Table of Contents
Advertisement
Quick Links
Advertisement
Table of Contents
Related Manuals for NONLINEAR LABS C15
Summary of Contents for NONLINEAR LABS C15
- Page 1 User Manual...
- Page 2 NONLINEAR LABS GmbH Helmholtzstraße 2-9 E 10587 Berlin Germany www.nonlinear-labs.de info@nonlinear-labs.de Document Version: 3.2 Date: December 19, 2018 Author: Matthias Seeber © NONLINEAR LABS GmbH, 2018, All rights reserved.
-
Page 3: Table Of Contents
6. Setup (C15 System Settings) ....112 2. Setting up the C15 ..... 14 7. -
Page 4: Safety Instructions, Precautions
Do not use power adapters with different or unknown specifications, as this may cause electrical damage on the device! Furthermore, if an external power adapter is used, this will be at your own risk. Nonlinear Labs will not be liable to damage caused by external power adapters. -
Page 5: Package Contents
2 × Power Supply Adapter and Cable 2 Mounting Brackets QUICK START Printed C15 Quickstart Manual Unit Connector Cable USB stick containing: • the preset library • the User Manual (PDF and HTML) The stick has a special format to be used for... -
Page 7: Introduction
Ribbons, and Pedal inputs. chapter describing the whole process. Every parameter on the C15 can be directly selected by a button. In other words, all 3. Basic Concepts functions are software-defined but have a dedicated haptic control surface. In addition,... -
Page 8: Setting Up The C15
2. Setting up the C15 Now the C15 is ready to use and can be switched on. In order to disassemble the paired setup, follow this protocol by applying the described four steps in reverse manner and order. The C15 Base Unit can be used on its own as well. -
Page 9: Start And Shutdown
A flickering LED indicates an irregular operation mode. It means for example the supply voltage is too low. ߱ Ensure that the power supply is not interrupted when using the C15 (booting, performance, shutdown) in order to prevent data loss. -
Page 10: Setting Up A Device For The Graphical User Interface
We appreciate feedback and reports of dysfunctionalities and will try to solve problems quickly. The C15 is designed to be of flexible usage and interaction, requiring at least the Base Unit for connections and performance. In addition, the Panel Unit provides the Hardware Wi-Fi Settings User Interface and therefore access to all parameters, presets and settings. -
Page 11: Pedal Integration
As mentioned, the safe way of integrating Pedals into the system would be when the C15 is switched off. After all connections were made, the C15 can be switched on and all connected Pedals will be recognized and integrated accordingly. For more information about Pedal integration, refer to chapter 5.4 Using Hardware... -
Page 12: Performance (Keybed And Hardware Sources)
3.1 Performance (Keybed and Hardware Sources) 3.2 Macro Controls There are four additional parameters, that don’t have any connection or effect by default. They are called “Macro Controls” and represent the second of three modulation stages. Macro Controls are potential modulation targets for Hardware Sources, whereas (modula- tion target) parameters are potential targets for Macro Controls. -
Page 13: Modulation Scheme
Nonlinear scalings of target parameters There is no automatic modulation (like an LFO - except for the Flanger) within the C15 require the modulation amount to be in percent (fig. 4). -
Page 14: Presets
6 edit 7 However, the C15 undo history is realized as a tree-like data structure. All editing actions When changing a loaded preset, the system will recognize any change and indicate it will be tracked and new branches will emerge when continuing with new editing actions by a star symbol (“*”) behind the unique number. - Page 15 The extended tree-based functional- ities emerge when navigating to other branches. The C15 undo mechanism tracks different user actions. Parameter selection, edits to parameters, preset recalls and edits to presets and banks can be undone. However, the modulation mechanism is not integrated into the undo mechanism, as it is part of the user performance.
-
Page 16: User Interfaces
As described, the C15 provides two different user interfaces. The Hardware User Interface The C15 architecture was designed to offer quick access to all items and aspects, pro- consists of both Base Unit and Panel Unit, providing haptic („hands on“) control. -
Page 17: Editing A Parameter
→ Graphical UI FEEDBACK MIXER OSCILLATOR A Comb SV Filter E ects Reverb Drive Fold Level Pitch Fluct PM Self PM B PM FB CABINET 50.0 Drive Fold Tilt Hi Cut Cab Level 60.00 Asymetry ENVELOPE A 62.0 -22.0 Attack Decay 1 Breakpoint Decay 2... -
Page 18: Editing The Modulation Of A Parameter
If the external device features a mouse, 4.3 Editing the Modulation of a Parameter the mouse wheel can also be used for adjustments when hovering over the slider Focus on Modulation Aspects in the Parameter tab. Setup Preset By default, the parameter’s control position Adjust Control Position, fine is in focus and Soft Button 4 can be used Setup... -
Page 19: Macro Controls
MC Position ߱ These aspects are logically interconnected. Changing one will affect another. Press Soft Button 1 in order to focus on MC position and adjust it like a parameter. 4.4 Macro Controls → Graphical UI The most common practice of using Macro Controls would be the modulation mecha- Click on the MC position icon in order to nism during user performance, accessible via the Hardware Sources. - Page 20 Fast Mapping (Panel Unit only) → Graphical UI A rename dialog appears and the label can be edited with mouse and keyboard. Macro Controls The info window appears and the info text can be edited with mouse and keyboard. When the Selection button of a potential target parameter is pressed while the Selection button of a Macro Control is held, the assignment can easily be switched on or off.
-
Page 21: Hardware Sources
4.5 Hardware Sources HW Source Position Press Soft Button 1 in order to focus on the currently selected Hardware Source and The most common practice of using Hardware Sources would be the modulation adjust its position like a parameter. mechanism during user performance, passing movements via Macro Controls to target parameters. - Page 22 Focus on Hardware Source Properties → Graphical UI For Pedals and Ribbons, the return behav- The top-center parameter group „Hardware ior can be edited. Pressing Edit button Sources and Amounts“ provides access to when a Hardware Source is selected will all Hardware Sources and their amounts redirect to the Edit screen.
-
Page 23: Presets
Setup Preset 4.6 Presets Loading a Preset Sound Store On the Panel Unit press the Enter button in 4.6.1 Loading a Preset order to load the selected preset. Info Fine Enter Edit Preset Navigation Press the Preset button in order to focus →... - Page 24 Bank Navigation → Graphical UI On the Panel Unit press Soft Button 1 in The Preset tab provides a Store icon. Click- order to focus on banks and navigate them ing on or touching it will store the preset in Setup Preset instead.
- Page 25 Store Methods → Graphical UI The store position will be finally influenced by the chosen store method, which can be In the Preset tab, a Preset menu button is provided. Clicking on this button or right-click- one of the following three: ing (long touch gesture) on a preset element in a (floating) bank invokes the context menu, providing access to all aspects.
- Page 26 When the Bank screen is in focus, pressing the Edit button invokes a menu, repre- The C15 provides two ways of transferring (importing, exporting) single banks in order to sented in the rightmost stack. Cycle the manage big preset collections. When importing a bank, the bank will not be selected and stack by pressing Soft Button 4 in order to no preset will be loaded.
-
Page 27: Contextual Info
4.6.5 Locking In some situations, it may be useful to load only specific parts of a preset while leaving other parts as they are. This can be achieved by using the Lock mechanism, which can lock particular parameter groups and prevent the contained parameters from being overwritten by a preset recall or sound manipulations. - Page 28 Macro Control Info Preset Info When a Macro Control is selected, the Info Presets contain a collection of metadata, some of which can be edited. The metadata button invokes the Info screen, showing the collection includes: a reference to the parent bank name, the preset position within the description of the currently selected Macro parent bank, the preset name, a comment text, a color tag and information about the last Control.
-
Page 29: Overviews
4.8 Overviews Bank Info Banks contain a collection of metadata, some of which can be edited. The metadata col- lection includes: the bank number (position in the bank list), the bank name, a comment There are different Overviews provided on the Panel Unit, enabling the user to quickly text, the bank size (number of contained presets), a state (indicating if unsaved changes get an impression of the inner workings of a particular sound, just by a brief glance at the occurred since the last export) as well as information about the last change (date), import... -
Page 30: The Undo Mechanism
߰ The Signal Flow indicator is optional and can be disabled in the Setup Menu (see chapter tion mark in the Scale Group header, and 6.Setup (C15 System Settings) for more details). a “Reset” option is provided by the header context menu, which will set all active Offset parameters to zero. - Page 31 Navigate Branches → Graphical UI The current, active branch can be navi- If a branch splits at the current position, gated by using the Undo and Redo icons pointy brackets are visible on the entry. Use Soft Buttons 1 and 3 to switch between above the tab area, recalling the corre- ctrl ctrl...
-
Page 32: The Rename Mechanism
Make Element the new Root The Rename Screen When navigating the current, active branch, press the Edit button in order to get the „Make Root“ option. All entries and ‘ Ü branches prior to the current position will be deleted by pressing Soft Button 4. Ö... -
Page 33: Sound Manipulation
4.11 Sound Manipulation Reset Init Press the Edit button to invoke a menu stack on the right, navigate with Soft But- The current setting can be further manipulated, affecting all parameters at once. ton 4 and press Enter in order to reset the ߰... -
Page 34: Setup Navigation
This section explains the navigation to and within the setup menu. Refer to chapter a parameter. The transition time will be 6 Setup (C15 System Settings) for a detailed reference. effective when recalling presets, defining... -
Page 35: Backups
߱ Please keep in mind that when restoring from a backup file, all banks currently present on the C15 will be lost. We recommend to save a backup file before restoring in order to maintain all preset data. 4.13 Backups As previously mentioned, single banks can be imported and exported from an to either 4.14 Base Unit Functionality... -
Page 36: Graphical Ui Functionality
In Edit mode, Ribbon 1 will operate as an will set the zoom level of the main area, so that every match is instantly visible. The additional parameter editor for the current success of a search strongly depends on the level of documentation (meaningful preset parameter focus. - Page 37 Preset Compare Move all Banks Two presets can be compared against each other, examining their individual differences. There is a shortcut to move all banks at This may be useful for distinguishing several versions of a preset that are only slightly the same time, provided by the global different.
- Page 38 (GUI shortcuts to the components are shown Open Help as well). The C15 User Manual is also available as a separate HTML document, which will open in a new browser tab. Context Menus There are several context menus available providing different functionalities (according to Setup the context).
- Page 39 Preset Context Menu Macro Controls provide options for renaming, viewing There are a two ways to invoke the Preset context menu. the Parameter Info window (showing their user-definable In the Preset tab, a menu icon is provided for presets. info text) and resetting (clearing all mappings to target In addition, a right click (or long touch gesture) on a parameters).
- Page 40 Show Developer Options There are some more options (beyond the usual interaction with the C15) that are not relevant for the user, but can be important for developers (when testing a device or run- ning diagnostics of possible malfunctions).Therefore, the Developer Options can remain hidden in usual circumstances.
-
Page 41: The Synthesis Engine
The C15’s first synthesis engine is named „Phase 22“. It can be seen as the latest stage of The combination of the components can also be understood in a physical modeling... -
Page 42: Components Of The Synthesis Engine
Signal Flow Detailed Automation and Rendering Besides a few exceptions (oscillator phases, unison voices – only effective when play- ing new notes), all parameters operate as smoothers within the synth engine and can perform transitions from one value to another in a specified time (adjustable by the user). This affects modulations, preset transitions and editing of parameters, each having their individual times. - Page 43 In total, there are four envelope signals to be taken use of. Three of them are flexibly Regardless of the perceived loudness of the tone up to now, it will disappear by fading definable, as provided by three parameter groups called Envelope A, B and C. Whereas out.
- Page 44 Oscillators Envelope A & B Level The branches A and B both contain an Oscillator – a source for a sine-wave signal. Attack Decay 1 Decay 2 Release The perceived sound of a sine wave is rather simple, as there is just the fundamental, Peak Level which is detected by the ear as a pitch.
- Page 45 Basically, if a slow „modulator“ signal modulates the phase of another fast and tonal „car- After all phase modulation sources were weighted and added, their sum will be fed to rier“ signal, the perceived frequency of the fast signal will change over time, increasing or a tunable but static lowpass „Chirp“...
- Page 46 Shapers Output Each of the two branches is completed by a sine shaper unit, which can further manipu- late the oscillator signal and enhance its spectrum. It also allows for the integration of the Input global feedback and a ring modulation signal. Drive: 0.0 dB Fold:...
- Page 47 Shaper: Fold Shaper: Asymetry Output Input Drive: 12.0 dB Drive: 3.4 dB Fold: Fold: 50 % Asymetry: Asymetry: 0 % Output Input Drive: 12.0 dB Drive: 3.4 dB Fold: 33 % Fold: 50 % Asymetry: Asymetry: 20 % Output Input Drive: 12.0 dB Drive:...
- Page 48 Comb Filter The amount of feedback determines how long it takes for the feedback to disappear after the input signal has faded out. This exponential process is referred to as the „Decay The branch signals (A, B) are provided as sources for two different filter units, the first of Time“, which can be sensitive to Key Tracking (modeling a tendency some musical instru- which is the „Comb Filter“.
- Page 49 State Variable Filter The following diagram shows a simplified frequency response for the Comb Filter. Consider a tonal signal (with a clear fundamental frequency) which feeds the Comb Filter. The second applyable filter to the branches is called the „State Variable Filter“, a tool for The Comb Filter output is added to the signal (upper graph) or subtracted from the signal multifunctional subtractive filtering that is fed by an adjustable crossfade mix of both (lower graph).
- Page 50 State Variable Filter, Filter Response: Cuto Spread L–B–H Key Trk Env C L-B-H Control Note Pitch & Pitchbend Cuto Control Env C L-B-H 1 L-B-H 2 Cut 1 Cut 2 Cut 1 Reson L-B-H 1 2-Pole SVF Parallel X-Fade Parallel Cut 2 Reson L-B-H 2...
- Page 51 Feedback Mixer Output Mixer Feedback Mixer The global feedback signal, usable for phase modulation and within the Shapers, The (main) output signal, being passed to the Effects section, is defined by a stereo is defined by a mix of four signals provided by the two filters and the Effects section mix of four signals provided by the two branches (A, B) and the two filters (Comb, SVF).
- Page 52 Cabinet The local delay feedback bus consists of two filters, the first of which is an allpass filter with a tunable frequency, affecting the phases of the signal’s frequency components. The The second effect is called „Cabinet“, providing the possibility to further shape the second filter is a one-pole lowpass filter with tunable frequency, damping the feedback signal in terms of saturation, overdrive and distortion.
- Page 53 Gap Filter Gap Filter, Filter Response The Gap Filter marks the third effect and provides further filtering of the signal. It consists Parallel/Band Reject (Mix > 0) Serial/Band Pass (Mix < 0) of two four-pole filters (with a damping slope of 24 dB per octave) which can run in parallel or in series.
- Page 54 Echo Reverb The fourth effect is a stereo delay, providing a spatial effect of repeating echoes. The delay Finally, the signal is passed to the Reverb unit, providing another spatial effect in terms of time can be adjusted and spreaded between the left and right channel. Within the local hall, room or reverberation.
-
Page 55: Using Hardware Sources
Controllers that are returning The eight Hardware Sources of the C15 can be seen as special controllers, which are to their center position usually are bipolar (and the center position equals zero in this designed for live performance. - Page 56 For now, the safe and recommended method of integrating external Pedals is to turn the device off beforehand. After all Pedals are plugged in the provided sockets, the C15 can be switched on again. The booting process will recognize the Pedals’ circuit architectures and integrate them accordingly.
-
Page 57: Setup (C15 System Settings)
The Device Name of the C15 instrument can be chosen by the user. It will appear in the sensitivity for high bending intensities. With the normal setting, the sensitivity remains meta data of presets and determine the SSID of the Wi-Fi network. -
Page 58: Updating The C15
Instead just copy or move it to the top directory of the USB stick.. updating (see Notes on Software Updates). 4. Switch off the C15 and plug the USB stick to the USB connector on the backside of the Base Unit. Then start the C15. -
Page 59: Specifications
8. Specifications Parameter Editing • 4 Selection panels, each with 24 buttons and LEDs Phase 22 Synthesis Engine • Labeling by exchangeable magnetic overlays • 2 Oscillators (sine wave, phase modulation, frequency randomization) • Edit panel with an OLED display (256 x 64 dots), incremental encoder and 18 buttons •... -
Page 60: Parameter Reference
9. Parameter Reference... - Page 61 Envelope A Time of the (polynomial) Attack segment in milliseconds. Sustain level (target of the second Decay segment). Velocity influence on the Attack time. The value represents Time of the (exponential) Release segment in milliseconds the logarithmic amount of the reduction of the Attack time (infinite at maximum).
- Page 62 Gain [in dB] of the envelope signal. As this signal modulates the Oscillator and Shaper A, the Gain influences the level and the amount of phase modulation and distortion. Time of the second (exponential) Decay segment in millisec- onds. Envelope B Time of the (polynomial) Attack segment in milliseconds.
- Page 63 Key tracking of the attack, decay and release times. The value determines how much shorter the times get for higher notes. Level of the Breakpoint between the two Decay segments. Gain [in dB] of the envelope signal. As this signal modulates the Oscillator and Shaper B, the Gain influences the level and the amount of phase modulation and distortion.
- Page 64 Key tracking of the envelope’s peak, breakpoint and sustain levels [dB per semitone]. Positive values: higher levels for higher notes (+1.0 = +12 dB Amount of modulation of the frequency fluctuation by per octave). Envelope C. At zero, the modulation stays constant, at higher Negative values: lower levels for higher notes (-1.0 = -12 dB values, the envelope applies a time-variant attenuation.
- Page 65 Envelope (B) amount for the phase modulation by Oscillator & Shaper B (cross feedback). At zero, the modulation stays constant, at higher values, the Envelope (A) amount for the Drive factor. envelope applies a time-variant attenuation. At zero, the gain stays constant, at higher values, the enve- lope applies a time-variant attenuation.
- Page 66 Mix amount of the ring modulation between both Oscillators & Shapers. Start phase [in degrees]. The Oscillator will be set to this phase position with each Note-On. Oscillator B Pitch (logarithmic frequency) of Oscillator B at C3 (MIDI note Amount of phase modulation by Oscillator & Shaper B (local 60) [in semitones, based on MIDI note numbers].
- Page 67 Mix amount of Shaper A in the signal being used for phase modulation (A -> B). At zero, the output signal of Oscillator A is used. At negative values, the signal from the Shaper is Amount of folding back of the shaper curve for high input inverted.
- Page 68 Comb Filter The signal for the Comb Filter as a crossfade between the Key scaling of the decay time. outputs of Oscillator & Shaper A and Oscillator & Shaper B. 0.0 %: equal time for all keys 100.0 %: shortening to half time per octave, origin at C3 = 60 semitones Coarse pitch of the Comb Filter (delay) at C3 (MIDI note 60) Center frequency of the 2-pole allpass filter [in semitones].
- Page 69 Amount of modulation of the cutoff frequency of the lowpass filter by Envelope C [in semitones]. Static value of the filter cutoff frequency at C3 [in semitones], applies to both stages of the filter. The offsets between their individual cutoffs is controlled by “Spread”. Key scaling of the lowpass cutoff frequency.
- Page 70 Amount of splitting of the cutoffs of the two 2-pole filters. Half of the value is applied as a positive offset to the adjusted cutoff for the first stage and as a negative offset for the Feedback mix factor for the output of the State Variable second stage [in semitones].
- Page 71 Level of the (global) Feedback mix [in dB]. Output mix factor for the signal from the Comb Filter. Key scaling of the feedback level [in dB per semitone]. positive values: higher level for higher notes (+ 1.0 = + 12 dB per octave) Pan position of the signal from the Comb Filter in the output negative values: lower level for higher notes (- 1.0 = - 12 dB...
- Page 72 Asymetry of the shaper curve, generating even (2nd, 4th, ...) harmonics. At higher values, it becomes a parabolic curve that shifts the frequency of the fundamental to its double. Relative amount of the modulation of the delay times by the LFO and/or the envelope.
- Page 73 Amount of the cross feedback between the left and the right Controls two inverted shelving EQs before and after the channel, increasing the complexity of the resulting signal. distortion stage. At negative values, the cross feedback is inverted and will negative: more distortions at high frequencies emphasize other frequencies than in the non-inverted mode.
- Page 74 Sets the difference between the center frequencies of the left Sets the ratio between the delay times of the left and of the and of the right channel [in semitones]. right channel [the value shows the offset to 100.0 %]. In the center position, the offset is zero and both delay times are equal.
- Page 75 Pre delay time, shifting the late reflections. This has a profound effect on the perceived room size. The info text of Macro Control B is user-definable and defaults to an empty string. Cutoff of the filter that damps the lower frequencies of the reverberation signal.
- Page 76 Hardware Sources This control is the parameter representation of the “Ribbon 1” Hardware Source. It will directly follow the Ribbon and This control is the parameter representation of the “Pedal vice versa. If the source’s return behavior is set to “Center”, 1”...
- Page 77 Determines the influence of the “Pedal 3” Hardware Source Determines the influence of the “Pedal 2” Hardware Source on Macro Control C. If the Pedal is a returning Hardware on Macro Control A. If the Pedal is a returning Hardware Source, the amount can be adjusted continuously, otherwise Source, the amount can be adjusted continuously, otherwise it will be switch-like.
- Page 78 Determines the influence of the “Bender” Hardware Source Determines the influence of the “Aftertouch” Hardware on Macro Control A. Source on Macro Control C. The amount can be adjusted continuously [in percent] and The amount can be adjusted continuously [in percent] and can cover the whole range of the Macro Control in both can cover the whole range of the Macro Control in both directions (-100.0 % …...
- Page 79 Determines the influence of the “Ribbon 2” Hardware Source Spreading the (Oscillators’) start phases of the unison voices on Macro Control A. If the Ribbon is a returning Hardware to get different phase cancellations at the beginning of a Source, the amount can be adjusted continuously, otherwise note.
- Page 80 Offset of the second key following the base key [in cents]. At Offset of the 8th key following the base key [in cents]. At zero, zero, the interval to the base key would be the major second the interval to the base key would be the minor sixth of the of the equally tempered scale.
-
Page 81: Shortcuts For The Graphical User Interface
Preset Store 10. Shortcuts for the Graphical User Interface S ... activate Store Select mode (and open the Preset tab) Enter ..apply Store (and finish the Store Select mode) UI Components Ctrl + S .