Benutzeranleitung / Produktwartung Tassman 4 des Produzenten AAS
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USER MANU AL.
2 Information in this manual is subject to change without notice and does not represent a commitment on the part of Applied Acoustics Systems D VM Inc. The softw are described in this manual is furnished under a license agreement. The softw are may be used only in accordance of the terms of this license agreement.
Contents 1 Introduction 8 1.1 System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 1.2 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 1.3 Registration . . . . . . . . . . .
4 CONTENTS 5 The Bro wser 60 5.1 The Instruments folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 5.2 The Performances folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 5.3 The Modules folder . . . . . . .
CONTENTS 5 6.23 Dual Gate Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 6.24 Dual Gate Sequencer with Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 6.25 Flanger . . . . . . . . . . . . . . . . . . . . .
6 CONTENTS 6.55 Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 6.56 Outlet (1-12) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 6.57 Panpot . . . . . . . . . . . . . . . . . .
CONTENTS 7 6.87 T oggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 6.88 T one wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 6.89 Tremolo . . . . . . . . . . . . . . . .
8 Introduction 1 Intr oduction The T assman is a modular software synthesizer based on physical modeling. The modular archi- tecture of the software reproduces the v ery po werful features of vintage analog synthesizers letting you construct instruments “ ` a la carte” by patching modules together .
1.1 System requir ements 9 you need. Before discussing the T assman in more detail, we would like to take the opportunity to thank you for choosing an Applied Acoustics Systems product. W e hope that you have as much fun playing with the T assman as we had developing it! 1.
10 Introduction PC Insert the T assman program disc into your CD R OM dri ve. Click on the CD R OM icon on your desktop. Click on Install icon and follo w the instructions of the installer . For download installations simply click on Install icon and follo w the instructions of the in- staller .
1.4 Getting started 11 If y ou wish to register y our software fr om another computer: Enter you email address and serial number into the registration window and click next. Y ou will then be provided your challenge ke y . T ake note of this information and proceed to your internet connected computer .
12 Introduction hard disk, or your email program uses to or ganize your mail and address book. The left side of the screen contains the T assman ’ s bro wser , a “tree vie w” or ganization of all the relev ant components the T assman uses, including: • Imports - destination folder for imported instruments, presets and sub-patches.
1.4 Getting started 13 Latency Settings on PC - A udio Control Panel on Mac - This panel allows you to select the bit depth (16, 24, or 32 bit audio) sample rate (22.05, 44.1, 48, or 96 kHz) and buffer size, which af fects ho w quickly the T assman responds to the control information it receives.
14 Introduction that some of them produce sounds you feel you will use very rarely in your work, or simply aren’t quite your style. The Bro wser makes it easy to or ganize your synths and presets in whate ver manor you choose. Click in the bro wser , and choose New Folder from the File menu.
1.5 Using the T assman as a Plug-in 15 1.5 Using the T assman as a Plug-in The T assman integrates seamlessly into the industry’ s most popular multi-track recording and se- quencing applications as an instrument plug-in, making it easy to use the f actory synths, as well as your o wn instruments and presets in your arrangements.
16 Introduction • Create a Stereo Audio Track, • In the mix window , on the ne wly created track, click on the first insert button and choose multi-channel plugin > T assman , • Create a MIDI Track, • In the mix window , on the ne wly created track, assign the MIDI output to T assman ; make sure that the MIDI channels are matching.
1.7 About this book 17 • North America T oll Free:1 888 441 8277 • W orldwide: 1 514 871 8100 • Fax: 1 514 845 1875 • Email: support@applied-acoustics.com Our online support pages contain downloads of the most recent product updates, and answers to frequently asked questions on all AAS products.
18 T utorials 2 T utorials The following tutorials will teach you the basics of constructing and playing synthesizers with the T assman . W e recommend that you build the dif ferent synthesizers from scratch as you go along the dif ferent e xamples.
2.1 T utorial 1. A Simple Analog Synth 19 Construction • In the Generators section, click-hold on the VCO and then drag it in the construction area. A VCO module then appears in the construction area. Y ou can select it by dragging the icon and placing it anywhere you want in the construction area.
20 T utorials and down. Y ou hav e a choice between four waveforms: sine, pulse, sawtooth, and noise. The sine wa ve consists of a single fundamental harmonic and is a very soft sound. The pulse wa ve is made by combining a fundamental and the whole harmonics series; this is very rich in tone and is good for woodwind sounds.
2.1 T utorial 1. A Simple Analog Synth 21 turned to the left, the gain is zero, which means that the input has no effect. As you turn the knob to the right, the amplitude of the modulation signal af fecting the VCO increases so that you hear a deeper vibrato.
22 T utorials Figure 3: T utorial 1, step 3 Playing Vlowpass2 stands for “variable second-order low-pass filter”. This means that the cutoff frequenc y of the filter can be controlled with an external modulation signal. It can, howe ver , also be adjusted with the cutof f fr q knob on the filter panel.
2.1 T utorial 1. A Simple Analog Synth 23 Construction • Pull a wire from the output of the LFO that we already have in the construction area to the second input of the Vlowpass2 filter . Figure 4: T utorial 1, step 4 Playing The amplitude of the modulation signal is controlled with the mod1 gain knob on the filter panel.
24 T utorials Figure 5: T utorial 1, step 5 Playing When you launch the Player , the filter module appears on the second row . Note that the cutoff fr q knob on the Vlowpass2 front panel is completely turned to the right, which means that the filter is fully open.
2.2 T utorial 2 Playing a Synth with a Keyboard 25 Figure 6: T utorial 1, step 6 Playing When sound is produced by the synth, you will see the needle of the le vel meter move with the amplitude of the signal. The red section of the meter indicates the saturation zone.
26 T utorials Step 1: Connecting a keyboard Description The Keyboard module reads and interprets control signals coming from a MIDI keyboard or host sequencer . MIDI stands for Musical Instrument Digital Interface and is a communication protocol used by most electronic musical instruments, computers and sound cards.
2.2 T utorial 2 Playing a Synth with a Keyboard 27 Figure 7: T utorial 2, step 1 knob to the left for microtonal variations or to the right for larger variations. Y ou can also use the pitch bend wheel of your keyboard to change the pitch. Note that the sound is uninterrupted ev en after you hav e released a key on the keyboard.
28 T utorials Figure 8: T utorial 2, step 2 Step 3: Add an ADSR Description No w that we are able to trigger the sound with the keyboard, we w ould like to be able to shape the sound with dif ferent types of env elopes. T o achiev e this we will use an ADSR module (Attack, Decay , Sustain, Release).
2.2 T utorial 2 Playing a Synth with a Keyboard 29 Figure 9: T utorial 2, step 3 sustain and no release. T ry to set the ADSR to those settings. Because there is no sustain in this example, the sound starts to decay shortly after you press k eys. No w let’ s try to produce a violin-lik e en velope.
30 T utorials Figure 10: T utorial 2, step 4 Playing T ry changing the parameters of the ADSR and hear the changes in the filter response. Y ou can control the amount of modulation of both the ADSR and the K eyboard with the two knobs, mod1 and mod2 , on the filter module.
2.2 T utorial 2 Playing a Synth with a Keyboard 31 • Click on Edit to modify the MIDI link. Y ou can also click on New to create a ne w MIDI link. • The MIDI controller number specified in the MIDI Ctrl textbox is set by default to a value of 1.
32 T utorials Construction • Select and delete the Keyboard module in the construction area. • Select the Polykey module in the MIDI folder of the In/Out section and place it in the construction area. • Pull a wire between the first output of the Polykey module, the gate signal, and the input of the ADSR .
2.2 T utorial 2 Playing a Synth with a Keyboard 33 polyphony line will be mapped on the player (since the voices all share the same controls) other modules hav e indeed been created. This means that the computing load can quickly become very heavy when using polyphony .
34 T utorials you will hear a kind of hi-hat sound. W ith the VCO set to the noise wa veform, you will not hear any change in the pitch while playing the k eyboard. This is because noise has no pitch. patch2 6 3 First, note that the mod1 knob on the VCO is turned so that the keyboard has no effect on the pitch change.
2.3 T utorial 3 Using a Sequencer 35 Step 1: Creating a sub-patch Description W e will use the synthesizer we constructed in the first tutorial and define it as a sub-patch to use in our new patch. This operation in volv es four steps. First, the modules that will constitute the sub-patch must be selected.
36 T utorials Figure 12: T utorial 3, step 1 Step 2: Using a sub-patch Description The sub-patch you ha ve just created appears in the Sub-Patch section of the Bro wser . It can be used just like any other module, this will enable you to connect it to other modules in the construction area.
2.3 T utorial 3 Using a Sequencer 37 Figure 13: T utorial 3, step 2 Playing Y ou ha ve now connected the sequencer to your synth and are ready to play .
38 T utorials remain silent). The 16 steps are displayed in one ro w , each step representing a sixteenth-note. A pattern can be of an y length between 1 and 16 steps. T o set the loop, click on the loop b utton belo w the step you want the loop point to be.
2.4 T utorial 4 Playing with Acoustic Objects 39 2.4 T utorial 4 Playing with Acoustic Objects W e will now build an instrument with modules simulating acoustic objects such as plates, strings and mallets. The acoustic objects included in the T assman library react just like their real physical counterparts.
40 T utorials Figure 14: T utorial 4, step 1 Playing The Noise Mallet module can be triggered by the output signal from another module, but it can also be triggered manually by clicking on the trig button from its front panel (which is how we will use this object for the moment).
2.4 T utorial 4 Playing with Acoustic Objects 41 • Select a V olume module from the En velopes section in the Browser . • Pull one wire between the output of the Plate module and the input of the V olume module. • Pull a wire between the output of the V olume module and the input of the A udio Out and the Lev el module.
42 T utorials Step 3: Add a keyboard Description T riggering the mallet manually is rather limiting, so we will no w use a keyboard to control the mallet and “play” the Plate. Construction • Select a Vkeyboard module from the MIDI folder in the In/Out section of the Browser .
2.4 T utorial 4 Playing with Acoustic Objects 43 dif ferent velocities and note how the sound of the plate changes as the excitation signal varies. In this configuration, the higher the velocity the higher the strength of the impact and the stif fer the mallet.
44 T utorials Playing Change the parameters on both plates and experiment with different settings on each. Because the sympathetic Plate responds differently to different notes being played (having a fixed geometry , it resonates at specific frequencies), many interesting and unexpected sounds are possible.
The T assman Builder 45 3 The T assman Builder The T assman Builder is used to create instruments. Constructing instruments is very easy and straightforward. One first drags modules from the Modules section of the Bro wser and then con- nects them together in order to create a patch.
46 The T assman Builder Figure 18: The Builder area. The help area The help area is located above the construction area. This is where information about the module currently selected is displayed. The information found here is limited to what is needed to create patches in the Builder .
3.2 Creating an instrument 47 • An A udio Out module must always be included in your patch. Y ou can save an unfinished patch without an A udio Out , b ut you will not be able to play the instrument.
48 The T assman Builder • T o select more than one module at once, click on the construction area, keep the left button do wn and drag the mouse in order to surround the modules you want to select with the rectangle appearing on the area. Y ou can also click on different modules while pressing on the Shift key to achiev e the same results.
3.3 Setting MIDI Links 49 • Finally , depending on the module you are currently editing, there might be a certain number of parameters which can be set at construction. For more information on the ef fect of each parameter see the help area or the module description in the user manual.
50 The T assman Builder • Click on the OK button of the Edit MIDI Link windo w and the MIDI link you have just edited will appear in the MIDI Links window .
3.5 Using Sub-Patches 51 folder . When you double-click on it, the Builder will be displayed. Sub-patches can be included in other patches saving you the trouble of redoing the patch again.
52 The T assman Player 4 The T assman Player 4.1 Introduction The Player is the view used by the T assman to play instruments. It appears on the screen as an instrument front panel with knobs, b uttons, sliders and switches which you can tweak to play the instrument.
4.3 T weaking knobs 53 • T o move the ro ws horizontally when they are wider than the Player area, use the bottom scroll bar . • T o move the Player vie w v ertically to access bottom rows, use the right scroll bar . It is also possible to sa ve screen space if you have used sub-patches to construct your instru- ment.
54 The T assman Player 4.4 A udio Device Settings T o select the audio de vice used by the T assman : • Go to the Edit menu, choose Prefer ences and then A udio Settings . On Mac OSX, the same command is under the T assman menu. A list of the audio devices installed on your computer will appear in the A udio Configuration windo w .
4.5 MIDI Settings 55 • The MIDI controller number specified in the Controller textbox is set by default to a value of 1. This is the MIDI controller number corresponding to the modulation wheel. If you want to assign a ne w controller to the knob, specify the number here.
56 The T assman Player • Choose the EditMidiChanges from the Edit menu, • The list of performances appears in the left of the Program Changes windo w while the program change numbers (from 1 to 128) appear on the right.
4.8 Output Effect Stage 57 It is possible to obtain v ery di v erse sounds with a gi ven instrument depending on the settings of the different controls. When you obtain a sound that you like, it is possible to save the configuration of the different controls as Preset for the instrument so that you can rapidly reproduce the same sound.
58 The T assman Player The Sync module This module is used to control the tempo of the Sequencer , Sync LFO and Sync Delay modules when the y are connected to the Master Sync Input module. The e xt/int switch is used to determine if the sync signal comes from an external source or from the internal clock of the module.
4.9 Perf ormances 59 The Output module This is where the adjustments of the ov erall lev el is made. The best dynamic range is obtained when the le vel meters are around 0 dB for loud sounds. Master Recorder This section is used to record the output of the T assman to a wa ve or aiff file.
60 The Bro wser 5 The Br owser The T assman ’ s Bro wser is similar to those found in most email pro- grams. Using a hierarchical tree structure, all the objects and files used in the building and playing of synths are av ailable using a visually intuiti ve, drag and drop approach.
5.3 The Modules f older 61 5.3 The Modules f older The modules (green cell icon) are the elementary building blocks used to construct synths in the Builder (more on modules in Chapter 3 and 6. Expanding the modules folder re veals the follo wing module categories: • Effects - delay , stereo chorus, compressor, etc.
62 The Bro wser within the imported package. These can then be dragged and dropped to a new instrument folder , or remain in the Imports directory . How things are ultimately or ganized, we leave entirely up to you! 5.6 Customizing the bro wser The Browser structure can be customized in various ways.
5.7 Bro wser Filters 63 5.7 Bro wser Filters There are so man y dif ferent entries in the browser that navig ating can rapidly become confusing once a fe w folders ha ve been expending.
64 Specifications f or modules 6 Specifications f or modules 6.1 AD AR The AD AR is an en velope generator . It uses a gate signal for input and generates an output en velope signal. The AD AR module can generate tw o types of env elopes attack/decay or attack/release.
6.2 ADSR 65 6.2 ADSR The ADSR is an en velope generator . It uses a gate signal for input and generates an output en velope signal. An en velope is a time varying signal having a v alue between 0 and 1 V olt. It is divided into four , the Attack, Decay , Sustain and Release which can be adjusted as shown in Figure 2.
66 Specifications f or modules T ypical Use The ADSR is T ypically used for generating amplitude en velopes through a VCA , or spectral en- velopes by modulating the frequency of the filter modules. An ADSR can also be used to obtain an auto wah wah ef fect as sho wn in Figure 88 under Vbandpass2 .
6.5 A udio In 67 Input1 Input2 Output 1 1 1 1 0 0 0 1 0 0 0 0 T able 1: And module output as a function of its inputs. 6.5 A udio In The A udio In module is used to process external audio in T assman . The output of this module is a monophonic signal from a track or a bus of a host sequencer where the T assman has been inserted as an effect.
68 Specifications f or modules T ypical Use T o ensure a good signal/noise ratio and av oid distortion due to excessi ve loudness, the A udio Out is often used in conjunction with a V olume and a Level . Figure 23: Use of an A udio Out Note: There must be an A udio Out in your patch if you want to hear you instrument.
6.7 Bandpass2 69 Frequency Center Q = 0.1 Q = 1 Q = 0.01 Q = 10 Hz Frequency Amp dB Figure 24: Frequency response of a Bandpass2 . Hz Filter 1 Filter 2 Filter 3 Resulting Filter Frequency Amp dB Figure 25: Response of the parametric equalizer sho wn in Figure 26.
70 Specifications f or modules 6.8 Beam The Beam module simulates sound produced by beams of different materials and sizes. This module first calculates the modal parameters corresponding to beam-sh.
6.9 Bowed Beam 71 6.9 Bowed Beam The Bowed Beam module simulates sound produced by bo wed beams of different materials and sizes. This module first calculates the modal parameters corresponding to be.
72 Specifications f or modules the direction of the motion. The second input signal is a force signal which is considered to act perpendicularly to the motion of the beam. Third input is a pitch modulation signal. T ypical Use. See Bowed Multimode module.
6.12 Bowed Multimode 73 T ypical Use. See Bowed Multimode module. The default value of the f ollowing parameters is set during construction • length : the length, in meters, of the membrane.
74 Specifications f or modules patterns that can be used to decompose a complex motion. By adding together modes having dif ferent frequencies, amplitudes and damping, one can reproduce the beha vior of dif ferent type of structures. The accuracy of the resulting signal depends on the number of modes used in the simulation.
6.12 Bowed Multimode 75 F orce The for ce knob is a gain knob acting on the force input of a Bo wed Multimode object. V elocity The velocity knob is a gain knob acting on the velocity input of a Bo wed Multimode object. Noise The noise knob is used to set the amount of irregularities in the bo w structure.
76 Specifications f or modules 6.13 Bowed Plate The Bowed Plate module simulates sound produced by bowed rectangular plates of dif ferent ma- terials and sizes.
6.14 Bowed String 77 6.14 Bowed String The Bo wed String module simulates sound production by bo wed strings of dif ferent materials and sizes. This module first calculates the modal parameters corre.
78 Specifications f or modules The default value of the f ollowing parameters is set during construction • MIDI channel : MIDI channel used by the breath controller . 6.16 Comb The Comb filter enhances frequency components located at harmonic interv als.
6.16 Comb 79 can be modulated by using the modulation inputs of the module. The amount of variation of the resonance frequency obtained with the modulation inputs depends on the adjustment of the mod1 and mod2 gain knobs. The total modulation signal is the sum of the two inputs each multiplied by the gain corresponding to its respectiv e mod knob .
80 Specifications f or modules 6.17 Compressor The Compressor module is used to automati- cally compress or e xpand the dynamics of a signal. This module has two inputs and one output.
6.19 Control V oltage Sequencer 81 Figure 31: The pitch of a Plate module adjusted with a Constant module. 6.19 Control V oltage Sequencer The Control V oltage Sequencer module enables you to record sequences of v oltage.
82 Specifications f or modules The sequencer will loop each time a pattern ends. T o make the sequencer stop at the end of a pattern the once button must be click ed. The patterns can be played follo wing 5 play modes using the mode control. Forw ard (FWD) plays the pattern incrementally .
6.20 Control V oltage Sequencer with Songs 83 6.20 Control V oltage Sequencer with Songs This module is the same as the Control V oltage Sequencer but with song mode added. For more information about the song mode, please refer to the Multi Sequencer module documentation.
84 Specifications f or modules The default value of the f ollowing parameter is set at construction • MIDI channel : MIDI channel used by the sustain pedal. 6.22 Delay The Delay module is a feedback loop with a variable delay in the feedback. There is one input and one output.
6.23 Dual Gate Sequencer 85 6.23 Dual Gate Sequencer The Dual Gate Sequencer module enables you to record two sequences of gates at the same time. This module in itself does not produce sound but is used, usually instead of a Keyboard module, to trig other modules such as Player or drum sounds.
86 Specifications f or modules The tempo display will adjust the speed of the pattern. The ext/int switch will determine if it is the internal clock (int) that sets the tempo or an external source (ext) such as another sequencer or a Sync Lf o . The swing knob will introduce a swing feel to the rhythm of the pattern.
6.25 Flanger 87 This module is the same as the Dual Gate Sequencer b ut with song mode added. T o read more about song mode, please refer to the Multi Sequencer module documentation.
88 Specifications f or modules 0 dB Amp Frequency Long Delay Time 0 dB Amp Frequency Short Delay Time Figure 37: Frequency response of a Flanger module. Effect of the length of the delay line. 0 dB Amp Frequency f0 2xf0 3xf0 4xf0 5xf0 6xf0 Light effect (mix=0.
6.25 Flanger 89 T uning The delay length is adjusted with the delay knob and is displayed, in milliseconds, in the counter next to the knob . The length of this delay can be modulated by using the second input of the module, the amount of modulation depending on the adjustment of the depth knob .
90 Specifications f or modules The default value of the f ollowing parameters is set during construction • delay : time delay , in seconds, applied to the input signal (values between [0, 92]ms). • feedback : coefficient,[0, 1[, determining amount of “wet” signal re-injected into the delay line.
6.27 Gain, Gain 2, Gain 3, Gain 4 91 In the following example, a Flute module is controlled with a Keyboard module. The ADSR is used to shape the dri ving pressure signal.
92 Specifications f or modules Sub-patches may hav e between 0 and 12 inputs and 0 and 12 outputs but they must always hav e at least one input or output.
6.31 K eyboard 93 This module is to in vert the control v oltage generated by an ADSR so that the cutof f frequency of a VCF module first goes do wn when triggering a new note as sho wn in Figure 43. The inv erter can also be used to obtain a stereo tremolo ef fect (amplitude modulation) as illustrated in Figure 44.
94 Specifications f or modules Note: see also the Vkeyboard and P olykey and P olyvkey modules. 6.32 Knob The Knob module is used to adjust the amplitude of a signal. It acts in the same way as the Slider module. It has one input and one output. The output signal is the input signal multiplied by a constant v arying between 0 and 2 (+6dB).
6.35 LFO (Low Fr equency Oscillator 95 6.35 LFO (Low Fr equency Oscillator The LFO module has no input and one output. The output is a periodic signal with frequency varying between 0.1 and 35 Hertz depending on the setting of the fr equency knob . The oscillation of the two red LEDs on the front panel gi ve an indication of the output frequency .
96 Specifications f or modules 6.36 Lin Gain This module is used to modify the amplitude of a signal. It has one input, the signal to be adjusted, and one output, the adjusted signal. The amplitude of the signal is a controlled with the amount slider on the front panel.
6.39 Mallet 97 res=1 res=0.5 res=0.1 res=0.02 cutoff frequency frequency Hz -12dB/Oct amp dB Figure 47: Frequency response of a Lo wpass2 . 6.39 Mallet The Mallet module is used to simulate the force impact produced by a mallet striking a structure.
98 Specifications f or modules is connected to a pitch signal, the stif fness exactly follows the pitch v ariation so as to ensure that the spectral content (or color) of the sound produced by a structure is uniform when the pitch is v aried.
6.41 Master Recorder T rig 99 The default value of the f ollowing parameters is set at construction • Length : the length, in meters, of the beam. • F r equency : fundamental frequenc y , in Hertz, of the beam when there is no pitch modulation signal or when its value is equal to 0.
100 Specifications f or modules adjust its clock source switch to e xt . Finally use the pat mode of the Sequencer and press on the once b utton in order to make the Sequencer stop at the end of the sequence.
6.43 Membrane 101 Figure 50: A Master Sync Input is used to synchronize a Multisequencer module. 6.43 Membrane The Membrane module simulates sound production by rectangular membranes of different ma- terials and sizes.
102 Specifications f or modules • Excitation point-y : y-coordinate, in meters, of impact point from the lower left corner of the membrane. • Listening point-x : x-coordinate, in meters, of listening point from the lo wer left corner of the membrane.
6.46 Multimode 103 and mechanics and is used to describe complex vibrational motion using modes (elementary os- cillation patterns which can be used to decompose a complex motion). By adding together modes of different frequencies, amplitude and damping, one can reproduce the behavior of dif ferent type of structures.
104 Specifications f or modules Damping vs Frequency In a mechanical structure, the damping, or decay time, v aries for the different frequency compo- nents of the oscillating motion.
6.47 Multi-sequencer 105 bar containing four quarter notes, each step of the sequencer itself represents a sixteenth note. The module can memorize 32 dif ferent sequences between which you can switch while playing. The sequences can also be chained in any order with the Song mode.
106 Specifications f or modules The numbered gate b uttons control the gate output signal. The output will generate a square pulse of 1/8 of a quarter note with an amplitude of 1 V olt for each active gate buttons. T o hear a step, the gate b utton must be clicked (green light on).
6.48 Nand 107 6.48 Nand The Nand module performs the in verse of the logical AND operation. The one output of this module is either 1 (true) or 0 (false) depending on the values sent to the two inputs. This module has no front panel. The following diagram shows the output value depending on the values in the two inputs.
108 Specifications f or modules adjusted with the mod1 knob . The greater the amplitude, the greater the stif fness. This modulation input is used, for example, when a variation of the stiffness of the mallet with the note played is desired.
6.53 On/Off, On/Off2, On/Off3, On/Off4 109 6.53 On/Off, On/Off2, On/Off3, On/Off4 The On/Off , On/Off 2 , On/Off 3 and On/Off 4 switch modules ha ve respecti vely one to four inputs and one to four outputs.
110 Specifications f or modules 6.55 Organ The Organ module simulates a simple polyphonic street pipe organ. Every note played on the organ excites a pipe of different length, thereby changing the pitch. This module has three inputs and one output. The first input is a gate signal, generally that from a Keyboard .
6.57 Panpot 111 T assman Builder will consider that you w ant to define the current patch as a sub-patch and will sa ve it as so in the Sub-Patches folder of the Bro wser . Y ou can then use it just like any other module. T ypical Use A sub-patch is created with an Inlet or Outlet module or both.
112 Specifications f or modules Figure 55: Panpot modulated by LFO . The default value of the f ollowing parameters is set at construction • Angle : default source position. A v alue of 0 positions the source on the left, 0.5 in the middle and 1 on the right.
6.58 Phaser 113 + Input Signal All Pass Filter feedback mix Output Signal Fourth order Figure 56: Phaser algorithm. increased, these peaks become sharper .
114 Specifications f or modules frequency v aries between 0 and twice the value set with the fr equency knob . The feedback knob is used to fix the amount of “wet” signal re-injected into the delay . Finally , the mix knob determines the amount of “dry” and “wet” signal sent to the output.
6.59 Pickup 115 objects (such as a string or a beam) near the pickup. As such an object vibrates near a pickup, the latter outputs an oscillating signal determined by the varying distance between the object and the pickup. The wav eform of the output signal can be varied by adjusting the pickup position relative to the object.
116 Specifications f or modules The Pickup module is used in Figure 60 to construct an electric piano. In Figure 61, a Pickup module is used as a distortion. The ef fect is applied to the signal coming out from a Polyphonic Mixer . Figure 61: A Pickup used as a distortion.
6.62 Player 117 the plate thus shortening the decay time of the sound produced by the structure. When the signal is greater than 0, dampers are raised.
118 Specifications f or modules be sent to any other module for processing. The input signal is a gate signal, typically the gate signal from a Keyboard , or a Sequencer which triggers the Player according to the gate-trig- none selector .
6.63 Plectrum 119 6.63 Plectrum The Plectrum module is used to simulate the excitation of a string when it is plucked by a finger or a pick. The output of this module is the force signal applied by the plectrum on the string. Before a string starts to vibrate, the plectrum mo ves the string.
120 Specifications f or modules The default value of the f ollowing parameters is set at construction • Strength : value of the impact force (v alue between 0 and 2).
6.65 Polymixer 121 Figure 63: Creating a polyphonic synth with a Polyk ey and Polymixer module. The default value of the f ollowing parameters is set at construction • pitch wheel r ange : determines the range of pitch v ariation that can be obtained with the pitch wheel.
122 Specifications f or modules 6.66 Polyvk ey Similar to the Polykey module except that there is an additional output which is proportional to the velocity with which the key was pressed. The stretc h knob on the interface is used to simulate stretched tuning used on instruments such as pianos.
6.67 Portamento 123 input signal time =1s time=0.25s time=0.1s time amp Figure 64: Behavior of P ortamento as a function of time constant. time time time amp amp amp gate signal input signal output signal +1V +1V Figure 65: Portamento triggered by gate signal.
124 Specifications f or modules Figure 66: Portamento used with K eyboard . The default value of the f ollowing parameter is set at construction • glide time : sets the time constant of the inte grator (v alues between 0.01s and 10s); the higher the time constant the slo wer the response of the integrator .
6.69 Recorder2 125 See also the Player and Recorder2 modules. 6.69 Recorder2 The Recorder2 module is used to record the output of an instrument to a sound file. This module has 3 inputs which are respecti v ely the gate signal and the left and right channel signals to be recorded.
126 Specifications f or modules 6.70 Rev erberator The Rev erberator module is used to recreate the effect of the reflexion of sound on the walls of a room or a hall. These reflex- ions add spaciousness to the sound and make it warmer , deeper , and more “real”.
6.70 Rev erberator 127 a real room the re verberation time is not constant o ver the whole frequency range. As the walls are often more absorbent in the very low and in the high frequencies the reverberation time is shorter for these frequencies. This can be adjusted in the Rev erberator module with the low and high decay knobs.
128 Specifications f or modules 6.71 RMS The RMS (Root Mean Square) module is an en velope follower . Its output is the root mean square of the input signal. The in v erse of the inte gration time (1/ τ ) is set during construction and determines the response time of the circuit.
6.72 Sample & Hold 129 Figure 71: Use of RMS in V ocoder . 6.72 Sample & Hold The Sample & Hold module performs a sample & hold function. It has two inputs, the first a triggering signal and the second the signal to be sampled. The module has one output which holds the last sampled v alue of the second input.
130 Specifications f or modules time time time 0.75V 0.25V Figure 72: Behavior of Sample & Hold module. Figure 73: A Sample & Hold module is used to generate pseudo random signals. 6.73 Sbandpass2 This module is a static second-order band-pass filter (-6dB/octa ve).
6.74 Selector2, Selector3 and Selector4 131 • resonance : resonance around the center frequency . 6.74 Selector2, Selector3 and Selector4 The Selector module comes in 3 flavors: Selector2 , Selector3 and Selector4 . These modules ha ve 2, 3 or 4 inputs respectiv ely and one output.
132 Specifications f or modules 261.6 Hz, which corresponds to the C3 ke y on a piano (middle C). The r ange switch transposes the pitch one or two octa ves up or down. The reading on the counter gives the frequenc y of the output signal, in Hertz, when there is no modulation signal.
6.76 Single Gate Sequencer 133 sequence represents a bar containing four quarter notes, each step of the sequencer itself represents a sixteenth note. The module can memorize 32 dif ferent sequences between which you can switch while playing. This module has three inputs and four out- puts.
134 Specifications f or modules Figure 76: Single Gate Sequencers controlling Player modules. Note: see also Multi-Sequencer , Contr ol V oltage Sequencer , Control V oltage Sequencer with Songs , Single Gate Sequencer with Songs , Dual Gate Sequencer and Dual Gate Se- quencer with Songs .
6.78 Slider 135 6.78 Slider The Slider module is used to adjust the amplitude of a signal. It acts in the same way as the Knob module. It has one input and one output. The output signal is the input signal multiplied by a constant v arying between 0 and 2 (+6dB).
136 Specifications f or modules Note: See also A udio In . 6.81 Stereo A udio Out The Stereo A udio Out module is used to output stereo signals. It has tw o inputs, the first sent to the left audio channel of the sound card, the second to the right channel.
6.82 Stereo Chorus 137 left variable delay line + right variable delay line + Output Left Signal Input Signal mix left feedback right feedback + + cross feedback mix Output Right Signal Figure 78: Stereo Chorus module.
138 Specifications f or modules The default value of the f ollowing parameters is set at construction • delay : time delay , in seconds, applied to the left and right input signals (values between [0, 92]ms). • feedback : coefficient,[0, 1[, determining amount of “wet” signal re-injected into the delay lines.
6.84 Sync delay 139 Figure 79: A String exciting a Plate . parameters necessary to obtain the required fundamental frequenc y . The def ault v alue of this parameter is 261.62 Hz which corresponds to the middle C (C3) of a piano keyboard. This setting is con v enient when controlling a String module with a Keyboard module.
140 Specifications f or modules very lo w frequencies used as control signals rather than audio ones. It has two inputs and three outputs. The first input is the sync input signal which is used to sync the module to an external source. The second input resets the wav eform at the be ginning of its cycle each time a signal abo ve 0.
6.86 Sync Ping Pong Delay 141 Right Delay Line Lowpass Left Delay Line Lowpass Mix Pan Feedback Left Input Right Input Left Ouput Right Ouput Figure 80: Ping Pong Delay algorithm. length of the delay line which is adjusted to fit the number of steps appearing in the display , four steps representing a quarter note.
142 Specifications f or modules 6.87 T oggle The T oggle module is a clock divider . This module has tw o inputs and one output. The first input is the clock signal to be divided. The second input is used to reset the circuit. The output is the input signal with a frequency divided by two.
6.89 T remolo 143 Timbr e The timbre of the output of the tone wheel can be v aried with the flute r eed selector . In the left position, the module outputs a sine-like tone. As the selector is turned to the right, the signal gets distorted and e volv es toward a triangle-lik e tone as its harmonic content increases.
144 Specifications f or modules 6.90 T ube The T ube module simulates sound propagation in a cylindrical tube of a giv en length and radius. The effect of a tube is to color an input signal by enhancing frequencies located around its resonance frequencies.
6.90 T ube 145 Amplitude of the tube resonances The amplitude of the resonances can be adjusted with the radius of the tube when it is open at the listening point. At the extremity of a tube sound energy is radiated tow ard the exterior , the termination in fact acting lik e a lo w-pass filter .
146 Specifications f or modules 6.91 T ube4 The T ube4 module simulates sound propagation in a resonator made from 4 tubes of variable lengths and radii connected in series as shown in Figure 85.
6.92 T ube Reverb 147 • termination : specifies whether the final tube is open or closed at its extremity . A value of 0 indicates that the tube is closed and a v alue of 1 that it is open. Note: For more details on the filtering ef fect of tubes see the T ube module.
148 Specifications f or modules T ypical Use In the example of Figure 87, two T ube Rev erb modules are used to make a stereo reverb effect. The Rev erb modules are adjusted with short tubes in order to simulate early reflections in a room. The T ube4 module is used to introduced a delay and simulate late reflections.
6.94 V ADSR 149 The modulation entries can be connected to the velocity output of a Vkeyboard or a Sequencer module. Note: See also the AD AR , ADSR and V ADSR modules. 6.94 V ADSR The V ADSR acts exactly like the ADSR module e xcept that the V ADSR has four additional inputs for controlling each phase of the en velope.
150 Specifications f or modules Center Frequency V ariation The amount of variation of the center frequency obtained with the modulation inputs depends on the adjustment of the mod1 and mod2 gain knobs. The total modulation signal is the sum of the two inputs each multiplied by the gain corresponding to its respectiv e mod knob .
6.97 VCO (V oltage Controlled Oscillator) 151 T ypical Use A VCA is mainly used to apply an amplitude en velope to a signal. An ADSR can be used to supply the appropriate gain signal. Figure 89: ADSR as Gain Signal to VCA. Figure 90: VCA in Ring. A VCA can also be used to obtain a ring modulation ef fect.
152 Specifications f or modules T uning the Output Pitch The coarse and fine knobs and the range switch are used to tune the output frequency (or pitch) to the desired lev el. The v ariations in output pitch caused by changes in the modulation signals are relative to this level.
6.98 VCS 153 T ypical Use The VCO is used for generating the starting signal of an analog synthesizer . Figure 92 sho ws a standard patch using this module. Figure 92: T ypical VCO Use. 6.98 VCS The VCS module is very similar to the VCO module except that it only generates sine wa ves.
154 Specifications f or modules Pitch V ariation The amount of variation of the playing frequency obtained with the modulation inputs depends on the adjustment of the mod1 and FM gain knobs. The total modulation signal is the sum of the two inputs each multiplied by the gain corresponding to their respective knob .
6.100 Vkeyboard 155 relati ve to this le vel. The resonance knob is used to emphasize the frequencies near the cutof f frequency as sho wn in the following figure: Cutoff Frequency V ariation The amount of variation of the cutoff frequency obtained with the modulation inputs depends on the adjustment of the mod1 and mod2 gain knobs.
156 Specifications f or modules The default values of the f ollowing parameters is set at construction • pitch wheel range : determines the range of pitch variations that can be obtained with the pitch wheel. The con vention is 1 V olt/octa ve (maximum value is 2 V olts).
6.102 Vlowpass4 157 When the modulation signal is the pitch output from a Keyboard module, this position can be used to make the cutoff frequency follow an equal temperament scale. The modulation signal of the second input can be in v erted by pressing the in v button.
158 Specifications f or modules 6.103 V olume The V olume module is used to adjust the amplitude of a signal. It has one input and one output. The output signal is the input signal multiplied by a constant v arying between 0 and 2 (+6dB). T ypical Use The V olume module is used whene ver the lev el of a signal must be adjusted.
Quick refer ences to commands and shortcuts 159 7 Quick r eferences to commands and shortcuts File Menu Command PC Mac OS Description Ne w Ctrl+N Apple+N Ne w patch Ne w Folder Apple+Shift+N Ne w Fold.
160 Quick refer ences to commands and shortcuts Edit Menu Command PC Mac OS Description Undo Ctrl+Z Apple+Z Undo last command Redo Ctrl+Y Apple+Shift+Z Redo last command Cut Ctrl+X Apple+X Cut selecte.
Quick refer ences to commands and shortcuts 161 Edit / Prefer ences Menu Command PC Mac OS Description General Display the Edit General Preferences windo w Audio Settings Display the Audio Settings wi.
162 Quick refer ences to commands and shortcuts V iew Menu Command PC Mac OS Description Sho w Player/Builder Ctrl-T Apple-T T oggle between the b uilder and player vie ws Sho w/Hide Browser Apple-B S.
License Agreement 163 8 License Agr eement IMPOR T ANT! CAREFULL Y READ ALL THE TERMS AND CONDITIONS OF THIS A GREE- MENT BEFORE OPENING THIS P A CKA GE.
164 License Agreement 4. LIMITED W ARRANTY . Except for the foregoing, THE SOFTW ARE IS provided “ AS IS” without w arranty or condition of an y kind.
License Agreement 165 Contracts for the International Sale of Goods and conflict of laws provisions, if applicable, and the parties hereby irrev ocably attorn to the jurisdiction of the courts of that pro vince. Les parties sont d’accord ` a ce que cette conv ention soit r ´ edig ´ ee en langue anglaise.
Index acoustic objects, 39 adar , 64 adsr , 28, 65, 90, 93, 151 after touch, 66 analog synth, 18 and, 66 audio configuration, 12 audio de vice, 54 audio in, 67 audio out, 67, 94 bandpass2, 68, 102 be.
INDEX 167 help, 16 highpass1, 91 hold, 129 import, 61 inlet, 91, 110 installation, 9 instruments, 56, 60 creating, 14, 45, 46 playing, 53 saving, 18, 25, 49 in verter , 92 ke yboard, 25, 26, 90, 93 mo.
168 INDEX plate, 40, 80, 97, 103, 116, 139 Player , 52 launching, 18, 52 layout, 52 player , 8, 86, 117, 132 launching, 18 plectrum, 119 plug-in, 15 Audio Units, 16 DXi, 15 R T AS, 15 VST , 16 polyke .
INDEX 169 vke yboard, 26, 155 vlo wpass2, 21, 156 vlo wpass4, 82, 157 vocoder , 129 volume, 24, 68, 80, 158 wah, 114 wah wah, 150 wire, 45 editing, 18, 47 xor , 158.
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