Modular Components of the TimewARP. M-Audio Wayoutware TimewARP 2600

CHAPTER 4 -

4.1.5.1

CHAPTER 4 - Modular Components of the TimewARP 2600

Import / Export

Import / Export commands to write or read entire Groups, Categories, and Patches to/from external fi les.

Export works on whatever items are currently selected; by selecting all of the current

4.1.5.2 exported with it.

Import asks you to select the fi le you want to read in. Import will never overwrite any existing Group, Category, or Patch; if any Group or Category or Patch in the fi le to be imported has the same name as a Group or Category or Patch that already exists, Import will append a number to the loaded name. So when a friend sends you his collection of a thousand patches, you can import them without worrying about possible name overlaps.

Cut / Copy / Paste

4.1.5.3

4.1.5.4

4.1.6 patches, from one category and Paste it into another.

Up / Down

Patch Manager dialog to move selected items Up or Down in their list. (This is useful for arranging your MIDI patch lists.)

Rename / Delete

Patch Manager dialog to Rename or Delete selected items.

Voice Button

Clicking on the Voice button activates a drop-down list from which you may select the number of simultaneously sounding voices you want to use.

Because the TimewARP 2600 is a true analog synthesizer emulator, its modules are running even when no audio signals appear at the synthesizer’s output. Each voice added to the multi-voice capability of the TimewARP 2600 is a clone of the entire patch and module set. This will have an immediate and obvious effect on the CPU load meter.

So: how many voices you can generate without overtaxing your CPU will depend on your machine’s clock speed.

29


4.1.7 Reset Button

4.1.8

4.1.9

4.1.10

4.1.11

MIDI Indicator

This virtual LED glows when there is any MIDI input to the TimewARP 2600 – not just keystrokes, but also controller input and sysex dumps.

Output-Level Meter

This shows the output signal level. If it reaches into the red segment, your signal will distort.

CPU Load Meter

This meter shows, roughly, how much of the time between samples (the sample period) is being devoted to the TimewARP 2600 emulation process. In a complex patch, or a manyvoice polyphonic performance, the meter may indicate overload; when this happens, it is likely that the TimewARP 2600 output signal will be interrupted, so your audio feed will develop a glitch. To avoid this, you will have to simplify your patch, or decrease the number of voices, or acquire a faster, more capable computer.

The Magic Logo

At the lower right of the main panel is the TimewARP 2600 Logo.

Clicking on this brings up a menu:

4.1.11.1 About TimewARP 2600 identifi es the team; the people who worked together to bring you this software.

4.1.11.2 Load/Save MIDI Maps

Use the Load/Save MIDI Maps commands to save

– and reload – the MIDI-controller to slider assignments that you set up. In the TimewARP 2600, these are global assignments, independent of any particular patch settings; saving a patch does not save these assignments, and loading a patch does not change the current assignments. You can, if you want, set your mappings once, and they will be there throughout all of your personal patch changes.

30

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CHAPTER 4 -

4.1.11.3 Load Microtuning


You may also load alternate tunings for the keyboard.

These are described in Appendix 6.1. The TimewARP

2600 does not allow you to modify these tunings or to save or create new ones.

Microtunings are a global attribute of the keyboard; once loaded, the tuning will govern anything you play until you load a different one, regardless of your patch changes

4.1.11.4

MIDI Beat Synchronization

You may synchronize the Internal

Clock (IC) (see section 4.13), to the MIDI Beat Clock (MBC) by specifying the number of MBC pulses per IC transition. As a reference, there are 24 MBC pulses per quarter note.

The keyboard LFO (see section

4.14.1) may also be synchronized to incoming the MBC, independently of the Internal Clock.

Setting different sync counts for these is a fun way to program complex rhythms that are locked to the tempo of your MIDI tracks.

In order for the MBC messages to be sent to the TimewARP 2600, you must enable MIDI Beat Clock in the Pro Tools MIDI Menu, and select the TimewARP 2600 as a recipient of these messages. Also, MBC messages are only sent when the Pro Tools transport control is running.

MBC synchronization is a patch with the current patch when you save it.

not global one; the sync counts you set here will be stored

31


4.1.12 Jacks, Patchcords, and Default Connections

The panel has eighty-one mini-jacks. Forty-fi ve are inputs, twenty-nine are outputs, and

7 operate as both input and output.

Of the 45 inputs, 32 are in a row running across the center of the panel. (There are actually 34 jacks in the row, but the two labeled “gate” and “trig” are outputs.) This row of input jacks divides the control surface almost evenly in half.

4.1.13

4.1.14 of the other jacks in the upper half of the control surface are outputs.

In the lower half of the control surface are inputs to the voltage processors, and of the column of four jacks in the section labeled Sample & Hold, the upper and lower jacks are inputs.

The seven jacks that are both input and output, belong to the Electronic Switch and the

Multiple outlet. Because the switch works in either direction, it has either two inputs and one output or one input and two outputs. The Multiple output distributes at least one input to 1, 2, or 3 outputs.

All the remaining jacks are outputs. Most of them are labeled as such; a few are not, but have arrows pointing to them. For example, in the Voltage Processor (VP), the three jacks furthest to the right are outputs; and in the Envelope Generator section of the upper half of the panel, the two jacks labeled Gate and Trigger are outputs.

Sliders and Slider Operations

There are fi fty-eight sliders. Thirty-six of these are plain old signal attenuators. And of those 36, 29 are all in a row across the middle of the panel. (There are actually 31 sliders in attenuators.)

Most of the attenuators are directly associated with either an input to something or an output from something. Each vertical attenuator across the middle of the panel, for example, adjusts the strength of the signal coming in from the input directly below it.

Normalled Jacks

The most commonly used signal connections are “normalled” (i.e. defaulted). A default signal is identifi ed by a small icon at an input jack.

To see a simple example of this, note that the fi rst input jack on the left, in the row of jacks running across the middle of the TimewARP 2600, is an input to the Envelope

Follower. The symbol underneath this jack indicates that the default signal to this input comes from the Preamp. That means that the Preamp output is prewired to the Envelope

Follower input, except when a plug is inserted into the jack.

For another simple example, note that in the same row of jacks, the third one from the right is a mixer input, and that the symbol just beneath it indicates that the default signal to this input comes from the Voltage-Controlled Filter (VCF):

Noise Generator (counting across from left to right this is the 21st jack):

32

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CHAPTER 4 -

4.2

4.3


Noise

Generator input to the VCF. Now experimenting with the two horizontal control sliders at the top of the VCF panel will give you a wide range of fi ltered sounds.

It will be worth your while to experiment thoroughly and systematically with the default signal connections at this point, particularly if you are planning to use the TimewARP

2600 in live performance. In section 4 we will document the behavior of each separate module, and in section 5 we give sample patches for further experimentation; here we will only mention a few general principles to keep you from going out of your skull with complications:

Experiment with one signal at a time. With the VCF, for example, when you have listened to everything the fi lter can do with a noise input, close that input and open the default

VCO-3 sawtooth immediately to its left. Now you can experiment not only with the VCF controls, but also with the manual frequency controls of VCO-3; and when you have done that, experiment one by one with the control input signals to VCO-3.

Preamp/Gain Control

The Preamp section controls the gain of the audio signal(s) from the track in which the TimewARP 2600 is running. A rotary knob labeled Gain adjusts the signal level.

If the TimewARP 2600 is running in full stereo confi guration – as a plug-in to a stereo track – the preamp will display two output jacks, one for each stereo channel. Use these signals for any purpose for which you might ordinarily use an

internally-generated signal. You can fi lter them, run them through the Ring Modulator, or use one as an AM or FM program signal. The default input to the Envelope Follower, under these conditions, is taken from the left channel.

Voltage-Controlled Oscillators (VCO)

These generate three or more of the following basic waveforms. The output amplitude and phase relationships are the same for all oscillators. The oscillator sensitivity under virtual voltage control is 1vV/octave.

For convenience in fi ne-tuning control depth, the three attenuator-governed FM Control inputs at each oscillator provide three different sensitivity ranges. The leftmost slider is full-range; wide open, it passes its signal unchanged. The second slider is 50%; wide open, it passes its signal at half strength. The third slider, wide open, passes its signal at 25% of its original amplitude.

33


4.3.1 VCO 1

VCO 1 generates saw, square, and sine outputs. The sine output is a TimewARP

2600 extension; the original ARP 2600 VCO1 provided just sawtooth and squarewave outputs.

The default signal to the fi rst (unattenuated) FM Control input is from the keyboard. The Audio/LF switch above this input switches the mode of the VCO from Audio (10Hz - 20,000Hz) to LFO Mode (0.03Hz – 30Hz). When the VCO is in LFO

Mode, the default connection to the keyboard is removed. This can be overridden front panel.

The default signals to the next three FM Control inputs are from a) the Sample &

Hold, b) the ADSR Envelope Generator, and c) VCO2 sine.

4.3.2 VCO 2

VCO 2 generates sine, triangle, sawtooth, and pulse outputs. A pulse-width slide control can adjust the duty cycle from 10% to 90%; at the middle of its travel, the pulse width is 50%, that is, a square wave.

VCO from Audio (10Hz - 20,000Hz) to LFO Mode (0.03Hz – 30Hz). When the VCO is in LFO

Mode, the default connection to the keyboard is removed. This can be overridden front panel.

Sample &

Hold, b) the ADSR Envelope Generator, and c) VCO1 square.

There is a fourth attenuator-governed input, for digital control of the pulse width.

The default signal at this PWM input is from the Noise Generator.

34

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CHAPTER 4 -

4.3.3


VCO 3

VCO 3 generates sawtooth, pulse, and sine outputs; the pulse width is manually variable. The sine output is a TimewARP 2600 extension; the original ARP 2600 VCO3 provided just sawtooth and pulse outputs.

Audio/LF switch above this input switches the mode of the VCO from Audio (10Hz

- 20,000Hz) to LFO Mode (0.03Hz – 30Hz). When the VCO is in LFO Mode, the default connection to the keyboard is removed. This can be overridden in this mode by

The default signals to the next three FM Control inputs are from a) the Noise Generator, b) the ADSR Envelope Generator, and c) VCO2 sine.

4.4 Voltage Controlled Filter (VCF) resonance (Q). The response below Fc is fl at down to DC; above Fc the response falls off at 24Db per octave. Fc range is from 10Hz to 10KHz without control voltages; under voltage control, Fc can be driven as far down as 1 Hz and as high as 20KHz.

Fc is controlled manually by a coarse tuning slider (labeled initial fi lter frequency) and a fi ne tune slider. Fc may also be controlled by external voltages; the sensitivity under voltage control is 1.0vV/oct.

The Q, or resonance, of the fi lter circuit is controlled by a single manual slider. As the Q is increased by moving this slider from left to right, the response below Fc is gradually attenuated until a sharp peak remains at the cutoff frequency. (Gain at Fc is always unity.)

At this Q setting, just below the point at which oscillation begins, the fi lter will ring distinctly in response to any sharply defi ned pulse presented to its signal input. In this state it is effectively analogous to

a highly resonant physical system, and may be used for various percussion effects depending on its resonant frequency (identical to Fc) and on the impulse spectrum exciting it.

As the Q is raised still higher, beyond about the halfway point in the slider travel, the fi lter will oscillate. Operating in this state, it generates a pure sine wave. even in the absence of any signal input.

Audio signal inputs. They are fed through logarithmic attenuators to a

Ring

Modulator, VCO-1 Square, VCO-2 Pulse, VCO-3 Sawtooth, and Noise Generator.

The VCF has three frequency Control inputs. The fi rst is normally from the Keyboard pitchcontrol. The slider that governs this input is a TimewARP 2600 extension; on the original

35


ARP 2600, the keyboard control depth was not adjustable.

4.5

4.5.1

ADSR Envelope Generator output and the VCO-2 Sine output.

Inserting a patch cord at an input jack automatically disconnects the default signal.

Envelope Generators

The Envelope Generators generate transient, positive-going waveforms, with controllable rise and fall times. They are used primarily with the VCF and VCA, in generating events whose time-varying spectrum and amplitude must be accurately and repeatably controlled. The output from each generator is a positive-going signal whose rise and fall time is set by slide controls on the generator, and whose onset and overall duration is determined by a gate signal.

The maximum value that either envelope can reach is +10vV; thus, unattenuated, either envelope is capable of driving a VCF or VCA from its minimum initial setting

(10Hz for the VCF, -l00Db for the VCA) all the way up to maximum. See 4.1.2 and

4.1.3, specifi cally the data on control input sensitivity. Reread too sections 2.1.6 through 2.1.7.

Manual Start button, the Keyboard Controller, or any +10vV square-wave or pulse signal. The twoposition switch just under the lower AR generator selects between the two latter sources. The Manual Start button overrides both of these.

ADSR Envelope Generator

ADSR Envelope Generator offers variable Attack time, initial Decay time, Sustain level, and fi nal Release time. Four vertical sliders control these parameters: note that three of these are time parameters and the fourth – Sustain level – is not.

The generator produces an output only when a gate signal is present at its input. At the onset of a gate signal, the output level rises to +10vV, at a rate set by the Attack slider.

When the level reaches +10vV, it immediately begins to fall, at a rate set by the Decay slider, to a level set by the Sustain slider. It remains at this level while the gate signal continues. Finally, when the gate ends, the output falls to zero at a rate set by the fi nal

Release slider.

If the gate ends at any time during the ADSR cycle, the generator immediately advances to its fi nal Release phase: the current output level starts falling to zero from whatever value it had at the moment the gate ended.

Envelope Generator is controlled from the Keyboard Controller, it responds to the trigger signal from the keyboard – supposing that an envelope is already in process – by repeating the fi rst two stages of an envelope and returning again to the Sustain level.

For all other control gates presented to the generator input, circuitry internal to the generator itself derives a trigger signal from the leading edge of the gate.

36

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CHAPTER 4 -

4.5.2

4.6


AR Envelope Generator

The AR Envelope Generator offers variable Attack time and fi nal Release time. Two vertical sliders control these parameters.

The generator produces an output only when a gate signal is present at its input. At the onset of a gate signal, the output level rises to +10vV, at a rate set by the Attack slider.

When the level reaches +10vV, it remains at this level while the gate signal continues.

Finally, when the gate ends, the output falls to zero at a rate set by the fi nal Release slider.

If the gate ends at any time during the AR cycle, the generator immediately advances to its fi nal Release phase: the current output level starts falling to zero from whatever value it had at the moment the gate ended.

operation.

Voltage Controlled Amplifi er (VCA) of l00Db. With the initial gain control at maximum, and with no control input, the

VCA will pass with unchanged amplitude any signal presented to its signal input. On the other hand, with the initial gain control at minimum, no signal will pass through the amplifi er at all unless some positive signal level (the VCA does not respond to negative control signals) is present at one or both of its control inputs.

The fi rst control input has linear sensitivity; the gain of the amplifi er in response to a signal at this input is S/10, i.e. dividing the signal level by 10 will give the gain factor.

The second control input has exponential sensitivity; the gain of the amplifi er in response to a signal at this input will equal 10Db/vV.

There are two audio signal inputs to the VCA. The default connections to these are from the VCF and the Ring Modulator. Inserting a patch cord automatically disconnects the default signal.

The default signal at the linear control input is from the AR Envelope Generator, and at the exponential input is from the ADSR Envelope Generator. Inserting a patch cord automatically disconnects the default signal.

37


4.7 Mix/Pan/Reverb Output Module

The three functions in this module provide fi nal processing of the output signal.

That, at least, is what they are intended for; you may actually use them in other roles, for any purpose you please.

If you leave the default connections undisturbed, the module is confi gured as a

Reverb unit, which are themselves mixed to feed the fi nal left/right system output channels.

When the TimewARP 2600 is confi gured for mono operation, this section omits the

Pan control and provides only one output channel.

4.7.1

4.7.2

4.7.3

Mixer

Mixer carry default connections from the VCF and the VCA; they can of course be overridden with patch cords.

are the outputs from the attenuators. This lets you use the two sliders as “fl oating” attenuators, in any situation where you need to set the strength of a signal. (Although if you do this, there’s no way to get any signals into the mixer.) not inputs; they

Pan Control

Normally, this signal comes from the mixer. Centered, the Pan feeds its input signal equally to the left and right channel outputs; moving the slider left or right shifts the signal balance accordingly between the two output channels.

Reverb Unit

The input to this unit is the rightmost jack in the row that runs across the middle of the a 100% wet signal from the Reverb, at a fi xed level. (There are interesting patches in which this signal is subjected to further processing via, say, the Ring Modulator or the

Envelope Follower.)

The two sliders adjust the wet-dry mix fed to each output channel.

38

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CHAPTER 4 -

4.8


Envelope Follower level directly proportional to the average moment-by-moment input signal amplitude. Its sensitivity is such that, with the input attenuator wide open, a 1V P-P square wave will produce a +10vV output. The maximum output is +10vV.

in the amplitude of the signal input, is 10 milliseconds to 50% of fi nal value and 30 milliseconds to 90% of fi nal value.

as if they themselves represented changes in signal amplitude; this is not critical, but has been held to a ripple of less than 1% P-P down to l00Hz and less than 10% down to

40Hz.

from any audio input, a control signal representing the amplitude-envelope of that input: envelope and can be used in the same fashion as the output from either of the envelope generators.

2600 is confi gured for stereo input, it is the fi rst (left) channel preamplifi er output.

39


4.9 Ring Modulator output function A x B / 5. The kind of transformation this effects on input signals depends to a large extent on what they are and on whether the modulator is AC or DC coupled to

When the inputs are AC coupled (Audio position of the switch), any DC component present in them is canceled before they are fed to the modulator. Thus a sawtooth that starts from zero and goes to+l0vV will instead start at -5vV and move to +5vV so that its overall positive and negative deviation cancels to zero. Under these conditions the modulator will generate from any two periodic signals an output signal consisting of the sum and difference frequencies that can be generated from the frequencies of the two inputs. The input frequencies themselves will be suppressed.

If both signals are audio-frequency, a large variety of harmonic and inharmonic timbres can be produced from the modulator, depending on the ratio of the input frequencies and on their own harmonic content. If A is a sine wave and we represent its frequency by

Fa, and B is a complex waveform of frequency Fb with overtones 2Fb, 3Fb, 4Fb, etc., then the output of the modulator will be a complex waveform with frequency components

Fb + Fa, Fb - Fa, 2Fb±Fa, 3Fb ± Fa, 4Fb ± Fa, etc. A moment’s experimentation with the prewired sawtooth and sine inputs to the modulator will demonstrate the complexity of the timbres that can be generated by this simple means.

If, still with AC coupling, one input is subsonic and the other at some audio frequency, there will be an output from the modulator only when the value of the subsonic input is changing, and the output will be roughly proportional to the rate of change. If, for example, the subsonic input is a square wave, the modulator output will be a series of short, decaying tonebursts – one at each rise or fall in the input signal.

When the inputs are DC coupled, any DC component in either one of the inputs will pass into the modulator and affect the modulating process. The effect when both inputs are at audio frequency is to allow into the output waveform some of the input frequencies in addition to the sum and difference frequencies. The effect when one of the inputs is subsonic is that the modulator operates as a voltage-controlled amplifi er: the output amplitude will be in direct proportion to the instantaneous amplitude of the low-frequency input and will vary as its absolute value varies. Also, the output phase will reverse when the low-frequency input signal changes from positive to negative or vice versa.

The AC-coupling time constants are 235 msec, for the left input and 90 msec, for the right input.

40

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CHAPTER 4 -

4.10

4.11


Noise Generator (NG) for output level.

The spectral balance is continuously variable from white to red (low-frequency noise output). In the latter case the output falls off at the rate of 6Db/Octave; the pink noise position approximates a -3Db/Octave slope.

The level control, at minimum, cuts off the output signal completely. At maximum, the

output is clipped at 20vV P-P to produce binary, or two-valued, noise. Clipping begins with the level control approximately half open. input.

Voltage Processors (VP)

The Voltage Processors are simple utility functions for mixing, inverting, and shaping signals.

4.11.1

4.11.2

4.11.3

VP #1

VP #1 has four signal inputs and one output. Two of the inputs have attenuators. The output signal is the inverted sum of all four inputs.

The attenuator-governed inputs carry default connections from +10vV and from the keyboard pitch-control. Opening the +10vV slider thus produces up to -10vV at the processor output.

VP #2

VP #2 has two signal inputs and one output. One of the inputs has an attenuator. The output signal is the inverted sum of the two inputs.

The attenuator-governed input carries a default connection from -10vV, so that opening the slider produces up to +10vV at the output.

The Lag Processor its cutoff frequency. The corresponding rise-time ranges from 0.5ms with the slider at minimum, to 500msec – about half a second – with the slider at maximum.

with a maximum Fc of approximately 1KHz.

41


4.12

4.13

The Sample & Hold Module (S/H)

The Sample & Hold Module produces stepped output signal levels, by sampling the instantaneous value of any signal at its input. The stepped levels produced in this manner are useful for controlling oscillator and fi lter frequencies and

– occasionally – VCA gain.

trigger input, and an output giving the result of the sampling operation. The trigger input is defaulted from the internal clock, but any square or pulse wave, or the keyboard gate or trigger signals, will work.

Upon being triggered, the S/H sets its output level to the same value as the input signal at that instant. After the trigger, the output signal will hold that level until the next trigger pulse.

Any signal whatsoever may be sampled. The default input is from the Noise Generator, so that the step sequence is random. The accompanying diagrams show how, when the signal being sampled is random noise, the output voltages are correspondingly unpredictable. An infi nite variety of cyclical output patterns may be obtained, on the other hand, by sampling a periodic waveform. Different ratios of the sampling frequencies to the frequency of the waveform being sampled create different melodic patterns (if the output level is controlling a VCO).

The level control attenuates the input signal before it is fed to the S/H circuit. The rate control actually belongs to the internal clock; when that is disconnected from the S/H circuit, the rate control has no effect on the operation of the S/H circuit.

The Internal Clock / Electronic Switch

Electronic Switch.

Under MIDI control, the Internal Clock may be synchronized to incoming MIDI Beat

Clocks; see section 4.1.11.4.

The Electronic Switch has two connections on one side and one on the other, as indicated

by the panel graphics. For clarity, let’s call these three jacks A-1, A-2, and B. The switch alternates between connecting A-1 to B, and A-2 to B. It doesn’t matter which side is the signal source and which is the destination; the switch works the same regardless.

The switching rate is governed by the Internal Clock. This is a permanent feature of the switch.

42

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CHAPTER 4 -

4.14


The Virtual Keyboard

This has fi ve octaves, 60 keys. The control panel, at the left, is modeled on but not identical to the original ARP 3620 keyboard.

4.14.1

4.14.2

4.14.3

Low Frequency Oscillator (LFO) Section

The keyboard unit has its own LFO section, independent of any of the standard VCO’s. It can be used in two ways: for vibrato, or for automatically repeated keyboard gates (as, for example, in imitating the repeated notes of a mandolin). Three sliders govern the Speed,

Delay, and Depth of the LFO.

Under MIDI control, the keyboard LFO may be synchronized to incoming MIDI

Beat Clock signals; see section 4.1.11.4.

Dual-Pitch Control Output

Like the original ARP 2600, the TimewARP 2600 virtual keyboard can generate a second pitch-control signal when two keys are depressed. This signal is available at the two jacks labeled Upper Voice at the lower left of the keyboard module.

To use one of these, simply patch it to an oscillator. That oscillator will now track the uppermost key depressed rather than – as with the standard keyboard control signal – the lower key.

Gate and Trigger Control

Two switches in the upper right quadrant of the keyboard module govern the logic of the keyboard gate and trigger signals.

When the Trigger Mode switch is set to Off, the keyboard generates a continuous gate signal as long as any key is depressed, and generates a trigger signal only on the transition from no key depressed to any key depressed. In this operating mode, you have complete performing control over the production of trigger signals; to avoid them, play legato, and to generate them, play non-legato. This is the baseline logic of the original ARP 2600 keyboard.

With this switch set to On, the keyboard will generate a trigger on every new keypress, regardless of your performing habits. The gate logic is not affected.

The three-position switch labeled Auto Repeat is Off in its center position. This is the default.

In its lower position, the keyboard gate and trigger are taken from the local LFO. Actual key depressions no longer play a role in gating. In its upper position, the LFO and the keypress are ANDed together; when you press a key, there is a series of pulses from the LFO, and when you release the key, the series stops. This is the mandolin effect we mentioned above.

43

Patching the TimewARP 2600

5

If you are new to audio synthesis, consult the tutorial patch collection.

Modular Components of the TimewARP. M-Audio Wayoutware TimewARP 2600

Patching the TimewARP 2600

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Table of contents