controlblade production stationsupport.musiccomputing.com/support/docs/music... · controlblade™...

ControlBLADE™ Production Station 1 | P a g e

ControlBLADE™ Production Station


Contents 1.1 About Your New ControlBLADE ................................................................... 4

1.2 System Specifications ............................................................................... 5

1.2.1 Audio Features ................................................................................... 6

1.2.2 Audio Interface Specification: ............................................................... 7

1.2.3 ControlBLADE Audio Connections .......................................................... 9

2.1 The ControlBLADE™ ................................................................................ 10

2.2 Powering Up the ControlBLADE................................................................. 11

2.3 ControlBLADE Support ............................................................................ 11

3. SonicSource Introduction .......................................................................... 13

3.1.0 Quick Features .................................................................................... 14

3.1.1 Features in Detail .............................................................................. 15

3.1.2 SonicSource SoundSet Library ............................................................ 16

3.1.3 Learning and using SonicSource ............................................................ 18

5.1.4 SoundSet Image and Name ................................................................ 18

3.1.5 ADSR Envelope ................................................................................. 19

3.1.6 Velocity Sensitivity and Key Scaling .................................................... 19

3.1.7 The Filter ......................................................................................... 20

3.1.8 Three Band EQ ................................................................................. 20

3.1.9 LFO ................................................................................................. 21

3.2 ~FM Switch Matrix .................................................................................. 21

3.3 Pitch Envelope ....................................................................................... 22

3.4 Master Controls ...................................................................................... 23

3.5 Effect Racks ........................................................................................... 24

3.5.1 MODULATOR Types and Description .................................................... 24

3.5.2 DELAY ............................................................................................. 27

3.6 The Key and Velocity Splits Interface ........................................................ 28

3.7 Mixer Strip ............................................................................................. 29

3.8 Arpeggiator ........................................................................................... 30

3.9 Tips &Tricks ........................................................................................... 35

3.9.1 Global Menu and Settings ..................................................................... 36

3.9.3 Banks and Presets ............................................................................... 37


3.9.4 Creating a Custom Preset/Bank ............................................................. 52

4.1 Music Computing Warranty Information ..................................................... 58

Return Policy for Products Purchased through Amazon ................................... 59

Return Policy for Products Purchased directly from Music Computing ............... 59

4.2 Software License Agreement .................................................................... 60


1.1 About Your New ControlBLADE

The new ControlBLADE™ represents a new era in performance and value. Never

before has it been possible to have this much power and functionality inside a

single product at such a low price. The new ControlBLADE 5 utilizes the latest Intel

i5 and i7 processors, up to 32GB of RAM, GPU processing and open PCIe slots for

expansion to let you create freely (61-key only). Make your dream come true with

the ControlBLADE 5.

Powerful, Full-featured and Affordable: ControlBLADEs are powered by high-

performance computer cores utilizing Intel® latest Core i-series® fourth-generation

(Haswell) processors that are perfect for today's demanding musicians and the

virtual instruments and software application they use. Options include i5 and i7

quad core versions. The Windows 7 (64-bit) operating system is preconfigured for

music production and can run virtually any software application or plug-in. Capable

of running over 500 plug-ins at once, sequencing thousands of tracks

simultaneously, and storing millions of sound presets, the ControlBLADE packs a

serious punch for the money. Thousands of Sounds: Music Computing’s

SonicSource™ (Chapter 3) is a robust VSTi synth containing over 8GB of sound

presets that is included with each ControlBLADE, ready to use right out of the box.

Need Support? Music Computing is operated by avid musicians and technology

geeks who are passionate about music and their work. This is a standing

requirement for being part of the company, which means there will always be

answers and help when you need it. Email [email protected]

mailto:[email protected]


1.2 System Specifications

These are the configuration options of the Music Computing ControlBLADE™

OS: Windows 7 64-bit Home Premium

Processor options: Core i5 quad-core (3.30GHz) / Core i7 six-core (3.30GHz)

/ Core i7 eight-core (3.00GHz)

Memory: 4GB DDR3 Memory (Upgradeable to 32GB)

Hard Drive: 1TB HyperDrive (SSD/7200RPM) Standard. Upgradeable to

1TB/2TB/4TB (HyperDrive) or SSD (solid state drives)

Audio Interface: Tascam US-1200 6-in/2-out (Base Config)

Optical Drive Type: DVD reader/writer

Monitor: Optional 10" single-touch touchscreen (1024 x 576) resolution or

22" single-touch Mac OS X & 2-touch Windows touchscreen (1080p / 1920 x

1080) resolution. External Monitor Support: One DVI, one HDMI, and one

DisplayPort for triple display support in clone or extended desktop mode

when using the 10" touchscreen, but only two (2) total monitors when using

the 22" touchscreen

Keybed Specifications: Semi-weighted, full-size keys with aftertouch

(MPK261) or 61 full-size, synth-action velocity-sensitive keys(Oxygen 61)

Connectivity: USB: 4 X USB 2.0 Port + 2 X USB 3.0

o FireWire: (Optional) One Internal Firewire 400 Port + 2 External

Firewire 400 Port

o MIDI: IN / OUT/ OUT

o Internet: Ethernet 1000BASE-T

o eSata: External Port

o Display Port: External Port


1.2.1 Audio Features

Hear the Difference: The standard configuration for the ControlBLADE includes a 6-

IN/2-OUT interface with audio stream support - USB 2.0 24-bit/96 kHz resolution.

ControlBLADEs also offer Firewire ports in the event outboard audio I/O or other

Firewire devices are needed.

Features:

High-quality HDDA (High Definition Discrete Architecture) mic pre-amps

Four XLR inputs with +48V phantom power and two TRS ¼" balanced inputs

INPUT 5/6 supports direct Hi-Z instrument inputs

INPUT 5/6 supports +4 dBu line level

6-IN/2-OUT with audio stream support - USB 2.0 24-bit/96 kHz resolution

Low-latency monitoring via the DSP mixer

On-board DSP mixer with 2 operational modes

On-board digital effects(DSP effects)(DSP effects can use on 44.1/48kHz

operating)

Two TRS analog balanced outputs

50mW + 50mW headphone output

RoHS certified

EIA 1U rack mount size


1.2.2 Audio Interface Specification:

Audio Specifications for the base model.


Audio Specifications Continued


1.2.3 ControlBLADE Audio Connections This chart shows the base model (Tascam US-1200) connection example.

Additional Tascam US-1200 product literature can be downloaded at:

http://tascam.com/product/us-1200/downloads/


2.1 The ControlBLADE™

This section labels and defines the basics of a ControlBLADE with the Akai MPK261.

Top of the ControlBLADE

1. Touchscreen (Optional)

2. Pitch and Mod Wheel

3. Drum Pads

4. Faders

5. Piano Keys

6. Audio Interface

7. CD / DVD Burner

Back of the ControlBLADE

1. Keyboard MIDI/Connections Interface – Back

2. Power Supply

3. Computer Peripheral Connection

4. Expansion slots (Contact Music Computing Support)

5. Audio Interface rear connections


2.2 Powering Up the ControlBLADE To power up the ControlBLADE, place the ControlBLADE on a flat surface that will not block

the air vent underneath the board.

If your ControlBLADE was shipped with the optional 22-inch touchscreen, connect

the Touchscreen, touchscreen power cable, and monitor cable.

o If you are using the 10-inch touchscreen, connect the USB Y-cable. The small

end plugs into the monitor, and it is required to connect both of the USB on

the opposite end of the Y-cable to USB ports.

Connect the retracting USB cable from the keyboard USB to a USB port.

Connect the power cable into the back of the ControlBLADE.

Connect the audio interface power cable to the audio I/O, then to a regulated power

source.

(Optional) Connect the 22-inch touchscreen to a regulated power source.

Plug the power cable from the ControlBLADE to a regulated power source.

Press the power button to power up the unit.

Important information

If your ControlBLADE was configured without a monitor, connect your monitor before

you power up the system.

If your ControlBLADE was preconfigured with Firewire. Always plug in Firewire

devices before powering up the system.

2.3 ControlBLADE Support

If you require assistance with your ControlBLADE, please submit a support ticket by visiting

http://musiccomputing.com/support. All remote support sessions require appointments. If

you are unable to submit a ticket, please call 512-777-4298 to schedule an appointment.

Appointments can also be scheduled by emailing [email protected]

http://musiccomputing.com/support


SonicSource™ VST Synthesizer v1.0.0


3. SonicSource Introduction

SonicSource™ by Music Computing is a virtual synth designed for use with

the Windows (VSTi) and Mac OS X (VSTi/AU) computer operating systems.

SonicSource contains three sample-playing layers, two multi-effect racks,

and a library of multi-sampled instruments. The sample playing layers allow blending of waveforms and instruments into a wall of sound or alternatively,

the use of the three multi-timbral layers as a workstation. These layers can then be further processed through SonicSource’s powerful multi-effect

racks.

Over 8GB of modern sounds such as those produced by legendary electric

keyboards including the Rhodes electric pianos, Hammond and Vox organs, Hohner clavinets, and Moog synthesizers are present as well as effects like

tape based delay lines, rotating speaker cabinets, guitar distortion pedals, wah wah, phasing, and flanging are included. Additional sound libraries will

be made available from Music Computing in the near future.


3.1.0 Quick Features

Three wave player sections with:

ADSR envelope

Velocity sensitivity

Double Key Track scaling

LP, HP, BP, and BR filters with

resonance and envelope amount

3 band equalizer

Pitch, Amp and Pan LFOs

Pitch envelope enable

Semitone transpose

Fine pitch

Send to FX 1

Send to FX 2

Volume

Mute switch

VU meter

Velocity Zone: min and max

Key Zone : high and low

Poly-timbral over 3 parts

3 modes for each LFO:

o Free

o Sync

o Inv.

'Fractal' randomization for filter

modulation

FM and AM per oscillator

Additional controls

Glide

Mono mode

LFO masters

Fine tuning

Two DSP sections:

Echo (true stereo tape

delay emulation, with

Sync Chorus)

Modulator

o Leslie

o Chorus

o Flanger

o Phaser

o Wah Filter

o OverDrive

MIDI Learn: More than

100 parameters remotely

controllable by MIDI

Control Changes

Arpeggiator

Master Vibrato

Stereo Layers

Extra Quality option with

up to 16x oversampling!


3.1.1 Features in Detail

SonicSource contains the following features –

A multimode filter (LP, HP, BP, BR) with control over cut, resonance and

envelope modulation, as well as a special ‘fractal’ modulation parameter.

This expanded filter design provides further tools for balanced layering of

sounds, and deep pads.

FM/AM modulation capabilities per layer can be done via the ~FM switch

matrix. AM and FM can be used to add interesting harmonic distortions to

the original instruments, or to manipulate new sounds from the existing

samples.

A multi-effect MODULATOR rack that has the following: overdrive, phaser,

chorus, flanger, rotary, and filter effects.

Routing options between the layers and the effects allow the MODULATOR

rack to function in both ‘send’ and ‘insert’ modes.

Master controls: glide, mono mode, fine tuning, and velocity sensitivity

MIDI Learn: More than 100 parameters can be controlled with Automation via any

Midi Controller or Sequencer automation.

Effects: SonicSource’s effects are distributed over two effects slots, MODULATOR

and DELAY.

MODULATOR - You can choose from any of six quality effects for this

module: Phaser, Chorus, Flanger, and Rotary (Leslie), Filter (with Wah) and

Overdrive. Each effect is specially coded with its own parameters

Delay – SonicSource’s delay is a true stereo delay unit modeled on an

analog tape delay device for a warm sound. As well as standard parameter’s

you would expect from a stereo delay, SonicSource’s delay features a ‘flutter’

control for introducing modulations and artifacts similar to those heard with

tape degradation, a special chorus modulation for making pitch effects and

chorus sounds, and a ‘reflections’ parameter which can be effectively used in

combination with the delay lines to create spring reverb type sounds.


3.1.2 SonicSource SoundSet Library

SonicSource comes with a comprehensive library of multi-sampled keyboards all

professionally captured from the original instruments. The default library features a

range of electric pianos, organs and those rare string machines, rounded off by a

nice selection of raw waveforms, including samples of the saw and square waves

from the Korg MS20 and the Minimoog. On top of this large selection of sounds,

there are a number of ethnic and experimental tones and percussive elements to

choose from.

The full default library includes:


While all the sounds in the default library stand on their own, the three layer design

of SonicSource is intended to achieve and expand the possibilities of the recording

technique of layering and blending tracks. In SonicSource, such layering is achieved

by blending and layering sounds within an intuitive interface.

This makes it easy to create, for example, a stack of 70’s string machines with

dynamic movement, or a Mellotron string/flute ensemble supported by a harmonic

bass line, for big and dynamic layers.

Alternatively, you could layer a pure sine tone with a Rhodes key multi-sample to

reinforce the fundamental harmonic, or use the attack part from a Wurlitzer sample

to start a stack of strings and analogue square waves. You can find many examples

of such layering techniques in the default SonicSource preset bank. These can also

serve as a starting point for your own sound design. If you like to be creative and

love the vast range of sounds that where created in the classic period of ‘electric

keyboards’ and effects, you will find how exciting it can be to compose with the

mini workstation that is SonicSource.

See Section 5.9.3 of this manual for a list of all current banks and presets within

them.


3.1.3 Learning and using SonicSource

In this section, we are going to go deeper into the features of SonicSource and how

they work, including some sound programming tips. To begin, we need to define

two basic terms used in this manual and in SonicSource. ‘Layer’ and ‘SoundSet’.

Layer: A ‘layer’ is basically an oscillator except that in SonicSource you load single

samples or multi-mapped wave files which are in the DASHsnd format as the raw

sound for each layer. SonicSource has three layers, labeled A, B, and C

respectively.

You can think of each layer as actually being a separate sample playback engine,

with its own waveform, filter, envelope, mixer, EQ, LFO's and voice allocation.

SoundSet: A ‘SoundSet’ is the basic set of multi-samples (or single shots samples)

that are mapped in the DASHsnd format. A SoundSet is not the same as a

SonicSource ‘preset’, it being just one element of the synthesis settings that make

up a ‘preset’. Any number of different presets can use the same SoundSet. Loading

up a SoundSet in a SonicSource layer is effectively the same as choosing a raw

shape for an oscillator on a standard synthesizer.

Layer Structure

5.1.4 SoundSet Image and Name

By clicking on the SoundSet name display, a submenu will

open showing all categories of SoundSets in the default

SonicSource library (Electric Piano, Ensemble, Organ, and

Waveform) plus any other add-on packs you may have

installed. Within each submenu is the list of actual

SoundSets that can then be loaded into each layer. Once a

SoundSet is loaded, the graphical strip above the name

display will either show a picture of the device the

SoundSet derives from, or a representation of its

waveform.

By left-clicking on the ‘A/B/C’ buttons for each layer, the

SoundSet will automatically rotate to the next available in

that category. This can be very useful for auditioning

sounds without opening the menu.


3.1.5 ADSR Envelope

This option sets the Attack, Decay, Sustain and Release for the amplitude of the

layer, as well as for the filter when it is assigned to the envelope. Each envelope

has its own voice-allocation and settings. This is commonly referred to as “ADSR”

(ad–zer).

The envelope is not linear- it has logarithmic attack and exponential decay and

release times, thus you may notice extra CPU usage when doing longer attacks,

decays or releases. Also keep in mind that using very long release times will use

more voices. This could cause the sound of some voices to be "stolen" by newer

notes if there are many notes still ‘releasing’ while you play more notes. If this

happens, and if it is a problem for the song mix, set voices to a higher value [16 is

the highest] or lower the release values on the envelope.

You can use "Shift + Mouse click" to fine tune the ADSR sliders, which can be very

useful for precise Attack, Decay and Release times.

3.1.6 Velocity Sensitivity and Key Scaling

Velocity Sensitivity: The ‘vel sens’ dial allows you to set velocity sensitivity

independently for each layer. Setting ‘vel sens’ to the hard left (zero) makes the

envelope insensitive to keyboard velocity pressure – this is useful for such sounds

as B3 and VOX organs, or Mellotron sounds, which as hardware simply feature a

note on/note off keyboard. Moving from the hard left position, the layer becomes

gradually more velocity sensitive for more dynamic playing, suitable for electric

pianos, for instance.

Key Scaling: The KEY dial is for ADSR keyboard tracking. It has two modes [see

icons at right of the + symbol] - ADSR Speed (the higher option) and ADSR Level

(the lower option).

Both modes are active at the same time, and by clicking on the symbols the GUI

toggles between each mode. With ADSR Speed tracking you can scale attack, decay

and release times along the selected key zone for the layer. With ADSR Level

tracking you can scale the envelope amplitude along the selected key zone for the

layer.


3.1.7 The Filter

With SonicSource 1.0.0 we introduce a 12 dB multimode filter per layer. This

filter features lowpass (LP), highpass (HP), bandpass (BP), and bandreject (BR)

settings. The multimode filter also features separate controls for cutoff frequency

(FRQ) and resonance (REZ). The filter frequency can be modulated by the ADSR

envelope adjusting the ENV control for positive or negative response. Centre

position (Ctrl + Left mouse click) of the filter envelope knob does not send any

ADSR modulation to the filter.

Fractal Modulation: The multimode filter also has a unique modulation feature

clicking the MOD button activates a ‘fractal’ LFO for adding interesting and dynamic

movement to the filter. The ‘fractal’ LFO is similar to a standard Sample&Hold

random modulator, but achieves much more musical results since it produces

patterns of modulation featuring the self-similarities typical of fractal figures. With

MOD activated, depth and rate are set for the fractal modulation by using the same

controls as AMP modulation in the modulation section for the layer. When MOD is

inactive, these controls serve their standard function for AMP modulation. Please

note that the LFO mode switch (OFF, FREE, INV, SYNC) does not affect the ‘fractal’

LFO which modulates the filter frequency.

3.1.8 Three Band EQ

Each layer in SonicSource has a powerful three band equalizer for balancing low,

mid, and high frequencies of the sound. Each band uses its own separate code for

the highest quality, which also means that each band introduced at a non-zero

value will add CPU consumption. This flexibility also enables you to set any band

not in use at zero by a left mouse click on it holding down the control key, so that

the band will move to IDLE mode and will not process audio, thus minimizing CPU

consumption.


3.1.9 LFO

LFO stands for Low Frequency Oscillator. SonicSource’s LFOs are modulation

sources that generate SINE waveforms aimed at specific modulation targets. Each

layer in SONICSOURCE has independent modulators for pitch (PTH), amplitude

(AMP), and panning (PAN). Further, each LFO can be used in three running modes –

FREE sets the LFO free running regardless of note messages, SYNC re-starts the

modulation with ever note, and INV also restarts on every note, but the wave

shape is inverted.

The send and rate controls of the AMP group also affect the depth and rate of the

‘fractal’ LFO that can be used to modulate the multimode filter frequency (see the

multimode filter section for more details). Please remember that the ‘fractal’ LFO is

activated by the MOD button, whereas the AMP LFO is activated by the switch

(OFF, FREE, INV, SYNC) in the AMP group.

3.2 ~FM Switch Matrix

The ~FM section is also an exciting feature of SonicSource,

introducing one more useful synthesis module to the

Electronic Ensemble. Here you have the possibility to

modulate the frequency or the amplitude of each or any of

SonicSource’s three layers by the means of a tuned

oscillator called modulator.

At the heart of the ~FM synthesis module is the ‘switch matrix’. Here you can select

FM, AM, or OFF individually for each layer, and also make interesting switches

between modes (manually, by automation or by midi-learned controls) for

interesting effects. The pitch of the modulator may be adjusted by the Ratio

control and the modulation signal is send individually to each layer through the

relevant dial: A, B or C. The depth of the FM/AM oscillator can itself be globally

modulated by an independent LFO. Use the rate dial to set the speed of the

modulation and amnt to set the amount of the signal to be modulated.


3.3 Pitch Envelope

As listed in the LFO section (5.1.6), SonicSource features

a dedicated LFO for pitch modulation (vibrato) per layer.

On top of these, SONICSOURCE features a global pitch

envelope (Pitch Env) for automatic pitch bending on note

attack. You can set the distance from target pitch (+/-)

with the Offset dial, to a maximum range of +/- 12 semitones. The Time dial sets

the amount of time taken from the offset pitch to the destination pitch with a key

depression.


3.4 Master Controls

The section named Master Controls features a number of

global parameters –

PitchBd: Pitch bend adjusts the range for the standard

MIDI Pitch Bend wheel from 1 to 12 semitones.

Voices: Voices is a global control selecting the number of

voices each layer will play. Setting to 16 voices means

that each layer will play 16 voices. For example: Playing a

16 note chord on each layer would result in a total 48

voices.

Glide: Glide is a portamento effect like you find in many synthesizers. The Glide

dial adjusts the time the pitch takes to shift from one note to the other in two

consecutively pressed keys. Employing this parameter puts SonicSource into MONO

mode (one voice only) as there is no support for polyphonic portamento. The ‘A’

button next to Glide toggles between two portamento settings- [On] will glide only

tied notes, while [Off] will glide all consecutive notes.

Fine Tune: The synth can be globally fine tuned with this control.

Vel Sens: adjusts the velocity sensitivity curve of all layers. Turn left for slow

response, and right for fast response to velocity changes.

Digits (LED read out): This "LED" screen shows values for each parameter that

you either hover over with the mouse, or are currently changing. This can be very

helpful for fine tuning a particular sound.

Out Gain: This is a master control for the synth volume.

Limiter: You may use this limiter to avoid excessive level peaks going thru the

synth output. It is a soft-knee limiter, and thus will not totally prevent clipping and

distortion for output that is continuously too loud. If you experience unwanted

output distortion, adjust the layer levels in the SonicSource mixer section, or the

global Out Gain control instead.


3.5 Effect Racks

SonicSource has a comprehensive suite of effects through the ‘MODULATOR’ and

‘DELAY’ effect racks.

3.5.1 MODULATOR Types and Description

The MODULATOR rack features six effect options to choose between – Phaser,

Chorus, Flanger, Rotary, Filter (with Auto Wah), and Overdrive. One effect can be

loaded at a time, and the MODULATOR can function either as a send effect per layer

or as an insert effect per layer. See the mixer section for more details on the

send/insert switch. The default mode is Bypass, with no effect loaded into the rack.

Phaser

Notches: 2 or 4 Notches model selection

Rate: modulation speed

Depth: range of modulation

Shift: shifts the harmonic range

Feedback: increases resonance of the phasing

Chorus

Rate: both channels modulation speed

Delay: delay time, affects pitch

Depth: Range of modulation


Flanger

Rate1: left channel modulation speed

Rate2: right channel modulation speed

Depth: range of modulation

Feedback: detune effect

Delay: delay time, affects pitch

Filter

SonicSource’s effect rack filter is capable of a large range of sounds. In LP12 mode,

the filter’s behavior will depend greatly upon the source signal that is being filtered.

Uses for the filter can range from slow filter openings on pads using the envelope,

to warm, gritty or lo-fi sounds with the resonance’s auto saturation feature. In

Wah mode, functionality is the same, but with a filter algorithm for accurate

reproduction of classic Wah Wah tones.

NOTE: In order avoid too much filter distortion, keep the Out Gain in the effect rack

at maximum level and reduce the input level in the mixer’s MODULATOR section

(see section 5.7 for the mixer strip).

Freq: set the frequency cutoff point for the filter

Reso: boosts resonance amount

Mode Menu: the filter features two selectable modes - LP12 and Wah

Env Depth: amount of modulation by the envelope follower. Please note that this is

very sensitive to the input level as set in the Mixer section

Env Mode Menu: there are four selectable envelope modes - Sens1, Sens2, Soft1

and MIDI1. The first three variations depend on the sound used and the playing

style; experiment with them according to the sound. MIDI1 disables the envelope

follower allowing easy control of Freq by MIDI CC- see MIDI learn feature in the

MIDI implementation section of this manual for information about CC assignment.

LFO Rate: speed of LFO modulation

LFO Rate Menu: this allows you to sync the LFO to the song tempo

LFO Depth: amount of LFO modulation


Rotary (Leslie)

The Rotary effect simulates the classic effect of Leslie rotating cabinets, famously

known as part of the classic Hammond organ sound, and used to great effect on a

range of instruments.

ConeSep: Sets the frequency of the Cone (upper part of the Leslie) which goes back

and front

SlowSpd: Slow speed of the Leslie for when Run is Off

FastSpd: Fast speed of the Leslie for when Run is On

Acceler: Acceleration from Slow to Fast and back, when you switch Run On/Off

Amount: Amount of "Chorus" and Pitch-Fine-Detune when Leslie is moving

Run: Modulates the Speed of the Leslie from Slow to Fast and back

Overdrive SonicSource’s overdrive effect can be used for slightly overdriven and

saturation type effects, as well as for amplifier simulation with its cabinet modeling.

Tone: Controls the color of the input signal. High frequencies can be reduced to

avoid harsh treble distortion

Drive: The two drive dials control positive and negative portions of the signal

separately so that asymmetrical saturation, typical of tube amplifiers, is possible.

Different combinations of these two setting in conjunction with the Tone setting will

produce a variety of overdrive sounds

Cabinet: ‘Size’ sets the box size of the cabinet emulation and ‘Wet Mix’ sets the

amount of the distortion signal to be sent through the cabinet.


3.5.2 DELAY

The DELAY effect in SONICSOURCE is a very powerful delay unit capable of

producing a range of sounds from tape based delays, to spring and slap reverbs, to

chorus modulations.

Fbk: The amount of the delayed signal that is then fed back through the delay line.

Filter: Sets the low pass filter frequency for the delayed signal

Flutter: Adds distortions and modulations to the feedback path to recreate the

effects of tape wear in tape-based delay units. It also links the delay times so that

Delay Time 1 controls the length of each delay line

Delay Time (1 and 2): Sets individual delay times for the left and right delay lines

respectively. Clicking the (+) buttons underneath each delay time dial enables you to

sync the delay lines to host tempo with a selection of time divisions. NOTE: enabling

‘Flutter’ (values more than zero) disables the Delay Time 2 control

Volume (L and R): Separate volume controls for the left and right delay lines

Reflections: introduces cross-feedback of delay lines

Chorus Pitch: slight delay and detune of original pitch

Chorus Depth: Range of pitch modulation in the chorus sub-unit of the DELAY


3.6 The Key and Velocity Splits Interface

SonicSource features an intuitive interface for mapping its three layers across the

keyboard, both for key splitting purposes and for setting velocity zones for each

layer.

Velocity Zones: This is where you can set each layer (A, B, C) to play only within

a selected velocity range.

Velocity zone upper value: This sets the layer’s upper value for velocity range.

Velocity zone lower value: This sets the layer’s lower value for velocity range.

Key Split: Setting key splits for the three layers is simply a matter of left-clicking

the left or right end of the layer range bar above the keyboard, and dragging to the

appropriate position. You can also use right-click on the mouse to access a menu

with the option ‘Split Learn Low/High’. After selecting this option on a particular

layer, you can use your keyboard midi controller (or the GUI mini keyboard in

SonicSource) to set the low and high keys that you wish to use as the key range.


3.7 Mixer Strip

Midi Channel: At the top of each layer’s mixer strip is a

pop-up box for setting the midi channel from which each

layer will accept notes. This is useful for using SonicSource

as a multi-timbral interface, and also for reducing CPU by

setting any layers that are not in use to an unused midi

channel.

MODULATOR Send: This is for sending an amount of the

signal from each Layer to the MODULATOR effect rack.

MODULATOR ‘insert’ switch: By activating this switch

the MODULATOR rack is routed as an insert effect, and the

dials serve as input gain dials, not as sends. This is useful

for effects that are particularly suitable for insert, such as

the filter and overdrive effects. It also provides different

sound possibilities by enabling the output of the

MODULATOR rack to be feed directly into the DELAY rack.

Use the ‘about’ menu to see a visual representation of

routing combinations in SonicSource.

DELAY Send: This is for sending an amount of the signal

from each Layer to the DELAY effect rack.

Pan: Stereo Position (Panning) of the signal per layer.

Volume: Layer output in dB. This will affect the Signal that it sent to the

MODULATOR and DELAY effect racks.

Mute: Mutes the layer's audio (zero volume) but continues processing of its sound.

For CPU saving purposes change the midi channel (see above) instead.

Transpose: Transposes the layer's pitch scale up or down by semitones to a

maximum of +/- 24 (2 octaves).

Fine Tune: Adjusts the layer's tuning by +/- fractions of one semitone, for detune,

ensemble and ‘beating’ effects with several layers slightly detuned.


3.8 Arpeggiator

SonicSource includes a great arpeggiator. The ARP is located in the bottom left

corner of the interface. The following ARP options are explained here.

Arpeggiator off

Arpeggiator on

Speed: Is the resolution of the note played. 1/2(half) is slow, whereas 1/128 is

super fast.


Mode: Determines how the notes are arpeggiated.

Up: Held notes arpeggiate continuously from lowest to the highest pitch.

Down: Held notes arpeggiate continuously from highest to lowest pitch.

Up – Down: Held notes arpeggiate continuously from lowest to highest pitch, then

from highest to lowest, then repeat.

Random: Held notes arpeggiate continuously using random pitches.

Order: Held notes will play the notes in the same order as you pressed them on the

keyboard.


Step Mode: Step mode lets you choose the arpeggiator pattern. Exclamation

points represent Note Hold, Periods represent short staccato notes. There is a text

file in the Music Computing SonicSource – SonicSource DATA – SonicSource Extras

folder that allows you to create additional patterns. Please back up the original

before editing.

Velocity: Determines the velocity values of the arpeggiated notes.


Key Zone Low/High: This defines pitch ranges or limits in regards to

arpeggiation. You can set different zones for high or low arp zone using this.


MIDI channel: This determines what MIDI channel the arpeggiator triggers on. If

you change this make sure to change the channel of the selected patch to the same

MIDI channel.

Hold Settings: Holds the settings while you load another preset.


3.9 Tips &Tricks

Avoid very long releases when they are not needed, since this can result

unnecessary CPU usage and currently sounding notes being "stolen" by newly

played notes.

When using the layer multimode filter in LP mode, be careful with lower

frequency cuts. If you hear some distortion or over saturation, try to lower

the volume or slightly adjust the ADSR settings, for example, raise the

sustain level or lower the envelope release.

Use ‘shift + left mouse click’ to fine tune the ADSR sliders, this is very useful

for precise Attack, Decay and Release times. ‘Shift + left click’ can also be

used on any SonicSource parameter; likewise ‘ctrl + let mouse click’ returns

each parameter to its default setting, and ‘alt + left mouse click toggles

between circular and linear dial control.

In order to avoid aliasing that can be caused in the upper keyboard range,

you can use ADSR level key tracking control high harmonics by fading out

right layers towards the upper range of the keyboard. To achieve this, just

turn the KEY dial to the hard left with the KEY switch on level, so the volume

for that layer will go gradually to zero at the key zone upper limit.

By using the SYNC and INV LFO options for PAN on each layer – for example

layer ‘A’ with SYNC and ‘B’ with INV - you can make sounds cross fade from

left to right in the stereo field for a great stereo effect.


3.9.1 Global Menu and Settings

Global menu and settings are accessed by clicking on the [?] button, or the Music

Computing Logo.

Save default bank: Saves the current bank of presets as the User-Default Bank,

which will load up automatically when you insert a new instance of SonicSource.

Load factory bank: Reloads the internal factory bank.

About: Shows information about the synth authors, version number, and serial

number for this copy of SonicSource. There is also a picture of the SonicSource

routing schemes to help understand the different multi-effect configurations

possible.

Save controller presets: Saves the following parameters as ‘default’: Volume

(Soft, Normal, High), and AutoGlide.

MIDIForget: Removes all learned Midi-CC information.

Volume: Sets the base volume level between High, Normal and Soft for VST hosts

which have variable volume outputs.

Quality: Oversampling reduces noise by giving you more frequency headroom.

You can oversample in SonicSource up to 16x!

http://en.wikipedia.org/wiki/Noise


3.9.3 Banks and Presets

SonicSource has tons of sounds

included from the factory. This section

shows you what sounds are included.

When SonicSource is launched, the

Default Bank will load.

Default Bank:


AOS:


Default - SonicSource:


Famous Keys 1:


Famous Keys 2:


Famous Keys 3:


Famous Keys 4:


Genesis 1:


Genesis 2:


Genesis 3:


Genesis 4:


Mellotronix:


Mellotronix TC:


Xenos Soundworks:


Zvon PRlight:


3.9.4 Creating a Custom Preset/Bank

Making new presets in SonicSOURCE

Open and create a new project in your host program... Studio One, Reaper,

Cubase, FL Studio etc....... Load SonicSource Vsti into a track on that project......

Load a blank bank.......

Load the "BLANK" bank preset...... Left or right-click on the window in the upper right

corner of the SonicSOURCE interface...


Select Browse Banks>Select the [BLANK] bank.

Once this is done all the presets in the window will be named "Init."


Using the blank preset slots....

Select one of the "Init" blank preset slots....

Add sounds into A, B, and/or C. Tweak them how you like.

You will find the raw content for SonicSOURCE in the [WaveForms] folder.

SonicSOURCE will automatically select this folder once you press the [Load Sound]

button.

After you have edited your new sound and ready to go

back to your new list of presets, select [Browse Presets]

this will take you back to the list.


Rename the preset to whatever you want by right-clicking the currently selected

blank preset and selecting [Rename].

Either select another "Init" preset in the list and repeat or….

If you want to blend sounds for

simultaneous playback using the

three sound slots of

SonicSOURCE, each engine slot

(A, B, or C) has to be on the

same MIDI channel. You can set

the channel at the top of the

window adjacent to the preset

browser, right above the text

that says A, B, C.).


Save your progress.......

To save your progress you need to save the project in the host program you are

using. This will give you a back up of your new preset bank, allowing you to resume

later. Don't save the Bank at this point unless you are finished.

Once you have made all the presets and ready to save the new bank....

The last step is to save the new Bank. Once you have a bank of presets ready, you

click on the "?" at the bottom right and click "Save Bank as Default".

Then click “Yes” at the prompt “Save Current Presets as User-Default Bank?”


That will create a new .bnk file in "C:plugins\Music Computing\SonicSource

DATA\SonicSource Banks\" directory, the basic name given will be "User Default".

To give that new bank a unique name, you will have to browse to the

aforementioned folder and rename that bank to whatever you want and it's done.

Right-click the file and select [Rename]. That’s it.


4.1 Music Computing Warranty Information

USA WARRANTY

All new Music Computing products come with a 1 year parts and labor

warranty

All new Music Computing products have 90-day support provided through our

ticket system online

All new Music Computing products have a 30 day telephone and remote

desktop support

Extended warranties and support can be purchased

Any damage resulting from the mis-use or failure to follow instructions and

precautions as stated in the product manual will void this warranty.

Warranty repairs: If you purchased the products through Amazon, please

contact them directly

Warranty repairs: If you purchased the products directly from Music

Computing or any authorized reseller (except Amazon), Music Computing will

assume responsibility for the repair service. DO NOT RETURN THE PRODUCT

TO THE DEALER. Contact Music Computing directly using these methods.

o Phone: 512-777-4298

o Email: [email protected]

o Support Online: http://www.musiccomputing.com/support

This warranty is void if the original serial number has been altered or

removed, or if the unit has been altered in any way

Music Computing reserves the right to make changes in the design and/or

improvements upon their products without any obligation to include those

changes in any products previously manufactured

mailto:[email protected]


Return Policy for Products Purchased through Amazon If the product was purchased from Amazon, please contact them directly.

Please refer to their guidelines for returns for more information

Return Policy for Products Purchased directly from Music

Computing If the product is defective, Music Computing can elect to repair or replace the

product at its sole discretion

If DOA, Music Computing will pay for Ground shipping both ways, otherwise

customer is responsible for shipping to Music Computing and Music

Computing will be responsible for return Ground shipping to customer

Upgraded return shipping will be an additional charge

Returning products MUST be shipped in original shipping packaging,

otherwise contact Music Computing for replacement packaging. A fee of

$100 will be charge per replacement shipping package

There are no returns for refunds

Upgrading/Modifying/Altering your Music Computing products with unauthorized,

incompatible, or unsupported hardware or software will invalidate your warranty

and support. Systems infected with computer viruses are also not covered

under our warranty and support. A charge will be assessed for us to assist you

in eradicating the viruses and setting up your products again. The charge will be

based on a case-by-case basis.

At Music Computing, we have tried to keep our warranty and service policies simple

and easy to use. Should you encounter any problems with your Music Computing

product, you should contact our Customer Support Department at 512-777-4298.

Also, we have a support ticket system that can be accessed by visiting

http://musiccomputing.com/support.


4.2 Software License Agreement

SOFTWARE LICENSE AGREEMENT BEFORE YOU USE THIS SOFTWARE, CAREFULLY READ THE TERMS AND

CONDITIONS OF THIS AGREEMENT. BY USING THIS SOFTWARE, YOU ARE CONSENTING TO BE BOUND BY AND ARE BECOMING A PARTY TO THIS

AGREEMENT. IF YOU DO NOT AGREE TO ALL OF THE TERMS OF THIS AGREEMENT, DO NOT INSTALL, COPY, DOWNLOAD, ACCESS OR USE THE PRODUCT.

This End-User License Agreement ("Agreement" or "License") is a legal contract between

you ("You" or "Licensee") and Music Computing, Inc ("Music Computing") for use of the

Music Computing software programs TriggerGRID 64™ and GeoMIDI™, which includes

computer software and its resources (the "Software") and the Software user guide and

support files (the "Software Documentation") accompanying this License (collectively the

"Product").

1. General Grant of License

The Product is not sold. Music Computing grants You a nonexclusive, nontransferable license

to use the Product only under the terms of this Agreement. This Agreement gives You

limited rights to use the Software for the purposes described in the Software

Documentation. This Agreement does not grant You any ownership or intellectual property

rights to the Product in part or whole. The Product and any copies that you are authorized

by Music Computing to make are the intellectual property of and are owned by Music

Computing Inc.

2. Permitted License Uses and Restrictions

2.1 You may not copy, decompile, attempt to discover the source code or resources,

reverse engineer, disassemble, modify, or create derivative works of the Software in whole

or part, including translation to another language, computer language or format. You may

not attempt to unlock or bypass any copy protection or authentication algorithm utilized by

this Product. You may further not remove, hide or change any textual or graphical

information like labels, copyright or license notices.

3. Copyright

The Product is protected by United States of America copyright laws and international

treaties. Unauthorized reproduction or distribution of the Software or documentation is

subject to civil and criminal penalties. VST is a trademark of Steinberg GmbH. All other

trademarks are the property of their respective owners.

4. Terms

This license is effective until terminated. You may terminate it by destroying the complete

Product and all copies thereof. This license will also terminate if You fail to comply with any

terms or conditions of this agreement. Upon termination of this Agreement, You shall cease

all use of the Product, and destroy all copies of any portion of the Product in your

possession.


5. Disclaimer of Warranties

THE PRODUCT IS PROVIDED "AS IS AND WITH ALL FAULTS" WITHOUT WARRANTY OR

CONDITIONS OF ANY KIND. THE PRODUCT MAY CONTAIN BUGS, ERRORS, OR OTHER

PROBLEMS. YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT USE OF THE PRODUCT IS

AT YOUR SOLE RISK AND THAT YOU AGREE

TO ACCEPT THE PRODUCT "AS IS AND WITH ALL FAULTS". MUSIC COMPUTING MAKES NO

WARRANTIES AND CONDITIONS WITH RESPECT TO THE PRODUCT, EITHER EXPRESS,

IMPLIED OR STATUTORY, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES

AND/OR CONDITIONS OF MERCHANTABILITY, OF SATISFACTORY QUALITY, OF FITNESS

FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT OF THIRD PARTY RIGHTS. MUSIC

COMPUTING RESERVES THE RIGHT TO REVISE THE PRODUCT WITHOUT OBLIGATION TO

NOTIFY ANY INDIVIDUAL OR ENTITY OF SUCH REVISIONS. MUSIC COMPUTING DOES NOT

AND CANNOT WARRANT THAT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY

USING THE PRODUCT WILL MEET YOUR REQUIREMENTS, OR THAT THE PRODUCT WILL BE

ERROR-FREE OR UNINTERRUPTED, OR THAT DEFECTS IN THE PRODUCT WILL BE

CORRECTED. THE PROVISIONS OF SECTION 5 AND SECTION 6 SHALL SURVIVE THE

TERMINATION OF THIS AGREEMENT, HOWEVER CAUSED, BUT THIS SHALL NOT IMPLY OR

CREATE ANY CONTINUED RIGHT TO USE THE PRODUCT AFTER TERMINATION OF THIS

AGREEMENT.

6. Limitation of Liability

IN NO EVENT SHALL MUSIC COMPUTING, IT’S MEMBERS, MANAGERS, EMPLOYEES, AND

AFFILIATES (COLLECTIVELY REFERRED TO AS "MUSIC COMPUTING" FOR THE PURPOSES OF

SECTIONS 5 AND 6) BE LIABLE TO YOU OR OTHERS FOR ANY INDIRECT, INCIDENTAL,

CONSEQUENTIAL OR SPECIAL DAMAGES WHATSOEVER (INCLUDING, BUT NOT LIMITED TO,

DAMAGES FOR LOSS OF PROFITS, LOSS OF GOODWILL, LOSS OF SAVINGS, LOSS OF

DATA, LOSS OF BUSINESS INFORMATION, BUSINESS INTERRUPTION OR ANY OTHER

COMMERCIAL DAMAGES OR LOSES), RESULTING FROM ANY DEFECT IN THE PRODUCT

WHETHER FORESEEABLE OR NOT, ARISING OUT OF THE USE OR INABILITY TO USE THE

PRODUCT, HOWEVER CAUSED, REGARDLESS OF THE THEORY OF LIABILITY (CONTRACT,

TORT OR OTHERWISE) AND EVEN IF MUSIC COMPUTING HAS BEEN ADVISED OF THE

POSSIBILITY OF SUCH DAMAGES. IN PARTICULAR, MUSIC COMPUTING SHALL HAVE NO

LIABILITY FOR ANY DATA STORED IN OR USED WITH THE PRODUCT, INCLUDING THE COST

OF RECOVERING SUCH DATA. THE FOREGOING LIMITATIONS, EXCLUSIONS AND

DISCLAIMERS APPLY TO THE EXTENT PERMITTED BY APPLICABLE LAW. IN NO EVENT SHALL

MUSIC COMPUTING'S ENTIRE LIABILITY UNDER ANY PROVISION OF THIS AGREEMENT

EXCEED THE AMOUNT ACTUALLY PAID BY YOU FOR THE PRODUCT, IF ANY.

© 2015 Music Computing, Inc. All Rights Reserved.

controlblade production stationsupport.musiccomputing.com/support/docs/music... · controlblade™...

Documents