
This offers a more aggressive timbre.
Volume
0-100.
This sets the overall volume output of the piano.
Position
0-100.
This controls the position of the pickup on the reed. At lower values, the fi rst harmonic will become louder than the fundamental, so that the pitch appears to shift up by an octave.
Position Mod
List of Modulation Sources.
This sets the modulation source for controlling the
Pickup Position. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the Pickup Position.
68 OASYS PCI
Guitar
Guitar
OASYS PCI 69
Plucked String Guitar
Plucked String
This Patch models plucked string instruments, such as guitars. It includes string gauge, bridge rigidity, control over pick type and technique, pickup position and tone, and more.
Damping
Damping
0-100.
This controls the decay time for the string’s high frequencies. Lower settings mean a shorter high frequency decay time. Damping interacts with the Decay parameter, below, which controls the overall decay time.
Center
C-1 to G#9.
This sets the center note for the damping key tracking, as set by the Key
Track parameter, below.
Key Track
+/-100.
This adjusts damping as you play higher and lower on the keyboard. At the center key (as set above), the damping will be exactly the value set by the Damping knob. With positive tracking, the damping will increase as you play above the center key, and decrease as you play below it. With negative tracking, damping will decrease as you play above the center key, and increase as you play below it.
Damping Mod
List of Modulation Sources.
This sets the modulation source for controlling the
damping. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the damping.
Maximum
0-100.
This sets the maximum amount of damping, even with modulation.
Decay
Decay
0-100.
This controls the overall decay time of the string.
Center
C-1 to G#9.
This sets the center note for the damping key tracking, as set by the Key
Track parameter, below.
70 OASYS PCI
Guitar
Dispersion
Nonlinearity
Dispersion
0-100.
This models the gauge of the string. Higher dispersion settings mean thickergauge strings. Higher values increase the inharmonicity of the string; at extreme values, it will create bell-like timbres, as if you were hitting a bar of metal.
Center
C-1 to G#9.
This sets the center note for the dispersion key tracking, as set by the
Key Track parameter, below.
Key Track
+/-100.
This adjusts the dispersion as you play higher and lower on the keyboard
(as if the string gauge was getting lighter, as it does on most stringed instruments).
At the center key (as set above), the dispersion will be exactly the value set by the
Dispersion knob. With positive tracking, the dispersion will increase as you play above the center key, and decrease as you play below it. With negative tracking, the dispersion will decrease as you play above the center key, and increase as you play below it.
Amount
0.0-100.0.
This models the instability of the string’s bridge. Greater nonlinearity means a less rigid bridge. At higher levels, this causes the characteristic buzzing sound of some non-western stringed instruments, instruments such as the sitar.
Pitch Mod
Plucked String
Key Track
+/-100.
This adjusts the decay time as you play higher and lower on the keyboard.
At the center key (as set above), the decay time will be exactly the value set by the
Decay knob. With positive tracking, the decay time will increase as you play above the center key, and decrease as you play below it. With negative tracking, the decay time will decrease as you play above the center key, and increase as you play below it.
Release
0-100.
This sets the overall release time for the string–the time that it takes to fade away after note-off.
Pitch Bend Mode
Normal, Step.
This determines how the string responds to pitch modulation.
Normal.
The pitch will change smoothly when modulated, as if bending the string.
OASYS PCI 71
Plucked String Guitar
Step.
The pitch will change by half-step increments, as if hitting the frets on a guitar.
Pitch Mod
List of Modulation Sources.
This sets the modulation source for controlling the
pitch. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-24.0.
This sets the amount by which the mod source affects the pitch, in halfsteps.
Pluck
Type
Folk, Jazz, Smooth, Noisy,
This models different types of plucking actions, including picks and fi nger-plucking. The pluck type sets the basic tone of the plucked string.
The Noise controls, below, offer a different way to “pluck” the string. You can also use Pluck and Noise together, to create speci fi c tones.
Width
0.0-100.0.
This models the time that the pick is in contact with the string, which is a combination of the size and thickness of the pick, and the speed at which the pick is moving.
The width adjusts the tone of the initial string excitation; low settings emphasize lower frequencies, and high settings emphasize high frequencies.
Level
0.0-100.0.
This adjusts the force of the pluck. If the level is 0, the Pluck will not affect the string at all.
Vel Mod (Velocity Modulation)
0.0-100.0.
This allows you to modulate the pluck level via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Level knob.
Position
0.0-100.0.
This models the position of the plucking action along the string.
Tone
+/-100.
This controls the affect of the Position parameter on the overall tone. When
Tone is set to 0, position has no affect. Settings around -100 are often the most realistic.
72 OASYS PCI
Guitar
Noise
Plucked String
Brightness
These controls allow you to “pluck” the string using fi ltered noise.
The Pluck controls, above, offer a different way to “pluck” the string. You can also use Pluck and Noise together, to create speci fi c tones.
Level
0.0-100.0.
This adjusts the level of the noise.
Vel Mod (Velocity Modulation)
0.0-100.0.
This allows you to modulate the noise level via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Level knob.
Cutoff
+/-100.
This adjusts the tone of the noise.
Cutoff
+/-100.
This adjusts the overall brightness of the string.
Vel Mod (Velocity Modulation)
0.0-100.0.
This allows you to modulate the cutoff via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Cutoff knob.
Vibrato
OASYS PCI
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
73
Plucked String Guitar
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
Pickup
Pickup
On, Off.
This enables the pickup modeling. Turning this off is the same as setting the Tone to 0.
Position
0.0-100.0.
This adjusts the position of the pickup along the string.
Tone
+/-100.
This controls the affect of the Position parameter on the overall tone. When
Tone is set to 0, position has no affect.
74 OASYS PCI
Guitar
Damping
Decay
Small Plucked String
Small Plucked String
This Patch is a more DSP-ef fi cient plucked string model. It offers higher polyphony than the Plucked String Patch, but fewer features.
Damping
0-100.
This controls the decay time for the string’s high frequencies. Lower settings mean a shorter high frequency decay time. Damping interacts with the Decay parameter, below, which controls the overall decay time.
Center
C-1 to G#9.
This sets the center note for the damping key tracking, as set by the Key
Track parameter, below.
Key Track
+/-100.
This adjusts damping as you play higher and lower on the keyboard. At the center key (as set above), the damping will be exactly the value set by the Damping knob. With positive tracking, the damping will increase as you play above the center key, and decrease as you play below it. With negative tracking, damping will decrease as you play above the center key, and increase as you play below it.
Damping Mod
List of Modulation Sources.
This sets the modulation source for controlling the
damping. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the damping.
Maximum
0-100.
This sets the maximum amount of damping, even with modulation.
Decay
0-100.
This controls the overall decay time of the string.
Center
C-1 to G#9.
This sets the center note for the damping key tracking, as set by the Key
Track parameter, below.
OASYS PCI 75
Small Plucked String Guitar
Key Track
+/-100.
This adjusts the decay time as you play higher and lower on the keyboard.
At the center key (as set above), the decay time will be exactly the value set by the
Decay knob. With positive tracking, the decay time will increase as you play above the center key, and decrease as you play below it. With negative tracking, the decay time will decrease as you play above the center key, and increase as you play below it.
Release
0-100.
This sets the overall release time for the string–the time that it takes to fade away after note-off.
Pitch Mod
Pitch Bend Mode
Normal, Step.
This determines how the string responds to pitch modulation.
Normal.
The pitch will change smoothly when modulated, as if bending the string.
Step.
The pitch will change by half-step increments, as if hitting the frets on a guitar.
Pitch Mod
List of Modulation Sources.
This sets the modulation source for controlling the
pitch. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-24.0.
This sets the amount by which the mod source affects the pitch, in halfsteps.
Pluck
Type
Folk, Smooth, Noisy,
This models different types of plucking actions, including picks and fi nger-plucking. The pluck type sets the basic tone of the plucked string.
The Noise controls, below, offer a different way to “pluck” the string. You can also use Pluck and Noise together, to create speci fi c tones.
Width
0.0-100.0.
This models the time that the pick is in contact with the string, which is a combination of the size and thickness of the pick, and the speed at which the pick is moving.
The width adjusts the tone of the initial string excitation; low settings emphasize lower frequencies, and high settings emphasize high frequencies.
76 OASYS PCI
Guitar
Noise
Brightness
Vibrato
Small Plucked String
Level
0.0-100.0.
This adjusts the force of the pluck. If the level is 0, the Pluck will not affect the string at all.
Vel Mod (Velocity Modulation)
0.0-100.0.
This allows you to modulate the pluck level via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Level knob.
These controls allow you to “pluck” the string using fi ltered noise.
The Pluck controls, above, offer a different way to “pluck” the string. You can also use Pluck and Noise together, to create speci fi c tones.
Level
0.0-100.0.
This adjusts the level of the noise.
Vel Mod (Velocity Modulation)
0.0-100.0.
This allows you to modulate the noise level via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Level knob.
Cutoff
+/-100.
This adjusts the tone of the noise.
Cutoff
+/-100.
This adjusts the overall brightness of the string.
Vel Mod (Velocity Modulation)
0.0-100.0.
This allows you to modulate the cutoff via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Cutoff knob.
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 77
Small Plucked String Guitar
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
78 OASYS PCI
Guitar Slap Bass
Slap Bass
This Patch models a slapped electric bass. It includes string gauge, bridge rigidity, control over pick type and technique, pickup position and tone, and more.
String Damping
Damping
0-100.
This controls the decay time for the string’s high frequencies. Lower settings mean a shorter high frequency decay time. Damping interacts with the Decay parameter, below, which controls the overall decay time.
Center
C-1 to G#9.
This sets the center note for the damping key tracking, as set by the Key
Track parameter, below.
Key Track
+/-100.
This adjusts damping as you play higher and lower on the keyboard. At the center key (as set above), the damping will be exactly the value set by the Damping knob. With positive tracking, the damping will increase as you play above the center key, and decrease as you play below it. With negative tracking, damping will decrease as you play above the center key, and increase as you play below it.
Damping Mod
List of Modulation Sources.
This sets the modulation source for controlling the
damping. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the damping.
Maximum
0-100.
This sets the maximum amount of damping, even with modulation.
String Decay
Decay
0-100.
This controls the overall decay time of the string.
Center
C-1 to G#9.
This sets the center note for the damping key tracking, as set by the Key
Track parameter, below.
OASYS PCI 79
Slap Bass Guitar
Key Track
+/-100.
This adjusts the decay time as you play higher and lower on the keyboard.
At the center key (as set above), the decay time will be exactly the value set by the
Decay knob. With positive tracking, the decay time will increase as you play above the center key, and decrease as you play below it. With negative tracking, the decay time will decrease as you play above the center key, and increase as you play below it.
Release
0-100.
This sets the overall release time for the string–the time that it takes to fade away after note-off.
String Dispersion
Dispersion
0-100.
This models the gauge of the string. Higher dispersion settings mean thickergauge strings. Higher values increase the inharmonicity of the string; at extreme values, it will create bell-like timbres, as if you were hitting a bar of metal.
Center
C-1 to G#9.
This sets the center note for the dispersion key tracking, as set by the
Key Track parameter, below.
Key Track
+/-100.
This adjusts the dispersion as you play higher and lower on the keyboard
(as if the string gauge was getting lighter, as it does on most stringed instruments).
At the center key (as set above), the dispersion will be exactly the value set by the
Dispersion knob. With positive tracking, the dispersion will increase as you play above the center key, and decrease as you play below it. With negative tracking, the dispersion will decrease as you play above the center key, and increase as you play below it.
Pickup
Position
0-100.
This adjusts the position of the pickup along the string.
Force
Initial
0-100.
This adjusts the force of the slap.
Vel. Mod. (Velocity Modulation)
0-100.
This allows you to modulate the force via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Force knob.
80 OASYS PCI
Guitar Slap Bass
Maximum
0-100.
This sets the maximum amount of force, even with modulation.
Velocity
Slap Noise
Velocity
0-100.
This models the velocity of the “slap” across the string, which affects the amount of high frequencies in the sound.
Contact Time
0-100.
This models the amount of time that the pick is in contact with the string.
Low settings emphasize lower frequencies, and high settings emphasize high frequencies.
Vel. Mod. (Velocity Modulation)
+/-100.
This allows you to modulate the contact time via velocity. A velocity of 127 will add or subtract the speci fi ed amount to the setting on the Contact Time knob.
These controls allow you to adjust the level and timbre of the sharp “slap” sound.
Noise
0-100.
This adjusts the level of the slap noise.
Cutoff
0-100.
This adjusts the cutoff frequency of a fi lter dedicated to the slap noise.
Vel. Mod. (Velocity Modulation)
0-100.
This allows you to modulate the cutoff frequency of the noise via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Level knob.
Resonance
0-100.
This adjusts the resonance of a fi lter dedicated to the slap noise.
Vibrato
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 81
Slap Bass Guitar
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
82 OASYS PCI
Guitar
String
Force
Velocity
OASYS PCI
Small Slap Bass
Small Slap Bass
This Patch is a more DSP-ef fi cient slap bass model. It offers higher polyphony than the Slap Bass Patch, but fewer features.
Decay
0-100.
This controls the overall decay time of the string.
Damping
0-100.
This controls the decay time for the string’s high frequencies. Lower settings mean a shorter high frequency decay time. Damping interacts with the Decay parameter, below, which controls the overall decay time.
Pickup Position
0-100.
This adjusts the position of the pickup along the string.
Initial
0.0-100.0.
This adjusts the force of the slap.
Vel. Mod. (Velocity Modulation)
0-100.
This allows you to modulate the force via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Force knob.
Maximum
0-100.
This sets the maximum amount of force, even with modulation.
Velocity
0-100.
This models the velocity of the “slap” across the string, which affects the amount of high frequencies in the sound.
Contact Time
0-100.
This models the amount of time that the pick is in contact with the string.
Low settings emphasize lower frequencies, and high settings emphasize high frequencies.
Vel. Mod. (Velocity Modulation)
+/-100.
This allows you to modulate the contact time via velocity. A velocity of 127 will add or subtract the speci fi ed amount to the setting on the Contact Time knob.
83
Small Slap Bass
Slap Noise
Guitar
These controls allow you to adjust the level and timbre of the sharp “slap” sound.
Noise
0-100.
This adjusts the level of the slap noise.
Cutoff
0-100.
This adjusts the cutoff frequency of a fi lter dedicated to the slap noise.
Vel. Mod. (Velocity Modulation)
0-100.
This allows you to modulate the cutoff frequency of the noise via velocity. A velocity of 127 will add the speci fi ed amount to the setting on the Level knob.
Resonance
0-100.
This adjusts the resonance of a fi lter dedicated to the slap noise.
Vibrato
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
84 OASYS PCI
Organ
Organ
OASYS PCI 85
Tonewheel Organ Organ
Tonewheel Organ
This Patch models a classic tonewheel organ, including complete drawbar control, perfect tonewheel phase coherency, fully programmable key click, and true mono percussion.
Drawbars
16'
0.0-8.0.
This controls the volume of the 16’ drawbar.
5 1/3'
0.0-8.0.
This controls the volume of the 5 1/3’ drawbar.
8'
0.0-8.0.
This controls the volume of the 8’ drawbar.
4'
0.0-8.0.
This controls the volume of the 4’ drawbar.
2 2/3'
0.0-8.0.
This controls the volume of the 2 2/3’ drawbar.
2'
0.0-8.0.
This controls the volume of the 2’ drawbar.
1 3/5'
0.0-8.0.
This controls the volume of the 1 3/5’ drawbar.
1 1/3'
0.0-8.0.
This controls the volume of the1 1/3’ drawbar.
1'
0.0-8.0.
This controls the volume of the 1’ drawbar.
Key Click
Key Click
On, Off.
This enables and disables the key click.
Level
0-100.
This controls the volume of the key click.
86 OASYS PCI
Organ
Percussion
OASYS PCI
Tonewheel Organ
Trigger
Down, Up and Down.
This controls whether the key click will be triggered only when a key is pressed down, or when a key is either pressed down or released.
Down.
The key click will only trigger when a key is pressed down.
Up and Down.
The key click will trigger both when a key is pressed down, and when it is released.
Attack
0-100.
This controls the attack time of the key click.
Decay
0-100.
This controls the decay time of the key click.
Cutoff
0-100.
This controls the timbre of the key click, by setting the cutoff frequency of a lowpass fi lter.
Clip
0-100.
The key click is actually created by sparks arcing across the bus bar as the tonewheel is switched on. This models the randomness of that spark. The sound ranges from something like white noise to a noise which is speckly and intermittent.
Contact
0-100.
This controls how quickly each tonewheel turns on and off. Low settings mean fast on/off, and high settings mean slower on/off.Very fast on/off times will result in a slight click, as the tonewheel jumps instantly to full volume.
The Percussion section controls the short “blip” at the beginning of the note. Like the original instrument, percussion is mono; if you play one note, hold it down, and then play a second note, the percussion will sound only for the fi rst note.
Percussion
On, Off.
This enables and disables the percussion.
Level
0-100.
This controls the volume of the percussion.
Harmonic
4’, 2 2/3’.
This controls the pitch of the percussion.
4’.
The percussion’s pitch will be 2 octaves above the fundamental.
2 2/3’.
The percussion’s pitch will be 3 octaves and a fi fth above the fundamental.
87
Tonewheel Organ Organ
Attack
0-100.
This controls the attack time of the percussion. See also the Width parameter, below, which controls the overall duration of the percussion.
Decay
0-100.
This controls the decay time of the percussion.
Width
0-100.
This controls the total duration of the percussion. If the width is set to a small value, and the attack is set to a large value, you may not hear the percussion at all.
Volume
0-100.
This controls the output volume of the entire organ. You might wish to modulate this with a foot pedal.
88 OASYS PCI
Organ Z1 Organ
Z1 Organ
This Patch is the additive synthesis organ model from the Korg Z1. There are three main drawbars, each with assignable waveform and tuning ratio, a sub-oscillator, and a simple envelope.
Drawbar 1
Drawbar 2
OASYS PCI
Waveform
Triangle, Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the fi rst drawbar.
Tuning Ratio
1 (16’), 2 (8’), 3 (5 1/3’), 4 (4’), 5, 6 (2 2/3’), 7, 8 (2’), 9, 10 (1 3/5’), 11, 12 (1 1/3’), 13, 14,
15, 16 (1’).
This sets the coarse tuning for the fi rst drawbar. The number indicates the tuning ratio from the root pitch. In additive synthesis, this is sometimes referred to as the “partial.”
Traditional organ “foot” tunings are noted where applicable.
Fine Tune
+/-100.
This sets the fi ne tuning for the fi rst drawbar, in cents (1/100 of a semitone).
Level
0-100.
This sets the volume level for the fi rst drawbar.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
level. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-100.
This sets the amount by which the mod source affects the level.
Waveform
Triangle, Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the second drawbar.
Tuning Ratio
1 (16’), 2 (8’), 3 (5 1/3’), 4 (4’), 5, 6 (2 2/3’), 7, 8 (2’), 9, 10 (1 3/5’), 11, 12 (1 1/3’), 13, 14,
15, 16 (1’).
This sets the coarse tuning for the second drawbar. The number indicates the tuning ratio from the root pitch. In additive synthesis, this is sometimes referred to as the “partial.”
89
Z1 Organ
Drawbar 3
Organ
Traditional organ “foot” tunings are noted where applicable.
Fine Tune
+/-100.
This sets the fi ne tuning for the second drawbar, in cents (1/100 of a semitone).
Level
0-100.
This sets the volume level for the second drawbar.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
level. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-100.
This sets the amount by which the mod source affects the level.
Waveform
Triangle, Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the third drawbar.
Tuning Ratio
1 (16’), 2 (8’), 3 (5 1/3’), 4 (4’), 5, 6 (2 2/3’), 7, 8 (2’), 9, 10 (1 3/5’), 11, 12 (1 1/3’), 13, 14,
15, 16 (1’).
This sets the coarse tuning for the third drawbar. The number indicates the tuning ratio from the root pitch. In additive synthesis, this is sometimes referred to as the “partial.”
Traditional organ “foot” tunings are noted where applicable.
Fine Tune
+/-100.
This sets the fi ne tuning for the third drawbar, in cents (1/100 of a semitone).
Level
0-100.
This sets the volume level for the third drawbar.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
level. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-100.
This sets the amount by which the mod source affects the level.
90 OASYS PCI
Organ Z1 Organ
Sub-Oscillator
The sub-oscillator creates a sine waveform, and has a lower range than the three drawbars.
Tuning Ratio
0.5 (32’), 1 (16’), 2 (8’), 4 (4’).
This sets the coarse tuning for the third drawbar. The number indicates the tuning ratio from the root pitch. In additive synthesis, this is sometimes referred to as the “partial.”
Traditional organ “foot” tunings are also noted.
Fine Tune
+/-100.
This sets the fi ne tuning for the third drawbar, in cents (1/100 of a semitone).
Level
0-100.
This sets the volume level for the third drawbar.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
level. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-100.
This sets the amount by which the mod source affects the level.
Amp Envelope
This attack-release envelope controls the amplitude, or volume, of the Patch.
Attack
0-100.
This sets the attack time of the amplitude envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Release
0-100.
This sets the release time of the amplitude envelope–the time that it takes from the moment that the key is released until the envelope falls to zero.
OASYS PCI 91
Z1 Organ
AR Envelope
Organ
Attack time Release time
Pitch Modulation
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
pitch. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-24.
This sets the amount by which the mod source affects the pitch, in semitones.
92 OASYS PCI
Organ Z1 Organ
OASYS PCI 93
PCM
PCM
94 OASYS PCI
PCM PCM Patches Overview
PCM Patches Overview
OASYS PCI includes a number of PCM-based Patches, each with different features intended for various different purposes. The chart below shows how the Patches relate to one another.
Patch
Argon 4+
Cobalt 2
Cobalt 2 St
Cobalt 4
Cobalt 4+
Krypton 2
Krypton 2e
Krypton 2p
Looper
Looper St
Looper X
Xenon 2
Xenon 2i
Xenon 4
Xenon 4+
Xenon 4m
Application Oscillators Vel Switch
All
All
All
All
All
Drums
Drums
Drums
Loops
Loops
Loops
All
All
All
All
All
2
1
1 stereo
1
1
1
1
1
1
1 stereo
1
1
1
1
1
1
2-level
2-level
2-level
2-level
2-level
2-level
2-level
2-level
-
-
-
2-level
2-level
2-level
2-level
2-level
Filter Envelopes LFOs Special
2-pole
2-pole
2-pole
-
-
-
2-pole
4-pole resonant
2-pole
2-pole
4-pole
4-pole resonant
2-pole
2 ADSR
2 ADSR
2 ADSR
2 ADSR
2 ADSR
1 AD
2 AD
1 AD
1 AR
1 AR
1 AR
2 ADSR
2 ADSR
2 ADSR
2
-
-
-
-
-
-
-
-
1
1
2 pitch ramps
-
-
-
-
pan pan pan pitch ramp
Extra-highquality interpolation; pitch ramp pitch ramp 4-pole
4-pole resonant
4-pole resonant multimode
2 ADSR
2 ADSR
2
2 pitch ramp pitch ramp
OASYS PCI 95
Argon 4+ PCM
Argon 4+
Argon 4+ is a dual-oscillator PCM synth plug-in with two-level velocity-switched multisamples. Features include a 4 pole (24dB per octave) resonant lowpass fi lter, two DSP-rate ADSR envelopes for fi lter and amplitude modulation, two pitch ramps, and two DSP-rate, complex MIDI-synchronized global LFOs.
Oscillator 1
Samples
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
96 OASYS PCI
PCM Argon 4+
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
Pitch Ramp
The Pitch Ramp lets you create an automatic pitch-bend at the start of the sound.
The pitch-bend can start from either below or above the normal pitch of the note.
Depth
+/- 12.
This sets the difference between the ramp’s initial pitch and the normal pitch of the key, in half-steps. Set this to 0 to turn off the Pitch Ramp.
Time
0-100.
This sets the duration of the ramp - the time that it takes the pitch to reach the normal pitch of the key. 0 is the fastest time; 100 is the slowest.
OASYS PCI 97
Argon 4+
Pitch Ramp affect on pitch
+12.0
PCM
0
Normal Pitch
-12.0
Time
Pitch Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates pitch.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates pitch.
Oscillator 2
The parameters for Oscillator 2 are the same as those for Oscillator 1, as described above.
Oscillator 1-2 Mix
Osc Mix
0-100.
This sets the volume balance between Oscillator 1 and Oscillator 2. At 50, the balance between the two is equal; 0 sets the mix to only Oscillator 1, and 100 sets the mix to only Oscillator 2.
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates the Oscillator Mix.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates Oscillator Mix.
98 OASYS PCI
PCM Argon 4+
4 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 24dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Filter Mod
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
OASYS PCI 99
Argon 4+
Envelope amount affect on cutoff frequency
+100
PCM
0
Envelope
100
-100
LFO 1
+/- 100.0.
LFO 1 can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
LFO 2
+/- 100.0.
LFO 2 can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
OASYS PCI
PCM Argon 4+
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
OASYS PCI 101
Argon 4+ PCM
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates amplitude.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Global LFO 1
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
102 OASYS PCI
PCM
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
Argon 4+
0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚
Triangle
-180˚ -90˚ 0˚ 90˚ 180˚
Saw Up
0˚ 90˚ +/-180˚-90˚ 0˚
Square
-180˚ -90˚ 0˚ 90˚ 180˚
Sine Saw Down Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
OASYS PCI
Offset
+/-100.
This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default.
103
Argon 4+ PCM
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
104 OASYS PCI
PCM Argon 4+
Fade-In
0-100.
The LFO can be at full level instantly, or can fade in over time after a note is played. This parameter controls how long it takes the LFO to rise to full level after the fi rst note is pressed.
When you release all notes on the keyboard, and then play a new note, the LFO fade-in will start again.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Global LFO 2
The parameters for Global LFO 2 are the same as those for Global LFO 1, as described above.
OASYS PCI 105
Cobalt 2 PCM
Cobalt 2
Cobalt 2 is a PCM synth plug-in with a two-level velocity-switched multisample, a
2 pole (12dB per octave) lowpass fi lter, and two DSP-rate ADSR envelopes for fi lter and amplitude modulation.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
106 OASYS PCI
PCM Cobalt 2
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
2 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
OASYS PCI 107
Cobalt 2 PCM
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
-100
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
108 OASYS PCI
PCM
Envelope
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Cobalt 2
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
OASYS PCI 109
Cobalt 2 PCM
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates amplitude.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
110 OASYS PCI
PCM Cobalt 2 St
Cobalt 2 St
Cobalt 2 is a PCM synth plug-in with stereo oscillator, a two-level velocity-switched multisample, a 2 pole (12dB per octave) lowpass fi lter, and two DSP-rate ADSR envelopes for fi lter and amplitude modulation.
Stereo Oscillator
Samples
This Patch lets you use velocity to switch between the two stereo (or mono)
Multisamples. Velocities lower than the Vel Switch setting select the Lo
Multisample, and velocities equal to or higher than the Vel Switch setting select the
Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
OASYS PCI 111
Cobalt 2 St PCM
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
2 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
112 OASYS PCI
PCM Cobalt 2 St
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
-100
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
OASYS PCI 113
Cobalt 2 St
Envelope
PCM
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
114 OASYS PCI
PCM Cobalt 2 St
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates amplitude.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 115
Cobalt 4 PCM
Cobalt 4
Cobalt 4 is a PCM synth plug-in with a two-level velocity-switched multisample, a
4 pole (24dB per octave) lowpass fi lter, and two DSP-rate ADSR envelopes for fi lter and amplitude modulation.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
116 OASYS PCI
PCM Cobalt 4
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
4 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 24dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
OASYS PCI 117
Cobalt 4 PCM
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
-100
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
118 OASYS PCI
PCM
Envelope
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Cobalt 4
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
OASYS PCI 119
Cobalt 4 PCM
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates amplitude.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
120 OASYS PCI
PCM Cobalt 4+
Cobalt 4+
Cobalt 4+ is a PCM synth plug-in with a two-level velocity-switched multisample, a 4 pole (24dB per octave) resonant lowpass fi lter, and two DSP-rate ADSR envelopes for fi lter and amplitude modulation.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
OASYS PCI 121
Cobalt 4+ PCM
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
4 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 24dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
122 OASYS PCI
PCM Cobalt 4+
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
-100
Key Tracking
OASYS PCI
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff
123
Cobalt 4+
Envelope
PCM knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
124 OASYS PCI
PCM Cobalt 4+
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates amplitude.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 125
Krypton 2 PCM
Krypton 2
Krypton 2 is a PCM synth plug-in optimized for drums, with a two-level velocityswitched multisample, a 2 pole (12dB per octave) lowpass fi lter, and a simple, DSPrate attack-decay envelope.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
126 OASYS PCI
PCM Krypton 2
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
2 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
OASYS PCI 127
Krypton 2
Amplifier
Envelope
PCM
These parameters control an attack-decay envelope dedicated to the output volume.
Attack
0-100.
This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the envelope–the time that it takes from the moment that the peak of the envelope is reached until the envelope falls to zero.
AR Envelope
Attack time Decay time
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
128 OASYS PCI
PCM Krypton 2e
Krypton 2e
Krypton 2e is a PCM synth plug-in optimized for drums, with a two-level velocityswitched multisample, a 2 pole (12dB per octave) lowpass fi lter, output pan, and two DSP-rate attack-decay envelopes for fi lter and amplitude modulation.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
OASYS PCI 129
Krypton 2e PCM
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
2 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
130 OASYS PCI
PCM
Key Tracking
Krypton 2e
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Envelope
+/- 100.
The attack-decay envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Envelope
These parameters control the attack-decay envelope dedicated to the fi lter cutoff.
Attack
0-100.
This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the envelope–the time that it takes from the moment that the peak of the envelope is reached until the envelope falls to zero.
OASYS PCI 131
Krypton 2e
AR Envelope
PCM
Attack time Decay time
Amplifier
Envelope
These parameters control an attack-decay envelope dedicated to the output volume.
Attack
0-100.
This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the envelope–the time that it takes from the moment that the peak of the envelope is reached until the envelope falls to zero.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
132 OASYS PCI
PCM Krypton 2e
Pan
0-127.
This sets the output pan of the Patch. The “Use Sample Pan” parameter, below, allows you to vary the pan separately for each Sample in the Multisample.
Use Sample Pan
On, Off.
When this parameter is on, the per-Sample pan offsets in the Multisample will be added to the Pan setting (above). When this parameter is off, the
Multisample pan offsets will not affect the sound.
OASYS PCI 133
Krypton 2p PCM
Krypton 2p
Krypton 2p is a PCM synth plug-in optimized for drums, with a two-level velocityswitched multisample, a 2 pole (12dB per octave) lowpass fi lter, output pan, and a simple, DSP-rate attack-decay envelope.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
134 OASYS PCI
PCM Krypton 2p
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
2 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
OASYS PCI 135
Krypton 2p
Amplifier
Envelope
PCM
These parameters control an attack-decay envelope dedicated to the output volume.
Attack
0-100.
This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the envelope–the time that it takes from the moment that the peak of the envelope is reached until the envelope falls to zero.
AR Envelope
Attack time Decay time
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
136 OASYS PCI
PCM Krypton 2p
Pan
0-127.
This sets the output pan of the Patch. The “Use Sample Pan” parameter, below, allows you to vary the pan separately for each Sample in the Multisample.
Use Sample Pan
On, Off.
When this parameter is on, the per-Sample pan offsets in the Multisample will be added to the Pan setting (above). When this parameter is off, the
Multisample pan offsets will not affect the sound.
OASYS PCI 137
Looper PCM
Looper
Looper is a PCM synth plug-in optimized for playback of drum loops and simple drum sounds, with a single multisample oscillator and a DSP-rate attack-release envelope.
Oscillator
Multisample
This is the Multisample assigned to the oscillator.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Amplifier
Envelope
These parameters control an attack-release envelope dedicated to the output volume.
Attack
0-100.
This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Release
0-100.
This sets the release time of the envelope, which controls how long it takes the envelope to fall to zero after the note is released.
138 OASYS PCI
PCM
AR Envelope
Looper
Attack time Sustain while holding note
Release time
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 139
Looper St PCM
Looper St
Looper ST is a PCM synth plug-in optimized for playback of drum loops and simple drum sounds, with a single, stereo oscillator and a DSP-rate attack-release envelope.
Stereo Oscillator
Multisample
This is the Multisample assigned to the oscillator. This Patch supports both stereo and mono Multisamples.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Amplifier
Envelope
These parameters control an attack-release envelope dedicated to the output volume.
Attack
0-100.
This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Release
0-100.
This sets the release time of the envelope, which controls how long it takes the envelope to fall to zero after the note is released.
140 OASYS PCI
PCM
AR Envelope
Looper St
Attack time Sustain while holding note
Release time
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 141
Looper X PCM
Looper X
Looper X is a PCM synth plug-in optimized for playback of drum loops and simple drum sounds, similar to Looper. In addition to a single multisample oscillator and a
DSP-rate attack-release envelope, Looper X adds Multisample-controlled output pan.
Oscillator
Multisample
This is the Multisample assigned to the oscillator.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Pitch
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Amplifier
Envelope
These parameters control an attack-release envelope dedicated to the output volume.
Attack
0-100.
This sets the attack time of the envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Release
0-100.
This sets the release time of the envelope, which controls how long it takes the envelope to fall to zero after the note is released.
142 OASYS PCI
PCM
AR Envelope
Looper X
Attack time Sustain while holding note
Release time
Volume
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Pan
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
0-127.
This sets the output pan of the Patch. The “Use Sample Pan” parameter, below, allows you to vary the pan separately for each Sample in the Multisample.
Use Sample Pan
On, Off.
When this parameter is on, the per-Sample pan offsets in the Multisample will be added to the Pan setting (above). When this parameter is off, the
Multisample pan offsets will not affect the sound.
OASYS PCI 143
Xenon 2 PCM
Xenon 2
Xenon 2 is a PCM synth plug-in with a two-level velocity-switched multisample.
Features include a 2pole (12dB per octave) resonant lowpass fi lter, two DSP-rate
ADSR envelopes for fi lter and amplitude modulation, a pitch ramp, and a DSPrate, complex MIDI-synchronized global LFO.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
144 OASYS PCI
PCM
Pitch
Xenon 2
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
Pitch Ramp
The Pitch Ramp lets you create an automatic pitch-bend at the start of the sound.
The pitch-bend can start from either below or above the normal pitch of the note.
Depth
+/- 12.
This sets the difference between the ramp’s initial pitch and the normal pitch of the key, in half-steps. Set this to 0 to turn off the Pitch Ramp.
Time
0-100.
This sets the duration of the ramp - the time that it takes the pitch to reach the normal pitch of the key. 0 is the fastest time; 100 is the slowest.
OASYS PCI 145
Xenon 2
Pitch Ramp affect on pitch
+12.0
PCM
0
Normal Pitch
-12.0
Time
Pitch Mod
LFO Amt
0.0-100.0.
This sets the amount by which the LFO modulates pitch.
2 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling
146 OASYS PCI
PCM
Filter Mod
Xenon 2 pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
Envelope
-100
LFO Amt
+/- 100.0.
The LFO can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
OASYS PCI 147
Xenon 2 PCM
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
148 OASYS PCI
PCM Xenon 2
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO Amt
0.0-100.0.
This sets the amount by which the LFO modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
OASYS PCI 149
Xenon 2
Global LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
LFO Waveforms and Phase
PCM
-180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚
Triangle
-180˚ -90˚ 0˚ 90˚ 180˚
Saw Up
0˚ 90˚ +/-180˚-90˚ 0˚
Square
-180˚ -90˚ 0˚ 90˚ 180˚
Sine Saw Down Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
150 OASYS PCI
PCM
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
Xenon 2
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Offset
+/-100.
This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default.
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
OASYS PCI 151
Xenon 2
Frequency
PCM
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
152 OASYS PCI
PCM Xenon 2i
Xenon 2i
Xenon 2i is similar to Xenon 2, but uses a special, extra-high-quality interpolation method for improved fi delity on high frequencies. Features include a 2pole (12dB per octave) resonant lowpass fi lter, two DSP-rate ADSR envelopes for fi lter and amplitude modulation, a pitch ramp, and a DSP-rate, complex MIDI-synchronized global LFO.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
OASYS PCI 153
Xenon 2i
Pitch
PCM
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
Pitch Ramp
The Pitch Ramp lets you create an automatic pitch-bend at the start of the sound.
The pitch-bend can start from either below or above the normal pitch of the note.
Depth
+/- 12.
This sets the difference between the ramp’s initial pitch and the normal pitch of the key, in half-steps. Set this to 0 to turn off the Pitch Ramp.
Time
0-100.
This sets the duration of the ramp - the time that it takes the pitch to reach the normal pitch of the key. 0 is the fastest time; 100 is the slowest.
154 OASYS PCI
PCM Xenon 2i
Pitch Ramp affect on pitch
+12.0
0
Normal Pitch
-12.0
Time
Pitch Mod
LFO Amt
0.0-100.0.
This sets the amount by which the LFO modulates pitch.
2 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling
OASYS PCI 155
Xenon 2i
Filter Mod
PCM pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
Envelope
-100
LFO Amt
+/- 100.0.
The LFO can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
156 OASYS PCI
PCM Xenon 2i
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
OASYS PCI 157
Xenon 2i PCM
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO Amt
0.0-100.0.
This sets the amount by which the LFO modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
158 OASYS PCI
PCM Xenon 2i
Global LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚
Triangle
-180˚ -90˚ 0˚ 90˚ 180˚
Saw Up
0˚ 90˚ +/-180˚-90˚ 0˚
Square
-180˚ -90˚ 0˚ 90˚ 180˚
Sine Saw Down Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
OASYS PCI 159
Xenon 2i
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
PCM
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Offset
+/-100.
This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default.
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
160 OASYS PCI
PCM
Frequency
Xenon 2i
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
OASYS PCI 161
Xenon 4 PCM
Xenon 4
Xenon 4 is a PCM synth plug-in with a two-level velocity-switched multisample.
Features include a 4 pole (24dB per octave) lowpass fi lter, two DSP-rate ADSR envelopes for fi lter and amplitude modulation, a pitch ramp, and a DSP-rate, complex MIDI-synchronized global LFO.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
162 OASYS PCI
PCM
Pitch
Xenon 4
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
Pitch Ramp
The Pitch Ramp lets you create an automatic pitch-bend at the start of the sound.
The pitch-bend can start from either below or above the normal pitch of the note.
Depth
+/- 12.
This sets the difference between the ramp’s initial pitch and the normal pitch of the key, in half-steps. Set this to 0 to turn off the Pitch Ramp.
Time
0-100.
This sets the duration of the ramp - the time that it takes the pitch to reach the normal pitch of the key. 0 is the fastest time; 100 is the slowest.
OASYS PCI 163
Xenon 4
Pitch Ramp affect on pitch
+12.0
PCM
0
Normal Pitch
-12.0
Time
Pitch Mod
LFO Amt
0.0-100.0.
This sets the amount by which the LFO modulates pitch.
4 Pole Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the 24dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
Filter Mod
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive
164 OASYS PCI
PCM Xenon 4 envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
Envelope
-100
LFO Amt
+/- 100.0.
The LFO can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
OASYS PCI 165
Xenon 4 PCM
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
166 OASYS PCI
PCM Xenon 4
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO Amt
0.0-100.0.
This sets the amount by which the LFO modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Global LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
OASYS PCI 167
Xenon 4
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚
PCM
Triangle
-180˚ -90˚ 0˚ 90˚ 180˚
Saw Up
0˚ 90˚ +/-180˚-90˚ 0˚
Square
-180˚ -90˚ 0˚ 90˚ 180˚
Sine Saw Down Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
168
Offset
+/-100.
This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default.
OASYS PCI
PCM
LFO Control
Xenon 4
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
OASYS PCI 169
Xenon 4
Tempo
PCM
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
170 OASYS PCI
PCM Xenon 4+
Xenon 4+
Xenon 4+ is a PCM synth plug-in with a two-level velocity-switched multisample.
Features include a 4 pole (24dB per octave) resonant lowpass fi lter, two DSP-rate
ADSR envelopes for fi lter and amplitude modulation, a pitch ramp, and two DSPrate, complex MIDI-synchronized global LFOs.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
OASYS PCI 171
Xenon 4+
Pitch
PCM
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
Pitch Ramp
The Pitch Ramp lets you create an automatic pitch-bend at the start of the sound.
The pitch-bend can start from either below or above the normal pitch of the note.
Depth
+/- 12.
This sets the difference between the ramp’s initial pitch and the normal pitch of the key, in half-steps. Set this to 0 to turn off the Pitch Ramp.
Time
0-100.
This sets the duration of the ramp - the time that it takes the pitch to reach the normal pitch of the key. 0 is the fastest time; 100 is the slowest.
172 OASYS PCI
PCM Xenon 4+
Pitch Ramp affect on pitch
+12.0
0
Normal Pitch
-12.0
Time
Pitch Mod
4 Pole Filter
Filter
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates pitch.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates pitch.
Cutoff
0-100.
This controls the cutoff frequency of the 24dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Filter Mod section’s Envelope control instead.
OASYS PCI 173
Xenon 4+
Filter Mod
PCM
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
174
-100
LFO 1
+/- 100.0.
LFO 1 can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
LFO 2
+/- 100.0.
LFO 2 can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
OASYS PCI
PCM
Envelope
Xenon 4+
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
OASYS PCI 175
Xenon 4+ PCM
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates amplitude.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
176 OASYS PCI
PCM Xenon 4+
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Global LFO 1
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚
Triangle
-180˚ -90˚ 0˚ 90˚ 180˚
Saw Up
0˚ 90˚ +/-180˚-90˚ 0˚
Square
-180˚ -90˚ 0˚ 90˚ 180˚
Sine Saw Down Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
OASYS PCI 177
Xenon 4+
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
PCM
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Offset
+/-100.
This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default.
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
178 OASYS PCI
PCM Xenon 4+
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Fade-In
0-100.
The LFO can be at full level instantly, or can fade in over time after a note is played. This parameter controls how long it takes the LFO to rise to full level after the fi rst note is pressed.
When you release all notes on the keyboard, and then play a new note, the LFO fade-in will start again.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Global LFO 2
The parameters for Global LFO 2 are the same as those for Global LFO 1, as described above.
OASYS PCI 179
Xenon 4m PCM
Xenon 4m
Xenon 4m is a PCM synth plug-in with a two-level velocity-switched multisample.
Features include a multi-mode, multi-pole resonant lowpass fi lter, two DSP-rate
ADSR envelopes for fi lter and amplitude modulation, a pitch ramp, and two DSPrate, complex MIDI-synchronized global LFOs.
Oscillator
Samples
This Patch lets you use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting select the Lo Multisample, and velocities equal to or higher than the Vel Switch setting select the Hi Multisample.
Lo Multisample
This is the low-velocity Multisample. When a note’s MIDI velocity is lower than the
Vel Switch setting. you’ll hear this Multisample.
To select a Multisample:
1.
Drag a Multisample from the Catalog onto the desired Multisample slot.
(MacOS Only: Alternatively, you can select the Multisample slot and then doubleclick the name of the Multisample in the Catalog.)
Double-clicking on the Multisample name brings up the Multisample Edit window.
You can delete a Multisample from a Patch by using the Delete key, or the Edit menu’s cut command.
Hi Multisample
This is the high-velocity Multisample. When a note’s MIDI velocity is equal to or higher than the Vel Switch setting. you’ll hear this Multisample.
Lo Level
0-100.
This controls the volume level of the low (Lo) Multisample.
Hi Level
0-100.
This controls the volume level of the high (Hi) Multisample.
Vel Switch
0-127.
You can use velocity to switch between the two Multisamples. Velocities lower than the Vel Switch setting will play the Lo Multisample, and velocities equal to or higher than the Vel Switch setting will play the Hi Multisample.
180 OASYS PCI
PCM
Pitch
Xenon 4m
Tune
+/- 48.
This sets the coarse tuning of the oscillator over an eight-octave range, in half-steps.
Fine
+/- 100.
This sets the fi ne tuning of the oscillator, in cents (1/100 of a semitone).
Slope
+/- 2.00.
The Pitch Slope allows you to adjust the way in which the oscillator’s pitch changes as you play higher or lower on your MIDI controller. The slope is centered around middle C (C4).
+1.00 is the default setting; pitch will track the keyboard normally.
Values above +1.00 increasingly stretch the oscillator tuning. In other words, above
C4 the oscillator gets increasingly sharp, and below C4 the oscillator gets increasingly fl at.
+2.00 means the pitch changes two octaves over only a single octave of MIDI input.
+0.50 means that an octave of pitch is spread out over two octaves of MIDI input, producing a quarter-tone scale.
0.00 makes all notes play at middle C (C4).
A negative Slope value inverts the pitch tracking, so that as you play higher on your controller the pitch gets lower, and vice versa. Normally you would use this adjustment on oscillators that contribute harmonics within a patch, rather than on ones responsible for fundamental pitch.
NOTE
: Pitch slope also changes the way that Multisamples are mapped across the keyboard. When you are editing a Multisample in the Multisample Edit window, it’s generally best to make sure that Pitch Slope is set to 1.00.
Pitch Ramp
The Pitch Ramp lets you create an automatic pitch-bend at the start of the sound.
The pitch-bend can start from either below or above the normal pitch of the note.
Depth
+/- 12.
This sets the difference between the ramp’s initial pitch and the normal pitch of the key, in half-steps. Set this to 0 to turn off the Pitch Ramp.
Time
0-100.
This sets the duration of the ramp - the time that it takes the pitch to reach the normal pitch of the key. 0 is the fastest time; 100 is the slowest.
OASYS PCI 181
Xenon 4m
Pitch Ramp affect on pitch
+12.0
PCM
0
Normal Pitch
-12.0
Time
Pitch Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates pitch.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates pitch.
4 Pole Multimode Filter
Filter
Cutoff
0-100.
This controls the cutoff frequency of the fi lter. The meaning of the cutoff frequency will change depending on the fi lter mode.
When the fi lter is set to Lowpass mode, frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
When the fi lter is set to Highpass mode, frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
When the fi lter is set to Bandpass mode, frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
182 OASYS PCI
PCM
Filter Mod
OASYS PCI
Xenon 4m
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the fi lter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole.
Mode
Lowpass, Highpass, Bandpass.
This selects whether the fi lter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass).
Lowpass.
Frequencies above the cutoff will be attenuated, and frequencies below the cutoff will pass through unchanged.
Highpass.
Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Bandpass.
Frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Type
4 Pole, 2 Pole, 2 Pole > 2 Pole.
This parameter selects the amount of frequency attenuation in the fi lter, and the character of the resonance.
4 Pole.
This is a 24dB per octave fi lter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type. Many classic analog synths used this general type of fi lter.
2 Pole.
This is a 12dB per octave fi lter. Compared to the 4 Pole, this offers signi fi cantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance.
2 Pole > 2 Pole.
This is two 12dB per octave fi lters in series. Of the three types, this offers by far the most extreme resonance effect. Compared with the 4 Pole, it has just a little less attenuation of frequencies beyond the cutoff.
Envelope
+/- 100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob. With positive envelope amounts, the envelope will increase the cutoff frequency above the setting
183
Xenon 4m PCM on the Cutoff knob. With negative amounts, the envelope will act as if it is inverted, decreasing the cutoff frequency below the setting on the Cutoff knob.
At 0, the envelope will have no affect. At +100, the envelope will open the fi lter all the way at its peak, even if Cutoff is set to 0. At -100, the envelope will close the fi lter all the way down at its peak, even if the Cutoff is set to 100.
Envelope amount affect on cutoff frequency
+100
0
Envelope
-100
LFO 1
+/- 100.0.
LFO 1 can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
LFO 2
+/- 100.0.
LFO 2 can be used to control the fi lter cutoff frequency, adding to or subtracting from the setting on the Cutoff knob.
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
184 OASYS PCI
PCM Xenon 4m
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Key Tracking
Amount
+/- 100.
This adjusts the fi lter cutoff as you play higher and lower on the keyboard.
At the center key (as set below), the cutoff will be exactly the value set by the Cutoff knob. With positive tracking, the cutoff will increase as you play above the center key, and decrease as you play below it. With negative tracking, cutoff will decrease as you play above the center key, and increase as you play below it.
Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Center
C-1 to G#9.
This sets the key around which the fi lter tracking is centered.
Amplifier
Envelope
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
OASYS PCI 185
Xenon 4m PCM
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Amp Mod
LFO 1
0.0-100.0.
This sets the amount by which LFO 1 modulates amplitude.
LFO 2
0.0-100.0.
This sets the amount by which LFO 2 modulates amplitude.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the Patch.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
186 OASYS PCI
PCM Xenon 4m
Global LFO 1
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚ 0˚ 90˚ +/-180˚-90˚ 0˚ -180˚ -90˚ 0˚ 90˚ 180˚
Triangle
-180˚ -90˚ 0˚ 90˚ 180˚
Saw Up
0˚ 90˚ +/-180˚-90˚ 0˚
Square
-180˚ -90˚ 0˚ 90˚ 180˚
Sine Saw Down Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
OASYS PCI 187
Xenon 4m
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
PCM
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Offset
+/-100.
This offsets the center point of the LFO, allowing you to create modulation which is only positive or only negative, or anywhere in between. 0 is the default.
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
188 OASYS PCI
PCM Xenon 4m
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Fade-In
0-100.
The LFO can be at full level instantly, or can fade in over time after a note is played. This parameter controls how long it takes the LFO to rise to full level after the fi rst note is pressed.
When you release all notes on the keyboard, and then play a new note, the LFO fade-in will start again.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Global LFO 2
The parameters for Global LFO 2 are the same as those for Global LFO 1, as described above.
OASYS PCI 189
Percussion
Percussion
190 OASYS PCI
Percussion Percussion Synth
Percussion Synth
This Patch is an analog-style percussion synthesizer, very similar to the synth voices in the Korg Electribe-R. It includes an oscillator, a noise generator, a pitch/modulation envelope, and an amplitude envelope.
Oscillator
Waveform
Triangle, Sine.
This selects the waveform for the oscillator.
Pitch
+/-48.0.
This sets the tuning of the oscillator, in semitones.
Phase
+/-100.
This is the initial phase of the oscillator when triggered by the Phase Reset controller, as set below. Extreme values (+/-100) will cause an extra click when the phase is reset, which can be good for enhancing the attack transient.
Phase Reset
List of Modulation Sources.
This sets the modulation source for controlling the
phase reset. For a complete list, please see “Modulation Sources” on page 2.
The oscillator is free-running, and does not necessarily reset its phase every time that the sound is triggered. By setting the Phase Reset to Note Gate, you can make the phase retrigger on note-on.
If you like, you can also set Phase Reset to None. This will cause the phase to be essentially random on note-on, so that each note sounds a little different.
Pitch Modulation
Type
Saw, Square, Triangle, Random, Noise EG, Envelope.
This selects the way in which the pitch is modulated.
Saw, Square, Triangle.
The pitch will be modulated by an LFO, with the speci fi ed waveform. The speed and depth of the LFO are set by the Speed and Depth parameters, below.
Random.
The pitch will be modulated by a sample-and-hold LFO, with speed and depth as set below. The sample-and-hold mechanism uses the main noise generator, so that the Noise Color parameters will affect the LFO as well. The
Random setting gives especially interesting results with high Speed settings.
Noise EG.
This adds noise to the output; you can control the timbre of the noise using the controls under Noise Color, below. The noise has a dedicated envelope,
OASYS PCI 191
Percussion Synth Percussion whose decay time is controlled by the Speed knob. The Depth knob controls the level of the noise. The pitch of the oscillator will not be modulated.
Envelope.
The oscillator pitch will be modulated by a simple envelope, whose decay time is controlled by the Speed knob. The Depth knob controls the amount of pitch modulation. When using negative Depth settings, you may need to set the oscillator Pitch fairly high.
Speed
0.0-100.0.
The Speed control changes in meaning according to the Type selection.
With Saw, Square, Triangle, and Random, the Speed sets the frequency of the LFO.
With Noise EQ and Envelope, the Speed sets the envelope decay time.
Depth
0-100.
The Depth control changes in meaning according to the Type selection. With
Saw, Square, Triangle, Random, and Envelope, the Depth sets the amount of pitch modulation. With Noise EQ, the Depth sets the volume of the noise.
Noise Color
This section controls the timbre of the noise when the Type is set to Noise EG. It also affects the sample-and-hold LFO when the Oscillator Pitch Mod Type is set to
Random.
Cutoff
0-100.
This controls the cutoff frequency of a highpass fi lter dedicated to the noise generator.
Resonance
0-100.
This controls the resonance of the highpass fi lter.
Amplifier
Decay
0-100.
This sets the decay time of the amplitude envelope. Higher settings mean a longer decay time.
Bass Boost
0-100.
This increases the bass frequencies in the output signal.
Level
0-100.
This sets the overall volume level of the Patch.
192 OASYS PCI
Percussion Percussion Synth 2
Percussion Synth 2
This Patch is an enhanced version of the Percussion Synth, adding independent control of oscillator and noise output levels, a selection of fi lter types for the noise generator, and a full ADSR amplitude envelope.
Oscillator
Waveform
Triangle, Sine.
This selects the waveform for the oscillator.
Pitch
+/-48.0.
This sets the tuning of the oscillator, in semitones.
Phase
+/-100.
This is the initial phase of the oscillator when triggered by the Phase Reset controller, as set below. Extreme values (+/-100) will cause an extra click when the phase is reset, which can be good for enhancing the attack transient.
Phase Reset
List of Modulation Sources.
This sets the modulation source for controlling the
phase reset. For a complete list, please see “Modulation Sources” on page 2.
The oscillator is free-running, and does not necessarily reset its phase every time that the sound is triggered. By setting the Phase Reset to Note Gate, you can make the phase retrigger on note-on.
If you like, you can also set Phase Reset to None. This will cause the phase to be essentially random on note-on, so that each note sounds a little different.
Level
0-100.
This sets the volume level of the oscillator.
Pitch Modulation
Type
Saw, Square, Triangle, Random, Noise EG, Envelope.
This selects the way in which the pitch is modulated.
Saw, Square, Triangle.
The pitch will be modulated by an LFO, with the speci fi ed waveform. The speed and depth of the LFO are set by the Speed and Depth parameters, below.
Random.
The pitch will be modulated by a sample-and-hold LFO, with speed and depth as set below. The sample-and-hold mechanism uses the main noise generator, so that the Noise Color parameters will affect the LFO as well. The
Random setting gives especially interesting results with high Speed settings.
OASYS PCI 193
Percussion Synth 2 Percussion
Noise EG.
This adds noise to the output; you can control the timbre of the noise using the controls under Noise Color, below. The noise has a dedicated envelope, whose decay time is controlled by the Speed knob. The Depth knob controls the level of the noise. The pitch of the oscillator will not be modulated.
Envelope.
The oscillator pitch will be modulated by a simple envelope, whose decay time is controlled by the Speed knob. The Depth knob controls the amount of pitch modulation. When using negative Depth settings, you may need to set the oscillator Pitch fairly high.
Speed
0.0-100.0.
The Speed control changes in meaning according to the Type selection.
With Saw, Square, Triangle, and Random, the Speed sets the frequency of the LFO.
With Noise EQ and Envelope, the Speed sets the envelope decay time.
Depth
0-100.
The Depth control changes in meaning according to the Type selection. With
Saw, Square, Triangle, Random, and Envelope, the Depth sets the amount of pitch modulation. With Noise EQ, the Depth sets the amount of the noise added to the oscillator output (in addition to the level set under Noise, below).
Noise
This section controls the timbre of the noise generator, and also affects the sampleand-hold LFO when the Oscillator Pitch Mod Type is set to Random. The fi lter settings do not affect the timbre of the oscillator.
Filter
Lowpass, Bandpass, Bandstop, Highpass.
This controls the type of fi lter dedicated to the noise generator.
Cutoff
0-100.
This controls the cutoff frequency of the fi lter dedicated to the noise generator.
Resonance
0-100.
This controls the resonance of the fi lter.
Level
0-100.
This sets the volume level of the noise generator.
Amplifier
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
194 OASYS PCI
Percussion Percussion Synth 2
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Bass Boost
0-100.
This increases the bass frequencies in the output signal.
Level
0-100.
This sets the overall volume level of the Patch.
OASYS PCI 195
Beat Box Percussion
Beat Box
This Patch combines two analog-style percussion synthesizers, similar to the
Percussion Synth, with a MIDI-synced sequencer.
To trigger the Beat Box from MIDI, set Sequence Start/Stop to Stop, and then modulate this parameter with Note Gate. For best results, re-trigger the Beat Box every few measures.
Percussion 1 and 2
The two percussion synth voices are identical to each other. They are very similar to the Percussion synth, except that the initial phase and phase reset are preset.
Waveform
Triangle, Sine.
This selects the waveform for the oscillator.
Pitch
0-100.
This sets the tuning of the oscillator.
Pitch Modulation
Type
Saw, Square, Triangle, Random, Noise EG, Envelope.
This selects the way in which the pitch is modulated.
Saw, Square, Triangle.
The pitch will be modulated by an LFO, with the speci fi ed waveform. The speed and depth of the LFO are set by the Speed and Depth parameters, below.
Random.
The pitch will be modulated by a sample-and-hold LFO, with speed and depth as set below. The sample-and-hold mechanism uses the main noise generator, so that the Noise Color parameters will affect the LFO as well. The
Random setting gives especially interesting results with high Speed settings.
Noise EG.
This adds noise to the output; you can control the timbre of the noise using the controls under Noise Color, below. The noise has a dedicated envelope, whose decay time is controlled by the Speed knob. The Depth knob controls the level of the noise. The pitch of the oscillator will not be modulated.
Envelope.
The oscillator pitch will be modulated by a simple envelope, whose decay time is controlled by the Speed knob. The Depth knob controls the amount of pitch modulation. When using negative Depth settings, you may need to set the oscillator Pitch fairly high.
Speed
0.0-100.0.
The Speed control changes in meaning according to the Type selection.
With Saw, Square, Triangle, and Random, the Speed sets the frequency of the LFO.
With Noise EQ and Envelope, the Speed sets the envelope decay time.
196 OASYS PCI
Percussion Beat Box
Depth
0-100.
The Depth control changes in meaning according to the Type selection. With
Saw, Square, Triangle, Random, and Envelope, the Depth sets the amount of pitch modulation. With Noise EQ, the Depth sets the volume of the noise.
Noise Color
This section controls the timbre of the noise when the Type is set to Noise EG. It also affects the sample-and-hold LFO when the Oscillator Pitch Mod Type is set to
Random.
Cutoff
0-100.
This controls the cutoff frequency of a highpass fi lter dedicated to the noise generator.
Resonance
0-100.
This controls the resonance of the highpass fi lter.
Amplifier
Decay
0-100.
This sets the decay time of the amplitude envelope. Higher settings mean a longer decay time.
Bass Boost
0-100.
This increases the bass frequencies in the output signal.
Level
0-100.
This sets the overall volume level of the synth.
Trigger 1 (switches 1-16)
On, Off.
These sixteen switches control the step sequencer for Percussion Synth 1.
Each switch represents one sixteenth note. If the switch is on, the synth will be triggered on that step; if it is off, the synth will not be triggered.
Trigger 2 (switches 1-16)
On, Off.
These sixteen switches control the step sequencer for Percussion Synth 2.
Each switch represents one sixteenth note. If the switch is on, the synth will be triggered on that step; if it is off, the synth will not be triggered.
Accent (switches 1-16)
On, Off.
These sixteen switches control the step sequencer’s accent function. Each switch represents one sixteenth note. Accent increases the synths’ output levels for the given step. If the switch is on, synths triggered on that step will be accented; if it is off, synths will not be accented.
OASYS PCI 197
Beat Box Percussion
Step Sequencer
Sequence
Stop, Run.
This controls whether the sequencer is running or stopped. To trigger the Beat Box via MIDI, set this to Stop, and then modulate with Note Gate.
Clock
Manual Tempo, MIDI Tempo.
This sets whether the sequencer will use the tempo set by the Manual Tempo knob, or tempo received via MIDI.
Manual Tempo
40-240 bpm.
This sets the tempo, in beats per minute, when the Clock is set to
Manual Tempo. If the Clock is set to MIDI Tempo, this knob is ignored.
Loop Start
1-16.
The sequence will always start at step 1, but when it begins to repeat, it will jump to the step speci fi ed here. You can modulate this via MIDI, to create fl uctuating patterns.
Loop End
1-16.
This sets the end step for the sequence. When the sequence completes this step, it will return to the Loop Start.
198 OASYS PCI
VPM
VPM
OASYS PCI 199
VPM 2 OP VPM
VPM 2 OP
This Patch is a two-operator VPM synthesizer. VPM stands for Virtual Phase
Modulation, in which the phase of one oscillator (the Carrier) is modulated by another oscillator (the Modulator), producing a complex timbre. The combination of an oscillator and its amplitude envelope is known as an “operator.” VPM is particularly well-suited to bells and electric pianos, although it can produce many other sounds as well.
VPM 2 OP
VPM modulation
OP 2
OP 1 Audio output
Carrier - OP 1
Oscillator
The carrier operator determines the basic pitch and amplitude envelope. The modulator operator changes the timbre of this oscillator.
Ratio
1.0-31.0.
This selects the basic tuning for the oscillator.
Fine
0.0-100.0.
This allows you to fi ne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1.
Detune
+/-10.00.
This allows you to detune the oscillator, in cents (1/100 of a semitone).
Waveform
Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the oscillator.
Envelope
This envelope controls the overall output level of the Patch.
200 OASYS PCI
VPM VPM 2 OP
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Level
0.0-100.0.
This is the output volume for the operator, and for the Patch as a whole.
The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Modulator - OP 2
Oscillator
The modulator operator changes the timbre of the carrier operator.
OASYS PCI 201
VPM 2 OP
202
VPM
Ratio
1.0-31.0.
This selects the basic tuning for the oscillator. Changing the modulator’s ratio will affect the timbre of the carrier.
Fine
0.0-100.0.
This allows you to fi ne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1.
Settings other than 0.0 can cause dramatic differences in the timbre of the carrier.
Detune
+/-10.00.
This allows you to detune the oscillator, in cents (1/100 of a semitone).
Settings other than 0.0 can cause dramatic differences in the timbre of the carrier.
Waveform
Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the oscillator. Changing the modulator’s waveform will affect the timbre of the carrier.
Feedback
+/-100.
Feedback allows the operator to self-modulate, which changes the shape of the waveform. At high levels of feedback, the waveform will approach a sawtooth shape.
Envelope
This envelope allows you to change the level of the modulator over time, which in turn changes the timbre of the carrier. This affect is conceptually similar to the fi lter envelope in an analog synth, although the actual change in timbre can be quite different.
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Level
0.0-100.0.
This is the output volume for the operator, which controls the overall amount of modulation to the carrier.
OASYS PCI
VPM
Vibrato
VPM 2 OP
The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
OASYS PCI 203
VPM 4 OP VPM
VPM 4 OP
This Patch is a four-operator VPM synthesizer, with two carrier-modulator pairs.
The two pairs can be used to create layered sounds, with each contributing a different sonic element. This Patch is slightly more DSP-ef fi cient than the more fl exible VPM 4 OP Select.
VPM 4 OP
Feedback
VPM modulation
OP 2
OP 1
Feedback
VPM modulation
OP 4
OP 3
Audio output
VPM stands for Virtual Phase Modulation, in which the phase of one oscillator (the
Carrier) is modulated by another oscillator (the Modulator), producing a complex timbre. The combination of an oscillator and its amplitude envelope is known as an
“operator.” VPM is particularly well-suited to bells and electric pianos, although it can produce many other sounds as well.
Carrier - OP 1 and OP 3
Oscillator
The carrier operators determine the basic pitches and amplitude envelopes, while the modulator operators change the timbre of the carriers. Modulator OP 2 controls the timbre of Carrier OP 1, and Modulator OP 4 controls the timbre of Carrier OP 3.
Ratio
1.0-31.0.
This selects the basic tuning for the oscillator.
Fine
0.0-100.0.
This allows you to fi ne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1.
204 OASYS PCI
VPM VPM 4 OP
Detune
+/-10.00.
This allows you to detune the oscillator, in cents (1/100 of a semitone).
Waveform
Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the oscillator.
Envelope
This envelope controls the overall output level of the Patch.
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
OASYS PCI
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Level
0.0-100.0.
This is the output volume for the operator.
The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
205
VPM 4 OP VPM
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Modulator - OP 2 and OP 4
Oscillator
The modulator operators change the timbre of the carriers. Modulator OP 2 controls the timbre of Carrier OP 1, and Modulator OP 4 controls the timbre of
Carrier OP 3.
Ratio
1.0-31.0.
This selects the basic tuning for the oscillator. Changing the modulator’s ratio will affect the timbre of the carrier.
Fine
0.0-100.0.
This allows you to fi ne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1.
Settings other than 0.0 can cause dramatic differences in the timbre of the carrier.
Detune
+/-10.00.
This allows you to detune the oscillator, in cents (1/100 of a semitone).
Settings other than 0.0 can cause dramatic differences in the timbre of the carrier.
Waveform
Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the oscillator. Changing the modulator’s waveform will affect the timbre of the carrier.
Feedback
+/-100.
Feedback allows the operator to self-modulate, which changes the shape of the waveform. At high levels of feedback, the waveform will approach a sawtooth shape.
Envelope
This envelope allows you to change the level of the modulator over time, which in turn changes the timbre of the carrier. This affect is conceptually similar to the fi lter envelope in an analog synth, although the actual change in timbre can be quite different.
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
206 OASYS PCI
VPM
Vibrato
VPM 4 OP
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Level
0.0-100.0.
This is the output volume for the operator, which controls the overall amount of modulation to the carrier.
The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 207
VPM 4 OP
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
VPM
208 OASYS PCI
VPM VPM 4 OP Select
VPM 4 OP Select
This Patch is a four-operator VPM synthesizer with eight selectable algorithms, as
shown in “VPM 4 OP Select algorithms,” on page 212.
VPM stands for Virtual Phase Modulation, in which the phase of one oscillator (the
Carrier) is modulated by another oscillator (the Modulator), producing a complex timbre. The combination of an oscillator and its amplitude envelope is known as an
“operator.” VPM is particularly well-suited to bells and electric pianos, although it can produce many other sounds as well.
OP 1, OP 2, OP 3, OP 4
The function of each operator will change depending on which algorithm is selected. In some algorithms, the operator may be a modulator; in others, it may be a carrier.
Carrier operators determine the basic pitch and amplitude envelope, while modulator operators change the timbre of the carriers.
Oscillator
Ratio
1.0-31.0.
This selects the basic tuning for the oscillator.
Fine
0.0-100.0.
This allows you to fi ne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1.
Detune
+/-10.00.
This allows you to detune the oscillator, in cents (1/100 of a semitone).
Waveform
Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the oscillator.
Feedback (OP 4 Only)
+/-100.
Feedback allows the operator to self-modulate, which changes the shape of the waveform. At high levels of feedback, the waveform will approach a sawtooth shape.
Envelope
This envelope controls the output level of the operator.
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
OASYS PCI 209
VPM 4 OP Select VPM
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Level
0.0-100.0.
This is the output level for the operator. If the operator is a modulator, it will control the volume; if it is a carrier, it will control the amount of modulation.
The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
210 OASYS PCI
VPM
Vibrato
VPM 4 OP Select
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
OASYS PCI 211
VPM 4 OP Select VPM
Algorithm Select
Alg 1-8.
The algorithm controls which operators are carriers, which are modulators, and how all of the operators are connected together. There are eight different algorithms, as shown below.
VPM 4 OP Select algorithms
Fdbk
VPM
OP 4
VPM
OP 3
VPM
OP 2
OP 1
Alg 1
Fdbk Fdbk
Out
VPM
OP 2
OP 1
OP 4
VPM
VPM
OP 2
OP 1
OP 3
VPM
Out
Alg 2
Fdbk
OP 3
VPM
OP 4
VPM
OP 1
OP 2
VPM
Out
Alg 3
OP 4
VPM
OP 2
VPM
OP 1
OP 3
VPM
Out
Alg 4
Fdbk
Fdbk
VPM
OP 4
OP 3
Alg 5
Fdbk
Out
OP 4
VPM
OP 1 OP 2 OP3
Out
Alg 6
OP 1
OP 2
VPM
OP 4
OP3
Out
Alg 7
OP 1
OP 2
Alg 8
OP3
Fdbk
OP 4
Out
212 OASYS PCI
VPM VPM 4 OP Stack
VPM 4 OP Stack
This Patch is a four-operator VPM synthesizer, with one carrier and three modulators. The three modulators control each other in series, and then the result controls the timbre of the carrier. This Patch is slightly more DSP-ef fi cient than the more fl exible VPM 4 OP Select.
VPM 4 OP Stack
Feedback
OP 4
VPM modulation
OP 3
VPM modulation
OP 2
VPM modulation
OP 1 Audio output
Carrier - OP 1
VPM stands for Virtual Phase Modulation, in which the phase of one oscillator (the
Carrier) is modulated by another oscillator (the Modulator), producing a complex timbre. The combination of an oscillator and its amplitude envelope is known as an
“operator.” VPM is particularly well-suited to bells and electric pianos, although it can produce many other sounds as well.
Oscillator
The carrier operator determines the basic pitch and amplitude envelope, while the modulator operators change the timbre of the carrier.
Ratio
1.0-31.0.
This selects the basic tuning for the oscillator.
OASYS PCI 213
VPM 4 OP Stack VPM
Fine
0.0-100.0.
This allows you to fi ne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1.
Detune
+/-10.00.
This allows you to detune the oscillator, in cents (1/100 of a semitone).
Waveform
Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the oscillator.
Envelope
This envelope controls the overall output level of the Patch.
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
214
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
OASYS PCI
VPM VPM 4 OP Stack
Level
0.0-100.0.
This is the output volume for the operator, and for the Patch as a whole.
The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Modulators - OP 2, OP 3, and OP 4
The modulators in this Patch act in series, so that OP 4 controls OP 3, OP 3 controls
OP 2, and the resulting complex waveform controls the timbre of OP 1, the carrier.
Oscillator
Ratio
1.0-31.0.
This selects the basic tuning for the oscillator. Changing the modulator’s ratio will affect the timbre of the carrier.
Fine
0.0-100.0.
This allows you to fi ne-tune the ratio. You can think of this as the digits to the right of the decimal. For instance, setting the Ratio to 3.0 and Fine to 53.0 results in an actual ratio of 3.53. Setting Fine to 100 is the same as increasing the Ratio by 1.
Settings other than 0.0 can cause dramatic differences in the timbre of the carrier.
Detune
+/-10.00.
This allows you to detune the oscillator, in cents (1/100 of a semitone).
Settings other than 0.0 can cause dramatic differences in the timbre of the carrier.
Waveform
Sine, Sine + 1st Harmonic, Sine + 1st & 2nd Harm.
This sets the waveform for the oscillator. Changing the modulator’s waveform will affect the timbre of the carrier.
Feedback (OP 4 Only)
+/-100.
Feedback allows the operator to self-modulate, which changes the shape of the waveform. At high levels of feedback, the waveform will approach a sawtooth shape.
Envelope
This envelope allows you to change the level of the modulator over time, which in turn changes the timbre of the carrier. This affect is conceptually similar to the fi lter envelope in an analog synth, although the actual change in timbre can be quite different.
OASYS PCI 215
VPM 4 OP Stack VPM
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Level
0.0-100.0.
This is the output volume for the operator, which controls the overall amount of modulation to the carrier.
The level knob has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Vibrato
Frequency
0.0-20.0 Hz.
This controls the initial speed of the vibrato.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the vibrato frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This controls the initial depth of the vibrato–the amount of pitch modulation.
216 OASYS PCI
VPM VPM 4 OP Stack
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
OASYS PCI 217
Waveguide
Waveguide
218 OASYS PCI
Waveguide Flute
Flute
This Patch is a physical model of a fl ute, including breath pressure, the tonal quality of the breath noise, the interaction between the breath and the bore, the tonal quality of the bore, playing style, and more.
Breath Pressure
Pressure
0.0-100.0.
This controls the overall force of the breath pressure, modeling how hard you are blowing into the fl ute.
Env Amount
0.0-100.0
This sets the amount by which the envelope affects the breath input.
Attack
0-100.
This sets the attack time of the envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Breath Noise
Gain
0.0-100.0.
This is the maximum breath level, scaled by the Breath Pressure section’s
Input and Input Mod parameters.
Frequency
0-8000Hz.
The tone of the breath noise is shaped by a bandpass fi lter, and this controls the center frequency of that fi lter.
Width
0.0-100.0.
This controls the bandwidth of the fi lter. At 0, the fi lter will be very resonant.
OASYS PCI 219
Flute Waveguide
Chiff
This is a simple envelope, modeling the initial attack of the fl ute. It can control both level (gain) and frequency (pitch).
Decay
0-100.
This controls the decay time of the chiff envelope.
Gain Amt
0-100.
This sets the amount by which the chiff envelope affects the fl ute’s volume level.
Freq Amt
0-100.
This sets the amount by which the chiff envelope affects the fl ute’s pitch.
Breath-Bore Interaction
When a player blows into a fl ute mouthpiece, the breath of the player interacts with the air resonating within the fl ute. The player can control this by changing the opening of the lips, and by changing the angle of the fl ute. This section models that interaction, using a complex equation controlled by the parameters below. You can also think of the equation as a table, transforming input into output. It is dif fi cult to describe the precise effects of the individual parameters on the sound; it’s best to just work with them and see what happens!
Offset
+/-100.0.
This is the offset for the equation.
Linear
+/-100.0.
This controls the linear amount.
Squared
+/-100.0.
This controls the squared amount.
Cubed
+/-100.0.
This controls the cubed amount.
Bore
Gain
0.0-100.0.
This is the maximum breath level, scaled by the Breath Pressure section’s
Pressure and Pressure Mod parameters.
Reflection
0.0-100.0.
This is the degree of coupling between the mouthpiece and the bore, which controls how much the two parts of the instrument interact.
220 OASYS PCI
Waveguide Flute
Mode/Tune
0.0-100.0.
This models the distance from the mouth to the mouthpiece, which affects the pitch. Flautists will vary this distance to make small pitch corrections, by rolling the fl ute towards the mouth or away from it.
Small values will produce detuning; this range represents the practical distance that can be achieved by a real fl autist. The model allows you to go further than you could in the real world, however, and after a certain point the pitch will jump by an octave into the next pitch mode. (Real-world fl autists can create this mode jump by blowing very hard.)
Damping
0-100.
This controls the brightness of the bore.
Key Track
0-100.
This allows you to vary the damping according to the MIDI note.
Pitch Controllers
You can bend the pitch of the fl ute smoothly, or make it leap up and down by an octave in a “Mode Jump,” which real fl autists can create by blowing very hard.
Pitch Bend
List of Modulation Sources.
This sets the modulation source for creating a smooth
pitch bend. For a complete list, please see “Modulation Sources” on page 2.
Mode Jump
List of Modulation Sources.
This sets the modulation source for controlling the
mode jump. For a complete list, please see “Modulation Sources” on page 2.
LFO
The LFO allows you to modulate both pitch and breath pressure.
Frequency
0.0-10.0 Hz.
This controls the initial speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the LFO frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
OASYS PCI 221
Flute Waveguide
LFO – > Pitch Depth
Depth
0.0-100.0.
This sets the initial depth of the LFO to pitch, before modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amt
0.0-100.0.
This sets the amount by which the mod source affects the pitch modulation depth.
LFO – > Breath Depth
Depth
0.0-100.0.
This sets the initial depth of the LFO to breath pressure, before modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
breath pressure depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amt
0.0-100.0.
This sets the amount by which the mod source affects the breath pressure modulation depth.
Output
Volume
-INF, -69.63-0.00dB.
This is the output volume for the fl ute. It has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
Low Cut
0-100.
This sets the cutoff point of a low cut fi lter on the output of the fl ute. Higher settings will diminish the lower frequencies.
222 OASYS PCI
Waveguide Tenor Sax
Tenor Sax
This Patch is a physical model of a tenor saxophone, including breath pressure, the tonal quality of the breath noise, playing style, and the characteristics of the reed, bore, and bell.
Breath Pressure
Input
0.0-100.0.
This controls the overall force of the breath pressure, modeling how hard you are blowing into the sax.
Input Mod
List of Modulation Sources.
This sets the modulation source for controlling the breath input. You might try using the mod wheel, or breath controller. For a
complete list, please see “Modulation Sources” on page 2.
Amount
0.0-100.0
This sets the amount by which the mod source affects the breath input.
Pressure
0.0-100.0.
This controls how much of the input goes to the reed, as opposed to the bore. If Pressure is set to 0, then the Reed and Growl sections will have little or no effect, as if you were blowing into an open tube. At higher pressures, the Reed and
Growl will have more effect.
Pressure Mod
List of Modulation Sources.
This sets the modulation source for controlling the
breath pressure. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-100.0.
This sets the amount by which the mod source affects the breath pressure.
Attack
0.0-100.0.
This models the reed’s resistance to opening, or how hard it is to get the reed to start moving.
Release
0.0-100.0.
This models the reed’s resistance to closing.
OASYS PCI 223
Tenor Sax
Breath Noise
Waveguide
Gain
0.0-100.0.
This is the maximum breath level, scaled by the Breath Pressure section’s
Input and Input Mod parameters.
Frequency
0-8000Hz.
The tone of the breath noise is shaped by a bandpass fi lter, and this controls the center frequency of that fi lter.
Width
0.0-100.0.
This controls the bandwidth of the fi lter. At 0, the fi lter will be very resonant.
Reed
Onset
0.00-100.00.
Onset controls the gain through the mouthpiece.
Embouchure
0.00-100.00.
The embouchure is the way that the lips are pursed; it affects the tone of the reed.
Damping
0.00-100.00.
This controls the brightness of the reed.
Nonlinear
0.00-100.00.
The Nonlinear parameter adjusts the feedback within the reed; higher values make the reed more unstable.
Reflection
+/-100.0.
This is the degree of coupling between the reed and the bore, which controls how much the two parts of the instrument interact.
Growl
Instability
0-100.
This adds instability to the breath signal, modeling the breath and reed technique of the player.
Growl Source
List of Modulation Sources.
This sets the modulation source for controlling the
instability, or growl. For a complete list, please see “Modulation Sources” on page 2.
224 OASYS PCI
Waveguide
Horn
LFO
OASYS PCI
Amount
0-100.
This sets the amount by which the mod source affects the growl.
Tenor Sax
Glide
0-100.
This models the time that the horn takes to transition between notes.
Bell Width
0-5000Hz.
This models the width of the saxophone’s bell, which acts as a highpass fi lter.
Bell Level
0-100.
This is the volume level from the saxophone’s bell, like putting a mic at the end of the horn.
Bore Level
0-100.
This is the volume level from within the saxophone’s bore, like putting a mic inside the sax. Mixing the bore with the bell allows additional control over the tone.
The LFO includes individual amounts to vibrato (for pitch modulation), bore (for brightness modulation), and breath pressure.
Frequency
0.0-10.0 Hz.
This controls the initial speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the LFO frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth Controller
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Vibrato Amount
0.00-100.00.
This sets the amount by which the mod source affects the pitch modulation depth.
225
Tenor Sax
Output
Waveguide
Bore Amount
0.00-100.00.
This sets the amount by which the mod source affects the brightness of the bore.
Breath Amount
0.00-100.00.
This sets the amount by which the mod source affects the breath pressure.
Lowpass
0-24000 Hz.
This sets the frequency of the overall lowpass fi lter. The fi lter can be used to make the sound more mellow and rounded.
226 OASYS PCI
Waveguide Trombone
Trombone
This Patch is a physical model of a trombone, including breath pressure, the character of the breath noise, the timbre of the bell, and authentic “rip” and vibrato effects.
Breath Pressure
Pressure
0.0-100.0.
This controls the overall force of the breath pressure, modeling how hard you are blowing into the trombone.
Pressure Mod
List of Modulation Sources.
This sets the modulation source for controlling the breath input. You might try using the mod wheel, or breath controller. For a
complete list, please see “Modulation Sources” on page 2.
Amount
0.0-100.0
This sets the amount by which the mod source affects the breath pressure.
Envelope
Env Amount
0.0-100.0
This sets the amount by which the envelope affects the breath pressure.
Attack
0-100.
This sets the attack time of the envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Breath Noise
This section controls the timbre and level of the breath noise; think of it as the sound that the player makes with their mouth, before entering the mouthpiece of
OASYS PCI 227
Trombone
Output
Bell
228
Waveguide the trombone. The timbre of the noise is controlled by a resonant bandpass fi lter, and there is a dedicated ramp envelope to control the level of the noise (for creating attack sounds).
Gain
0.0-100.0.
This is the maximum breath level, scaled by the Breath Pressure section’s
Pressure and Pressure Mod parameters.
Frequency
0-24000Hz.
The tone of the breath noise is shaped by a bandpass fi lter. This controls the center frequency of that fi lter.
Resonance
0-100.
This controls the resonance of the fi lter. At 0, the fi lter will not resonate at all; at 100, it will be very resonant.
Ramp Amt
0-100.
This sets the amount by which the ramp envelope (controlled by Ramp
Decay, below) affects the volume level of the breath noise.
Ramp Decay
0-100.
This sets the decay time of the ramp envelope.
Volume
0.0-100.0.
This is the output volume for the trombone. It has extra smoothing on the
DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
The bell affects the sound in two ways: by feeding back into the body of the instrument, and by shaping the timbre of the sound output. The highpass and lowpass fi lters, below, affect the output timbre.
Highpass
0.00-100.00.
This controls the cutoff frequency of the highpass fi lter. Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
OASYS PCI
Waveguide Trombone
You can use the highpass to create muted effects.
Resonance
0.00-100.00.
This controls the resonance of the highpass fi lter. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Lowpass
0.00-100.00.
This controls the cutoff frequency of the lowpass fi lter. Frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
Resonance
0.00-100.00.
This controls the resonance of the lowpass fi lter. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Pitch Controllers
You can bend the pitch of the trombone smoothly, as when moving the slide, or make it jump up and down in a “rip” which follows the harmonic series.
Octave Rip
List of Modulation Sources.
This sets the modulation source for controlling the
octave rip. For a complete list, please see “Modulation Sources” on page 2.
Slide
List of Modulation Sources.
This sets the modulation source for creating a smooth
pitch bend, like moving the slide. For a complete list, please see “Modulation
Vibrato Rate
Frequency
0.00-10.00 Hz.
This controls the initial speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 229
Trombone Waveguide
Vibrato Depth
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the LFO frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0.00-100.00.
This sets the initial depth of the vibrato LFO, before modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Lip Only
On, Off.
On brass instruments, you can achieve vibrato in two ways: by varying the embouchure of the lips, or by both varying the embouchure and moving the slide. For a standard trombone vibrato, turn Lip Only off; for an embouchure-only vibrato, turn Lip Only on.
Vibrato Amount
0.00-100.00.
This sets the amount by which the mod source affects the vibrato depth.
230 OASYS PCI
Waveguide Trumpet
Trumpet
This Patch is a physical model of a trumpet, including breath pressure, the character of the breath noise, the timbre of the bell, and authentic “rip” and vibrato effects.
Breath Pressure
Pressure
0.0-100.0.
This controls the overall force of the breath pressure, modeling how hard you are blowing into the trumpet.
Pressure Mod
List of Modulation Sources.
This sets the modulation source for controlling the breath input. You might try using the mod wheel, or breath controller. For a
complete list, please see “Modulation Sources” on page 2.
Amount
0.0-100.0
This sets the amount by which the mod source affects the breath pressure.
Envelope
Env Amount
0.0-100.0
This sets the amount by which the envelope affects the breath pressure.
Attack
0-100.
This sets the attack time of the envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Breath Noise
This section controls the timbre and level of the breath noise; think of it as the sound that the player makes with their mouth, before entering the mouthpiece of
OASYS PCI 231
Trumpet
Output
Bell
232
Waveguide the trumpet. The timbre of the noise is controlled by a resonant bandpass fi lter, and there is a dedicated ramp envelope to control the level of the noise (for creating attack sounds).
Gain
0.0-100.0.
This is the maximum breath level, scaled by the Breath Pressure section’s
Pressure and Pressure Mod parameters.
Frequency
0-24000Hz.
The tone of the breath noise is shaped by a bandpass fi lter. This controls the center frequency of that fi lter.
Resonance
0-100.
This controls the resonance of the fi lter. At 0, the fi lter will not resonate at all; at 100, it will be very resonant.
Ramp Amt
0-100.
This sets the amount by which the ramp envelope (controlled by Ramp
Decay, below) affects the volume level of the breath noise.
Ramp Decay
0-100.
This sets the decay time of the ramp envelope.
Volume
0.0-100.0.
This is the output volume for the trumpet. It has extra smoothing on the
DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
The bell affects the sound in two ways: by feeding back into the body of the instrument, and by shaping the timbre of the sound output. The highpass and lowpass fi lters, below, affect the output timbre.
Highpass
0.00-100.00.
This controls the cutoff frequency of the highpass fi lter. Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
OASYS PCI
Waveguide Trumpet
You can use the highpass to create muted effects.
Resonance
0.00-100.00.
This controls the resonance of the highpass fi lter. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Lowpass
0.00-100.00.
This controls the cutoff frequency of the lowpass fi lter. Frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
Resonance
0.00-100.00.
This controls the resonance of the lowpass fi lter. Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Pitch Controllers
You can bend the pitch of the trumpet smoothly, or make it jump up and down in a
“rip” which follows the harmonic series.
Octave Rip
List of Modulation Sources.
This sets the modulation source for controlling the
octave rip. For a complete list, please see “Modulation Sources” on page 2.
Slide
List of Modulation Sources.
This sets the modulation source for creating a smooth
pitch bend, like a slide trumpet. For a complete list, please see “Modulation
Vibrato Rate
Frequency
0.00-10.00 Hz.
This controls the initial speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 233
Trumpet Waveguide
Vibrato Depth
Amount
0.0-10.0Hz.
This sets the amount, in Hz, by which the mod source affects the LFO frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0.00-100.00.
This sets the initial depth of the vibrato LFO, before modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Lip Only
On, Off.
On brass instruments, you can achieve vibrato in two ways: by varying the embouchure of the lips, or by both varying the embouchure and moving the slide. For a standard trumpet vibrato, turn Lip Only on; for a slide trumpet vibrato, turn Lip Only off.
Vibrato Amount
0.00-100.00.
This sets the amount by which the mod source affects the vibrato depth.
234 OASYS PCI
Waveguide Vocal
Vocal
This Patch is a physical model of a human voice, including the timbre of the glottal pulse, randomized vibrato, the breath noise, and the vowel shape or “formant.”
Pitch Ramp
This section controls a simple pitch envelope.
Depth
+/-100.
This controls the amount of affect the envelope has on the pitch.
Rate
0-100.
This controls the decay time of the envelope.
Shape
+/-100.
This controls the shape, of the envelope - the way that the envelope tapers as it decays. At 0, it is linear, and decays in a straight line. Positive values shape the envelope so that it decays more slowly at fi rst, and then decays more quickly at the end. Negative values cause it to decay more quickly at fi rst, and then fade more slowly at the end.
Pitch Mod
Pitch Mod
List of Modulation Sources.
This sets the modulation source for controlling the
pitch. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0.00-24.00.
This sets the amount by which the mod source affects the pitch, in halfsteps.
Smoothing
0-100.
This determines how long it takes for the pitch to respond to MIDI controller modulation. 50.0 works well in most cases. Lower settings will make the pitch respond very quickly; higher settings will make the pitch slide very slowly to its new value.
Glide
Note Glide
0-100.
This sets the glide amount (also known as portamento), which makes the pitch slide smoothly between notes. At 0, Glide is completely off. At 100, notes will take a long time to glide to the new pitch.
OASYS PCI 235
Vocal
Glottal Pulse
This section controls the basic timbre of the voice, modeling the human voice-box, or “glottis.” The glottal creates a complex waveform, made of a pulse followed by a period of silence. The rising and falling parameters control the shape of the pulse.
Rising
0.0-100.0.
This controls the amount of time that it takes the pulse to rise from zero to its peak.
Falling
0.0-100.0.
This controls the amount of time that it takes the pulse to fall from its peak back to zero.
Vibrato
Waveguide
Note that the effects of glide will also vary depending on the Patch’s voice allocation setting, in the Program Edit window. Poly Retrig, Poly Reuse, Mono
Legato, and Unison modes are generally the most suitable for use with Glide, but you may fi nd that you like other settings as well.
Frequency
0.00-7.20 Hz.
This controls the initial speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-7.20 Hz.
This sets the amount, in Hz, by which the mod source affects the LFO frequency. When the mod source is at its maximum value, it will add this amount to the setting on the Frequency knob.
Depth
0-100.
This sets the initial depth of the vibrato LFO, before modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the vibrato depth.
236 OASYS PCI
Waveguide Vocal
Random Vibrato
Amount
0-100.
This sets the amount of randomness applied to the vibrato frequency.
Smoothing
0-100.
This sets the amount of smoothing applied to the randomness. At low settings, the randomness may cause large, instantaneous jumps in the vibrato frequency; at higher settings, the randomness will cause smoother, continuous changes.
Amplitude
This section controls the loudness of the pitched vocal sound, including a simple amplitude envelope.
Attack
0-100.
This sets the attack time of the AR envelope–the time that it takes from the moment that the key is pressed until the envelope reaches its peak.
Release
0-100.
This sets the release time of the AR envelope–the time that it takes from the moment that the key is released until the envelope falls to zero.
AR Envelope
OASYS PCI
Attack time Release time
Level
0-100.
This sets the initial output level for the glottal pulse, before modulation.
237
Vocal
Noise
Formant
Waveguide
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
glottal pulse output level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the glottal pulse output level.
This section controls the timbre and level of the breath noise. The timbre of the noise is shaped by a 12dB per octave, resonant lowpass fi lter.
Frequency
0-100.
This controls the cutoff frequency of the 12dB per octave lowpass fi lter.
Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Resonance
0-100.
This controls the resonance of the fi lter. At 0, the fi lter will not resonate at all; at 100, it will be very resonant.
Level
0-100.
This sets the initial output level for the breath noise, before modulation.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
breath noise output level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
0-100.
This sets the amount by which the mod source affects the breath noise output level.
This section controls the shape of the mouth and throat, to create different vowel sounds, or “formants.” You can fade between different formants in real time, using
MIDI modulation and/or a dedicated LFO.
There is a single formant fi lter for the entire Patch, regardless of the number of voices assigned. If the number of voices is set to 6, for instance, you will be able to
238 OASYS PCI
Waveguide
OASYS PCI
Vocal play six notes creating individual glottal pulses and breath noises, which will then all go through a single formant fi lter.
Input Trim
0-100.
This sets the input level to the formant fi lter. If the fi lter resonance is high, you may need to turn down the input to prevent clipping.
Formant Shape
These parameters assign vowel sounds to the minimum, center, and maximum values of the manual control, the Shape X-Fade controller, and the LFO. For example, let’s say that Mod Wheel is selected as the modulation source, and Voice
Top is set to a, Voice Center is set to i, and Voice Bottom is set to u. Moving the wheel up from 0 will then produce the vowel sounds “u”, “i”, and then “a.”
Bottom a, e, i, u, eee, straight.
This is the vowel sound at the minimum value of the controller. “Straight” means that the glottal pulse and breath noise will be heard directly, without any formants.
Center a, e, i, u, eee, straight.
This is the vowel sound at the middle value of the controller.
Top a, e, i, u, eee, straight.
This is the vowel sound at the maximum value of the controller.
Vocal Size
Small, Normal, Big.
This controls the size of the throat creating the formants. Small is like a small child, Normal is like an average-sized adult, and Big is like a very large man.
Damping
0.0-100.0.
This sets the amount of high-frequency damping within the formant fi lter.
Resonance
0.0-100.0.
This sets the intensity of the vowel resonance. Higher resonance settings will add more character to the sound.
Formant Control
Manual
0-100.
This sets the initial position within the Formant Shape, between the bottom, center, and top positions.
Shape X-Fade
List of Modulation Sources.
This sets the modulation source for controlling the
formant shape. For a complete list, please see “Modulation Sources” on page 2.
239
Vocal Waveguide
LFO
LFO Freq
0.00-4.00 Hz.
This sets the frequency, or speed, of the LFO.
LFO Shape
+/-100.
This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
LFO Amt
0-100.
This sets the amount by which the LFO affects the formant shape.
Output Filters
The highpass and lowpass fi lters control the output of the formant fi lter, and thus the output of the entire Patch.
Highpass
0.00-100.00.
This controls the cutoff frequency of the highpass fi lter. Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Lowpass
0.00-100.00.
This controls the cutoff frequency of the lowpass fi lter. Frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
240 OASYS PCI
Effects
242
Amp & Speaker
Amp & Speaker
OASYS PCI
Amp & Speaker Guitar Amp
Guitar Amp
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Amp Simulator
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Amplifier Type
SS, EL84, 6L6.
Selects the type of guitar ampli fi er.
Output
This effect simulates the frequency response characteristics of guitar ampli fi ers. You can obtain a realistic guitar ampli fi er sound. It’s also effective for organ sounds.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 243
St Guitar Amp Amp & Speaker
St Guitar Amp
This is a stereo-in, stereo-out amp simulator.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Amp Simulator
Amplifier Type
SS, EL84, 6L6.
Selects the type of guitar ampli fi er.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
244 OASYS PCI
Chorus
4-Tap Chorus Chorus
4-Tap Chorus
This effect has four chorus blocks, each with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also set some of the chorus blocks to combine the chorus and delay effects.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Taps 1-4
Delay
0.0-440.0ms.
This sets the delay time for the tap, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation for the tap.
Level
0-100.
This sets the output volume level for the tap.
Tap 1 Feedback
Pan
0-100.
This sets the stereo output position for the tap.
Feedback
+/-100.
This sets the delay feedback for tap 1.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling tap 1’s
delay feedback. For a complete list, please see “Modulation Sources” on page 2.
246 OASYS PCI
Chorus
LFO
Output
4-Tap Chorus
Mod Amt
+/-100.
This sets the amount by which the mod source affects tap 1’s delay feedback.
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 247
6-Tap Chorus Chorus
6-Tap Chorus
This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Tap 1
Delay
0.0-670.0ms.
This sets the delay time for Tap 1, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation for Tap 1.
Level
0-100.
This sets the output volume level for Tap 1.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the output levels for
all
of the taps, 1 through 6. For a complete list of mod sources,
please see “Modulation Sources” on page 2.
Mod Amt
+/-100.
This sets the amount by which the mod source affects the output level of tap
1.
248 OASYS PCI
Chorus
Taps 2-6
6-Tap Chorus
Each of Taps 2-6 has its own LFO, running at a preset phase offset from Tap 1’s LFO, as shown below:
Tap
Phase
1
0°
2
180°
3
60°
4
240°
5
120°
6
300°
Delay
0.0-670.0ms.
This sets the delay time for the tap, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation for the tap.
Level
0-100.
This sets the output volume level for the tap.
Tap 1 Feedback
Mod Amt
+/-100.
This sets the amount by which the mod source affects the output level of each individual tap. All of the taps use the mod source selected for Tap 1, as described above. You can use the level modulation to smoothly crossfade between
(for instance) a 4-phase chorus and a two-tap delay.
Feedback
+/-100.
This sets the delay feedback for tap 1.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling tap 1’s
delay feedback. For a complete list, please see “Modulation Sources” on page 2.
Mod Amt
+/-100.
This sets the amount by which the mod source affects tap 1’s delay feedback.
Panning
Panning Preset a-d.
This controls the panning of the six taps, offering various combinations of stereo images. Each entry shows the relative panning of the taps, from left to right.
OASYS PCI 249
6-Tap Chorus
LFO
Output
Chorus
Spread
+/-100.
This controls the width of the effect’s stereo image.
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
250 OASYS PCI
Chorus
Input
Chorus
LFO
Chorus
Chorus
This effect adds thickness and warmth to the sound by modulating the delay time of the input signal.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay
0.0-50.0ms.
This sets the delay time for the chorus, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 251
Chorus
Output
Chorus
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
252 OASYS PCI
Chorus
Input
Pre EQ
Chorus
OASYS PCI
EQ Chorus
EQ Chorus
This is a mono-in, mono-out chorus, combined with a two-band shelving EQ.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Low Freq
20-2000Hz.
The frequency of the low shelving EQ.
Low Gain
+/-18.1dB.
The gain of the low shelving EQ.
High Freq
5000-20,000Hz.
The frequency of the high shelving EQ.
High Gain
+/-18.1dB.
The gain of the high shelving EQ.
Delay
0.0-50.0ms.
This sets the delay time for the chorus, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
253
EQ Chorus
LFO
Output
Chorus
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
Frequency
0.02-20.00Hz.
This controls the speed of the LFOs.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
254 OASYS PCI
Chorus
Input
Chorus
Harmonic Chorus
Harmonic Chorus
This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also add feedback, to turn the chorus into a fl anger.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Hi/Low Xover
0-100.
This sets frequency for the crossover fi lter. Only the audio above the crossover point is sent through the chorus; audio below the crossover point is sent directly to the outputs.
Delay
0.0-50.0ms.
This sets the delay time for the chorus, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a fl anger.
OASYS PCI 255
Harmonic Chorus Chorus
Feedback
+/-100.
This sets the feedback amount of the chorus. Increasing the feedback will allow you to use the effect as a fl anger.
Damping
0-100.
This controls the high-frequency damping in the feedback path.
Levels
Low Band
0-100.
This sets the output level for the dry, unchorused low band.
High Band
0-100.
This sets the output level for the chorused high band.
Output
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
256 OASYS PCI
Chorus St 2-Band Chor
St 2-Band Chor
This is a stereo-in, stereo-out chorus effect, with completely separate choruses for high and low frequencies. Thick, fi ne chorus effects can be created when this effect is applied to strings or ensemble sounds.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Hi/Low Xover
0-100.
This sets frequency for the crossover fi lter. Audio below the crossover point is sent through the Low Band Chorus, and audio above the crossover point is sent through the High Band Chorus.
High Band Chorus
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
OASYS PCI 257
St 2-Band Chor
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
Chorus
Low Band Chorus
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown above, enhances the stereo effect.
258 OASYS PCI
Chorus St 2-Band Chor
Depth Modulation
Modulate
High Band, Low Band, Both.
This selects whether depth modulation affects just the high band chorus, just the low band chorus, or both bands at once.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Frequency Modulation
Modulate
High Band, Low Band, Both.
This selects whether frequency modulation affects just the high band chorus, just the low band chorus, or both bands at once.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 259
St Bi-Phase Chr Chorus
St Bi-Phase Chr
This stereo-in, stereo-out chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay
Left
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Stereo Bi-Phase Mod
LFO 1 Depth
0-100.
This controls the depth of LFO 1’s pitch modulation.
LFO 2 Depth
0-100.
This controls the depth of LFO 2’s pitch modulation.
Feedback
+/-100.
This sets the feedback amount of the chorus. Increasing the feedback will change the chorus into a fl anger.
Damping
0-100.
This controls the high-frequency damping in the feedback path.
Depth Modulation
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
LFO 1 Amt
+/-100.
This sets the amount by which the mod source affects LFO 1’s depth.
260 OASYS PCI
Chorus St Bi-Phase Chr
LFO 2 Amt
+/-100.
This sets the amount by which the mod source affects LFO 2’s depth.
LFO 1
LFO Phase
Waveform
Triangle, Sine.
This selects the shape of LFO 1.
Frequency
0.00-20.00Hz.
This controls the speed of LFO 1.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
speed of LFO 1. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-100.
This sets the amount by which the mod source affects the speed of LFO 1.
LFO 2
1 <-> 2
+/-180.
This sets the phase difference between the two LFOs. Off-setting the phase between the two changes the resulting complex waveform.
Waveform
Triangle, Sine.
This selects the shape of LFO 2.
Frequency
0.00-20.00Hz.
This controls the speed of LFO 2.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
speed of LFO 2. For a complete list, please see “Modulation Sources” on page 2.
Amount
+/-100.
This sets the amount by which the mod source affects the speed of LFO 2.
OASYS PCI 261
St Bi-Phase Chr
Interaction between the two LFOs
LFO1
LFO2
Depth1
+
Depth2
Chorus
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This inverts the phase of the chorused signal, changing the timbre when combined with the dry sound.
262 OASYS PCI
Chorus St Chorus
St Chorus
Input
Stereo Chorus
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
You can also use the L/R Phase parameter to enhance the stereo effect.
LFO
This is a stereo-in, stereo-out chorus. You can enhance the stereo effect by offsetting the phase of the left and right LFOs from each other.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
OASYS PCI 263
St Chorus Chorus
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
Output
264
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI
Chorus
Input
Pre EQ
Chorus
St EQ Chorus
St EQ Chorus
This is a stereo chorus with a two-band shelving EQ. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Low Freq
20…2000Hz.
The frequency of the low shelving EQ.
Low Gain
+/-18.1dB.
The gain of the low shelving EQ.
High Freq
5000…20,000Hz.
The frequency of the high shelving EQ.
High Gain
+/-18.1dB,
The gain of the high shelving EQ.
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
OASYS PCI 265
St EQ Chorus Chorus
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
LFO
Waveform
Triangle, Sine.
This selects the shape of the LFO.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
266
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
OASYS PCI
Chorus
Output
St EQ Chorus
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 267
St HarmonicChr Chorus
St HarmonicChr
This is a stereo-in, stereo-out harmonic chorus, which applies chorus only to higher frequencies. It can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also add feedback, to turn the chorus into a fl anger.
Shifting the left and right LFO phases from each other will enhance the stereo width.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Hi/Low Xover
0-100.
This sets frequency for the crossover fi lter. Only the audio above the crossover point is sent through the chorus; audio below the crossover point is sent directly to the outputs.
Stereo Harmonic Chorus
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Feedback
+/-100.
This sets the feedback amount of the chorus. Increasing the feedback will change the chorus into a fl anger.
Damping
0-100.
This controls the high-frequency damping in the feedback path.
268 OASYS PCI
Chorus
LFO
St HarmonicChr
Waveform
Triangle, Sine.
This selects the shape of the LFO.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
Levels
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Low Band
0-100.
This sets the output level for the dry, unchorused low band.
OASYS PCI 269
St HarmonicChr
Output
Chorus
High Band
0-100.
This sets the output level for the chorused high band.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
270 OASYS PCI
Chorus St Step Chorus
St Step Chorus
Input
Stereo Chorus
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
You can also use the L/R Phase parameter to enhance the stereo effect.
LFO
This is a stereo-in, stereo-out chorus, with a step effect on the LFO. You can enhance the stereo effect by offsetting the phase of the left and right LFOs from each other.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
OASYS PCI 271
St Step Chorus Chorus
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
Output
272
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Step LFO
On, Off.
This turns the step effect on and off.
Step Freq
0.00-50.00Hz.
This sets the frequency for the step waveform.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
OASYS PCI
Chorus St Step Chorus
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
–100…+100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 273
St Step Chor 2 Chorus
St Step Chor 2
This is a stereo-in, stereo-out chorus effect, with completely separate choruses for high and low frequencies. You can also use the high-range chorus as a step chorus, employing a step-shape LFO waveform. Thick, fi ne chorus effects can be created when this effect is applied to strings or ensemble sounds.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Hi/Low Xover
0-100.
This sets frequency for the crossover fi lter. Audio below the crossover point is sent through the Low Band Chorus, and audio above the crossover point is sent through the High Band Chorus.
High Band Chorus
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
274 OASYS PCI
Chorus
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
St Step Chor 2
Step LFO
On, Off.
This turns the step effect on and off.
Step Freq
0.00-50.00Hz.
This sets the frequency for the step waveform.
Level
0-100.
This sets the output level for the high band chorus.
Low Band Chorus
Left Delay
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right Delay
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
OASYS PCI 275
St Step Chor 2 Chorus
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown above, enhances the stereo effect.
Level
0-100.
This sets the output level for the low band chorus.
Depth Modulation
Modulate
High Band, Low Band, Both.
This selects whether depth modulation affects just the high band chorus, just the low band chorus, or both bands at once.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Frequency Modulation
Modulate
High Band, Low Band, Both.
This selects whether frequency modulation affects just the high band chorus, just the low band chorus, or both bands at once.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
276 OASYS PCI
Chorus St TempoChorus
St TempoChorus
This is a stereo-in, stereo-out chorus with a complex, tempo-controlled LFO. For
more information on syncing LFOs to MIDI, see “MIDI Tempo LFOs” on page 5.
Input
Delay
Stereo Chorus
Left
0.0-50.0ms.
This sets the delay time for the left channel, in milliseconds.
Right
0.0-50.0ms.
This sets the delay time for the right channel, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
You can also use the L/R Phase parameter to enhance the stereo effect.
LFO
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
General
Waveform
Triangle, Sine.
This selects the shape of the LFO.
OASYS PCI 277
St TempoChorus Chorus
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
278 OASYS PCI
Chorus St TempoChorus
Waveforms and Phase
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
-180˚ -90˚ 0˚ 90˚ 180˚
-180˚ -90˚ 0˚ 90˚ 180˚
OASYS PCI
Triangle Sine
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
279
St TempoChorus Chorus
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
280 OASYS PCI
Chorus
Input
Chorus
LFO
OASYS PCI
Tempo Chorus
Tempo Chorus
This is a chorus with a complex, tempo-controlled LFO. For more information on
syncing LFOs to MIDI, see “MIDI Tempo LFOs” on page 5.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the chorus effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay
0.0-50.0ms.
This sets the delay time for the chorus, in milliseconds.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
General
Waveform
Triangle, Sine.
This selects the shape of the LFO.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
281
Tempo Chorus Chorus
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Waveforms and Phase
Phase Reset
This sets the MIDI controller which will reset the LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
-180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚
282
Triangle Sine
Frequency
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
OASYS PCI
Chorus
Output
Tempo Chorus
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Manual Tempo
40 to 240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 283
Compressor & Gate
Compressor & Gate Compressor
Compressor
This is a mono-input, mono-output compressor. Compressors regulate volume level, and are also often used to give a “punchy” effect to sounds such as guitars, basses, pianos, and drums.
Input
-INF, -69.0 to 0.0dB.
This sets the input level for the compressor.
Input meter
This meter shows the input level. This is particularly helpful when setting the compression threshold.
Input Select
Left. Left + Right.
The action of the compressor is controlled by the level of the input signal. The Input Select determines whether the compressor will be controlled by the left input only, or by the combination of the left and right signals.
Note that this is a mono compressor only; stereo signals will be merged to mono.
Ratio
1.00:1-20.00:1.
This determines how strong the effect of the compressor will be, expressed in terms of how many dB in input level is required for a 1dB change in output level.
At 1.00:1, the compressor has no effect. At 20.00:1, a 20dB increase in the input level
(over the threshold) results in only a 1dB change in output.
Compressor Ratio and Threshold
Output Level
Ratio = 1:1
Ratio = 20:1
Threshold
Input Level
OASYS PCI 285
Compressor Compressor & Gate
Threshold
-40.0 to 0.0dB.
This determines the input level at which the compressor will start to work. Input levels above the threshold will be compressed, and input levels below the threshold will not be compressed.
Attack
1-100ms.
This determines how quickly the compressor will take affect after the signal crosses above the threshold.
Release
50-4000ms.
This controls how quickly the compressor will stop reducing volume level after the signal falls below the threshold.
Gain
0-24dB.
This allows you to boost the gain after the compressor. In general, try to set the gain to match the maximum level shown on the gain reduction meter. Setting this too high can cause clipping on the output.
Gain Reduction meter
This meter shows the amount of gain reduction caused by the compressor.
Output meter
This meter shows the output level of the compressor.
286 OASYS PCI
Compressor & Gate Dual MIDI Gate
Dual MIDI Gate
This is a stereo-in, stereo-out MIDI-controlled gate. Unlike the Expander Gate, which is controlled by the input level, the Dual MIDI Gate opens and closes via
MIDI triggers. The left and right channels may be controlled completely separately, with independent MIDI triggers and envelope settings.
You can use this for manually gating a recorded signal, for precise control over the gating process, or for special effects, such as rhythmic gating. You can also think of this as two “amp envelope” sections from an analog synthesizer.
MIDI Gate (Left and Right Channels)
Volume
0-100.
This sets the default volume level for signals passing through the channel’s gate. For complete gating, set this to 0. Use low and middle values to create subtle pulsing effects, in which the signal is always present, but triggering the gate makes it louder.
Env Amount
0-100.
This controls the amount of affect the envelope will have on the channel’s output level, adding to the setting on the Volume knob. At 0, the envelope will have no affect. At +100, the envelope will set the output to max at its peak, even if
Volume is set to 0.
Envelope amount affect on output volume
+100
0
Envelope (Left and Right Channels)
Attack
0-100.
This sets the attack time of the channel’s amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
OASYS PCI 287
Dual MIDI Gate Compressor & Gate
Decay
0-100.
This sets the decay time of the channel’s amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the channel’s amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the channel’s amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Trigger
List of Modulation Sources.
This sets the modulation source for controlling the
channel’s gate. For a complete list, please see “Modulation Sources” on page 2.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
288 OASYS PCI
Compressor & Gate Expander Gate
Expander Gate
This is a mono-input, mono-output expander and gate. You might think of it as an inverse compressor; when the input falls below the threshold, the output level is reduced. This allows you to mute low-level sounds to clean up a recording with background noise, and can also be used for creative effects, such as gated reverbs.
Input
-INF, -69.0 to 0.0dB.
This sets the input level for the gate.
Input meter
This meter shows the input level. This is particularly helpful when setting the gate threshold.
Input Select
Left. Left + Right.
The action of the gate is controlled by the level of the input signal. The Input Select determines whether the gate will be controlled by the left input only, or by the combination of the left and right signals. Note that this is a mono gate only; stereo signals will be merged to mono.
Ratio
1:1.00-1:128.00.
This determines how strong the effect of the gate will be, expressed in terms of how many dB the output level will be reduced for each 1dB the input signal falls below the threshold. Use lower settings for gentle expansion, and set it to the maximum value for true gating.
At 1:1.00, the gate has no effect. At 1:10.00, the output gain is reduced 10dB for each
1dB the signal falls below the threshold, creating 10-to-1 expansion. At 1:128.00, when the input signal falls 1dB below the threshold, the output level will be reduced by 128dB, creating a full gate.
OASYS PCI 289
Expander Gate
Gate Ratio and Threshold
Output Level
Ratio = 1:1
Compressor & Gate
Threshold
Ratio = 1:20
Input Level
Threshold
-80.0 to 0.0dB.
This determines the input level at which the gate will open. Input levels below the threshold will be reduced in gain, and input levels above the threshold will be passed through unchanged.
Attack
0-50ms.
This determines how quickly the gate will open after the signal rises above the threshold.
Release
20-3000ms.
This controls how quickly the gate will close after the signal falls below the threshold.
Hold
0-100.
This allows you to set a sustain time between the attack and release of the gate, so that if the signal rises above the threshold even momentarily, the gate will remain open for the speci fi ed hold time.
Gain Reduction meter
This meter shows the amount of gain reduction caused by the gate.
Output meter
This meter shows the output level of the gate.
290 OASYS PCI
Compressor & Gate
Gate Attack and Release
Dry
Wet
Wet
Attack
Expander Gate
Release
Threshold
Attack = 0.
Release = 20
Attack = 50,
Release = 500
OASYS PCI 291
Limiter Compressor & Gate
Limiter
This is a mono-in, mono-out limiter. This effect limits gain to an absolute maximum level, somewhat like a compressor with an in fi nite ratio. It also features automatic makeup gain with a controllable volume ceiling, and lookahead for eliminating transient overshoot.
Input
-INF, -69.0 to 0.0dB.
This sets the input level for the limiter.
Input meter
This meter shows the input level. This is particularly helpful when setting the threshold.
Input Select
Left. Left + Right.
The action of the limiter is controlled by the level of the input signal. The Input Select determines whether the limiter will be controlled by the left input only, or by the combination of the left and right signals. Note that this is a mono limiter only; stereo signals will be merged to mono.
Limiter Threshold
Output Level
Limited signal
(Ratio approx.
∞
)
Threshold
Input Level
Threshold
-40.0 to 0.0dB.
This determines the input level at which the limiter will start to work. Input levels above the threshold will be limited, and input levels below the threshold will not be affected.
292 OASYS PCI
Compressor & Gate Limiter
Lookahead
0.00-3.00ms.
The lookahead delays the signal very slightly, allowing the limited to
“look ahead” for large volume jumps. This allows better handling of large transients, such as in drums, percussion, bass and guitar, and other sounds with sharp attacks.
Attack
1-100ms.
This determines how quickly the limiter will take affect after the signal crosses above the threshold.
Release
50-4000ms.
This controls how quickly the limiter will stop reducing volume level after the signal falls below the threshold.
Ceiling
Gain Reduction meter
This meter shows the amount of gain reduction caused by the limiter.
Output meter
-18 to 0dB.
The limiter includes an automatic makeup gain, based on the threshold setting. This sets the target output volume for the makeup gain.
This meter shows the output level of the limiter.
OASYS PCI 293
MIDI Gate
MIDI Gate
Compressor & Gate
MIDI Gate
This is a mono-in, mono-out MIDI-controlled gate. Unlike the Expander Gate, which is controlled by the input level, the MIDI Gate opens and closes via a MIDI trigger. You can use this for manually gating a recorded signal, for precise control over the gating process, or for special effects, such as rhythmic gating.
You can also think of this as the “amp envelope” section from an analog synthesizer.
Volume
0-100.
This sets the default volume level for signals passing through the gate. For complete gating, set this to 0. Use low and middle values to create subtle pulsing effects, in which the signal is always present, but triggering the gate makes it louder.
Env Amount
0-100.
This controls the amount of affect the envelope will have on the output level, adding to the setting on the Volume knob. At 0, the envelope will have no affect. At
+100, the envelope will set the output to max at its peak, even if Volume is set to 0.
Envelope amount affect on output volume
+100
0
Envelope
294
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
OASYS PCI
Compressor & Gate MIDI Gate
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Trigger
List of Modulation Sources.
This sets the modulation source for controlling the
gate. For a complete list, please see “Modulation Sources” on page 2.
ADSR Envelope
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
OASYS PCI 295
St Compressor Compressor & Gate
St Compressor
This is a stereo-in, stereo-out compressor. Compressors regulate volume level, and are also often used to give a “punchy” effect to sounds such as guitars, basses, pianos, and drums.
Input
-INF, -69.0 to 0.0dB.
This sets the input level for the compressor.
Input meter
This meter shows the input level. This is particularly helpful when setting the compression threshold.
Input Select
Left. Right, Left + Right.
The action of the compressor is controlled by the level of the input signal. The Input Select determines whether the compressor will be controlled by the left input only, the right input only, or by the combination of the left and right signals.
Ratio
1.00:1-20.00:1.
This determines how strong the effect of the compressor will be, expressed in terms of how many dB in input level is required for a 1dB change in output level.
At 1.00:1, the compressor has no effect. At 20.00:1, a 20dB increase in the input level
(over the threshold) results in only a 1dB change in output.
Compressor Ratio and Threshold
Output Level
Ratio = 1:1
Ratio = 20:1
Threshold
Input Level
296 OASYS PCI
Compressor & Gate St Compressor
Threshold
-40.0 to 0.0dB.
This determines the input level at which the compressor will start to work. Input levels above the threshold will be compressed, and input levels below the threshold will not be compressed.
Attack
1-100ms.
This determines how quickly the compressor will take affect after the signal crosses above the threshold.
Release
50-4000ms.
This controls how quickly the compressor will stop reducing volume level after the signal falls below the threshold.
Gain
Gain Reduction meter
This meter shows the amount of gain reduction caused by the compressor.
Output meter
0-24dB.
This allows you to boost the gain after the compressor. In general, try to set the gain to match the maximum level shown on the gain reduction meter. Setting this too high can cause clipping on the output.
This meter shows the output level of the compressor.
OASYS PCI 297
St Expander Gate
St Expander Gate
Compressor & Gate
This is a stereo-input, stereo-output expander and gate. You might think of it as an inverse compressor; when the input falls below the threshold, the output level is reduced. This allows you to mute low-level sounds to clean up a recording with background noise, and can also be used for creative effects, such as gated reverbs.
Input
-INF, -69.0 to 0.0dB.
This sets the input level for the gate.
Input meter
Input Select
Left. Right, Left + Right.
The action of the gate is controlled by the level of the input signal. The Input Select determines whether the gate will be controlled by the left input only, the right input only, or by the combination of the left and right signals.
Ratio
This meter shows the input level. This is particularly helpful when setting the gate threshold.
1:1.00-1:128.00.
This determines how strong the effect of the gate will be, expressed in terms of how many dB the output level will be reduced for each 1dB the input signal falls below the threshold. Use lower settings for gentle expansion, and set it to the maximum value for true gating.
At 1:1.00, the gate has no effect. At 1:10.00, the output gain is reduced 10dB for each
1dB the signal falls below the threshold, creating 10-to-1 expansion. At 1:128.00, when the input signal falls 1dB below the threshold, the output level will be reduced by 128dB, creating a full gate.
298 OASYS PCI
Compressor & Gate
Gate Ratio and Threshold
Output Level
Ratio = 1:1
St Expander Gate
Threshold
Ratio = 1:20
Input Level
Threshold
-80.0 to 0.0dB.
This determines the input level at which the gate will open. Input levels below the threshold will be reduced in gain, and input levels above the threshold will be passed through unchanged.
Attack
0-50ms.
This determines how quickly the gate will open after the signal rises above the threshold.
Release
20-3000ms.
This controls how quickly the gate will close after the signal falls below the threshold.
Hold
Gain Reduction meter
This meter shows the amount of gain reduction caused by the gate.
Output meter
0-100.
This allows you to set a sustain time between the attack and release of the gate, so that if the signal rises above the threshold even momentarily, the gate will remain open for the speci fi ed hold time.
This meter shows the output level of the gate.
OASYS PCI 299
St Expander Gate
Gate Attack and Release
Dry
Wet
Wet
Attack
Compressor & Gate
Release
Threshold
Attack = 0.
Release = 20
Attack = 50,
Release = 500
300 OASYS PCI
Compressor & Gate St Limiter
St Limiter
This is a stereo-in, stereo-out limiter. This effect limits gain to an absolute maximum volume level, somewhat like a compressor with an in fi nite ratio. It also features automatic makeup gain with a controllable volume ceiling, and lookahead for eliminating transient overshoot.
Input
-INF, -69.0 to 0.0dB.
This sets the input level for the limiter.
Input meter
This meter shows the input level. This is particularly helpful when setting the threshold.
Input Select
Left. Right, Left + Right.
The action of the limiter is controlled by the level of the input signal. The Input Select determines whether the limiter will be controlled by the left input only, the right input only, or by the combination of the left and right signals.
Limiter Threshold
Output Level
Limited signal
(Ratio approx.
∞
)
Threshold
Input Level
Threshold
-40.0 to 0.0dB.
This determines the input level at which the limiter will start to work. Input levels above the threshold will be limited, and input levels below the threshold will not be affected.
OASYS PCI 301
St Limiter Compressor & Gate
Lookahead
0.00-3.00ms.
The lookahead delays the signal very slightly, allowing the limited to
“look ahead” for large volume jumps. This allows better handling of large transients, such as in drums, percussion, bass and guitar, and other sounds with sharp attacks.
Attack
1-100ms.
This determines how quickly the limiter will take affect after the signal crosses above the threshold.
Release
50-4000ms.
This controls how quickly the limiter will stop reducing volume level after the signal falls below the threshold.
Ceiling
-18 to 0dB.
The limiter includes an automatic makeup gain, based on the threshold setting. This sets the target output volume for the makeup gain.
Gain Reduction meter
This meter shows the amount of gain reduction caused by the limiter.
Output meter
This meter shows the output level of the limiter.
302 OASYS PCI
Delay
3Tap Delay A Delay
3Tap Delay A
This is a three-tap multitap delay, with separate level, pan, feedback amount, and high and low fi lters for each tap. The delay length can be set either in milliseconds or by tempo and note value.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay Mode
Delay Mode
Delay Time, Manual Tempo.
This determines how the delay times will be controlled.
Delay Time.
The delay times will be controlled by the tap’s Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each tap’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
Taps 1-3
Each of the three taps has the same features.
304 OASYS PCI
Delay
OASYS PCI
3Tap Delay A
Delay Time
0.0-2000.0ms.
This sets the delay time for the tap, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
Note Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the tap’s delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Delay Time, the Note Value has no effect.
Fine Adjust
+/-10%.
This adjusts the tap’s delay time as a percentage of the time set with either the Delay Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level
0-100.
This sets the volume level of the tap.
Invert Phase
On, Off.
This adjusts the phase of the tap’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Pan
+/-100.
This controls the stereo pan of the tap’s output.
Feedback
0-100.
This adjusts the amount of feedback from the tap back into the delay line.
Invert Phase
On, Off.
This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal.
Low Cut
24-24000Hz.
This fi lter cuts the tap’s low frequencies. Use this to make the delay sound thinner.
High Cut
24-24000Hz.
This fi lter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
305
3Tap Delay A Delay
Feedback Modulation
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
306 OASYS PCI
Delay 3Tap MidiDly
3Tap MidiDly
This is a three-tap multitap delay with smooth, clickless MIDI clock synchronization. You can also modulate the delay times smoothly via MIDI controllers. Each tap has its own level, pan, feedback amount, and high and low fi lters.
Input
Delay Mode
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
OASYS PCI
Delay Mode
Delay Time, Manual Tempo, MIDI Tempo.
This determines how the delay times will be controlled.
Delay Time.
The delay times will be controlled by the tap’s Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each tap’s Note Value menu.
MIDI Tempo.
The delay times will be controlled by the combination of received
MIDI clocks and each tap’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
307
3Tap MidiDly
Taps 1-3
Delay
Each of the three taps has the same features.
Delay Time
0.0-8000.0ms.
This sets the delay time for the tap, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
Note Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the tap’s delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Delay Time, the Note Value has no effect.
Fine Adjust
+/-10%.
This adjusts the tap’s delay time as a percentage of the time set with either the Delay Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level
0-100.
This sets the volume level of the tap.
Invert Phase
On, Off.
This adjusts the phase of the tap’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Pan
+/-100.
This controls the stereo pan of the tap’s output.
Feedback
0-100.
This adjusts the amount of feedback from the tap back into the delay line.
Invert Phase
On, Off.
This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal.
Low Cut
24-24000Hz.
This fi lter cuts the tap’s low frequencies. Use this to make the delay sound thinner.
308 OASYS PCI
Delay 3Tap MidiDly
High Cut
24-24000Hz.
This fi lter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Feedback Modulation
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Delay
Smoothing
0.0-100.0.
This determines how long it takes for the delay times to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking. Higher settings will make the delays slide very slowly to their new values, which can create interesting special effects.
OASYS PCI 309
40Sec MidiDly Delay
40Sec MidiDly
This is a three-tap multitap delay with smooth, clickless MIDI clock synchronization, and a maximum delay time of 40 seconds. You can also modulate the delay times smoothly via MIDI controllers. Each tap has its own level, pan, feedback amount, and high and low fi lters.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay Mode
Delay Mode
Delay Time, Manual Tempo, MIDI Tempo.
This determines how the delay times will be controlled.
Delay Time.
The delay times will be controlled by the tap’s Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each tap’s Note Value menu.
MIDI Tempo.
The delay times will be controlled by the combination of received
MIDI clocks and each tap’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
310 OASYS PCI
Delay
Taps 1-3
40Sec MidiDly
Each of the three taps has the same features.
Delay Time
0.0-40000.0ms.
This sets the delay time for the tap, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
Note Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the tap’s delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Delay Time, the Note Value has no effect.
Fine Adjust
+/-10%.
This adjusts the tap’s delay time as a percentage of the time set with either the Delay Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level
0-100.
This sets the volume level of the tap.
Invert Phase
On, Off.
This adjusts the phase of the tap’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Pan
+/-100.
This controls the stereo pan of the tap’s output.
Feedback
0-100.
This adjusts the amount of feedback from the tap back into the delay line.
Invert Phase
On, Off.
This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal.
Low Cut
24-24000Hz.
This fi lter cuts the tap’s low frequencies. Use this to make the delay sound thinner.
OASYS PCI 311
40Sec MidiDly Delay
High Cut
24-24000Hz.
This fi lter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Feedback Modulation
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Delay
Smoothing
0.0-100.0.
This determines how long it takes for the delay times to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking. Higher settings will make the delays slide very slowly to their new values, which can create interesting special effects.
312 OASYS PCI
Delay Delay Mod Long
Delay Mod Long
This is an 8-second version of Delay Mod (described on page 315), featuring
smoothly modulatable delay time and high and low fi lters.
Input
Delay
Feedback
OASYS PCI
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay Time
0.0-8000.0ms.
This sets the delay time for the tap, in milliseconds.
Delay Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay time. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the delay time.
Feedback
+/-100.
This adjusts the amount of feedback from the tap back into the delay line.
Negative values invert the phase of the feedback.
313
Delay Mod Long Delay
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Damping
High
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Output
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
314 OASYS PCI
Delay Delay Mod
Delay Mod
This is a delay with smoothly modulatable delay time and high and low fi lters. For
a longer version of the same delay, see “Delay Mod Long” on page 313.
Input
Delay
Feedback
OASYS PCI
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay Time
0.0-680.0ms.
This sets the delay time, in milliseconds.
Delay Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay time. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the delay time.
Feedback
+/-100.
This adjusts the amount of feedback into the delay line. Negative values invert the phase of the feedback.
315
Delay Mod
Damping
Output
Delay
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay feedback level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
High
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
316 OASYS PCI
Delay Delay
Delay
This is a simple delay with high and low fi lters.
Input
Delay
Feedback
OASYS PCI
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay Time
0.0-680.0ms.
This sets the delay time for the tap, in milliseconds.
Feedback
+/-100.
This adjusts the amount of feedback from the tap back into the delay line.
Negative values invert the phase of the feedback.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
317
Delay
Damping
Output
Delay
High
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
318 OASYS PCI
Delay Diffuse Delay
Diffuse Delay
This is a two-tap multitap delay with dual input diffusers. The diffusers are based on part of the O-Verb reverb, and serve to soften and blur the delayed sound. The delays also feature smooth, clickless MIDI clock synchronization, and individual level, pan, feedback amount, and high and low fi lters per tap.
Input
Delay Control
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Diffusion 1
0.00-100.00.
This sets the amount of diffusion in the fi rst diffuser. Setting both diffusers to around 50 produces optimal amounts of diffusion; extremely high levels may cause ringing.
Diffusion 2
0.00-100.00.
This sets the amount of diffusion in the second diffuser.
Delay Mode
Delay Time, Manual Tempo, MIDI Tempo.
This determines how the delay times will be controlled.
Delay Time.
The delay times will be controlled by the tap’s Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each tap’s Note Value menu.
MIDI Tempo.
The delay times will be controlled by the combination of received
MIDI clocks and each tap’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
OASYS PCI 319
Diffuse Delay Delay
Smoothing
0.0-100.0.
This determines how long it takes for the delay times to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking. Higher settings will make the delays slide very slowly to their new values, which can create interesting special effects.
Delay 1 and Delay 2
Both delays have the same features.
Delay Time
0.0-8000.0ms.
This sets the delay time for the tap, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
Note Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the tap’s delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Delay Time, the Note Value has no effect.
Fine Adjust
+/-10%.
This adjusts the tap’s delay time as a percentage of the time set with either the Delay Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level
0-100.
This sets the volume level of the tap.
Invert Phase
On, Off.
This inverts the phase of the tap’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Pan
+/-100.
This controls the stereo pan of the tap’s output.
Feedback
0-100.
This adjusts the amount of feedback from the tap back into the delay line.
320 OASYS PCI
Delay
Feedback
Diffuse Delay
Invert Phase
On, Off.
This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal.
Low Cut
24-24000Hz.
This fi lter cuts the tap’s low frequencies. Use this to make the delay sound thinner.
High Cut
24-24000Hz.
This fi lter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting both delays equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Diffusion in feedback
On, Off.
This controls whether the feedback will go through the diffusers or not.
On.
The feedback signal will pass through the diffusers. As the feedback continues, it will become increasingly diffuse.
Off.
The feedback signal will not go through the diffusers, and so it will remain at the same level of diffusion as the main delays.
Output
OASYS PCI
Direct Diffusion
0-100.
This allows you to add in the sound of the diffusers alone, before the delays.
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the delays.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
321
Diffuse Delay Delay
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
322 OASYS PCI
Delay Dual Delay
Dual Delay
This is a true stereo delay with high and low fi lters, and separate controls for the left and right channels.
Input
Delays
Feedback
Level (Left and Right)
-INF, -69.0 to 0.0dB.
This sets the input level for the left and right delays. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amt (Left and Right)
+/-100.
This sets the amount by which the mod source affects the left and right delay input levels.
Delay Time (Left and Right)
0.0-680.0ms.
This sets the delay times for left and right, in milliseconds.
High Damping (Left and Right)
0-100.
This fi lter cuts the left and right delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low Damping (Left and Right)
0-100.
This fi lter cuts the left and right delay’s low frequencies. Use this to make the delay sound thinner.
Level (Left and Right)
+/-100.
This adjusts the amount of feedback for the left and right delays. Negative values invert the phase of the feedback.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
OASYS PCI 323
Dual Delay
Output
Delay
Mod Amt (Left and Right)
+/-100.
This sets the amount by which the mod source affects the left and right feedback levels.
Wet/Dry (Left and Right)
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal for the left and right channels.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amt (Left and Right)
+/-100.
This sets the amount by which the mod source affects the wet/dry mix for the left and right channels.
324 OASYS PCI
Delay L-C-R Delay
L-C-R Delay
This is a three-tap delay with preset panning for the three taps, stereo width control, and high and low fi lters.
For a longer version of the same delay, see “L-C-R Dly Long” on page 328.
Input
Delay Times
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Left
0.0-680.0ms.
This sets the delay time for the left delay, in milliseconds.
Center
0.0-680.0ms.
This sets the delay time for the center delay, in milliseconds.
Right
0.0-680.0ms.
This sets the delay time for the right delay, in milliseconds.
Levels
Left
-INF, -69.0 to 0.0dB.
This sets the output level for the left delay.
OASYS PCI 325
L-C-R Delay Delay
Center
-INF, -69.0 to 0.0dB.
This sets the output level for the center delay.
Right
-INF, -69.0 to 0.0dB.
This sets the output level for the right delay.
Center Feedback
This section controls the feedback for the center delay.
Feedback
+/-100.
This adjusts the amount of feedback from the tap back into the delay line.
Negative values invert the phase of the feedback.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Damping
Position
Pre Delay, Feedback Loop.
This controls the position of the fi lters within the delay effect.
Pre Delay.
The damping fi lters are applied on input only.
Feedback Loop.
The feedback goes through the damping fi lters, so that the feedback becomes increasingly fi ltered.
High
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Stereo Spread
Spread
+/-100.
This controls the width of the stereo image. Negative values will fl ip the stereo placement.
326 OASYS PCI
Delay
Output
L-C-R Delay
Spread Mod
List of Modulation Sources.
This sets the modulation source for controlling the
stereo spread. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the stereo spread.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 327
L-C-R Dly Long Delay
L-C-R Dly Long
This is a longer version of L-C-R Delay (described on page 325), featuring preset
panning for the three taps, stereo width control, and high and low fi lters.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay Times
Left
0.0-1360.0ms.
This sets the delay time for the left delay, in milliseconds.
Center
0.0-1360.0ms.
This sets the delay time for the center delay, in milliseconds.
Right
0.0-1360.0ms.
This sets the delay time for the right delay, in milliseconds.
Levels
Left
-INF, -69.0 to 0.0dB.
This sets the output level for the left delay.
328 OASYS PCI
Delay L-C-R Dly Long
Center
-INF, -69.0 to 0.0dB.
This sets the output level for the center delay.
Right
-INF, -69.0 to 0.0dB.
This sets the output level for the right delay.
Center Feedback
This section controls the feedback for the center delay.
Feedback
+/-100.
This adjusts the amount of feedback from the tap back into the delay line.
Negative values invert the phase of the feedback.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Damping
Position
Pre Delay, Feedback Loop.
This controls the position of the fi lters within the delay effect.
Pre Delay.
The damping fi lters are applied on input only.
Feedback Loop.
The feedback goes through the damping fi lters, so that the feedback becomes increasingly fi ltered.
High
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Stereo Spread
Spread
+/-100.
This controls the width of the stereo image. Negative values will fl ip the stereo placement.
OASYS PCI 329
L-C-R Dly Long Delay
Spread Mod
List of Modulation Sources.
This sets the modulation source for controlling the
stereo spread. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the stereo spread.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
330 OASYS PCI
Delay Midi Delay
Midi Delay
This is a single-tap delay with smooth, clickless MIDI clock synchronization, and dedicated high and low fi lters. You can also modulate the delay times smoothly via
MIDI controllers.
Input
Delay Mode
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay Mode
Delay Time, Manual Tempo, MIDI Tempo.
This determines how the delay times will be controlled.
Delay Time.
The delay times will be controlled by the tap’s Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each tap’s Note Value menu.
MIDI Tempo.
The delay times will be controlled by the combination of received
MIDI clocks and each tap’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
OASYS PCI 331
Midi Delay
Delay
332
Delay
Delay Time
0.0-8000.0ms.
This sets the delay time, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
Note Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the tap’s delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Delay Time, the Note Value has no effect.
Fine Adjust
+/-10%.
This adjusts the delay time as a percentage of the time set with either the
Delay Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level
0-100.
This sets the volume level of the delay.
Invert Phase
On, Off.
This adjusts the phase of the delay’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Pan
+/-100.
This controls the stereo pan of the delay’s output.
Feedback
0-100.
This adjusts the amount of feedback into the delay line.
Invert Phase
On, Off.
This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal.
Low Cut
24-24000Hz.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
High Cut
24-24000Hz.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
OASYS PCI
Delay Midi Delay
Feedback Modulation
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay feedback levels. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Delay
Smoothing
0.0-100.0.
This determines how long it takes for the delay time to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking. Higher settings will make the delays slide very slowly to their new values, which can create interesting special effects.
OASYS PCI 333
Multitap Delay Delay
Multitap Delay
This is a two-tap, mono-in, mono-out delay with high and low fi lters.
Input
Multitap Delay
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay 1
0.0-680.0ms.
This sets the delay time for the fi rst tap, in milliseconds.
Level 1
0-100.
This sets the output level for the fi rst tap.
Delay 2
0.0-680.0ms.
This sets the delay time for the second tap, in milliseconds.
Level 2
0-100.
This sets the output level for the second tap.
Low Cut
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
334 OASYS PCI
Delay
Feedback
Output
Multitap Delay
High Cut
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Feedback
+/-100.
This adjusts the amount of feedback into the delay line. Negative values invert the phase of the feedback.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay feedback level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 335
St Delay Long Delay
St Delay Long
This is a four-second version of St Delay (described on page 338), featuring a true
stereo delay, with high and low fi lters.
Input
Stereo Delay
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Mode
Stereo, Cross.
This determines whether the stereo image of the delays will match the input, or fl ip the left and right channels.
Stereo.
The stereo image of the inputs will be maintained through the delays.
Cross.
The stereo image will be fl ipped for the delayed signals. The left input will feed the right delay, and the right input will feed the left delay.
L Delay
0.0-4000.0ms.
This sets the delay time for the left channel, in milliseconds.
R Delay
0.0-4000.0ms.
This sets the delay time for the right channel, in milliseconds.
Feedback
Feedback
+/-100.
This adjusts the amount of feedback into the delay lines. Negative values invert the phase of the feedback.
336 OASYS PCI
Delay St Delay Long
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay feedback level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Spread
Damping
Spread
+/-100.
This controls the width of the stereo image. Negative values will fl ip the stereo placement.
Spread Mod
List of Modulation Sources.
This sets the modulation source for controlling the
stereo spread. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the stereo spread.
High Damping
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low Damping
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 337
St Delay Delay
St Delay
This is a simple true stereo delay, with high and low fi lters.
For a longer version of the same delay, see “St Delay Long” on page 336.
Input
Stereo Delay
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Mode
Stereo, Cross.
This determines whether the stereo image of the delays will match the input, or fl ip the left and right channels.
Stereo.
The stereo image of the inputs will be maintained through the delays.
Cross.
The stereo image will be fl ipped for the delayed signals. The left input will feed the right delay, and the right input will feed the left delay.
L Delay
0.0-680.0ms.
This sets the delay time for the left channel, in milliseconds.
R Delay
0.0-680.0ms.
This sets the delay time for the right channel, in milliseconds.
Feedback
Feedback
+/-100.
This adjusts the amount of feedback into the delay lines. Negative values invert the phase of the feedback.
338 OASYS PCI
Delay St Delay
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay feedback level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Spread
Damping
Spread
+/-100.
This controls the width of the stereo image. Negative values will fl ip the stereo placement.
Spread Mod
List of Modulation Sources.
This sets the modulation source for controlling the
stereo spread. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the stereo spread.
High Damping
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low Damping
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 339
St Diffuse Dly Delay
St Diffuse Dly
This is a true stereo delay with dual input diffusers for each channel. The diffusers are based on part of the O-Verb reverb, and serve to soften and blur the delayed sound. The delays also feature smooth, clickless MIDI clock synchronization, and individual level, pan, feedback amount, and high and low fi lters for each channel.
Input
Delay Control
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Diffusion 1
0.00-100.00.
This sets the amount of diffusion in the fi rst diffuser. Setting both diffusers to around 50 produces optimal amounts of diffusion; extremely high levels may cause ringing.
Diffusion 2
0.00-100.00.
This sets the amount of diffusion in the second diffuser.
Delay Mode
Delay Time, Manual Tempo, MIDI Tempo.
This determines how the delay times will be controlled.
Delay Time.
The delay times will be controlled by the tap’s Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each tap’s Note Value menu.
MIDI Tempo.
The delay times will be controlled by the combination of received
MIDI clocks and each tap’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
Smoothing
0.0-100.0.
This determines how long it takes for the delay times to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking. Higher settings will make the delays slide very slowly to their new values, which can create interesting special effects.
340 OASYS PCI
Delay St Diffuse Dly
Left Delay and Right Delay
The left and right delays have the same features.
Delay Time
0.0-8000.0ms.
This sets the delay time for the tap, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
Note Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the tap’s delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Delay Time, the Note Value has no effect.
Fine Adjust
+/-10%.
This adjusts the tap’s delay time as a percentage of the time set with either the Delay Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level
0-100.
This sets the volume level of the tap.
Invert Phase
On, Off.
This adjusts the phase of the tap’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Pan
+/-100.
This controls the stereo pan of the tap’s output.
Feedback
0-100.
This adjusts the amount of feedback from the tap back into the delay line.
Invert Phase
On, Off.
This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal.
Low Cut
24-24000Hz.
This fi lter cuts the tap’s low frequencies. Use this to make the delay sound thinner.
OASYS PCI 341
St Diffuse Dly Delay
High Cut
24-24000Hz.
This fi lter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Stereo Link
Flip Left/Right
On, Off.
This allows you to fl ip the stereo image of the delayed signals.
On.
The pan settings for both channels will be inverted. For instance, if the channel is set to hard left, it will be fl ipped to hard right; if it is set to 50 (half-right), it will be fl ipped to -50 (half left).
Off.
The pan settings will be as set by the Pan knobs.
Feedback
On, Off.
This allows you to link the controls of the two channels.
On.
The controls for the Left Delay will control the Right Delay as well.
Off.
The Left and Right Delays will be controlled separately.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting both channels equally. For a complete list, please
see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Cross-feedback
On, Off.
This allows you to swap the feedback for the two channels.
On.
The left channel will feed back into the right, and the right channel will feed back into the left.
Off.
The channels will feed back into themselves, left into left and right into right.
Diffusion in feedback
On, Off.
This controls whether the feedback will go through the diffusers or not.
On.
The feedback signal will pass through the diffusers. As the feedback continues, it will become increasingly diffuse.
Off.
The feedback signal will not go through the diffusers, and so it will remain at the same level of diffusion as the main delays.
342 OASYS PCI
Delay
Output
St Diffuse Dly
Direct Diffusion
0-100.
This allows you to add in the sound of the diffusers alone, before the delays.
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the delays.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 343
St Dynamic Dly Delay
St Dynamic Dly
The output level of this stereo delay is controlled by the input signal level. You can use this as a ducking delay, so that delay is only heard when you play softly (or pause after playing a phrase), or as a gated delay, so that the delay is only heard when you are playing loudly.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Control
Envelope Select
L/R Mix, L Only, R Only.
The dynamics section is controlled by the level of the input signal. The Envelope Select determines whether the dynamics will be controlled by the left input only, the right input only, or by the combination of the left and right signals.
Polarity
+, -.
This determines whether the dynamics will act as a ducker, or as a gate.
+.
The dynamics will act as a gate. When the Polarity is positive, delay will be heard when the input signal level exceeds the Threshold value.
-.
The dynamics will act as a ducker. When the Polarity is negative, delay will be heard when the input signal level is lower than the Threshold value.
Threshold
0-100.
This sets the threshold for the dynamics.
Attack
0-100.
This sets the time that it takes for the gate to open, or for the ducker to close.
344 OASYS PCI
Delay St Dynamic Dly
Release
0-100.
This sets the time that it takes for the gate to close, or for the ducker to open.
Offset Level
0-100.
This allows the delay output to pass around the dynamics section, so that there is a minimum level of delay even when the dynamics aren’t letting any signal through.
Dynamic Delay
Dry
Level
Threshold
Attack
Release
Envelope
Wet
Polarity (-)
(Ducking Dly)
Delay Time
Wet
Polarity (+)
Time
St. Dynamic Delay
L Delay Time
0.0-680.0ms.
This sets the delay time for the left channel, in milliseconds.
R Delay Time
0.0-680.0ms.
This sets the delay time for the right channel, in milliseconds.
Feedback
+/-100.
This adjusts the amount of feedback into the delay lines. Negative values invert the phase of the feedback.
OASYS PCI 345
St Dynamic Dly Delay
High Cut
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Low Cut
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
Spread
+/-100.
This controls the width of the stereo image. Negative values will fl ip the stereo placement.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
346 OASYS PCI
Delay St Midi Dly
St Midi Dly
This is a true stereo delay with smooth, clickless MIDI clock synchronization. You can also modulate the delay times smoothly via MIDI controllers, The right and left channels each have their own level, pan, feedback amount, and high and low fi lters.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay Control
Delay Mode
Delay Time, Manual Tempo, MIDI Tempo.
This determines how the delay times will be controlled.
Delay Time.
The delay times will be controlled by the tap’s Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each tap’s Note Value menu.
MIDI Tempo.
The delay times will be controlled by the combination of received
MIDI clocks and each tap’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
Smoothing
0.0-100.0.
This determines how long it takes for the delay times to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking. Higher settings will make the delays slide very slowly to their new values, which can create interesting special effects.
Left Delay and Right Delay
The left and right delays have the same features.
Delay Time
0.0-8000.0ms.
This sets the delay time for the tap, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
OASYS PCI 347
St Midi Dly Delay
Note Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the tap’s delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Delay Time, the Note Value has no effect.
Fine Adjust
+/-10%.
This adjusts the tap’s delay time as a percentage of the time set with either the Delay Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level
0-100.
This sets the volume level of the tap.
Invert Phase
On, Off.
This adjusts the phase of the tap’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Pan
+/-100.
This controls the stereo pan of the tap’s output.
Feedback
0-100.
This adjusts the amount of feedback from the tap back into the delay line.
Invert Phase
On, Off.
This controls the phase of the feedback. You can use this to adjust the tonal quality of the delay, as it overlaps with other delays or with the main signal.
Low Cut
24-24000Hz.
This fi lter cuts the tap’s low frequencies. Use this to make the delay sound thinner.
High Cut
24-24000Hz.
This fi lter cuts the tap’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Stereo Link
On, Off.
This allows you to link the controls of the two channels.
On.
The controls for the Left Delay will control the Right Delay as well.
Off.
The Left and Right Delays will be controlled separately.
348 OASYS PCI
Delay St Midi Dly
Flip Left/Right
On, Off.
This allows you to fl ip the stereo image of the delayed signals.
On.
The pan settings for both channels will be inverted. For instance, if the channel is set to hard left, it will be fl ipped to hard right; if it is set to 50 (half-right), it will be fl ipped to -50 (half left).
Off.
The pan settings will be as set by the Pan knobs.
Feedback Modulation
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the delay feedback levels, affecting all three taps equally. For a complete list, please see
“Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Cross-feedback
On, Off.
This allows you to swap the feedback for the two channels.
On.
The left channel will feed back into the right, and the right channel will feed back into the left.
Off.
The channels will feed back into themselves, left into left and right into right.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 349
St Mod Delay Delay
St Mod Delay
This is a true stereo delay with smoothly modulatable delay time and high and low fi
lters. For a longer version of the same delay, see “Delay Mod Long” on page 313.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Trim Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Stereo Modulation Delay
Mode
LFO, Manual.
The mode sets whether the delay will be modulated via the LFO, or via the manual mod source.
L Delay
0.0-680.0ms.
This sets the delay time for the left channel, in milliseconds.
R Delay
0.0-680.0ms.
This sets the delay time for the right channel, in milliseconds.
L Depth
0-100.
This sets the modulation depth for the left delay.
R Depth
0-100.
This sets the modulation depth for the right delay.
L Feedback
+/-100.
This adjusts the amount of feedback for the left delay. Negative values invert the phase of the feedback.
R Feedback
+/-100.
This adjusts the amount of feedback for the right delay. Negative values invert the phase of the feedback.
350 OASYS PCI
Delay St Mod Delay
Damping
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
LFO
Waveforms and Phase
Waveform
Triangle, Sine.
This selects the shape of the LFO.
-180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚
OASYS PCI
Triangle Sine
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Shape
+/-100.
This adjusts the curves of the waveform between logarithmic (-100), linear
(0), and exponential (100).
Key Sync
On, Off.
This enables and disables resetting the LFO phase using the Key Sync modulator.
Key Sync Source
List of Modulation Sources.
This sets the modulation source for resetting the
phase of the LFOs. For a complete list, please see “Modulation Sources” on page 2.
L Phase
This sets the point in the waveform at which the left LFO starts. Whenever the Key
Sync controller is received, the LFO will start from this point. See the graphic
Waveforms and Phase, above, for more information.
351
St Mod Delay
Manual Mod
Delay
R Phase
This sets the point in the waveform at which the right LFO starts. Whenever the
Key Sync controller is received, the LFO will start from this point. Off-setting the phase between the right and left LFOs enhances the stereo effect.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
delay time. For a complete list, please see “Modulation Sources” on page 2.
Response
0-100.
This sets the rate at which the delay time changes in response to the modulator.
Polarity
L/R:+/+. L/R +/-.
This allows you to modulate both delay times equally, or to increase the left delay time while decreasing the right delay time.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the delay output.
352 OASYS PCI
Delay St Multitap Dly
St Multitap Dly
This is a two-tap, true stereo delay with high and low fi lters, and a selection of feedback paths.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level, for “splashed” delays. For a complete list, please see “Modulation
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Stereo Multitap Delay
Mode
Normal, Cross Feedback, Cross Pan 1, Cross Pan 2.
This sets the way that the input goes through the delays, and the direction of the feedback paths, as shown below.
Feedback Modes
Normal Cross Feedback
Cross Pan 1 Cross Pan 2
OASYS PCI 353
St Multitap Dly Delay
Delay 1
0.0-680.0ms.
This sets the delay time for the fi rst tap, in milliseconds.
Level 1
0-100.
This sets the output level for the fi rst tap.
Delay 2
0.0-680.0ms.
This sets the delay time for the second tap, in milliseconds.
Level 2
0-100.
This sets the output level for the second tap.
Low Cut
0-100.
This fi lter cuts the delay’s low frequencies. Use this to make the delay sound thinner.
High Cut
0-100.
This fi lter cuts the delay’s high frequencies. Use this to make the delay sound warmer, like a tape delay.
Feedback
Feedback
+/-100.
This adjusts the amount of feedback into the delay line. Negative values invert the phase of the feedback.
Feedback Mod
List of Modulation Sources.
This sets the modulation source for controlling the
delay feedback level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the feedback level.
Spread
Spread
+/-100.
This controls the width of the stereo image. Negative values will fl ip the stereo placement.
Spread Mod
List of Modulation Sources.
This sets the modulation source for controlling the
stereo spread. For a complete list, please see “Modulation Sources” on page 2.
354 OASYS PCI
Delay
Output
St Multitap Dly
Mod Amount
+/-100.
This sets the amount by which the mod source affects the stereo spread.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 355
Distortion
Distortion Hyper-Gain Wah
Hyper-Gain Wah
This distortion effect includes enhanced-quality “hyper gain” mode, four-band parametric EQ, and modulatable wah.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Overdrive/Hyper-Gain
Pre Low-cut
0-100.
This cuts low frequencies before the input to the distortion.
Mode
Overdrive, Hi-Gain.
Switches between overdrive and hi-gain distortion.
Drive
0-100.
Sets the amount of distortion.
Out Level
0-100.
Sets the output level.
Out Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
output level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the output level.
Direct Mix
0-100.
This allows you to route the dry sound through the fi nal DC-cut fi lter, bypassing the rest of the distortion effect.
OASYS PCI 357
Hyper-Gain Wah Distortion
Amp Simulation
On, Off.
This enables and disables the built-in ampli fi er simulation.
Post-Drive 4-Band EQ
The 4-band parametric EQ processes the audio after the overdrive.
Low
Fc
20-1.0kHz.
This sets the center frequency of the low EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the low EQ band. High Q settings produce a sharper peak or dip in the sound.
Gain
+/-18.1dB.
This sets the gain of the low EQ band.
Low Mid
Fc
50-5.00kHz
This sets the center frequency of the low-mid EQ band, in Hz.
Q
0.5-10.0
This sets the bandwidth of the low-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the low-mid EQ band.
High Mid
Fc
300-10.00kHz.
This sets the center frequency of the high-mid EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the high-mid EQ band.
High
Fc
500-20.00kHz.
This sets the center frequency of the high EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high EQ band.
358 OASYS PCI
Distortion
Wah
Output
Hyper-Gain Wah
Gain
+/-18.1dB.
This sets the gain of the high EQ band.
Wah
Off, On.
This sets the initial state of the wah effect.
On/Off Source
List of Modulation Sources.
This sets the modulation source for controlling the
wah on/off. For a complete list, please see “Modulation Sources” on page 2.
On/Off SW
Momentary, Toggle.
This determines the behavior of the on/off switch.
Momentary.
The switch changes the wah state only while the switch is on.
Toggle.
The switch turns the wah on and off alternately.
Wah Source
List of Modulation Sources.
This sets the modulation source for controlling the
wah sweep. For a complete list, please see “Modulation Sources” on page 2.
Sweep Range
0-100.
This sets the amount of affect the mod source has on the wah frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 359
Hyper-Gain Distortion
Hyper-Gain
This distortion effect includes enhanced-quality “hyper gain” mode and four-band parametric EQ.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Overdrive/Hyper-Gain
Pre Low-cut
0-100.
This cuts low frequencies before the input to the distortion.
Mode
Overdrive, Hi-Gain.
Switches between overdrive and hi-gain distortion.
Drive
0-100.
Sets the amount of distortion.
Out Level
0-100.
Sets the output level.
Out Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
output level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the output level.
Direct Mix
0-100.
This allows you to route the dry sound through the fi nal DC-cut fi lter, bypassing the rest of the distortion effect.
360 OASYS PCI
Distortion Hyper-Gain
Amp Simulation
On, Off.
This enables and disables the built-in ampli fi er simulation.
Post-Drive 4-Band EQ
The 4-band parametric EQ processes the audio after the overdrive.
Low
Fc
20-1.0kHz.
This sets the center frequency of the low EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the low EQ band. High Q settings produce a sharper peak or dip in the sound.
Gain
+/-18.1dB.
This sets the gain of the low EQ band.
Low Mid
Fc
50-5.00kHz
This sets the center frequency of the low-mid EQ band, in Hz.
Q
0.5-10.0
This sets the bandwidth of the low-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the low-mid EQ band.
High Mid
Fc
300-10.00kHz.
This sets the center frequency of the high-mid EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the high-mid EQ band.
High
Fc
500-20.00kHz.
This sets the center frequency of the high EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high EQ band.
OASYS PCI 361
Hyper-Gain
Output
Distortion
Gain
+/-18.1dB.
This sets the gain of the high EQ band.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
362 OASYS PCI
Distortion Overdrive Wah
Overdrive Wah
This distortion effect includes overdrive and hi-gain modes, four-band parametric
EQ, and modulatable wah.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Overdrive/Hyper-Gain
Pre Low-cut
0-100.
This cuts low frequencies before the input to the distortion.
Mode
Overdrive, Hi-Gain.
Switches between overdrive and hi-gain distortion.
Drive
0-100.
Sets the amount of distortion.
Out Level
0-100.
Sets the output level.
Out Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
output level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the output level.
Direct Mix
0-100.
This allows you to route the dry sound through the fi nal DC-cut fi lter, bypassing the rest of the distortion effect.
OASYS PCI 363
Overdrive Wah Distortion
Amp Simulation
On, Off.
This enables and disables the built-in ampli fi er simulation.
Post-Drive 4-Band EQ
The 4-band parametric EQ processes the audio after the overdrive.
Low
Fc
20-1.0kHz.
This sets the center frequency of the low EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the low EQ band. High Q settings produce a sharper peak or dip in the sound.
Gain
+/-18.1dB.
This sets the gain of the low EQ band.
Low Mid
Fc
50-5.00kHz
This sets the center frequency of the low-mid EQ band, in Hz.
Q
0.5-10.0
This sets the bandwidth of the low-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the low-mid EQ band.
High Mid
Fc
300-10.00kHz.
This sets the center frequency of the high-mid EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the high-mid EQ band.
High
Fc
500-20.00kHz.
This sets the center frequency of the high EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high EQ band.
364 OASYS PCI
Distortion
Wah
Output
Overdrive Wah
Gain
+/-18.1dB.
This sets the gain of the high EQ band.
Wah
Off, On.
This sets the initial state of the wah effect.
On/Off Source
List of Modulation Sources.
This sets the modulation source for controlling the
wah on/off. For a complete list, please see “Modulation Sources” on page 2.
On/Off SW
Momentary, Toggle.
This determines the behavior of the on/off switch.
Momentary.
The switch changes the wah state only while the switch is on.
Toggle.
The switch turns the wah on and off alternately.
Wah Source
List of Modulation Sources.
This sets the modulation source for controlling the
wah sweep. For a complete list, please see “Modulation Sources” on page 2.
Sweep Range
0-100.
This sets the amount of affect the mod source has on the wah frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 365
Overdrive Distortion
Overdrive
This distortion effect includes overdrive and hi-gain modes and four-band parametric EQ.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Overdrive/Hyper-Gain
Pre Low-cut
0-100.
This cuts low frequencies before the input to the distortion.
Mode
Overdrive, Hi-Gain.
Switches between overdrive and hi-gain distortion.
Drive
0-100.
Sets the amount of distortion.
Out Level
0-100.
Sets the output level.
Out Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
output level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the output level.
Direct Mix
0-100.
This allows you to route the dry sound through the fi nal DC-cut fi lter, bypassing the rest of the distortion effect.
366 OASYS PCI
Distortion Overdrive
Amp Simulation
On, Off.
This enables and disables the built-in ampli fi er simulation.
Post-Drive 4-Band EQ
The 4-band parametric EQ processes the audio after the overdrive.
Low
Fc
20-1.0kHz.
This sets the center frequency of the low EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the low EQ band. High Q settings produce a sharper peak or dip in the sound.
Gain
+/-18.1dB.
This sets the gain of the low EQ band.
Low Mid
Fc
50-5.00kHz
This sets the center frequency of the low-mid EQ band, in Hz.
Q
0.5-10.0
This sets the bandwidth of the low-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the low-mid EQ band.
High Mid
Fc
300-10.00kHz.
This sets the center frequency of the high-mid EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high-mid EQ band.
Gain
+/-18.1dB.
This sets the gain of the high-mid EQ band.
High
Fc
500-20.00kHz.
This sets the center frequency of the high EQ band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high EQ band.
OASYS PCI 367
Overdrive
Wah
Output
Distortion
Gain
+/-18.1dB.
This sets the gain of the high EQ band.
Wah
Off, On.
This sets the initial state of the wah effect.
On/Off Source
List of Modulation Sources.
This sets the modulation source for controlling the
wah on/off. For a complete list, please see “Modulation Sources” on page 2.
On/Off SW
Momentary, Toggle.
This determines the behavior of the on/off switch.
Momentary.
The switch changes the wah state only while the switch is on.
Toggle.
The switch turns the wah on and off alternately.
Wah Source
List of Modulation Sources.
This sets the modulation source for controlling the
wah sweep. For a complete list, please see “Modulation Sources” on page 2.
Sweep Range
0-100.
This sets the amount of affect the mod source has on the wah frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
368 OASYS PCI
Ensemble
Ensemble Ensemble
Ensemble
This is a mono-in, stereo-out ensemble, which combines three choruses panned left, right, and center with a complex-waveform “shimmering” LFO. Ensemble is most effective on string sounds.
Input
Pre EQ
Ensemble
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Low Gain
+/-18.1dB.
This sets the gain of the pre-effect low shelving EQ.
High Gain
+/-18.1dB.
This sets the gain of the pre-effect high shelving EQ.
Rate
0-100.
This controls the frequency of the chorus LFOs.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO rate. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO rate.
Shimmer
0-100.
The LFOs are modulated by a separate, much faster LFO, which adds shimmering to the waveform. This parameter controls the amount of “shimmer”
370 OASYS PCI
Ensemble
LFO added to the main LFO waveform. See the graphic below for more information.
Shimmer
Level
Ensemble
Shimmer
Output
Time
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 371
St Ensemble Ensemble
St Ensemble
This is a stereo-in, stereo-out ensemble, which combines three choruses per channel
(six total) panned left, right, and center with a complex-waveform “shimmering”
LFO. Ensemble is most effective on string sounds.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre EQ
Low Gain
+/-18.1dB.
This sets the gain of the pre-effect low shelving EQ.
High Gain
+/-18.1dB.
This sets the gain of the pre-effect high shelving EQ.
Stereo Ensemble
Shimmer
0-100.
The chorus LFOs are modulated by a separate, much faster LFO, which adds shimmering to the waveform. This parameter controls the amount of “shimmer”
LFO added to the main LFO waveform. See the graphic below for more information.
Shimmer
Level
Shimmer
372
Time
OASYS PCI
Ensemble
LFO
Output
St Ensemble
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
Depth
0-100.
This controls the depth of LFO pitch modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Waveform
Triangle, Sine.
This selects the shape of the LFO.
Rate
0-100.
This controls the frequency of the chorus LFOs.
Rate Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO rate. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO rate.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 373
Early Reflections
Early Reflections Early Reflections Long
Early Reflections Long
This effect models the initial re fl ections off the walls of a reverberant space, before the discrete echoes turn into an ambient wash. The different ER types also allow you to create gated and reverse reverb effects.
This effect has a 600ms maximum ER time, but is otherwise similar to “Early
Re fl ections,” as described on page 377.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre EQ
Low Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect low shelving EQ.
High Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect high shelving EQ.
Early Reflections
Type
Sharp, Loose, Modulated, Reverse.
This determines the shape of the re fl ections.
See the graphic Early Re fl ections Types, Pre-Delay, and ER Time below for more
details.
ER Time
8.9-600.0ms.
This sets the duration of the early re fl ections, after the pre-delay time.
Pre Delay
0.0-200.0ms.
The pre-delay is the time between the initial signal and the early re fl ections.
OASYS PCI 375
Early Reflections Long
Early Reflections Types, Pre-Delay, and ER Time
Sharp
Loose
Modulated
Reverse
Pre-Delay ER Time
Output
Early Reflections
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
376 OASYS PCI
Early Reflections Early Reflections
Early Reflections
This effect models the initial re fl ections off the walls of a reverberant space, before the discrete echoes turn into an ambient wash. The different ER types also allow you to create gated and reverse reverb effects.
This effect has a 400ms maximum ER time, but is otherwise similar to “Early
Re fl ections Long,” as described on page 375.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre EQ
Low Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect low shelving EQ.
High Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect high shelving EQ.
Early Reflections
Type
Sharp, Loose, Modulated, Reverse.
This determines the shape of the re fl ections.
See the graphic Early Re fl ections Types, Pre-Delay, and ER Time below for more
details.
ER Time
9.5-400.0ms.
This sets the duration of the early re fl ections, after the pre-delay time.
Pre Delay
0.0-200.0ms.
The pre-delay is the time between the initial signal and the early re fl ections.
OASYS PCI 377
Early Reflections
Early Reflections Types, Pre-Delay, and ER Time
Sharp
Loose
Modulated
Reverse
Pre-Delay ER Time
Output
Early Reflections
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
378 OASYS PCI
EQ
3-Band EQ EQ
3-Band EQ
This is a three-band EQ with high and low shelving and a fully parametric middle band, with very broad Q (from 0.25 to 32). As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Symmetric Q
The peaking band’s Q is identical for boost and cut, which may be referred to as
“symmetric Q.” Some speci fi c EQs use asymmetric Q, in which a given Q for cut is
1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Input
Low Shelf
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
20-2000Hz.
This sets the cutoff frequency of the low shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown in the fi
Gain
+/-18.1dB.
This sets the amount of boost or cut for the low shelf.
380 OASYS PCI
EQ
Mid
3-Band EQ
High Shelf
Center
200-4000Hz
This sets the center frequency of the parametric mid band, in Hz.
Q
0.25-32.00.
This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies. A Q of 0.25 creates a bandwidth of slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone.
The Q for this band is symmetric, as described under “Symmetric Q,” on page 380.
Parametric “Q”
Gain +
High Q
0dB
Gain -
Low Q
Frequency
Gain
+/-18.1dB.
This sets the amount of boost or cut for the parametric mid band.
Frequency
5000-20000Hz.
This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high shelf.
OASYS PCI 381
3-Band EQ
High and Low Shelving EQ
Gain +
Low Shelf
0dB
Gain -
Frequency
3dB
3dB
High Shelf
Frequency
EQ
382 OASYS PCI
EQ
Input
Low
OASYS PCI
3-Parametric
3-Parametric
This is an EQ with three fully parametric bands of peaking EQ. As with all EQs in the OASYS PCI, the curves are smooth and symmetric in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Symmetric Q
This effect’s Q is identical for boost and cut, which may be referred to as
“symmetric Q.” Some speci fi c EQs use asymmetric Q, in which a given Q for cut is
1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Center
80.0-1000.0Hz
This sets the center frequency of the parametric low band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the parametric low band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the low band.
383
3-Parametric
Mid
High
Parametric “Q”
Gain +
0dB
Gain -
High Q
Low Q
Frequency
Center
50.0-10000.0Hz
This sets the center frequency of the mid band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the mid band.
Center
50.0-20000.0Hz
This sets the center frequency of the high band, in Hz.
Q
0.5-10.0.
This sets the bandwidth of the high band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high band.
EQ
384 OASYS PCI
EQ 5-Band EQ
5-Band EQ
This is a fi ve-band EQ with high and low shelving and three fully parametric peaking bands, with very broad Q (from 0.25 to 32). As with all EQs in the OASYS
PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Symmetric Q
The peaking bands’ Q is identical for boost and cut, which may be referred to as
“symmetric Q.” Some speci fi c EQs use asymmetric Q, in which a given Q for cut is
1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Input
Low Shelf
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
20-2000Hz.
This sets the cutoff frequency of the low shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown in the fi
Gain
+/-18.1dB.
This sets the amount of boost or cut for the low shelf.
OASYS PCI 385
5-Band EQ
Low Mid
EQ
Center
20-2000Hz
This sets the center frequency of the low mid band, in Hz.
Q
0.25-32.00.
This sets the bandwidth of the low mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies. A Q of 0.25 creates a bandwidth of slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone.
The Q for this band is symmetric, as described under “Symmetric Q,” on page 385.
Parametric “Q”
Gain +
High Q
0dB
Gain -
Low Q
Frequency
Gain
+/-18.1dB.
This sets the amount of boost or cut for the parametric mid band.
Mid
High Mid
386
Center
200-4000Hz
This sets the center frequency of the mid band, in Hz.
Q
0.25-32.00.
This sets the bandwidth of the mid band.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the mid band.
Center
2000-22000Hz
This sets the center frequency of the high mid band, in Hz.
OASYS PCI
EQ
High Shelf
5-Band EQ
Q
0.25-32.00.
This sets the bandwidth of the high mid band.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high mid band.
Frequency
5000-20000Hz.
This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high shelf.
High and Low Shelving EQ
Gain +
Low Shelf
3dB
High Shelf
0dB
Gain -
3dB
Frequency Frequency
OASYS PCI 387
Graphic EQ 10 EQ
Graphic EQ 10
This is a mono-in, mono-out ten-band graphic EQ. As with all EQs in the OASYS
PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Octave Band Mono Graphic EQ
31.25
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 31.25Hz.
62.5
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 62.5Hz.
125
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 125Hz.
250
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 250Hz.
500
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 500Hz.
1 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 1kHz.
388 OASYS PCI
EQ Graphic EQ 10
2 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 2kHz.
4 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 4kHz.
8 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 8kHz.
16k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 16kHz.
OASYS PCI 389
Graphic EQ 7 EQ
Graphic EQ 7
This is a mono-in, mono-out seven-band graphic EQ, with a choice of six different frequency combinations. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
7 Band Graphic EQ
Band 1 Gain
+/-18.1dB.
This sets the amount of boost or cut for the fi rst band.
Band 2 Gain
+/-18.1dB.
This sets the amount of boost or cut for the second band.
Band 3 Gain
+/-18.1dB.
This sets the amount of boost or cut for the third band.
Band 4 Gain
+/-18.1dB.
This sets the amount of boost or cut for the fourth band.
Band 5 Gain
+/-18.1dB.
This sets the amount of boost or cut for the fi fth band.
390 OASYS PCI
EQ Graphic EQ 7
Band 6 Gain
+/-18.1dB.
This sets the amount of boost or cut for the sixth band.
Band 7 Gain
+/-18.1dB.
This sets the amount of boost or cut for the seventh band.
Frequency Bands
Selection of six different sets of frequencies.
This menu selects the frequencies assigned to the seven bands.
OASYS PCI 391
High Cut Filter EQ
High Cut Filter
This is a mono-in, mono-out high cut fi lter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
High Cut Filter
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
24-24000Hz.
This sets the cutoff frequency for the high cut fi lter.
Slope
12dB/Octave, 24dB/Octave.
This selects the severity of the high cut fi lter.
392 OASYS PCI
EQ High-Low Shelf
High-Low Shelf
This is a mono-input, mono-output two-band EQ, with high and low shelving. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
Low Shelf
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
20-2000Hz.
This sets the cutoff frequency of the low shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown in the fi
Gain
+/-18.1dB.
This sets the amount of boost or cut for the low shelf.
High Shelf
OASYS PCI
Frequency
5000-20000Hz.
This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high shelf.
393
High-Low Shelf
High and Low Shelving EQ
Gain +
Low Shelf
0dB
Gain -
Frequency
-3dB
-3dB
High Shelf
Frequency
EQ
394 OASYS PCI
EQ Low Cut Filter
Low Cut Filter
This is a mono-in, mono-out low cut fi lter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
High Cut Filter
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
24-24000Hz.
This sets the cutoff frequency for the low cut fi lter.
Slope
12dB/Octave, 24dB/Octave.
This selects the severity of the low cut fi lter.
OASYS PCI 395
St 3-Band EQ EQ
St 3-Band EQ
This is a stereo-in, stereo-out three-band EQ with high and low shelving and a fully parametric middle band. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Symmetric Q
The peaking band’s Q is identical for boost and cut, which may be referred to as
“symmetric Q.” Some speci fi c EQs use asymmetric Q, in which a given Q for cut is
1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Low Shelf
Frequency
20-2000Hz.
This sets the cutoff frequency of the low shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown in the fi
Gain
+/-18.1dB.
This sets the amount of boost or cut for the low shelf.
Mid
396
Center
200-4000Hz
This sets the center frequency of the parametric mid band, in Hz.
Q
0.25-32.00.
This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies. A Q of 0.25 creates a bandwidth of
OASYS PCI
EQ
High Shelf
St 3-Band EQ slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone.
The Q for this band is symmetric, as described under “Symmetric Q,” on page 380.
Parametric “Q”
Gain +
High Q
0dB
Gain -
Low Q
Frequency
Gain
+/-18.1dB.
This sets the amount of boost or cut for the parametric mid band.
Frequency
5000-20000Hz.
This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high shelf.
High and Low Shelving EQ
Gain +
Low Shelf
3dB
High Shelf
0dB
Gain -
3dB
Frequency Frequency
OASYS PCI 397
St 5-Band EQ EQ
St 5-Band EQ
This is a stereo-in, stereo-out fi ve-band EQ with high and low shelving and three fully parametric peaking bands. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Symmetric Q
The peaking bands’ Q is identical for boost and cut, which may be referred to as
“symmetric Q.” Some speci fi c EQs use asymmetric Q, in which a given Q for cut is
1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Low Shelf
Frequency
20-2000Hz.
This sets the cutoff frequency of the low shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown in the fi
Gain
+/-18.1dB.
This sets the amount of boost or cut for the low shelf.
Low Mid
398
Center
20-2000Hz
This sets the center frequency of the low mid band, in Hz.
Q
0.25-32.00.
This sets the bandwidth of the low mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies. A Q of 0.25 creates a bandwidth of
OASYS PCI
EQ
Mid
High Mid
St 5-Band EQ slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone.
The Q for this band is symmetric, as described under “Symmetric Q,” on page 385.
Parametric “Q”
Gain +
High Q
0dB
Gain -
Low Q
Frequency
Gain
+/-18.1dB.
This sets the amount of boost or cut for the parametric mid band.
Center
200-4000Hz
This sets the center frequency of the mid band, in Hz.
Q
0.25-32.00.
This sets the bandwidth of the mid band.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the mid band.
Center
2000-22000Hz
This sets the center frequency of the high mid band, in Hz.
Q
0.25-32.00.
This sets the bandwidth of the high mid band.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high mid band.
OASYS PCI 399
St 5-Band EQ
High Shelf
EQ
Frequency
5000-20000Hz.
This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high shelf.
High and Low Shelving EQ
Gain +
Low Shelf
3dB
High Shelf
0dB
Gain -
3dB
Frequency Frequency
400 OASYS PCI
EQ St Graphic EQ10
St Graphic EQ10
This is a stereo-in, stereo-out ten-band graphic EQ. As with all EQs in the OASYS
PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Octave Band Mono Graphic EQ
31.25
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 31.25Hz.
62.5
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 62.5Hz.
125
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 125Hz.
250
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 250Hz.
500
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 500Hz.
1 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 1kHz.
2 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 2kHz.
4 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 4kHz.
OASYS PCI 401
St Graphic EQ10
8 k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 8kHz.
16k
+/-18.1dB.
This sets the amount of boost or cut for the band centered on 16kHz.
EQ
402 OASYS PCI
EQ St Hi-Lo Shelf
St Hi-Lo Shelf
This is a stereo-input, stereo-output two-band EQ, with high and low shelving. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
Low Shelf
High Shelf
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
20-2000Hz.
This sets the cutoff frequency of the low shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown in the fi
Gain
+/-18.1dB.
This sets the amount of boost or cut for the low shelf.
Frequency
5000-20000Hz.
This sets the cutoff frequency of the high shelving EQ, in Hz. This is the point at which gain is 3dB below maximum, as shown below.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the high shelf.
OASYS PCI 403
St Hi-Lo Shelf
High and Low Shelving EQ
Gain +
Low Shelf
0dB
Gain -
Frequency
3dB
3dB
High Shelf
Frequency
EQ
404 OASYS PCI
EQ St HighCut Filter
St HighCut Filter
This is a stereo-in, stereo-out high cut fi lter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
High Cut Filter
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
24-24000Hz.
This sets the cutoff frequency for the high cut fi lter.
Slope
12dB/Octave, 24dB/Octave.
This selects the severity of the high cut fi lter.
OASYS PCI 405
St LowCut Filter EQ
St LowCut Filter
This is a stereo-in, stereo-out low cut fi lter, with a choice of 12dB or 24dB per octave slope. As with all EQs in the OASYS PCI, the curves are smooth and symmetrical in frequency, modeling analog EQs.
For the more technically inclined, the EQ calculations are all double-precision, using fi rst-order error-feedback.
Input
High Cut Filter
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Note that extreme positive or negative gain settings can dramatically increase the volume within the EQ effect, so it may be necessary to decrease the input volume to avoid clipping.
Frequency
24-24000Hz.
This sets the cutoff frequency for the low cut fi lter.
Slope
12dB/Octave, 24dB/Octave.
This selects the severity of the low cut fi lter.
406 OASYS PCI
Filters
Auto Wah Filters
Auto Wah
This is a model of a wah pedal, which can be swept either by an envelope follower or by a MIDI controller.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Wah/Auto Wah
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Cutoff Bottom
0-100.
This sets the frequency of the wah when the modulation is at its minimum value.
Cutoff Top
0-100.
This sets the frequency of the wah when the modulation is at its maximum value
Sweep Mode
Auto, Mod Source.
This determines how the wah will be controlled.
Auto.
The wah will be controlled by the envelope follower.
Mod Source.
The wah will be controlled directly from the MIDI mod source.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the wah sweep, when Sweep Mode is set to Mod Source. For a complete list of sources,
please see “Modulation Sources” on page 2.
Mod Response
0-100.
This sets the rate at which the wah frequency changes in response to the modulator.
408 OASYS PCI
Filters
Envelope
Auto Wah
Resonance
0-100.
This sets the resonance of the wah fi lter. Higher resonances will emphasize the cutoff frequency.
Filter Mode
LPF, BPF.
This sets the type of fi lter used for the wah.
LPF.
The wah will use a lowpass fi lter.
BPF.
The wah will use a bandpass fi lter.
Envelope Select
L/R Mix, L Only, R Only.
This selects the input which will drive the envelope follower.
Sens
0-100.
This sets the input sensitivity of the envelope follower.
Shape
+/-100.
Sets the curve of the envelope follower, as shown below.
Envelope Shape
0 to +100
Level
Original
Envelope
Output
0 to -100
Time
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
OASYS PCI 409
Auto Wah Filters
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
410 OASYS PCI
Filters Dyna Exciter
Dyna Exciter
This effect emphasizes the frequency content of the input signal.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre-EQ
Dyna Exciter
Low Freq
20-2000Hz.
This sets the frequency of the pre-effect low shelving EQ.
Low Gain
+/-18.1dB.
This sets the amount of boost or cut for the pre-effect low shelving EQ.
High Freq
20-2000Hz.
This sets the frequency of the pre-effect high shelving EQ.
High Gain
+/-18.1dB.
This sets the amount of boost or cut for the pre-effect high shelving EQ.
Emphasis Point
0-100.
This sets the frequency to be emphasized. Higher values will emphasize lower frequencies.
Emphasis Mod
List of Modulation Sources.
This selects the modulation source for controlling the
emphasis point. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the emphasis point.
OASYS PCI 411
Dyna Exciter Filters
Blend
+/-100.
This parameter controls the intensity of the Exciter effect. Positive values emphasize different frequency patterns than negative values.
Blend Mod
List of Modulation Sources.
This sets the modulation source for controlling the
blend. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the blend.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
412 OASYS PCI
Filters Mini Filter
Mini Filter
This effect includes the special 24dB per octave lowpass fi lter and modeled VCA nonlinearity from the Mini Synth Patch, along with an ADSR envelope. You can play the fi lter from the keyboard, for processing audio or other synthesizer Patches.
Input
Mini Filter
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Cutoff
0-100.
This controls the cutoff frequency of the speci fi cally modeled 24dB per octave lowpass fi lter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Emphasis
0-100.
Often called Resonance, this emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies above the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch.
Contour
0-100.
This controls the amount of effect the envelope will have on the fi lter cutoff frequency, adding to the setting on the Cutoff knob. At 0, the envelope will have no effect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
OASYS PCI 413
Mini Filter
Envelope amount affect on cutoff frequency
+100
Filters
0
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
414
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
OASYS PCI
Filters
Output
Mini Filter
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, centered on E4, as shown below. Note that you can also modulate any parameter using the
“Key Tracking” modulators in the Mod Palette.
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Env Trigger
List of Modulation Sources.
This sets the modulation source for triggering the envelope. Note Gate + Sustain works well, for instance. For a complete list, please
see “Modulation Sources” on page 2.
Nonlinearity
Soft, Hard, Saturate.
This controls the model of the VCA output nonlinearity.
Volume
+12 to -123.9dB, -INF.
This is the output volume for the effect.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If you want to modulate the volume instantaneously via velocity, use the Vel Sens control instead.
IMPORTANT:
The output volume provides up to 12dB in gain, so that you can get your signals as hot as possible. However, if fi lter resonance is high, settings above
0dB may cause clipping.
OASYS PCI 415
Mini Filter Filters
Vel Sens (Velocity Sensitivity)
0-100.
This sets the sensitivity of output volume to velocity. A velocity of 127 will always result in the maximum output level, as set by the Volume control; increasing the Vel Sens will decrease the output volume for low velocities.
416 OASYS PCI
Filters Random Filter
Random Filter
This is a resonant lowpass fi lter modulated by a sample-and-hold LFO.
Input
Random Filter
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Cutoff
0-100.
This controls the cutoff frequency of the lowpass fi lter. Frequencies above the cutoff are cut, and frequencies below the cutoff are passed through unchanged.
Generally speaking, the lower the cutoff, the darker the sound; the higher the cutoff, the brighter the sound
LFO Depth
0-100.
This sets the amount of LFO modulation of the cutoff frequency.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amt
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Resonance
0-100.
This emphasizes the cutoff frequency of the fi lter.
LFO
Step Frequency
0.00-50.00Hz.
This sets the frequency of the sample-and-hold LFO.
OASYS PCI 417
Random Filter Filters
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amt
+/-100.
This sets the amount by which the mod source affects the LFO frequency.
Output
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
418 OASYS PCI
Filters
Input
Filter
OASYS PCI
Rez Filter Env
Rez Filter Env
This effect provides a resonant multimode, multi-pole fi lter, an ADSR envelope, and an LFO which can be routed to both cutoff and resonance.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
If you are using high amounts of resonance, you may need to turn down the input level to avoid clipping.
Cutoff
0-100.
This controls the cutoff frequency of the fi lter. The meaning of the cutoff frequency will change depending on the fi lter mode.
When the fi lter is set to Lowpass mode, frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
When the fi lter is set to Highpass mode, frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
When the fi lter is set to Bandpass mode, frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the fi lter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole.
Envelope
0-100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to the setting on the Cutoff knob. When Envelope is set to 0, the envelope will have
419
Rez Filter Env Filters no effect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
Envelope amount affect on cutoff frequency
+100
420
0
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
OASYS PCI
Filters Rez Filter Env
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
OASYS PCI
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Mode
Lowpass, Highpass, Bandpass.
This selects whether the fi lter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass).
Lowpass.
Frequencies above the cutoff will be attenuated, and frequencies below the cutoff will pass through unchanged.
Highpass.
Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Bandpass.
Frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Type
4 Pole, 2 Pole, 2 Pole > 2 Pole.
This parameter selects the amount of frequency attenuation in the fi lter, and the character of the resonance.
4 Pole.
This is a 24dB per octave fi lter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type. Many classic analog synths used this general type of fi lter.
421
Rez Filter Env Filters
2 Pole.
This is a 12dB per octave fi lter. Compared to the 4 Pole, this offers signi fi cantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance.
2 Pole > 2 Pole.
This is two 12dB per octave fi lters in series. Of the three types, this offers by far the most extreme resonance effect. Compared with the 4 Pole, it has just a little less attenuation of frequencies beyond the cutoff.
LFO Mod
Frequency
0.00-100.00Hz.
This sets the frequency of the LFO,
Waveform
Sine, Triangle, Saw, Square.
This selects the shape of the LFO.
Filter Cutoff
On, Off.
This enables and disables modulation of fi lter cutoff by the LFO.
Resonance
On, Off.
This enables and disables modulation of fi lter resonance by the LFO.
Depth
0-100.
This sets the depth of the LFO modulation.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
422 OASYS PCI
Filters
Input
Filter
OASYS PCI
Rez Filter Lfo
Rez Filter Lfo
This effect combines a resonant multimode, multi-pole fi lter with a complex, MIDIsynced LFO.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Cutoff
0-100.
This controls the cutoff frequency of the fi lter. The meaning of the cutoff frequency will change depending on the fi lter mode.
When the fi lter is set to Lowpass mode, frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
When the fi lter is set to Highpass mode, frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
When the fi lter is set to Bandpass mode, frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the fi lter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole.
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, centered on E4, as shown below. Note that you can also modulate any parameter using the
“Key Tracking” modulators in the Mod Palette.
423
Rez Filter Lfo Filters
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Mode
Lowpass, Highpass, Bandpass.
This selects whether the fi lter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass).
Lowpass.
Frequencies above the cutoff will be attenuated, and frequencies below the cutoff will pass through unchanged.
Highpass.
Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Bandpass.
Frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Type
4 Pole, 2 Pole, 2 Pole > 2 Pole.
This parameter selects the amount of frequency attenuation in the fi lter, and the character of the resonance.
4 Pole.
This is a 24dB per octave fi lter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type. Many classic analog synths used this general type of fi lter.
2 Pole.
This is a 12dB per octave fi lter. Compared to the 4 Pole, this offers signi fi cantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance.
2 Pole > 2 Pole.
This is two 12dB per octave fi lters in series. Of the three types, this offers by far the most extreme resonance effect. Compared with the 4 Pole, it has just a little less attenuation of frequencies beyond the cutoff.
424 OASYS PCI
Filters Rez Filter Lfo
LFO Mod Depth
Initial
0-100.
This sets the initial amount of LFO fi lter modulation.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Shape
+/-100.
This sets the amount by which the mod source affects the LFO depth.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
OASYS PCI
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
425
Rez Filter Lfo
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚
Filters
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
426
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
Square Sample & Hold
OASYS PCI
Filters
OASYS PCI
Rez Filter Lfo
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
427
Rez Filter Lfo Filters
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
428 OASYS PCI
Filters
Input
Filter
Rez Filter Seq
Rez Filter Seq
This effect combines a resonant multimode, multi-pole fi lter with an ADSR envelope and an analog-style sequencer.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Cutoff
0-100.
This controls the cutoff frequency of the fi lter. The meaning of the cutoff frequency will change depending on the fi lter mode.
When the fi lter is set to Lowpass mode, frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
When the fi lter is set to Highpass mode, frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
When the fi lter is set to Bandpass mode, frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Seq Mod Amt
+/-100.
This sets the amount of cutoff modulation from the sequencer.
Key Track
+/-100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, centered on E4, as shown below. Note that you can also modulate any parameter using the
“Key Tracking” modulators in the Mod Palette.
OASYS PCI 429
Rez Filter Seq Filters
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the fi lter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole.
Seq Mod Amt
+/-100.
This sets the amount of resonance modulation from the sequencer.
Envelope
0-100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to the setting on the Cutoff knob. When Envelope is set to 0, the envelope will have no effect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
Envelope amount affect on cutoff frequency
+100
0
430 OASYS PCI
Filters Rez Filter Seq
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
OASYS PCI
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Mode
Lowpass, Highpass, Bandpass.
This selects whether the fi lter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass).
Lowpass.
Frequencies above the cutoff will be attenuated, and frequencies below the cutoff will pass through unchanged.
Highpass.
Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Bandpass.
Frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
431
Rez Filter Seq Filters
Type
4 Pole, 2 Pole, 2 Pole > 2 Pole.
This parameter selects the amount of frequency attenuation in the fi lter, and the character of the resonance.
4 Pole.
This is a 24dB per octave fi lter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type. Many classic analog synths used this general type of fi lter.
2 Pole.
This is a 12dB per octave fi lter. Compared to the 4 Pole, this offers signi fi cantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance.
2 Pole > 2 Pole.
This is two 12dB per octave fi lters in series. Of the three types, this offers by far the most extreme resonance effect. Compared with the 4 Pole, it has just a little less attenuation of frequencies beyond the cutoff.
LFO Mod Depth
Frequency
0.00-10000Hz.
This sets the frequency of the LFO.
Waveform
Sine, Triangle, Saw, Square.
This selects the shape of the LFO.
LFO Reset
List of Modulation Sources.
This sets the modulation source for resetting the LFO
phase. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Cutoff Mod
+/-100.
This sets the amount by which the LFO affects the fi lter cutoff.
Resonance Mod
+/-100.
This sets the amount by which the LFO affects the fi lter resonance.
Baseline Mod
+/-100.
This sets the amount by which the LFO affects the sequencer baseline.
Step Sequencer
Initial State
Run, Stop.
This controls whether the sequence is running or stopped when fi rst opened.
432 OASYS PCI
Filters
OASYS PCI
Rez Filter Seq
Run/Stop Mod
List of Modulation Sources.
This sets the modulation source for starting and
stopping the sequence. For a complete list, please see “Modulation Sources” on page 2.
Run/Stop Mode
Momentary, Toggle.
This determines the behavior of the run/stop modulator.
Momentary.
The the run/stop state is changed only as long as the switch is on.
When the switch is released, it returns to the previous state.
Toggle.
The switch turns the sequencer on and off alternately. Switching once turns it on; switching again turns it off.
Tempo Source
Knob, Midi Tempo.
This sets whether the sequencer will use the tempo set by the
Tempo knob, or tempo received via MIDI.
Tempo
40-240Hz.
This sets the tempo, in beats per minute, when the Tempo Source is set to
Manual Tempo. If the Tempo Source is set to MIDI Tempo, this knob is ignored.
Step Value
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the note value of the steps in the sequence.
Loop Start
1-16.
The sequence will always start at step 1, but when it begins to repeat, it will jump to the step speci fi ed here. You can modulate this via MIDI, to create fl uctuating patterns.
Loop End
1-16.
This sets the end step for the sequence. When the sequence completes this step, it will return to the Loop Start.
Step Width
0-100.
This sets the duration of the sequencer pulses. This parameter is particularly suited to real-time modulation.
Attack
0-100.
This sets the attack time for the sequencer pulses.
Decay
0-100.
This sets the decay time for the sequencer pulses.
433
Rez Filter Seq Filters
Sequencer Levels
Step 1-16
+/-100.
This sets the output level for each step.
Baseline
+/-100.
This allows you to move the fi lter cutoff underneath the sequence, without affecting the Step 1-16 levels. It’s a very different effect than moving the Cutoff or
Seq Amt knobs–try it out!
434 OASYS PCI
Filters
Input
Filter
OASYS PCI
Rez Filter+Amp
Rez Filter+Amp
This effect provides a resonant multimode, multi-pole fi lter, fi lter and amplitude
ADSR envelopes, and an LFO which can be routed to both cutoff and resonance.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
If you are using high amounts of resonance, you may need to turn down the input level to avoid clipping.
Cutoff
0-100.
This controls the cutoff frequency of the fi lter. The meaning of the cutoff frequency will change depending on the fi lter mode.
When the fi lter is set to Lowpass mode, frequencies above the cutoff are attenuated, and frequencies below the cutoff are passed through unchanged.
When the fi lter is set to Highpass mode, frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
When the fi lter is set to Bandpass mode, frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Note that the Envelope and Key Track parameters also affect the cutoff frequency.
This control has extra smoothing on the DSP, to ensure zipper-free modulation. If instantaneous modulation is desired (such as modulation via velocity), modulate the Envelope control instead.
Resonance
0-100.
Resonance emphasizes the frequencies around the cutoff frequency. At 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. At very high settings, the resonance can be heard as a separate, whistling pitch. At medium settings, the resonance will alter the timbre of the fi lter, but will not usually be heard as a separate pitch. The timbre and intensity of the resonance will change depending on the fi lter Type setting - 4 Pole, 2 Pole, or 2 Pole > 2 Pole.
Envelope
0-100.
The ADSR envelope can be used to control the fi lter cutoff frequency, adding to the setting on the Cutoff knob. When Envelope is set to 0, the envelope will have
435
Rez Filter+Amp Filters no effect. At +100, the envelope will open the fi lter all the way at its peak, even if
Cutoff is set to 0.
Envelope amount affect on cutoff frequency
+100
436
0
Key Track
+/- 100.
This adjusts the fi lter cutoff in response to incoming MIDI notes, as shown below. Note that you can also modulate any parameter using the “Key Tracking” modulators in the Mod Palette.
Key Tracking
Key Track amount
+100
+100
+50 alue 0
0
-50
-100
A0 E4
MIDI Note
C8
-100
Attack
0-100.
This sets the attack time of the fi lter envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the fi lter envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
OASYS PCI
Filters Rez Filter+Amp
Sustain
0-100.
This sets the sustain level for the fi lter envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the fi lter envelope, which controls how long it takes the envelope to fall to zero after the note is released.
ADSR Envelope
OASYS PCI
Attack time Decay time
Sustain
Level
Sustain while holding note
Release time
Mode
Lowpass, Highpass, Bandpass.
This selects whether the fi lter will cut high frequencies (Lowpass), cut low frequencies (Highpass), or cut all frequencies above and below the cutoff point (Bandpass).
Lowpass.
Frequencies above the cutoff will be attenuated, and frequencies below the cutoff will pass through unchanged.
Highpass.
Frequencies below the cutoff will be attenuated, and frequencies above the cutoff will pass through unchanged.
Bandpass.
Frequencies both above and below the cutoff will be attenuated, and only frequencies right at the cutoff will pass through unchanged.
Type
4 Pole, 2 Pole, 2 Pole > 2 Pole.
This parameter selects the amount of frequency attenuation in the fi lter, and the character of the resonance.
4 Pole.
This is a 24dB per octave fi lter. Of the three types, the 4 Pole offers the greatest attenuation of frequencies beyond the cutoff, coupled with a resonance slightly more delicate than the 2 Pole type. Many classic analog synths used this general type of fi lter.
437
Rez Filter+Amp Filters
2 Pole.
This is a 12dB per octave fi lter. Compared to the 4 Pole, this offers signi fi cantly less attenuation of frequencies beyond the cutoff, but with slightly more pronounced resonance.
2 Pole > 2 Pole.
This is two 12dB per octave fi lters in series. Of the three types, this offers by far the most extreme resonance effect. Compared with the 4 Pole, it has just a little less attenuation of frequencies beyond the cutoff.
LFO Mod
Frequency
0.00-100.00Hz.
This sets the frequency of the LFO,
Waveform
LFO Sine, LFO Triangle, LFO Saw, LFO Square.
This selects the shape of the LFO.
Filter Cutoff
On, Off.
This enables and disables modulation of fi lter cutoff by the LFO.
Resonance
On, Off.
This enables and disables modulation of fi lter resonance by the LFO.
Depth
0-100.
This sets the depth of the LFO modulation.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Amplifier
These parameters control an ADSR envelope dedicated to the output volume. For a graphic explaining ADSR envelopes, see the fi
Attack
0-100.
This sets the attack time of the amplitude envelope, which controls how long it takes from the moment that the key is pressed until the envelope reaches its peak.
Decay
0-100.
This sets the decay time of the amplitude envelope, which controls how long it takes the envelope to fall to the sustain level after the attack is complete.
438 OASYS PCI
Filters Rez Filter+Amp
Sustain
0-100.
This sets the sustain level for the amplitude envelope. After the decay time is complete, the envelope will stay at this level as long as the note is held.
Release
0-100.
This sets the release time of the amplitude envelope, which controls how long it takes the envelope to fall to zero after the note is released.
Volume
0-100.
This controls the overall output volume of the effect.
OASYS PCI 439
St Auto Wah Filters
St Auto Wah
This is a stereo-input, stereo-output wah fi lter, which can be swept either by an envelope follower or by a MIDI controller.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
St.Wah/Auto Wah
L Cutoff Bottom
0-100.
This sets the frequency of the left-channel wah when the modulation is at its minimum value.
L Cutoff Top
0-100.
This sets the frequency of the left-channel wah when the modulation is at its maximum value.
R Cutoff Bottom
0-100.
This sets the frequency of the right-channel wah when the modulation is at its minimum value.
R Cutoff Top
0-100.
This sets the frequency of the right-channel wah when the modulation is at its maximum value.
Sweep Mode
Auto, Mod Source.
This determines how the wah will be controlled.
Auto.
The wah will be controlled by the envelope follower.
Mod Source.
The wah will be controlled directly from the MIDI mod source.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the wah sweep, when Sweep Mode is set to Mod Source. For a complete list of sources,
please see “Modulation Sources” on page 2.
Mod Response
0-100.
This sets the rate at which the wah frequency changes in response to the modulator.
440 OASYS PCI
Filters
Envelope
St Auto Wah
Resonance
0-100.
This sets the resonance of the wah fi lter. Higher resonances will emphasize the cutoff frequency.
Filter Mode
LPF, BPF.
This sets the type of fi lter used for the wah.
LPF.
The wah will use a lowpass fi lter.
BPF.
The wah will use a bandpass fi lter.
Envelope Select
L/R Mix, L Only, R Only.
This selects the input which will drive the envelope follower.
Sens
0-100.
This sets the input sensitivity of the envelope follower.
Shape
+/-100.
Sets the curve of the envelope follower, as shown below.
Envelope Shape
0 to +100
Level
Original
Envelope
Output
0 to -100
Time
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
OASYS PCI 441
St Auto Wah Filters
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
442 OASYS PCI
Filters Stereo Enhancer
Stereo Enhancer
This stereo-input, stereo-output effect enhances the stereo image, and adds presence to the sound. It’s useful when you wish to emphasize a stereo effect, or to create a stereo image from a monaural source.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre-EQ
Low Freq
20-2000Hz.
This sets the frequency of the pre-effect low shelving EQ.
Low Gain
+/-18.1dB.
This sets the amount of boost or cut for the pre-effect low shelving EQ.
High Freq
20-2000Hz.
This sets the frequency of the pre-effect high shelving EQ.
High Gain
+/-18.1dB.
This sets the amount of boost or cut for the pre-effect high shelving EQ.
Stereo Dyna Exciter
Emphasis Point
0-100.
This sets the frequency to be emphasized. Higher values will emphasize lower frequencies.
Emphasis Mod
List of Modulation Sources.
This selects the modulation source for controlling the
emphasis point. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the emphasis point.
Blend
+/-100.
This parameter controls the intensity of the exciter effect. Positive values emphasize different frequency patterns than negative values.
OASYS PCI 443
Stereo Enhancer Filters
Blend Mod
List of Modulation Sources.
This sets the modulation source for controlling the
blend. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the blend.
Stereo Enhancer
Width
0-100.
This sets the degree to which the Enhancer effect is applied.
Width Mod
List of Modulation Sources.
This sets the modulation source for controlling the
width. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the width.
Left Delay Time
0.0-50.0ms.
These parameters set the delay time for the left and right channels.
Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound.
Right Delay Time
0.0-50.0ms.
This sets the delay time for the right channel.
Wide Stereo
Wide Stereo
Off, On.
This adds additional stereo width to the signal.
Position
0-100.
This adjusts the apparent listening position.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
444 OASYS PCI
Filters Stereo Enhancer
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry amount.
OASYS PCI 445
Talking Mod Filters
Talking Mod
This effect adds vocal formants to the input signal. By modulating the effect in realtime, you can create an interesting effect that makes almost any sound appear to be talking.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Formant Control
Control Source
Manual, Mod Source, LFO.
This determines how the movement between the vowel shapes will be controlled.
Manual.
The vowel shapes will be controlled by the Manual knob.
Mod Source.
The vowel shapes will be controlled directly from the MIDI mod source.
LFO.
The vowel shapes will be controlled by the LFO.
Manual
0-100.
This knob controls the movement between vowel shapes when the Control
Source is set to Manual.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the vowel shapes when the Control Source is set to Mod Source. For a complete list of
modulators, please see “Modulation Sources” on page 2.
LFO Freq
0.00-20.00Hz.
This sets the frequency of the LFO.
446 OASYS PCI
Filters Talking Mod
LFO Shape
+/-100.
This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Formant
These parameters assign vowel sounds to the minimum, center, and maximum values of the controller. For example, let’s say that Mod Wheel is selected as the modulation source, and Voice Top is set to AH, Voice Centeris set to IH, and Voice
Bottom is set to UU. Moving the wheel up from 0 will then produce the vowel sounds “uu”, “ih”, and then “ah.”
Bottom
AH, IH, UU, EE, OH.
This is the vowel sound at the minimum value of the controller.
Center
AH, IH, UU, EE, OH.
This is the vowel sound at the middle value of the controller.
Top
AH, IH, UU, EE, OH.
This is the vowel sound at the maximum value of the controller.
Formant Shift
+/-100.
This parameter adjusts the frequency range to which the effect is applied. If you wish to apply the effect to a higher-frequency sound, set this parameter to a higher value; to apply the effect to a lower-frequency sound, set this to a lower value.
OASYS PCI 447
Talking Mod Filters
Resonance
0-100.
This parameter sets the intensity of the vowel resonance. Higher resonance settings will add more character to the sound.
Talking Modulator
Voice Bottom
A
Voice Center
Voice Top
A
I
U
E
– Max
O
Zero
+ Max
+ Max
Zero
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry amount.
448 OASYS PCI
Filters Wide Stereo
Wide Stereo
This effect enhances the perception of stereo imaging in the input signal.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Enhancer
Width
0-100.
This sets the degree to which the Enhancer effect is applied.
Width Mod
List of Modulation Sources.
This sets the modulation source for controlling the
width. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the width.
Left Delay Time
0.0-50.0ms.
These parameters set the delay time for the left and right channels.
Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound.
Right Delay Time
0.0-50.0ms.
This sets the delay time for the right channel.
Wide Stereo
Wide Stereo
Off, On.
This adds additional stereo width to the signal.
Position
0-100.
This adjusts the apparent listening position.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
OASYS PCI 449
Wide Stereo Filters
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry amount.
450 OASYS PCI
Flangers
Envelope Flanger Flangers
Envelope Flanger
This is a mono-input, mono-output fl anger, based on an envelope instead of an
LFO. You can trigger the envelope via MIDI, and also simply control the fl anger directly from a MIDI controller.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Envelope Flanger
Min Delay
0.0-50.0ms.
This sets the delay when the envelope or mod source is at minimum.
Max Delay
0.0-50.0ms.
This sets the delay when the envelope or mod source is at maximum.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
Hi Damping
0-100.
This adjusts the amount of high frequency damping in the feedback loop.
Flanger Control
Sweep Mode
EG, Mod Source.
This determines how the fl anger will be controlled.
EG.
The fl anger will be controlled by the envelope generator (EG).
Mod Source.
The fl anger will be controlled directly by the MIDI mod source.
452 OASYS PCI
Flangers
Output
Envelope Flanger
EG Trigger/Mod
List of Modulation Sources.
When Sweep Mode is set to EG, this selects the modulation source that triggers the envelope. When Sweep Mode is set to Mod
Source, this selects the modulation source that controls the fl anger. For a complete
list of modulation sources, please see “Modulation Sources” on page 2.
Note EG Retrig
On, Off.
This determines the way that the envelope triggers when the Trigger
Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
EG Attack
0-100.
This sets the attack time of the envelope–the time that it takes to reach its maximum value after being triggered.
EG Decay
0-100.
This sets the release time of the envelope–the time that it takes to fall back to its minimum value after the trigger is released.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI 453
Flanger
Input
Flanger
LFO
Flangers
Flanger
This is a mono-input, mono-output fl anger.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay
0.0-50.0ms.
This sets the center delay for the fl anger.
Depth
0-100.
This controls the depth of LFO modulation.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
Hi Damping
0-100.
This adjusts the amount of high frequency damping in the feedback loop.
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
454 OASYS PCI
Flangers
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
Flanger
Output
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO frequency.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 455
St Env Flanger Flangers
St Env Flanger
This is a stereo-in, stereo-out fl anger based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the fl anger frequency directly from a MIDI controller.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Envelope Flanger
Left Delay Min
0.0-50.0ms.
This sets the left delay time when the envelope or mod source is at minimum.
Left Delay Max
0.0-50.0ms.
This sets the left delay time when the envelope or mod source is at maximum.
Right Delay Min
0.0-50.0ms.
This sets the right delay time when the envelope or mod source is at minimum.
Right Delay Max
0.0-50.0ms.
This sets the right delay time when the envelope or mod source is at maximum.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
High Damp
0-100.
This controls the amount of high frequency damping in the fl anger feedback.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
456 OASYS PCI
Flangers St Env Flanger
Flanger Control
Sweep Mode
EG, Mod Source.
This determines how the fl anger will be controlled.
EG.
The fl anger will be controlled by the envelope generator (EG).
Mod Source.
The fl anger will be controlled directly by the MIDI mod source.
EG Trigger/Mod
List of Modulation Sources.
When Sweep Mode is set to EG, this selects the modulation source that triggers the envelope. When Sweep Mode is set to Mod
Source, this selects the modulation source that controls the fl anger. For a complete
list of modulation sources, please see “Modulation Sources” on page 2.
Note EG Retrig
On, Off.
This determines the way that the envelope triggers when the Trigger
Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
EG Attack
0-100.
This sets the attack time of the envelope–the time that it takes to reach its maximum value after being triggered.
EG Decay
0-100.
This sets the release time of the envelope–the time that it takes to fall back to its minimum value after the trigger is released.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI 457
St Flanger Flangers
St Flanger
This is a stereo-in, stereo-out fl anger effect.
Input
Stereo Flanger
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay
0.0-50.0ms.
This sets the center delay for the fl anger.
Depth
0-100.
This controls the depth of LFO modulation.
Feedback Mode
Normal, Cross.
This selects the feedback routing for the fl anger.
Normal.
The channels will feed back into themselves, left into left and right into right.
Cross.
The channels will feed back into each other, left into right and right into left.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
Hi Damping
0-100.
This adjusts the amount of high frequency damping in the feedback loop.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
LFO
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
458 OASYS PCI
Flangers St Flanger
Shape
+/-100.
This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect–although with panning in particular, the two channels must contain fairly discrete material for this effect to be noticeable.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
OASYS PCI
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
459
St Flanger
Output
Flangers
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
460 OASYS PCI
Flangers St RandomFlange
St RandomFlange
This is a stereo-in, stereo-out fl anger, with step-shaped and sample-and-hold waveforms.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Random Flanger
Delay
0.0-50.0ms.
This sets the center delay for the fl anger.
Depth
0-100.
This controls the depth of LFO modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Feedback Mode
Normal, Cross.
This selects the feedback routing for the fl anger.
Normal.
The channels will feed back into themselves, left into left and right into right.
Cross.
The channels will feed back into each other, left into right and right into left.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
Hi Damping
0-100.
This adjusts the amount of high frequency damping in the feedback loop.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the
OASYS PCI 461
St RandomFlange Flangers output to mono. Negative values will reverse the left and right channels of the effect output.
LFO Control
Waveform
Step Triangle, Step Sine, Random.
This selects the main waveform for the LFO.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
462
Frequency
0.00-20.00Hz.
This sets the frequency for the main LFO.
Step Freq
0.00-50.00Hz.
This sets the frequency of the LFO steps. If the Random waveform is being used, then this will determine the frequency of the sample-and-hold effect.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequencies. The same modulator can be used for both the main LFO and the
step LFO. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI
Flangers St RandomFlange
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the frequency of the main LFO.
Step Amt
+/-50.00Hz.
This sets the amount by which the mod source affects the frequency of the step LFO.
Random Step LFO
LFO Frequency
Output
LFO Step Freq
Step-Tri
LFO Step Freq
Random
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI 463
St TempoFlanger Flangers
St TempoFlanger
This is a stereo-in, stereo-out fl anger with a complex, MIDI-syncable tempo LFO.
Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Stereo Flanger
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay
0.0-50.0ms.
This sets the center delay for the fl anger.
Depth
0-100.
This controls the depth of LFO modulation.
Feedback Mode
Normal, Cross.
This selects the feedback routing for the fl anger.
Normal.
The channels will feed back into themselves, left into left and right into right.
Cross.
The channels will feed back into each other, left into right and right into left.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
Hi Damping
0-100.
This adjusts the amount of high frequency damping in the feedback loop.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
464 OASYS PCI
Flangers
LFO
St TempoFlanger
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
OASYS PCI 465
St TempoFlanger
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
Flangers
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
466
Square Sample & Hold
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
OASYS PCI
Flangers St TempoFlanger
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect–although with panning in particular, the two channels must contain fairly discrete material for this effect to be noticeable.
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
OASYS PCI
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful
467
St TempoFlanger Flangers in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
468 OASYS PCI
Flangers StTempoFlange2
StTempoFlange2
This is a stereo-in, stereo-out fl anger, with a complex MIDI-synced main LFO. The main LFO can itself be modulated by a second MIDI-synced step LFO.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Step / Random Flanger
Delay
0.0-50.0ms.
This sets the center delay for the fl anger.
Depth
0-100.
This controls the depth of LFO modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Feedback Mode
Normal, Cross.
This selects the feedback routing for the fl anger.
Normal.
The channels will feed back into themselves, left into left and right into right.
Cross.
The channels will feed back into each other, left into right and right into left.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
Hi Damping
0-100.
This adjusts the amount of high frequency damping in the feedback loop.
OASYS PCI 469
StTempoFlange2 Flangers
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Noise.
This selects the waveform of the main LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
470
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
Step
On, Off.
This turns the step LFO on and off.
OASYS PCI
Flangers
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
StTempoFlange2
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
OASYS PCI
Square Noise
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
471
StTempoFlange2 Flangers
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
+/-180.
This sets the point in the waveform at which the LFO starts. Whenever the
Phase Reset controller is received, the LFO will start from the Initial Phase point.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect–although with panning in particular, the two channels must contain fairly discrete material for this effect to be noticeable.
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
472
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful
OASYS PCI
Flangers StTempoFlange2 in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
LFO Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Freq Mod
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
LFO Tempo
Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Step Frequency
Step LFO
LFO Frequency
LFO Step Freq
Step-Tri
LFO Step Freq
Random
OASYS PCI 473
StTempoFlange2 Flangers
Step Freq
0.00-80.00Hz.
This controls the speed of the step LFO when the LFO Control is set to Frequency Knob.
Step Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
speed of the step LFO. For a complete list, please see “Modulation Sources” on page 2.
Step Mod
+/-80.00Hz.
This sets the amount by which the mod source affects the speed of the step LFO.
Step Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The speed of the step LFO can be controlled either by the Frequency knob (including the mod source), the Manual
Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the step LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the step LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the step LFO speed.
Step Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the Step Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the Step Control is set to either Manual Tempo or MIDI Tempo.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
474 OASYS PCI
Flangers StTempoFlange2
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI 475
Tempo Flanger Flangers
Tempo Flanger
This is a mono-in, mono-out fl anger with a complex, MIDI-syncable tempo LFO.
Try modulating the LFO parameters, such as shape and smoothing, in real time.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Flanger
Delay
0.0-50.0ms.
This sets the center delay for the fl anger.
Depth
0-100.
This controls the depth of LFO modulation.
Feedback
+/-100.
This controls the amount of feedback in the fl anger. Higher feedback settings result in a more extreme sound.
Hi Damping
0-100.
This adjusts the amount of high frequency damping in the feedback loop.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
476 OASYS PCI
Flangers
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
Tempo Flanger
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
OASYS PCI
Square Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
477
Tempo Flanger
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
Flangers
478
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
OASYS PCI
Flangers
Output
Tempo Flanger
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 479
Tempo Flanger Flangers
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
480 OASYS PCI
Modulations
Doppler
Input
Pan
Pitch
LFO
482
Modulations
Doppler
This effect simulates the Doppler effect, which causes perceived pitch to change as a sound-producing object moves by–such as a train passing while ringing its bell, or an ambulance driving by and sounding its siren.
You can also mix the effect output with the dry signal, to create an unusual chorus effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Depth
+/-100.
This sets the depth of the panning effect–how widely the image swings between left and right.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
panning depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the panning depth.
Depth
0-100.
This controls the depth of the doppler pitch shift.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
pitch shift depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the pitch shift.
Mode
One Shot, Loop.
This determines whether the doppler effect will run continuously, or only when triggered.
OASYS PCI
Modulations
Output
Doppler
One Shot.
The doppler will only act when triggered, and will then go through one cycle and stop.
Loop.
The doppler effect will run continuously.
One Shot Trigger
List of Modulation Sources.
This sets the modulation source for triggering the doppler effect, when the Mode is set to One Shot. For a complete list, please see
“Modulation Sources” on page 2.
Note Retrigger
On, Off.
This determines the way that the doppler triggers when the One Shot
Trigger is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the doppler will be triggered whenever a key is pressed.
Off.
When this is off, the doppler will only be retriggered after all currently held notes have been released.
Frequency
0.00-10.00Hz.
This controls the speed of the doppler LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 483
Dual Resonator Modulations
Dual Resonator
This effect includes two independent resonators, which each cause the input signal to resonate at a speci fi ed pitch. For example, the resonators can add a unique character to a string sound by emphasizing certain harmonics, or add a pitched element to a drum loop.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
ResonatorVoice1-2
Pitch (1-2)
F#-1,99-G8,0.
This sets the pitch of the resonator.
Resonance (1-2)
+/-100.
This controls the intensity of the resonance, when Control Mode is set to
Manual. If the Resonance parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave below.
High Cut (1-2)
0-100.
This adjusts the amount of high frequency cut for the resonator.
Level (1-2)
0-100.
This sets the output level of the resonator.
Pan (1-2)
0-100.
This sets the stereo pan position of the resonator.
Resonance Mod / LFO
Control Mode
Manual, LFO, Mod Source.
This determines how the resonator will be controlled.
484 OASYS PCI
Modulations
Output
Dual Resonator
Manual.
The Resonance parameter sets the intensity of resonance.
Mod Source.
The intensity of the resonance will be controlled directly from the
MIDI mod source.
LFO.
The intensity of the resonance will be controlled by the LFO.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the vowel shapes when the Control Source is set to Mod Source. For a complete list of
modulators, please see “Modulation Sources” on page 2.
LFO Freq
0.00-20.00Hz.
This controls the speed of the LFO.
LFO Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 485
Resonator Modulations
Resonator
This effect causes the input signal to resonate at a speci fi ed pitch. For example, the
Resonator can add a unique character to a string sound by emphasizing certain harmonics, or add a pitched element to a drum loop. You can control the resonance intensity via an LFO.
Input
Resonator
LFO
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Control Source
Manual, LFO.
This determines how the resonator will be controlled.
Manual.
The Resonance parameter sets the intensity of resonance.
LFO.
The intensity of the resonance will be controlled by the LFO.
Pitch
F#-1,99-G8,0.
This sets the pitch of the resonator.
Resonance
+/-100.
This controls the intensity of the resonance, when Control Mode is set to
Manual. If the Resonance parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave below.
High Damp
0-100.
This adjusts the amount of high frequency damping for the resonator.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
486 OASYS PCI
Modulations
Output
Resonator
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO frequency.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 487
Ring Modulator Modulations
Ring Modulator
This effect creates a metallic sound by routing the input signal to an oscillator. You can create very extreme effects by modulating the oscillator using an LFO or MIDI modulation. Since the oscillator frequency can match the note number, you can create a ring modulation effect that follows the scale.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Ring Mod
Pre LPF
0-100.
This adjusts the cutoff of the pre-effect lowpass fi lter.
Osc Mode
Fixed, Note.
This sets the way that the oscillator will be controlled.
Fixed.
The oscillator will use the frequency set under the Fixed section.
Note.
The oscillator will follow incoming MIDI notes.
Fixed
488
Fixed Freq
0-12000Hz.
This sets the basic pitch of the oscillator when the Osc Mode is set to
Fixed.
Fixed Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
Fixed frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-12000.
This sets the amount by which the mod source affects the oscillator frequency.
OASYS PCI
Modulations
Note
LFO
Ring Modulator
Note Offset
+/-48.
This allows you to offset the pitch from the received MIDI note numbers, in semitones.
Note Fine
+/-100.
This allows you to fi ne-tune the resonators, in cents (1/100 of a semitone).
Note Offset Mod
List of Modulation Sources.
This sets the modulation source for controlling the note offset and fi
ne tune. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-48.
This sets the amount by which the mod source affects the note offset.
Fine Amount
+/-100.
This sets the amount by which the mod source affects the fi ne tune.
LFO Depth
0-100.
This controls the amount of LFO modulation.
LFO Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.0Hz.
This sets the amount by which the mod source affects the LFO frequency.
OASYS PCI 489
Ring Modulator
Output
Modulations
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
490 OASYS PCI
Modulations St Vibrato AF
St Vibrato AF
This is a stereo-in, stereo-out vibrato effect, with a triggered auto fade envelope.
The envelope can modulate LFO amount to vibrato, LFO amount to fi lter cutoff, and LFO frequency.
Input
Auto Fade
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Trigger Source
List of Modulation Sources.
This sets the modulation source for triggering the
auto fade envelope. For a complete list, please see “Modulation Sources” on page 2.
Note Retrigger
On, Off.
This determines the way that the auto fade envelope triggers when the
Trigger Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
Rate
0-100.
This sets the attack rate of the auto fade envelope.
Auto Fade
Note Gate
AUTOFADE
Note On
Fade-In Rate
All Notes Off
OASYS PCI 491
St Vibrato AF Modulations
Stereo Vibrato
Depth
0-100.
This controls the depth of the vibrato.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the vibrato depth.
Depth Auto Fade
On, Off.
This enables modulation of depth via the auto fade envelope.
Filter
Lowpass Filter
On, Off.
This enables and disables the built-in lowpass fi lter.
Cutoff
0-100.
This sets the cutoff frequency of the lowpass fi lter.
LFO Depth
+/-100.
This sets the amount of LFO modulation for the fi lter.
LFO Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the fi
lter LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the fi lter LFO depth.
Depth Auto Fade
On, Off.
This enables modulation of fi lter LFO depth via the auto fade envelope.
LFO
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
492 OASYS PCI
Modulations St Vibrato AF
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Output
Freq
0.00-20.00Hz.
This controls the speed of the LFO.
Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Freq Auto Fade
On, Off.
This enables modulation of frequency via the auto fade envelope.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 493
St Vibrato Modulations
St Vibrato
This is a stereo-in, stereo-out vibrato effect.
Input
Stereo Vibrato
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Depth
0-100.
This controls the depth of the vibrato.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the vibrato depth.
Filter
Lowpass Filter
On, Off.
This enables and disables the built-in lowpass fi lter.
Cutoff
0-100.
This sets the cutoff frequency of the lowpass fi lter.
LFO Depth
+/-100.
This sets the amount of LFO modulation for the fi lter.
LFO Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the fi
lter LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the fi lter LFO depth.
LFO
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
494 OASYS PCI
Modulations St Vibrato
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Output
Freq
0.00-20.00Hz.
This controls the speed of the LFO.
Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 495
Vibrato AF Modulations
Vibrato AF
This is a mono-in, stereo-out vibrato effect, with a triggered auto fade envelope.
The envelope can modulate LFO amount to vibrato, LFO amount to fi lter cutoff, and LFO frequency.
Input
Auto Fade
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Trigger Source
List of Modulation Sources.
This sets the modulation source for triggering the
auto fade envelope. For a complete list, please see “Modulation Sources” on page 2.
Note Retrigger
On, Off.
This determines the way that the auto fade envelope triggers when the
Trigger Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
Rate
0-100.
This sets the attack rate of the auto fade envelope.
496 OASYS PCI
Modulations
Vibrato
Filter
Vibrato AF
Auto Fade
Note Gate
AUTOFADE
Note On
Fade-In Rate
All Notes Off
Depth
0-100.
This controls the depth of the vibrato.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the vibrato depth.
Depth Auto Fade
On, Off.
This enables modulation of depth via the auto fade envelope.
Lowpass Filter
On, Off.
This enables and disables the built-in lowpass fi lter.
Cutoff
0-100.
This sets the cutoff frequency of the lowpass fi lter.
LFO Depth
+/-100.
This sets the amount of LFO modulation for the fi lter.
OASYS PCI 497
Vibrato AF
LFO
Modulations
LFO Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the fi
lter LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the fi lter LFO depth.
Depth Auto Fade
On, Off.
This enables modulation of fi lter LFO depth via the auto fade envelope.
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
498
Freq
0.00-20.00Hz.
This controls the speed of the LFO.
Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
OASYS PCI
Modulations
Output
Vibrato AF
Freq Auto Fade
On, Off.
This enables modulation of frequency via the auto fade envelope.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 499
Vibrato
Input
Vibrato
Filter
500
Modulations
Vibrato
This is a mono-in, stereo-out vibrato effect.
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Depth
0-100.
This controls the depth of the vibrato.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
vibrato depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the vibrato depth.
Lowpass Filter
On, Off.
This enables and disables the built-in lowpass fi lter.
Cutoff
0-100.
This sets the cutoff frequency of the lowpass fi lter.
LFO Depth
+/-100.
This sets the amount of LFO modulation for the fi lter.
LFO Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the fi
lter LFO depth. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI
Modulations
LFO
Vibrato
Mod Amount
+/-100.
This sets the amount by which the mod source affects the fi lter LFO depth.
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Output
Freq
0.00-20.00Hz.
This controls the speed of the LFO.
Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
OASYS PCI 501
Vibrato Modulations
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
502 OASYS PCI
Organ FX
Rotary Speaker Organ FX
Rotary Speaker
This is the rotary speaker model from the Korg G4. It includes independent speed and acceleration for the horn and rotor, parameterized mic placement, and overdrive and speaker simulations.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Overdrive/Speaker
Overdrive
Off, On.
This turns the overdrive on and off.
On/Off Source
List of Modulation Sources.
This sets the modulation source for controlling the overdrive on/off switch. For a complete list of mod sources, please see
“Modulation Sources” on page 2.
On/Off SW
Momentary, Toggle.
This determines the behavior of the overdrive on/off modulator.
Momentary.
The the on/off state is changed only as long as the switch is on. When the switch is released, it returns to the previous state.
Toggle.
The switch turns the overdrive on and off alternately. Switching once turns it on; switching again turns it off.
Drive
-40.0-0.0dB.
This sets the amount of distortion.
Tone
0.0-18.0dB.
This adjusts the brightness of the overdrive.
504 OASYS PCI
Organ FX Rotary Speaker
Out Level
0-100.
This controls the volume level coming out of the overdrive section.
Speaker Sim.
Off, On.
This turns the speaker simulation on and off. The speaker simulation gives the overdrive a rounder tone.
Rotary On/Off Modulation
Initial Mode
Rotate, Stop.
This sets whether the speaker will begin moving immediately when the sound is loaded, or whether it will be stopped until switched on.
Mod Source
List of Modulation Sources.
This sets the modulation source for controlling the
rotary on/off switch. For a complete list of mod sources, please see “Modulation
Mode SW
Momentary, Toggle.
This determines the behavior of the rotary on/off switch.
Momentary.
The the on/off state is changed only as long as the switch is on. When the switch is released, it returns to the previous state.
Toggle.
The switch turns the rotary speaker on and off alternately. Switching once turns it on; switching again turns it off.
Rotary Speed Modulation
Initial Speed
Slow, Fast.
This sets the initial speed of the rotary speaker.
Mod Source
List of Modulation Sources.
This selects the modulation source for controlling the
slow/fast speed switch. For a complete list of mod sources, please see “Modulation
Speed SW
Momentary, Toggle.
This determines the behavior of the slow/fast speed switch.
Momentary.
The the slow/fast state is changed only as long as the switch is on.
When the switch is released, it returns to the previous state.
Toggle.
The switch changes the speeds alternately. Switching once changes it to fast; switching again changes it back to slow.
OASYS PCI 505
Rotary Speaker Organ FX
Microphone Placement
Horn Distance
0-100.
This controls the distance of the mic from the horn (the high-frequency part of the rotary speaker).
Horn Spread
0-100.
This determines the stereo spread of the signal from the horn.
Rotor Distance
0-100.
This sets the distance of the mic from the rotor (the low-frequency part of the rotary speaker)
Rotor Spread
0-100.
This controls the stereo spread of the signal from the rotor.
Rotary Speaker
Horn Speed
+/-100.
This adjusts the speed of the horn (the high-frequency part of the rotary speaker).
Horn Acceleration
0-100.
This controls how long it takes for the horn to speed up and slow down, when switched from fast to slow.
Rotor Speed
+/-100.
This adjusts the speed of the rotor (the low-frequency part of the rotary speaker).
Rotor Acceleration
0-100.
This sets how long it takes for the rotor to speed up and slow down, when switched from fast to slow.
Horn/Rotor Balance
0-100.
This is the volume balance between the horn and the rotor.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
506 OASYS PCI
Organ FX Rotary Speaker
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 507
Vibrato Chorus Organ FX
Vibrato Chorus
This is a physical model of the tonewheel organ’s classic vibrato-chorus effect.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Vibrato Chorus
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Cutoff
0-100.
The chorus is made from a series of lowpass fi lters; this is the cutoff frequency of those fi lters.
LFO Rate
0.10-20.00Hz.
This sets the speed of the LFO. In the original effect, the frequency was fi xed at 6.9Hz.
LFO Amt
0-100.
This controls the amount of LFO modulation.
LFO Offset
0-100.
This sets the tap on which the LFO is centered.
Output
Wet
+/-100.
This controls the output level of the wet signal. Negative values invert the phase.
Dry
0-100.
This controls the output level of the dry signal.
508 OASYS PCI
Other Effects
Decimator Other Effects
Decimator
The Decimator downsamples incoming audio to create a gritty, rough effect. You can modulate the sample rate via MIDI controllers.
Input
Decimator
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre LPF
On, Off.
This turns the pre-effect lowpass fi lter on and off. The lowpass can be used to smooth out some of the more extreme effects of the sample rate conversion!
Sample Rate
1000-24000Hz.
This converts the sample rate of the audio, downsampling to create a gritty-sounding effect.
Sample Rate Mod
List of Modulation Sources.
This sets the modulation source for controlling the
sample rate. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-24000Hz.
This sets the amount by which the mod source affects the sample rate
Damping
0-100.
This sets the amount of high frequency damping.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
510 OASYS PCI
Other Effects Decimator
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 511
LR Gain
LR Gain
Other Effects
LR Gain
This is a very simple effect which provides +/-18.1 dB of gain separately adjustable for the left and right channels.
Left Volume
+/-18.1dB.
This is the volume boost or cut for the left channel.
Right Volume
+/-18.1dB.
This is the volume boost or cut for the right channel.
512 OASYS PCI
Other Effects Piano Body
Piano Body
This effect models the resonance of the piano sound board, and also models the sympathetic resonance of unplayed strings, as occurs when you press the damper pedal. It is intended to be applied to acoustic piano sounds.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Piano Body/Damper
Damper Source
List of Modulation Sources.
This sets the modulation source for controlling the
damper pedal. For a complete list, please see “Modulation Sources” on page 2.
SoundBoard Depth
0-100.
This controls the intensity of the sound board’s resonance.
Damper Depth
0-100.
This parameter adjusts the intensity of the sympathetic resonance of unplayed strings created when the damper pedal is pressed.
Tone
0-100.
This adjusts the tonal quality of the piano soundboard.
Mid EQ
+/-18.1dB.
This adjusts the mid range of the tonal quality.
Tune
+/-50.
Since this effect simulates the resonance of the strings, the sound varies depending on the pitch. If you have changed the tuning of the input signal (for instance, detuning using a Master Tune parameter), adjust the Tune parameter to match.
OASYS PCI 513
Piano Body
Output
Other Effects
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
514 OASYS PCI
Other Effects St Decimator
St Decimator
This is a stereo-input, stereo-output Decimator. It downsamples incoming audio to create a gritty, rough effect. You can modulate the sample rate via MIDI controllers.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Decimator
Pre LPF
On, Off.
This turns the pre-effect lowpass fi lter on and off. The lowpass can be used to smooth out some of the more extreme effects of the sample rate conversion!
Sample Rate
1000-24000Hz.
This converts the sample rate of the audio, downsampling to create a gritty-sounding effect.
Sample Rate Mod
List of Modulation Sources.
This sets the modulation source for controlling the
sample rate. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-24000Hz.
This sets the amount by which the mod source affects the sample rate
Damping
0-100.
This sets the amount of high frequency damping.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 515
St Gain
Stereo Gain
Other Effects
St Gain
This is a very simple effect which provides +/-18.1 dB of boost or cut for a stereo signal.
Volume
+/-18.1dB.
This is the volume boost or cut for the stereo signal.
516 OASYS PCI
Other Effects Sub Oscillator
Sub Oscillator
This effect adds very low frequencies to the input signal. It’s useful when creating a roaring drum sound or emphasizing powerful, low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Envelope
Envelope Select
L/R Mix, L Only, R Only.
This selects the input which will drive the envelope follower.
Pre LPF
0-100.
This parameter sets the upper limit of the sub oscillator’s frequency range.
Only sounds below this frequency will be supplemented with low harmonics.
Adjust this parameter if you do not want to add low harmonics to higher frequencies. For example, you can create a good effect by adding very low harmonics only to the bass drum sound, not to the snare sound.
Sens
0-100.
This sets the input sensitivity of the envelope follower.
Shape
+/-100.
Sets the curve of the envelope follower, as shown below.
OASYS PCI 517
Sub Oscillator
Envelope Shape
Level
0 to +100
Other Effects
Original
Envelope
0 to -100
Time
Sub Oscillator
Mode
Fixed, Note.
This sets the way that the oscillator will be controlled.
Fixed.
The oscillator will use the Fixed Frequency, as set below.
Note.
The oscillator will follow incoming MIDI notes.
Note Offset
-48-0.
This allows you to offset the pitch from the received MIDI note numbers, in semitones.
Note Fine
+/-100.
This allows you to fi ne-tune the resonators, in cents (1/100 of a semitone).
Fixed Freq
20.00-200.00Hz.
This sets the basic pitch of the oscillator when the Mode is set to
Fixed.
Fixed Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
Fixed frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-80Hz.
This sets the amount by which the mod source affects the oscillator frequency.
518 OASYS PCI
Other Effects
Output
Sub Oscillator
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
OASYS PCI 519
The Producer Other Effects
The Producer
The Producer is a revolutionary new effect that makes non-musicians and musicians happy at the same time. It’s designed to give A&R reps, managers, lawyers, and meddling parents the artistic control they’ve always coveted, while leaving musicians free to create. With this effect, others can modify your sound, fi x your vocals, smooth your jazz, adjust your demographic appeal, and generally mess with your artistic vision to degrees not previously possible.
Or so they think! In actual fact, The Producer is merely a disguised straight-through effect. In other words, it does nothing. Simply hand over the controls of The
Producer to the helpful outsider, and he or she can carefully and merrily adjust the knobs and settings, all the while thinking that they’re exerting an exacting effect on your music. As proof, they need merely observe the VU meters dancing in the control panel. Meanwhile, you can concentrate on making your music, your way.
It’s a win-win situation.
Or maybe this effect really
does
change the audio. You be the judge! And listen carefully...
Genre Mixer
R&B
+/-100.
Increases or decreases the rhythm and blues feel of a signal.
Country
+/-100.
Increases or decreases the country feel of a signal.
Rock
+/-100.
Increases or decreases the rock feel of a signal.
Hip Hop
+/-100.
Increases or decreases the hip hop feel of a signal.
Rap
+/-100.
Increases or decreases the rap feel of a signal.
Lyric Transmogrifier
Envelope Select
Barney Filter.
Should be activated when the lead vocalist sounds a little too much like a character from children’s television.
Leave As-Is.
Don’t change the lyrics and vocals, no matter how bad they are.
Incomprehensible Gibberish.
Converts the vocals to mumbled, muted, and yet mysteriously poetic ramblings, just outside the range of comprehension.
520 OASYS PCI
Other Effects The Producer
Rappify.
Adds attitude and street cred. (West Coast and East Coast options may be added in the future.)
Target Demographic
Future Adult
+/-100.
Increases or decreases the demographic appeal of a signal to listeners under the age of 18.
Contemporary Adult
+/-100.
Increases or decreases a signal’s demographic appeal to listeners over the age of 18.
Former Adult
+/-100.
Increases or decreases a signal’s demographic appeal to listeners who are dead.
Desuck
0-100.
The most important knob of this effect. Although there are limits to its powers, in general this knob can be used to improve a signal that sucks.
OASYS PCI 521
Pan & Tremolo
Pan & Tremolo Shimmer
Shimmer
This is a stereo-in, stereo-out tremolo effect, in which both the depth and frequency of the volume modulation may be controlled by an envelope follower driven by the input level.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Shimmer
Depth
0-100.
This sets the depth of the tremolo effect.
Env Amount
+/-100.
This controls the amount by which the envelope follower will modulate the tremolo depth.
Shimmer
Level LFO Frequency = 8.0Hz
Envelope Amount = -7.0Hz
Depth = 100
Dry Envelope
Time
LFO
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
OASYS PCI 523
Shimmer Pan & Tremolo
Shape
+/-100.
This adjusts the shape of the LFO waveform. Positive values shape the curve so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Envelope
Phase
+/-100.
This adjusts the difference between the phases of the left and right LFOs.
Frequency
0.00-20.00Hz.
This sets the frequency of the LFOs.
Env Amount
+/-20.00Hz.
This controls the amount by which the envelope follower will modulate the LFO frequency.
Envelope Select
L/R Mix, L Only, R Only.
This selects the input which will drive the envelope follower.
Sens
0-100.
This sets the input sensitivity of the envelope follower.
Shape
+/-100.
Sets the curve of the envelope follower, as shown below.
524 OASYS PCI
Pan & Tremolo
Envelope Shape
Level
0 to +100
Shimmer
Original
Envelope
Output
0 to -100
Time
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 525
St Auto Pan
Input
LFO
Pan & Tremolo
St Auto Pan
This is a stereo-in, stereo-out auto-panner.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Waveform
Triangle, Sine.
This selects the LFO shape.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
526
Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. When you change the value gradually from 0, the sounds from the left and right channels will chase each other around. If you set the parameter to +180 or
–180, the sounds from each channel will cross over each other.
You need to input different sounds to each channel in order for this parameter to be effective.
OASYS PCI
Pan & Tremolo
St Auto Pan LFO Phase
St Auto Pan
LFO Phase = 0 degrees
L-In
R-In
L-In
R-In
L-In
R-In
L-In
R-In
L-In
R-In
Left
Center
Output Stereo Image
Right
L-In
R-In
LFO Phase = 90 degrees
R-In
L-In
R-In
L-In
R-In
L-In
R-In
L-In
L-In
R-In
L-In
LFO Phase = 180 degrees
L-In
R-In
L-In
R-In
R-In
L-In
R-In
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Stereo Auto Pan
Depth
0-100.
This controls the depth of the panning effect–how widely the image swings between left and right.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
panning depth. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 527
St Auto Pan
Output
Pan & Tremolo
Mod Amount
+/-100.
This sets the amount by which the mod source affects the panning depth.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
528 OASYS PCI
Pan & Tremolo St Envelope Pan
St Envelope Pan
This is a stereo-in, stereo-out auto-panner based on an envelope instead of an LFO.
You can trigger the envelope via MIDI, and also simply control the pan directly from a MIDI controller.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Envelope Pan
Control Source
EG, Mod Source.
This determines how the panner will be controlled.
EG.
The panning will be controlled by the envelope generator (EG).
Mod Source.
The panning will be controlled directly by the MIDI mod source.
EG Trigger/Mod
List of Modulation Sources.
When Pan Mode is set to EG, this selects the modulation source that triggers the envelope. When Pan Mode is set to Mod
Source, this selects the modulation source that controls the pan. For a complete list
of modulation sources, please see “Modulation Sources” on page 2.
Note EG Retrig
On, Off.
This determines the way that the envelope triggers when the Trigger
Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
EG Attack
0-100.
This sets the attack time of the envelope–the time that it takes to reach its maximum value after being triggered.
EG Release
0-100.
This sets the release time of the envelope–the time that it takes to fall back to its minimum value after the trigger is released.
OASYS PCI 529
St Envelope Pan
Left Input
Pan & Tremolo
Pan Start
0-100.
This sets the pan position of the left input when the envelope or mod source is at minimum.
Pan End
0-100.
This sets the pan position of the left input when the envelope or mod source is at maximum.
Right Input
Pan Start
0-100.
This sets the pan position of the right input when the envelope or mod source is at minimum.
Pan End
0-100.
This sets the pan position of the right input when the envelope or mod source is at minimum.
Stereo Envelope Pan
Gate Signal
Note On Note Off
Pan Mode = EG
Src = Note Gate
L Pan Start = 0
L Pan End =100
R Pan Start =75
R Pan End =25
Release
EG
Attack
Left
L-In
Output Center
Right
R-In
Time
530 OASYS PCI
Pan & Tremolo
Output
St Envelope Pan
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 531
St Tempo Pan Pan & Tremolo
St Tempo Pan
This is a stereo-in, stereo-out auto-panner with a complex, MIDI-syncable tempo
LFO. Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Auto Pan
Depth
0-100.
This controls the depth of the panning effect–how widely the image swings between left and right.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
panning depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the panning depth.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
532 OASYS PCI
Pan & Tremolo
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
St Tempo Pan
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
Square Sample & Hold
OASYS PCI 533
St Tempo Pan Pan & Tremolo
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
534
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
OASYS PCI
Pan & Tremolo St Tempo Pan
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect–although with panning in particular, the two channels must contain fairly discrete material for this effect to be noticeable.
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
OASYS PCI
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
535
St Tempo Pan Pan & Tremolo
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual
Tempo or MIDI Tempo.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
536 OASYS PCI
Pan & Tremolo St Tempo Trem
St Tempo Trem
This is a stereo-in, stereo-out tremolo with a complex, MIDI-syncable tempo LFO.
Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Stereo Tremolo
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Depth
0-100.
This controls the depth of the volume modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
tremolo depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the tremolo depth.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square.
This selects the waveform of the LFO.
OASYS PCI 537
St Tempo Trem
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
Pan & Tremolo
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
Saw Down
538
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚
Square
OASYS PCI
Pan & Tremolo St Tempo Trem
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
OASYS PCI
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
539
St Tempo Trem Pan & Tremolo
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
540
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
OASYS PCI
Pan & Tremolo St Tempo Trem
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 541
St Tremolo AF Pan & Tremolo
St Tremolo AF
This is a stereo-in, stereo-out tremolo effect, with a triggered auto fade envelope.
The envelope can modulate LFO depth, LFO frequency, and the wet/dry mix.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Auto Fade
Trigger Source
List of Modulation Sources.
This sets the modulation source for triggering the
auto fade envelope. For a complete list, please see “Modulation Sources” on page 2.
Rate
0-100.
This sets the attack rate of the auto fade envelope.
Note Retrigger
On, Off.
This determines the way that the auto fade envelope triggers when the
Trigger Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
Auto Fade
Note Gate
AUTOFADE
Note On
Fade-In Rate
All Notes Off
542 OASYS PCI
Pan & Tremolo St Tremolo AF
Stereo Tremolo
Depth
0-100.
This controls the depth of the volume modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
tremolo depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the tremolo depth.
Depth Auto Fade
On, Off.
This enables modulation of depth via the auto fade envelope.
LFO
Waveform
Triangle, Sine, Saw Down, Saw Up, Square.
This selects the waveform for the
LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
OASYS PCI
Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
543
St Tremolo AF
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
Pan & Tremolo
Output
544
Frequency
0.00-20.00Hz.
This controls the speed of the LFOs.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Freq Auto Fade
On, Off.
This enables modulation of frequency via the auto fade envelope.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI
Pan & Tremolo St Tremolo AF
Wet/Dry Auto Fade
On, Off.
This enables modulation of the wet/dry mix via the auto fade envelope.
OASYS PCI 545
StTempoTrem AF Pan & Tremolo
StTempoTrem AF
This is a stereo-in, stereo-out tremolo effect, with a triggered auto fade envelope and a complex, MIDI-synced LFO. The envelope can modulate LFO depth and the wet/dry mix.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Auto Fade
Trigger Source
List of Modulation Sources.
This sets the modulation source for triggering the
auto fade envelope. For a complete list, please see “Modulation Sources” on page 2.
Rate
0-100.
This sets the attack rate of the auto fade envelope.
Note Retrigger
On, Off.
This determines the way that the auto fade envelope triggers when the
Trigger Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
546 OASYS PCI
Pan & Tremolo
Auto Fade
StTempoTrem AF
Note Gate
Note On
All Notes Off
AUTOFADE
Fade-In Rate
Stereo Tremolo
Depth
0-100.
This controls the depth of the volume modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
tremolo depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the tremolo depth.
Depth Auto Fade
On, Off.
This enables modulation of depth via the auto fade envelope.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square.
This selects the waveform of the LFO.
See the graphic below for more information.
OASYS PCI 547
StTempoTrem AF
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
Pan & Tremolo
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
Saw Down
548
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚
Square
OASYS PCI
Pan & Tremolo StTempoTrem AF
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
OASYS PCI
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
549
StTempoTrem AF Pan & Tremolo
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
550
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
OASYS PCI
Pan & Tremolo StTempoTrem AF
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Wet/Dry Auto Fade
On, Off.
This enables modulation of the wet/dry mix via the auto fade envelope.
OASYS PCI 551
Tempo Tremolo Pan & Tremolo
Tempo Tremolo
This is a mono-in, mono-out tremolo with a complex, MIDI-syncable tempo LFO.
Try modulating the LFO parameters, such as shape and smoothing, in real time.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Tremolo
Depth
0-100.
This controls the depth of the volume modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
tremolo depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the tremolo depth.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square.
This selects the waveform of the LFO.
See the graphic below for more information.
552 OASYS PCI
Pan & Tremolo
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
Tempo Tremolo
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
Saw Down
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚
Square
OASYS PCI 553
Tempo Tremolo Pan & Tremolo
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
554
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
OASYS PCI
Pan & Tremolo Tempo Tremolo
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 555
Tempo Tremolo Pan & Tremolo
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
556 OASYS PCI
Pan & Tremolo
Input
Tremolo
LFO
Tremolo
Tremolo
This is a mono-in, mono-out tremolo effect.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Depth
0-100.
This controls the depth of the volume modulation.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
tremolo depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the tremolo depth.
Waveform
Triangle, Sine, Down, Up, Square.
This selects the waveform for the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
OASYS PCI 557
Tremolo
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
Pan & Tremolo
LFO Shape = 0 to -100
Output
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
558 OASYS PCI
Phasers
Envelope Phaser Phasers
Envelope Phaser
This is a mono-in, mono-out phaser based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the phaser frequency directly from a MIDI controller.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Envelope Phaser
Bottom
0-100.
This sets the phaser frequency when the envelope or mod source is at minimum.
Top
0-100.
This sets the phaser frequency when the envelope or mod source is at maximum.
Sweep Mode
EG, Mod Source.
This determines how the phaser will be controlled.
EG.
The phaser will be controlled by the envelope generator (EG).
Mod Source.
The phaser will be controlled directly by the MIDI mod source.
EG Trigger/Mod
List of Modulation Sources.
When Sweep Mode is set to EG, this selects the modulation source that triggers the envelope. When Sweep Mode is set to Mod
Source, this selects the modulation source that controls the phaser. For a complete
list of modulation sources, please see “Modulation Sources” on page 2.
Note EG Retrig
On, Off.
This determines the way that the envelope triggers when the Trigger
Source is set to Note Gate or Note Gate + Sustain.
560 OASYS PCI
Phasers
Output
Envelope Phaser
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
EG Attack
0-100.
This sets the attack time of the envelope–the time that it takes to reach its maximum value after being triggered.
EG Decay
0-100.
This sets the release time of the envelope–the time that it takes to fall back to its minimum value after the trigger is released.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI 561
Phaser
Input
Phaser
LFO
562
Phasers
Phaser
This is a mono-in, mono-out phaser effect.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Center
0-100.
This sets the center frequency of the phaser.
Depth
0-100.
This controls the amount of LFO modulation of the center frequency.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Hi Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
OASYS PCI
Phasers
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
Phaser
Output
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 563
St Env Phaser Phasers
St Env Phaser
This is a stereo-in, stereo-out phaser based on an envelope instead of an LFO. You can trigger the envelope via MIDI, and also simply control the phaser frequency directly from a MIDI controller.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Envelope Phaser
L Bottom
0-100.
This sets the left phaser frequency when the envelope or mod source is at minimum.
L Top
0-100.
This sets the left phaser frequency when the envelope or mod source is at maximum.
R Bottom
0-100.
This sets the right phaser frequency when the envelope or mod source is at minimum.
R Top
0-100.
This sets the right phaser frequency when the envelope or mod source is at maximum.
Sweep Mode
EG, Mod Source.
This determines how the phaser will be controlled.
EG.
The phaser will be controlled by the envelope generator (EG).
Mod Source.
The phaser will be controlled directly by the MIDI mod source.
EG Trigger/Mod
List of Modulation Sources.
When Sweep Mode is set to EG, this selects the modulation source that triggers the envelope. When Sweep Mode is set to Mod
Source, this selects the modulation source that controls the phaser. For a complete
list of modulation sources, please see “Modulation Sources” on page 2.
564 OASYS PCI
Phasers
Output
OASYS PCI
St Env Phaser
Note EG Retrig
On, Off.
This determines the way that the envelope triggers when the Trigger
Source is set to Note Gate or Note Gate + Sustain.
On.
When this is on, the envelope will be triggered whenever a key is pressed.
Off.
When this is off, the envelope will only be retriggered after all currently held notes have been released.
EG Attack
0-100.
This sets the attack time of the envelope–the time that it takes to reach its maximum value after being triggered.
EG Decay
0-100.
This sets the release time of the envelope–the time that it takes to fall back to its minimum value after the trigger is released.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
565
St Phaser Phasers
St Phaser
This is a stereo-in, stereo-out phaser effect.
Input
Stereo Phaser
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Center
0-100.
This sets the center frequency of the phaser.
Depth
0-100.
This controls the amount of LFO modulation of the center frequency.
Hi Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
LFO
Waveform
Triangle, Sine.
This selects the waveform for the LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
566 OASYS PCI
Phasers
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
St Phaser
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
OASYS PCI
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
567
St Phaser
Output
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Phasers
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
568 OASYS PCI
Phasers St RandomPhaser
St RandomPhaser
Input
Stereo Phaser
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Center
0-100.
This sets the center frequency of the phaser.
Depth
0-100.
This controls the amount of LFO modulation of the center frequency.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Hi Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
LFO
This is a stereo-in, stereo-out phaser, with step-shaped and sample-and-hold waveforms.
Waveform
Step Triangle, Step Sine, Random.
This selects the main waveform for the LFO.
OASYS PCI 569
St RandomPhaser Phasers
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
570
Frequency
0.00-20.00Hz.
This sets the frequency for the main LFO.
Step Freq
0.00-50.00Hz.
This sets the frequency of the LFO steps. If the Random waveform is being used, then this will determine the frequency of the sample-and-hold effect.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequencies. The same modulator can be used for both the main LFO and the
step LFO. For a complete list, please see “Modulation Sources” on page 2.
Freq Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the frequency of the main LFO .
Step Mod Amount
+/-50.00Hz.
This sets the amount by which the mod source affects the frequency of the step LFO.
OASYS PCI
Phasers St RandomPhaser
Random Step LFO
LFO Frequency
Output
LFO Step Freq
Step-Tri
LFO Step Freq
Random
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI 571
St TempoPhase2 Phasers
St TempoPhase2
This is a stereo-in, stereo-out phaser, with a complex MIDI-synced main LFO. The main LFO can itself be modulated by a second MIDI-synced step LFO.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Stereo Step / Random Phaser
Center
0-100.
This sets the center frequency of the phaser.
Depth
0-100.
This controls the amount of LFO modulation of the center frequency.
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO depth.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Hi Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
572 OASYS PCI
Phasers
LFO
St TempoPhase2
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Noise.
This selects the waveform of the main LFO.
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
Step
On, Off.
This turns the step LFO on and off.
OASYS PCI 573
St TempoPhase2
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚
Phasers
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
574
Square Noise
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
OASYS PCI
Phasers St TempoPhase2
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
+/-180.
This sets the point in the waveform at which the LFO starts. Whenever the
Phase Reset controller is received, the LFO will start from the Initial Phase point.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect–although with panning in particular, the two channels must contain fairly discrete material for this effect to be noticeable.
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
OASYS PCI
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful
575
St TempoPhase2 Phasers in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Step Frequency
Step LFO
LFO Frequency
576
LFO Step Freq
Step-Tri
LFO Step Freq
Random
OASYS PCI
Phasers
Output
OASYS PCI
St TempoPhase2
Step Freq
0.00-80.00Hz.
This controls the speed of the step LFO when the LFO Control is set to Frequency Knob.
Step Freq Mod
List of Modulation Sources.
This sets the modulation source for controlling the
speed of the step LFO. For a complete list, please see “Modulation Sources” on page 2.
Step Mod
+/-80.00Hz.
This sets the amount by which the mod source affects the speed of the step LFO.
Step Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The speed of the step LFO can be controlled either by the Frequency knob (including the mod source), the Manual
Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the step LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the step LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the step LFO speed.
Step Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the Step Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the Step Control is set to either Manual Tempo or MIDI Tempo.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
577
St TempoPhase2 Phasers
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
578 OASYS PCI
Phasers St TempoPhaser
St TempoPhaser
Input
Stereo Phaser
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Center
0-100.
This sets the center frequency of the phaser.
Depth
0-100.
This controls the amount of LFO modulation of the center frequency.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Hi Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
LFO
This is a stereo-in, stereo-out phaser with a complex, MIDI-syncable tempo LFO.
Try modulating the LFO parameters, such as shape, smoothing, and L/R phase, in real time.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
OASYS PCI 579
St TempoPhaser
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚ -180˚ -90˚ 0˚ 90˚ 180˚
Phasers
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
580
Square Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
OASYS PCI
Phasers
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
St TempoPhaser
LFO Shape = 0 to -100
OASYS PCI
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
+/-180.
This sets the point in the waveform at which the LFO starts. Whenever the
Phase Reset controller is received, the LFO will start from the Initial Phase point.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels. Off-setting the phase between the two, as shown below, enhances the stereo effect–although with panning in particular, the two channels must contain fairly discrete material for this effect to be noticeable.
581
St TempoPhaser Phasers
When using the LFO with tempo, the L/R Phase also creates a rhythmic offset between the left and right channels. For instance, a 1/4 note LFO with an L/R
Phase of +180 creates alternating stereo 8th notes.
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
582
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
OASYS PCI
Phasers
Output
St TempoPhaser
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI 583
Tempo Phaser Phasers
Tempo Phaser
This is a mono-in, mono-out phaser with a complex, MIDI-syncable tempo LFO.
Try modulating the LFO parameters, such as shape and smoothing, in real time.
For detailed instructions on working with MIDI-synced LFOs, see “MIDI Tempo
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Phaser
Center
0-100.
This sets the center frequency of the phaser.
Depth
0-100.
This controls the amount of LFO modulation of the center frequency.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Damping
0-100.
This controls the amount of high frequency damping in the phaser resonance.
LFO
Waveform
Waveform
Triangle, Sine, Saw Up, Saw Down, Square, Sample & Hold.
This selects the waveform of the LFO.
584 OASYS PCI
Phasers
LFO Waveforms and Phase
-180˚ -90˚ 0˚ 90˚ 180˚
Tempo Phaser
-180˚ -90˚ 0˚ 90˚ 180˚
0˚
Triangle
90˚ +/-180˚ -90˚ 0˚ 0˚
Sine
90˚ +/-180˚ -90˚ 0˚
-180˚ -90˚
Saw Up
0˚ 90˚ 180˚ -180˚ -90˚
Saw Down
0˚ 90˚ 180˚
OASYS PCI
Square Sample & Hold
Shape
+/-100.
This adjusts the shape of the LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the
“up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
585
Tempo Phaser
LFO Shape
LFO Shape = 0 to +100
Sine Waveform
LFO Shape = 0 to -100
Phasers
586
Smoothing
0-100.
This allows you to fi lter the LFO waveform, so that it becomes more rounded, less angular. With moderately high amounts of smoothing, the triangle and square waveforms will start to approximate sine waves, and the discontinuous peaks of the saw waveforms will become smooth transitions. With very high amounts of smoothing, the waveform may loose much of its shape, and fall quite short of its maximum and minimum values.
LFO Control
Frequency Knob, Manual Tempo, MIDI Tempo.
The LFO speed can be controlled either by the Frequency knob (including the mod source), the Manual Tempo knob, or by MIDI Tempo (derived from MIDI clocks).
If this is set to Frequency Knob, then the LFO speed will be controlled by the settings in the Frequency section, including the mod source and amount.
If this is set to Manual Tempo, then the Manual Tempo knob will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
If this is set to MIDI Tempo, then incoming MIDI Clocks will set the basic tempo, and the note value set in the Subdivisions menu will control the LFO speed.
Phase
Initial Phase
This sets the point in the waveform at which the LFO starts. Whenever the Phase
Reset controller is received, the LFO will start from the Initial Phase point.
Phase Reset
List of Modulation Sources.
This sets the MIDI controller which will reset the
LFO’s phase to the Initial Phase point. You can use this to trigger the LFO from a
MIDI sequencer, so that it always starts at the same point. This is especially useful in conjunction with MIDI Tempo synchronization. For a complete list of mod
sources, please see “Modulation Sources” on page 2.
OASYS PCI
Phasers
Output
Tempo Phaser
To make sure that the LFO’s phase is correct when working with a sequencer, it’s best to include the phase reset controller every few bars in the sequence, so that no matter where you start playback, the LFO will be reset appropriately.
Frequency
The controls in the Frequency section only apply when the LFO Control is set to
Frequency Knob.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO when the LFO Control is set to
Frequency Knob.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO speed. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO speed.
Tempo
Manual Tempo
40-240 bpm.
This sets the tempo when the LFO Control is set to Manual Tempo.
Subdivision
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 whole note, 2 whole notes.
This sets the note value of a single LFO waveform cycle when the LFO Control is set to either Manual Tempo or MIDI Tempo.
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
OASYS PCI 587
Tempo Phaser Phasers
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
588 OASYS PCI
Phasers Tremolo Phaser
Tremolo Phaser
This stereo-in, stereo-out effect follows a stereo phaser with a stereo tremolo. The phaser and tremolo LFOs are synchronized, with adjustable phase offsets. This effect works particularly well with electric piano sounds.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
LFO
Stereo Phaser
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the LFO frequency.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels, for the phaser only. Off-setting the phase between the two, as shown below, enhances the stereo effect.
OASYS PCI 589
Tremolo Phaser
LFO Phase
0
°
+90
°
+180
°
–180
°
–90
°
0
°
Phasers
590
Center
0-100.
This sets the center frequency of the phaser.
Depth
0-100.
This controls the amount of LFO modulation of the center frequency.
Depth Mod
List of Modulation Sources.
This sets the source for controlling the frequency
modulation depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the depth of frequency modulation.
Resonance
+/-100.
This sets the amount of resonance in the phaser effect. Higher resonance settings create a more extreme sound.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal, for the phaser only.
Invert Wet Phase
On, Off.
This allows you to invert the phase of the wet signal.
OASYS PCI
Phasers Tremolo Phaser
Stereo Tremolo
Shape
+/-100.
This adjusts the shape of the tremolo’s LFO waveform, from logarithmic to linear to exponential. Positive values shape the waveform so that it spends more time in the “up” part of the cycle, and negative values make it spend more time in the “down” part of the cycle, as shown below.
LFO Shape
LFO Shape = 0 to +100 LFO Shape = 0 to -100
Sine Waveform
Output
OASYS PCI
Phase Offset
+/-180.
This controls the phase difference between the phaser and tremolo LFOs.
L/R Phase
+/-180.
This sets the phase difference between the LFOs for the right and left channels, for the tremolo only. Off-setting the phase between the two enhances the stereo effect.
Depth
0-100.
This controls the amount of LFO modulation for the tremolo.
Depth Mod
List of Modulation Sources.
This sets the source for controlling the tremolo
modulation depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the tremolo depth.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
591
Tremolo Phaser Phasers
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
592 OASYS PCI
Pitch Shifters
2Band PitchShift Pitch Shifters
2Band PitchShift
This effect uses a crossover on the input, and then sends the resulting two bands through two independent pitch shifters.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Two Band Pitch Shifter Control
Type
Fast, Medium, Slow.
This sets the response time and quality of the pitch shifters.
The slower the response, the higher the quality.
Lo/Hi Split
24-20000Hz.
This sets the crossover frequency between the high and low pitch shifters.
Lo/Hi Bal
0-100.
This sets the level balance between the high and low pitch shifters.
Spread
+/-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
Low
Pitch Shift
+/-24.
This sets the amount of pitch shift for the low band, in semitones.
594 OASYS PCI
Pitch Shifters 2Band PitchShift
Fine
+/-100.
.This controls the fi ne tuning for the low band, in cents (1/100 of a semitone).
Pitch Shift Mod
List of Modulation Sources.
This sets the modulation source for controlling the
amount of pitch shift in the low band. For a complete list, please see “Modulation
Mod Amount
+/-24.
This sets the amount by which the mod source affects the pitch shift, in semitones.
Fine Amount
+/-100.0.
This sets the amount by which the mod source affects the pitch shift, in cents (1/100 of a semitone).
Damping
0-100.
This controls the amount of high frequency damping in the low band.
High
OASYS PCI
Pitch Shift
+/-24.
This sets the amount of pitch shift for the high band, in semitones.
Fine
+/-100.
.This controls the fi ne tuning for the high band, in cents (1/100 of a semitone).
Pitch Shift Mod
List of Modulation Sources.
This sets the modulation source for controlling the
amount of pitch shift in the high band. For a complete list, please see “Modulation
Mod Amount
+/-24.
This sets the amount by which the mod source affects the pitch shift, in semitones.
Fine Amount
+/-100.0.
This sets the amount by which the mod source affects the pitch shift, in cents (1/100 of a semitone).
Damping
0-100.
This controls the amount of high frequency damping in the high band.
595
2Band PitchShift
Output
Pitch Shifters
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
596 OASYS PCI
Pitch Shifters
Input
Delay
Detune
Output
OASYS PCI
Detune
Detune
This is a subtle pitch shift effect, to be used for thickening, like a chorus.
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay Time
0.0-280.0ms.
This sets the amount of delay for the detune effect.
High Damp
0-100.
This controls the amount of high frequency damping.
Pitch Shift
+/-100.0.
.This controls the amount of pitch shift, in cents (1/100 of a semitone).
Pitch Shift Mod
List of Modulation Sources.
This sets the modulation source for controlling the
amount of pitch shift. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.0.
This sets the amount by which the mod source affects the pitch shift, in cents (1/100 of a semitone).
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
597
Detune Pitch Shifters
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
598 OASYS PCI
Pitch Shifters Pitch Shift Mod
Pitch Shift Mod
This effect modulates a subtle detune effect with an LFO.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Pitch Shift Mod
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pitch Shift
+/-100.0.
.This controls the amount of pitch shift, in cents (1/100 of a semitone).
Depth
+/-100.0.
This sets the depth of LFO pitch modulation, in cents (1/100 of a semitone).
Depth Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO depth. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.0.
This sets the amount by which the mod source affects the pitch shift, in cents (1/100 of a semitone).
Spread
0-100.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
OASYS PCI 599
Pitch Shift Mod
LFO
Output
Pitch Shifters
Waveform
Triangle, Square.
This selects the waveform for the LFO.
Frequency
0.00-20.00Hz.
This controls the speed of the LFO.
Frequency Mod
List of Modulation Sources.
This sets the modulation source for controlling the
LFO frequency. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-20.00Hz.
This sets the amount by which the mod source affects the LFO frequency.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
600 OASYS PCI
Pitch Shifters Pitch Shifter
Pitch Shifter
This effect is a mono-in, mono-out pitch shifter with feedback.
Input
Source
Left, L + R.
This is a mono-in, mono-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Delay
Pitch Shifter
Delay Time
0.0-280.0ms.
This sets the amount of delay for the pitch shifter.
Feedback
+/-100.0.
This sets the amount of feedback into the pitch shifter.
High Damp
0-100.
This controls the amount of high frequency damping.
Type
Fast, Medium, Slow.
This sets the response time and quality of the pitch shifter.
The slower the response, the higher the quality.
Pitch Shift
+/-24.
This sets the amount of pitch shift, in semitones.
Fine
+/-100.
.This controls the fi ne tuning for the pitch shifter, in cents (1/100 of a semitone).
OASYS PCI 601
Pitch Shifter
Output
Pitch Shifters
Pitch Shift Mod
List of Modulation Sources.
This sets the modulation source for controlling the
amount of pitch shift. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-24.
This sets the amount by which the mod source affects the pitch shift, in semitones.
Fine Amount
+/-100.0.
This sets the amount by which the mod source affects the pitch shift, in cents (1/100 of a semitone).
Mode
Mono, Stereo.
This controls whether the effect output is mono or simulated stereo.
When this is set to Mono, the output is in mono.
When this is set to Stereo, the output is simulated stereo, with the right effect output inverted. Note that this simulated stereo effect is not mono-compatible.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
602 OASYS PCI
Pitch Shifters St Pitch Shifter
St Pitch Shifter
This is a stereo-in, stereo-out pitch shifter, with individual controls for the left and right channels.
Input
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Level Mod
List of Modulation Sources.
This sets the modulation source for controlling the
input level. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the input level.
Delay
Left Delay
0.0-170.0ms.
This sets the amount of delay for the left channel.
Right Delay
0.0-170.0ms.
This sets the amount of delay for the right channel.
Feedback
+/-100.0.
This controls the amount of feedback into the pitch shifters.
High Damp
0-100.
This adjusts the amount of high frequency damping.
Pitch Shifter (Left and Right)
The left and right channels have identical parameters.
Type (Left and Right)
Fast, Medium, Slow.
This sets the response time and quality of the pitch shifter.
The slower the response, the higher the quality.
Pitch Shift (Left and Right)
+/-24.
This sets the amount of pitch shift, in semitones.
OASYS PCI 603
St Pitch Shifter Pitch Shifters
Fine (Left and Right)
+/-100.0.
.This controls the fi ne tuning for the pitch shifter, in cents (1/100 of a semitone).
Pitch Shift Mod (Left and Right)
List of Modulation Sources.
This sets the modulation source for controlling the
amount of pitch shift. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount (Left and Right)
+/-24.0.
This sets the amount by which the mod source affects the pitch shift, in semitones.
Fine Amount (Left and Right)
+/-100.0.
This sets the amount by which the mod source affects the pitch shift, in cents (1/100 of a semitone).
Spread
Spread
+/-100.0.
This controls the width of the effect’s stereo image, without affecting the dry signal. A value of +100 gives the widest stereo image, and a value of 0 collapses the output to mono. Negative values will reverse the left and right channels of the effect output.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
604 OASYS PCI
Reverbs
Hall Ambience Reverbs
Hall Ambience
This effect provides the reverberant wash of the “Hall Reverb” effect, without the
early re fl ections or pre-delay, and with only low shelving EQ. It uses relatively little
DSP processing power.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre EQ
Low Freq
0-10000Hz.
This sets the cutoff frequency of the pre-effect low shelving EQ, in Hz.
This is the point at which gain is 3dB below maximum, as shown in the fi gure
“High and Low Shelving EQ,” on page 382.
Low Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect low shelving EQ.
Ambience
Reverb Time
0.10-10.00sec.
This is the time it takes for the reverb to decay.
Damping
0-100.
This is the amount of high-frequency damping in the reverb. If Damping is set to 0, the high frequencies will decay at the same rate as the low frequencies; at
100, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
606 OASYS PCI
Reverbs
Output
Hall Ambience
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the reverb.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI 607
Hall Reverb
Input
Pre EQ
ER 1-4
608
Hall Reverb
This is a Hall Reverb effect, using a standard combfi lter reverb topology.
Reverbs
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Low Freq
0-10000Hz.
This sets the cutoff frequency of the pre-effect low shelving EQ, in Hz.
This is the point at which gain is 3dB below maximum, as shown in the fi gure
“High and Low Shelving EQ,” on page 382.
Low Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect low shelving EQ.
High Freq
0-20000Hz.
This sets the cutoff frequency of the pre-effect high shelving EQ, in Hz.
This is the point at which gain is 3dB below maximum, as shown in the fi gure
“High and Low Shelving EQ,” on page 382.
High Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect high shelving EQ.
The reverb has four early re fl ection delays, each with similar parameters.
Time
0.0-200.0ms.
This is the delay time of the early re fl ection, in milliseconds.
Level
0-100.
This is the volume level of the early re fl ection.
OASYS PCI
Reverbs
Reverb
Output
OASYS PCI
Hall Reverb
Pan
0-100.
This sets the stereo pan of the early re fl ection.
Reverb Time
0.10-10.00.
This is the time it takes for the reverb to decay.
Damping
0-100.
This is the amount of high-frequency damping in the reverb. If Damping is set to 0, the high frequencies will decay at the same rate as the low frequencies; at
100, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
Pre Delay
0.0-200.0ms.
This is the amount of delay time before the reverberant wash begins, in milliseconds. The ER delays are not affected by the Pre Delay.
Pre Delay Thru
0-100.
This allows you to route the un-delayed input directly to the reverb, in addition to the Pre Delay.
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the reverb.
Settings around 6-8kHz are good for producing a warm, smooth sound.
ER Level
0-100.
This sets the volume level for the four early re fl ections (ER 1-4).
Reverb Level
0-100.
This sets the volume level for the reverberant wash.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
609
O-Verb
Input
Reverb
610
Reverbs
O-Verb
The O-Verb is Korg’s new, diffusion-based reverb core, with separate dual input diffusion and reverb diffusion, randomization, and control of high, mid, and low decay times. This algorithm combines the O-Verb core with two bands of fully parametric peaking EQ.
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Diffusion 1
0.00-100.00.
The two diffusers serve to soften the sound before it enters the reverb core. Diffusion 1 sets the amount of diffusion in the fi rst diffuser. Setting both diffusers to around 50 produces suf fi cient diffusion for smooth reverbs; extremely high levels may cause ringing. Certain material, such as vocals, may also bene fi t from lower settings of diffusion, allowing for more discrete echoes.
Diffusion 2
0.00-100.00.
This sets the amount of diffusion in the second diffuser.
Size
0-100.
This sets the size of the reverberant space.
Reverb Time
0.00-100.00.
This sets the decay time for the reverberant wash. The Damping, Bass
XOver, and Bass Gain parameters allow you to scale the decay times for the high and low frequencies.
Damping
24-24000Hz.
This sets the cutoff of the high-frequency damping fi lter. If Damping is set to 24000Hz, the high frequencies will decay at the same rate as the low
OASYS PCI
Reverbs
Reverb EQ
O-Verb frequencies; at 24Hz, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
Diffusion
0.00-100.00.
This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb. Extremely high settings may cause ringing.
Pre Delay
0.0-1000.0ms.
This is the amount of delay time before the reverberant wash begins, in milliseconds.
Bass Xover
24-24000Hz.
This sets the cutoff frequency for the Bass Gain fi lter.
Bass Gain
0.25-4.00.
The Bass Gain allows you to tailor the decay time of the low frequencies in the reverb, using the frequency set by the Bass Xover. Settings below 1.0 mean that the low frequencies will decay faster than the main reverb; settings above 1.0 mean that they will decay more slowly.
Rate
0.00-5.00Hz.
The O-Verb includes randomization in the reverberant wash, to diminish resonant peaks and add a rich character to the sound. This determines the rate of the randomization.
Depth
0.00-100.00.
This determines the depth of the randomization.
There are two fully parametric bands of peaking EQ, allowing you to adjust the reverb timbre. Both bands have identical parameters.
On
On, Off.
This turns the band of EQ on and off.
Center
200-20000Hz.
This sets the center frequency of the EQ band.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the EQ band.
OASYS PCI 611
O-Verb
Output
Reverbs
Q
0.25-32.00.
This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies. A Q of 0.25 is creates a bandwidth of slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone.
The Q is identical for boost and cut, which may be referred to as “symmetric Q.”
Some speci fi c EQs use asymmetric Q, in which a given Q for cut is 1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the effect.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
612 OASYS PCI
Reverbs
Input
Reverb
OASYS PCI
O-Verb ER
This effect adds four early re fl ection delays to the O-Verb reverb core.
O-Verb ER
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Diffusion 1
0.00-100.00.
The two diffusers serve to soften the sound before it enters the reverb core. The four early re fl ections delays may also use the output of one or both of the diffusers.
Diffusion 1 sets the amount of diffusion in the fi rst diffuser. Setting both diffusers to around 50 produces suf fi cient diffusion for smooth reverbs; extremely high levels may cause ringing. Certain material, such as vocals, may also bene fi t from lower settings of diffusion, allowing for more discrete echoes.
Diffusion 2
0.00-100.00.
This sets the amount of diffusion in the second diffuser.
Size
0-100.
This sets the size of the reverberant space.
Reverb Time
0.00-100.00.
This sets the decay time for the reverberant wash. The Damping, Bass
XOver, and Bass Gain parameters allow you to scale the decay times for the high and low frequencies.
Damping
24-24000Hz.
This sets the cutoff of the high-frequency damping fi lter. If Damping is set to 24000Hz, the high frequencies will decay at the same rate as the low frequencies; at 24Hz, the high frequencies will decay almost instantly. In real
613
O-Verb ER
Reverb EQ
Reverbs acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
Diffusion
0.00-100.00.
This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb. Extremely high settings may cause ringing.
Pre Delay
0.0-1000.0ms.
This is the amount of delay time before the reverberant wash begins, in milliseconds. Delays 1-4 are not affected by the Pre Delay.
Bass Xover
24-24000Hz.
This sets the cutoff frequency for the Bass Gain fi lter.
Bass Gain
0.25-4.00.
The Bass Gain allows you to tailor the decay time of the low frequencies in the reverb, using the frequency set by the Bass Xover. Settings below 1.0 mean that the low frequencies will decay faster than the main reverb; settings above 1.0 mean that they will decay more slowly.
Rate
0.00-5.00Hz.
The O-Verb includes randomization in the reverberant wash, to diminish resonant peaks and add a rich character to the sound. This determines the rate of the randomization.
Depth
0.00-100.00.
This determines the depth of the randomization.
There are two fully parametric bands of peaking EQ, allowing you to adjust the reverb timbre. Both bands have identical parameters.
On
On, Off.
This turns the band of EQ on and off.
Center
200-20000Hz.
This sets the center frequency of the EQ band.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the EQ band.
614 OASYS PCI
Reverbs
Delay 1-4
O-Verb ER
Q
0.25-32.00.
This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies. A Q of 0.25 is creates a bandwidth of slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone.
The Q is identical for boost and cut, which may be referred to as “symmetric Q.”
Some speci fi c EQs use asymmetric Q, in which a given Q for cut is 1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Delays 1-4 Input
Direct, Diffusion 1, Diffusion 1&2.
This sets the input signal used for the delays.
Direct.
The delays will use the signal directly from the input, before the diffusers.
You can use this to create discrete, highly de fi ned delays.
Diffusion 1.
The delays will use the signal from the fi rst diffuser, creating slightly diffuse, softer-sounding delays (depending on the setting of the diffuser itself).
Diffusion 1&2.
The delays will use the signal after it has passed through both diffusers, creating more diffuse, almost fl uffy-sounding delays, depending on the settings of the diffusers.
Delay Time (1-4)
0.0-680.0ms.
This sets the delay time for the delay.
Level (1-4)
-INF, -69.0 to 0.0dB.
This sets the output level for the delay. The overall output level
of all the delays is controlled by the Delays Level parameter.
Pan (1-4)
+/-100.
This sets the stereo pan for the delay.
On (1-4)
On, Off.
This allows you to mute the output of the delay.
Invert Phase (1-4)
On, Off.
This inverts the phase of the delay’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
OASYS PCI 615
O-Verb ER
Output
Reverbs
Delays Level
-INF, -69.0 to 0.0dB.
This sets the overall output level for the four delays.
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the effect.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Reverb Level
-INF, -69.0 to 0.0dB.
This sets the overall output level for the reverberant wash.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
616 OASYS PCI
Reverbs
Input
O-Verb
OASYS PCI
O-Verb LE
O-Verb LE
The O-Verb is Korg’s new, diffusion-based reverb core, with separate dual input diffusion and reverb diffusion, randomization, and control of high, mid, and low decay times. This effect includes just the reverb core itself.
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Diffusion 1
0.00-100.00.
The two diffusers serve to soften the sound before it enters the reverb core. Diffusion 1 sets the amount of diffusion in the fi rst diffuser. Setting both diffusers to around 50 produces suf fi cient diffusion for smooth reverbs; extremely high levels may cause ringing. Certain material, such as vocals, may also bene fi t from lower settings of diffusion, allowing for more discrete echoes.
Diffusion 2
0.00-100.00.
This sets the amount of diffusion in the second diffuser.
Size
0-100.
This sets the size of the reverberant space.
Reverb Time
0.00-100.00.
This sets the decay time for the reverberant wash. The Damping, Bass
XOver, and Bass Gain parameters allow you to scale the decay times for the high and low frequencies.
Damping
24-24000Hz.
This sets the cutoff of the high-frequency damping fi lter. If Damping is set to 24000Hz, the high frequencies will decay at the same rate as the low frequencies; at 24Hz, the high frequencies will decay almost instantly. In real
617
O-Verb LE
Output
618
Reverbs acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
Diffusion
0.00-100.00.
This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb. Extremely high settings may cause ringing.
Pre Delay
0.0-1000.0ms.
This is the amount of delay time before the reverberant wash begins, in milliseconds.
Bass Xover
24-24000Hz.
This sets the cutoff frequency for the Bass Gain fi lter.
Bass Gain
0.25-4.00.
The Bass Gain allows you to tailor the decay time of the low frequencies in the reverb, using the frequency set by the Bass Xover. Settings below 1.0 mean that the low frequencies will decay faster than the main reverb; settings above 1.0 mean that they will decay more slowly.
Rate
0.00-5.00Hz.
The O-Verb includes randomization in the reverberant wash, to diminish resonant peaks and add a rich character to the sound. This determines the rate of the randomization.
Depth
0.00-100.00.
This determines the depth of the randomization.
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the effect.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI
Reverbs
Input
Reverb
OASYS PCI
O-Verb XL
O-Verb XL
This is the most comprehensive version of the O-Verb reverb, adding two MIDIsynced delays and eight ER delays to the reverb core.
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Diffusion 1
0.00-100.00.
The two diffusers serve to soften the sound before it enters the reverb core. The four early re fl ections delays may also use the output of one or both of the diffusers.
Diffusion 1 sets the amount of diffusion in the fi rst diffuser. Setting both diffusers to around 50 produces suf fi cient diffusion for smooth reverbs; extremely high levels may cause ringing. Certain material, such as vocals, may also bene fi t from lower settings of diffusion, allowing for more discrete echoes.
Diffusion 2
0.00-100.00.
This sets the amount of diffusion in the second diffuser.
Size
0-100.
This sets the size of the reverberant space.
Reverb Time
0.00-100.00.
This sets the decay time for the reverberant wash. The Damping, Bass
XOver, and Bass Gain parameters allow you to scale the decay times for the high and low frequencies.
Damping
24-24000Hz.
This sets the cutoff of the high-frequency damping fi lter. If Damping is set to 24000Hz, the high frequencies will decay at the same rate as the low
619
O-Verb XL
Reverb EQ
Reverbs frequencies; at 24Hz, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
Diffusion
0.00-100.00.
This sets the amount of diffusion in the reverberant wash. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb. Extremely high settings may cause ringing.
Pre Delay
0.0-1000.0ms.
This is the amount of delay time before the reverberant wash begins, in milliseconds. Delays 1-8, and the tempo delays, are not affected by the Pre Delay.
Bass Xover
24-24000Hz.
This sets the cutoff frequency for the Bass Gain fi lter.
Bass Gain
0.25-4.00.
The Bass Gain allows you to tailor the decay time of the low frequencies in the reverb, using the frequency set by the Bass Xover. Settings below 1.0 mean that the low frequencies will decay faster than the main reverb; settings above 1.0 mean that they will decay more slowly.
Rate
0.00-5.00Hz.
The O-Verb includes randomization in the reverberant wash, to diminish resonant peaks and add a rich character to the sound. This determines the rate of the randomization.
Depth
0.00-100.00.
This determines the depth of the randomization.
There are two fully parametric bands of peaking EQ, allowing you to adjust the reverb timbre. Both bands have identical parameters.
On
On, Off.
This turns the band of EQ on and off.
Center
200-20000Hz.
This sets the center frequency of the EQ band.
Gain
+/-18.1dB.
This sets the amount of boost or cut for the EQ band.
620 OASYS PCI
Reverbs O-Verb XL
Q
0.25-32.00.
This sets the bandwidth of the parametric mid band. Low Q means a wider bandwidth, for more gentle, broad EQ; high Q means a narrow bandwidth, for cutting or boosting very speci fi c frequencies. A Q of 0.25 is creates a bandwidth of slightly more than four octaves; a Q of 32 creates a bandwidth of about 1/22 of an octave, or about half a semitone.
The Q is identical for boost and cut, which may be referred to as “symmetric Q.”
Some speci fi c EQs use asymmetric Q, in which a given Q for cut is 1/3 the actual bandwidth of the same Q for boost. So, if you are used to a particular type of equalizer, and the Q in this effect doesn’t seem right when cutting, try multiplying the Q by three.
Tempo Delay Control
These parameters apply to the two tempo delays.
Delay Mode
Time, Manual Tempo, MIDI Tempo.
This determines how the delay times will be controlled.
Time.
The delay times will be controlled by the Delay Time knobs.
Manual Tempo.
The delay times will be controlled by the combination of the
Manual Tempo knob and each delay’s Note Value menu.
MIDI Tempo.
The delay times will be controlled by the combination of received
MIDI clocks and each delay’s Note Value menu.
Manual Tempo
40-240bpm.
This sets the tempo for the delays, when the Delay Mode is set to
Manual Tempo.
Smoothing
0.0-100.0.
This determines how long it takes for the delay times to respond to tempo changes and MIDI controller modulation. 50.0 works well in most cases. Lower settings will mean that the delay times will change very quickly, but may also cause clicking. Higher settings will make the delays slide very slowly to their new values, which can create interesting special effects.
Tempo Delay 1-2
There are two MIDI-synced tempo delays, each with identical parameters.
Input (1-2)
Direct, Diffusion 1, Diffusion 1&2.
You can select different inputs for each delay.
Direct.
The delay will use the signal directly from the input, before the diffusers.
You can use this to create discrete, highly de fi ned delays.
OASYS PCI 621
O-Verb XL Reverbs
Diffusion 1.
The delay will use the signal from the fi rst diffuser, creating slightly diffuse, softer-sounding delays (depending on the setting of the diffuser itself).
Diffusion 1&2.
The delay will use the signal after it has passed through both diffusers, creating more diffuse, almost fl uffy-sounding delays, depending on the settings of the diffusers.
Delay Time (1-2)
0.0-8000.0ms.
This sets the delay time for the tap, in milliseconds.
This parameter only applies when the Delay Mode is set to Delay Time. When
Delay Mode is set to Tempo, this has no effect.
Note Value (1-2)
1/32, 1/32 dotted, 1/16, 1/16 dotted, 1/16 triplet, 1/8, 1/8 dotted, 1/8 triplet, 1/4, 1/4 dotted, 1/4 triplet, 1/2, 1/2 dotted, 1/2 triplet, 1 bar, 2 bars.
This sets the length of the delay, in note value.
This parameter only applies when the Delay Mode is set to Tempo. When Delay
Mode is set to Time, the Note Value has no effect.
Fine Adjust (1-2)
+/-10%.
This adjusts the delay time as a percentage of the time set with either the
Time or Note Value parameters. You can use this to create swing rhythms, for instance.
Level (1-2)
-INF, -69.0 to 0.0dB.
This sets the volume level of the delay. Note that the overall
delay level is controlled by the Delays Level parameter.
Pan (1-2)
+/-100.
This controls the stereo pan of the delay’s output.
Feedback (1-2)
-INF, -69.0 to 0.0dB.
This adjusts the amount of feedback for the delay line.
On (1-2)
On, Off.
This allows you to mute the output of the delay.
Invert Phase (1-2)
On, Off.
This inverts the phase of the delay’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
622 OASYS PCI
Reverbs
Delay 1-8
Output
O-Verb XL
Delays 1-4 Input and Delays 5-8 Input
Direct, Diffusion 1, Diffusion 1&2.
You can select different inputs for the two groups of delays, 1-4 and 5-8.
Direct.
The delays will use the signal directly from the input, before the diffusers.
You can use this to create discrete, highly de fi ned delays.
Diffusion 1.
The delays will use the signal from the fi rst diffuser, creating slightly diffuse, softer-sounding delays (depending on the setting of the diffuser itself).
Diffusion 1&2.
The delays will use the signal after it has passed through both diffusers, creating more diffuse, almost fl uffy-sounding delays, depending on the settings of the diffusers.
Delay Time (1-8)
0.0-680.0ms.
This sets the delay time for the delay.
Level (1-8)
-INF, -69.0 to 0.0dB.
This sets the output level for the delay. The overall output level
of all the delays is controlled by the Delays Level parameter.
Pan (1-8)
-100-100.
This sets the stereo pan for the delay.
On (1-8)
On, Off.
This allows you to mute the output of the delay.
Invert Phase (1-8)
On, Off.
This inverts the phase of the delay’s output. You can use this to create different tonal qualities as the delays overlap with each other, or with the main signal.
Delays Level
-INF, -69.0 to 0.0dB.
This sets the overall output level for the delays.
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the effect.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Reverb Level
-INF, -69.0 to 0.0dB.
This sets the overall output level for the reverberant wash.
OASYS PCI 623
O-Verb XL Reverbs
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
624 OASYS PCI
Reverbs Room Ambience
Room Ambience
This effect provides the reverberant wash of the “Room Reverb” effect, without the
early re fl ections or pre-delay, and with only low shelving EQ. It uses relatively little
DSP processing power.
Input
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Pre EQ
Ambience
Low Freq
0-10000Hz.
This sets the cutoff frequency of the pre-effect low shelving EQ, in Hz.
This is the point at which gain is 3dB below maximum, as shown in the fi gure
“High and Low Shelving EQ,” on page 382.
Low Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect low shelving EQ.
Reverb Time
0.10-3.00sec.
This is the time it takes for the reverb to decay.
Damping
0-100.
This is the amount of high-frequency damping in the reverb. If Damping is set to 0, the high frequencies will decay at the same rate as the low frequencies; at
100, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
OASYS PCI 625
Room Ambience Reverbs
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the reverb.
Settings around 6-8kHz are good for producing a warm, smooth sound.
Output
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
626 OASYS PCI
Reverbs
Input
Pre EQ
ER 1-4
OASYS PCI
Room Reverb
Room Reverb
This is a Room Reverb effect, using a standard combfi lter reverb topology.
Source
Left, L + R.
This is a mono-in, stereo-out effect. Stereo signals are preserved in the dry mix at the output, but the effect itself has only a single, mono input.
When this is set to Left, only the left channel will be routed into the effect.
When this is set to L + R, the left and right channels will be summed together, and then routed into the effect.
Level
-INF, -69.0 to 0.0dB.
This sets the input level for the effect. It does not affect the dry signal.
Low Freq
0-10000Hz.
This sets the cutoff frequency of the pre-effect low shelving EQ, in Hz.
This is the point at which gain is 3dB below maximum, as shown in the fi gure
“High and Low Shelving EQ,” on page 382.
Low Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect low shelving EQ.
High Freq
0-20000Hz.
This sets the cutoff frequency of the pre-effect high shelving EQ, in Hz.
This is the point at which gain is 3dB below maximum, as shown in the fi gure
“High and Low Shelving EQ,” on page 382.
High Gain
+/-18.1dB.
This sets the amount of gain for the pre-effect high shelving EQ.
The reverb has four early re fl ection delays, each with similar parameters.
Time
0.0-200.0ms.
This is the delay time of the early re fl ection, in milliseconds.
Level
0-100.
This is the volume level of the early re fl ection.
627
Room Reverb
Reverb
Reverbs
Pan
0-100.
This sets the stereo pan of the early re fl ection.
Reverb Time
0.10-3.00 sec.
This is the time it takes for the reverb to decay.
Damping
0-100.
This is the amount of high-frequency damping in the reverb. If Damping is set to 0, the high frequencies will decay at the same rate as the low frequencies; at
100, the high frequencies will decay almost instantly. In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.
Pre Delay
0.0-200.0ms.
This is the amount of delay time before the reverberant wash begins, in milliseconds. The ER delays are not affected by the Pre Delay.
Pre Delay Thru
0-100.
This allows you to route the un-delayed input directly to the reverb, in addition to the Pre Delay.
Output
628
Rolloff
0-24000Hz.
This controls an overall lowpass fi lter on the output of the reverb.
Settings around 6-8kHz are good for producing a warm, smooth sound.
ER Level
0-100.
This sets the volume level for the four early re fl ections (ER 1-4).
Reverb Level
0-100.
This sets the volume level for the reverberant wash.
Wet/Dry
Dry, 1:99-99:1, Wet.
This sets the balance between the effect and the dry signal.
Wet/Dry Mod
List of Modulation Sources.
This sets the modulation source for controlling the
wet/dry mix. For a complete list, please see “Modulation Sources” on page 2.
Mod Amount
+/-100.
This sets the amount by which the mod source affects the wet/dry mix.
OASYS PCI
Index
Numerics
A
B
C
Controllers
D
OASYS PCI
E
F
G
H
K
L
M
MIDI
629
Modulation
N
O
P
R
S
630
OASYS PCI
T
V
W
X
Z
OASYS PCI 631
