Aodyo Instruments anyma Phi User Manual
  1. Manuals
  2. Brands
  3. Aodyo Instruments Manuals
  4. Synthesizer
  5. anyma Phi
  6. User manual

Aodyo Instruments anyma Phi User Manual

Hide thumbs
Table of Contents

Advertisement

Quick Links

User manual
VERSION 0.8.90
JULY 8, 2021
www.aodyo.com

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the anyma Phi and is the answer not in the manual?

Questions and answers

Summary of Contents for Aodyo Instruments anyma Phi

  • Page 1 User manual VERSION 0.8.90 JULY 8, 2021 www.aodyo.com...
  • Page 2 www.aodyo.com...

  • Page 3: Table Of Contents

    • Rear panel • Included accessories • First steps (10) • Playing with a wind controller • Upda ng your Anyma Phi (11) (12) (13) The matrix ......... . . 15 Introduc on •...
  • Page 4 Contents Appendix: Module reference ......65 General • Oscillators • E ects •...

  • Page 5: Overview

    A warm thank you from the Aodyo team for believing in us and suppor ng our work! We hope you will love using your Anyma Phi as much as we do. Anyma Phi is a hybrid monophonic synthesizer that allows you to create and play with new sound universes inspired from the real world, where objects collide, vibrate, and resonate.
  • Page 6 This manual will guide you through all you need to know to master the ins and outs of your Anyma Phi. Feel free to skim the chapters you’re interested in, and to come back later when you need more informa- on about any topic.

  • Page 7: Front Panel

    Front panel Volume knob Controls the output volume of your Anyma Phi. Patch LED Indicates the color of the current patch. Display Shows the currently accessible parameters that can be modi ed using the encoders, as well as relevant informa on or menus.
  • Page 8 Overview Press it from anywhere to go to the se ngs menu. ◄ ► Previous and Next bu ons ◄ ► Press the or the bu on to switch to the previous or next screen. ► ◄ Inside a menu, press to con rm your selec on, and to go back.

  • Page 9: Rear Panel

    PERCUSSIVE PLAYING SURFACE When no external input is plugged into your Anyma Phi, the right audio input is auto- ma cally connected to the internal piezoelectric contact microphone that is placed behind the logo on the front panel. When audio input is used in a sound (which is the case, for instance, with patch #7...

  • Page 10: Included Accessories

    Anyma Phi, or route MIDI from the USB device port to an external MIDI device. USB device port (USB Mini-B) Connect your Anyma Phi to a computer to update its internal so - ware, to edit sounds with the PC/Mac editor, or to control it from a DAW.
  • Page 11 USB via its USB Host port, or by using a MIDI DIN cable plugged into the MIDI IN port. You will also need to connect your Anyma Phi to a mixer, an amp, speak- ers, or headphones, using the relevant audio output ports on the back of your Anyma Phi.
  • Page 12 Ini ally, your Anyma Phi comes with a number of patches made by the (empty) Aodyo team, and the remaining ones are le blank and labelled...
  • Page 13 If you’re using a computer running another opera ng system, such as Linux, or a tablet, you will s ll be able to update your Anyma Phi, but you will not be able to use the editor applica on. In this case, just down- load the update package for Mac and perform the update as indicated below.
  • Page 14 − You can now eject the disk from your computer. − Once the disk has been ejected, you can turn o your Anyma Phi, and turn it on again to enjoy your new update. If there is any problem during the update, just follow the instruc ons again from the beginning.

  • Page 15: The Matrix

    The matrix At this point, you can already play and explore all the included patches of your Anyma Phi. In this chapter, we will learn the logic behind these vari- a ons we've experimented with. Introduc on The star ng point of your Anyma Phi is its matrix, which provides a...

  • Page 16: The Animate Line

    This way, the matrix o ers a sort of common tongue spoken by all Anyma Phi users, allowing you to more easily tweak any sound you can load into your Anyma Phi in ways that have been carefully designed by the creator of this sound.
  • Page 17 directly manipulate, it allows you to monitor the di erent sources of varia ons in your patch. These varia ons can come from internal mod- ulators like envelope generators and low-frequency oscillators (LFO), or from an external source, such as your MIDI keyboard or controller. Each of the three rst parameters of the Animate line allows you to focus on a speci c source, each with a di erent list Envelope generators...
  • Page 18 ANIMATE tab highlighted at the top of the display. We will see later in this chapter how to setup your Anyma Phi to map A/B/C/D to speci c MIDI messages sent by your keyboard or controller. By default, the setup is as follows: External control is mapped to…...

  • Page 19: Morphing

    100% in order to make sure it only uses the alternate state of the matrix. In the 7 rst sounds that came with your Anyma Phi, you can move Morph using the modula on wheel of your MIDI keyboard, or the equivalent on your controller.

  • Page 21: The Anatomy Of A Patch

    By connec ng those together, you can create any kind of sound, and control it any way you want. You can edit your sounds this way either directly on your Anyma Phi, or using the Mac or PC editor that you can download on our website.

  • Page 22: Oscillators

    (usually in the MIDI format) that tells the synthesizer what kind of sound to produce (e.g., play a C note very loudly). Your Anyma Phi is such a synthesizer, so its responsibility is to under- stand what a controller sends it, and to turn it into sound, so that the whole formed by the controller-synthesizer couple feels like an expres- sive and powerful instrument.
  • Page 23 per second (or 440 Hz), you will hear an A note, independently of the shape of the electric signal (the waveform). There were di erent kinds of waveforms an oscillator could produce, and all had di erent mbres, which could be used to approximate dif- ferent instruments, or to create various kinds of sounds.

  • Page 24: E Ects

    The anatomy of a patch In the Anyma Phi, you get up to three oscillators that you can mix to- gether or have played separately, depending on what kind of sound you want to achieve. Some are very simple and produce a single tone, others are much more complex and can produce mul ple and very rich tones on their own.
  • Page 25 (untouched by the e ect) and the wet sound (the result of applying the e ect). In the Anyma Phi, you can use up to ve di erent e ect modules, with an addi onal nal Reverb e ect that applies to the nal sound as a whole.
  • Page 26 Your Anyma Phi can be seen as a semi-modular synth: the signal path is predetermined as well, but there are a few degrees of freedom as to how the signal ows, so that it is generally possible to achieve exactly what you want.
  • Page 27 RIGHT Aux bus OSC3 This is how the audio signal path works in your Anyma Phi. If it looks a bit complicated to you, just remember that you don’t need to mess with it when star ng to create sounds.

  • Page 28: Mappings

    The anatomy of a patch By default, all three oscillators output on both buses, the Aux bus is muted (only the Main bus works), and all ve e ects are placed on the Main bus. If the signal path looks a bit restricted to you, please keep in mind that using the dry/wet controls of most e ects, you could s ll achieve much more complex mixes.

  • Page 29: Modulators

    Your Anyma Phi o ers up to 32 mappings in a single patch, allowing you to turn a dull sound into a lively and expressive one that you can control in many di erent ways.
  • Page 30 The anatomy of a patch disappear, or their mbre can change over me. The ming is given by a modulator called envelope generator, which creates a control sig- nal that evolves in me, from the start to the end of a note. Typical envelopes, called ADSR, work in four successive phases −...
  • Page 31 In addi on to envelopes and LFOs, the Anyma Phi o ers a wide range of other modulators that can lter, shape, smooth, or mix other control signals in various ways, making almost any complex modula on possi- ble. The Anyma Phi allows up to 16 modulators.
  • Page 32 The anatomy of a patch Connec ng the synth to the matrix What’s been presented so far is much more similar to a typical synthe- sizer than what the matrix makes it look like. In fact, the matrix is noth- ing more than a collec on of control sources that you can map to any des na on parameter.
  • Page 33 − 16 modulators (MOD1 to MOD16) plus the velocity envelope (Ve- lEnv) that generate internal control signals, − 32 mappings (MAP1 to MAP32) that describe how internal and external control signalsn act upon the patch in real me, − and the matrix plus its alternate version. GENERAL Patch VelEnv...

  • Page 34: The Bank

    As with most synthesizers, you can switch between di erent patches, and the Anyma Phi o ers up to 200 di erent patches, making up a bank. You can only store a single bank in your Anyma Phi, but in the PC/Mac editor, you can export it to a le, and import any bank created from elsewhere.

  • Page 35: Edi Ng Patches

    Edi ng patches By centering on its matrix, the Anyma Phi does not make it obvious that you can easily edit your patches there, and might even seem to be shielding you from the reality of the synth engine behind it. This is not only to make...
  • Page 36 Edi ng patches Laraaji + Let’s go to patch #1 , select the Excite line on the matrix, and zoom on Timbre by pressing for half a second. The screen that appears shows us that Timbre is mapped to two parameters, because there are two tabs, and that the rst mapping describes how by moving Timbre to 100% will shi the Damping of the rst oscillator (OSC1) by a small amount to...
  • Page 37 MAP4 rst one, , shows that the expression or velocity envelope will control it over its en re range. By turning the display encoder , you can access MAP9 the second mapping, , which shows that the Posi on control of the matrix can also be used to control the parameter over its en re range.
  • Page 38 Timbre. ► If you’re content with them, you can save the patch using , so that your modi ca ons will not be forgo en once you turn o your Anyma Phi or switch to another patch.

  • Page 39: Editor Screen

    Jumping to a module In some cases, you already know exactly which parameter you want to tweak, and you just want to jump to the module it pertains to. To do so, hold the bu on pressed, and start turning the display en- coder , without releasing yet.

  • Page 40: Using The Pc/Mac Editor

    If this is your rst me using the editor, please use the following instruc- ons: − Power on your Anyma Phi. − Connect the USB DEVICE port of your Anyma Phi to your com- puter using a mini-USB cable. − Launch the editor applica on.
  • Page 41 You should now be able to see all the patches in your Anyma Phi and edit them. Each me you launch the editor, it will try to connect to your Anyma Phi automa cally. If it isn’t connected to your computer, you will have to connect it and click the CONNECT bu on again to have access to your patches.
  • Page 42 Edi ng patches You can also copy and paste patches by using Ctrl/Cmd+C and Ctrl/Cmd+V. You can export the bank to a le using the relevant command in the File menu. Audio signal view Shows the rela onships between oscillators, e ects, buses, and the other elements in the audio signal chain.
  • Page 43 O ers details about the element under the mouse pointer. Scope views Show the evolu on of two control signals. By default, the top scope displays the last selected modulator, and the bo om scope displays the expression / velocity envelope sig- nal.

  • Page 45: Se Ngs

    Se ngs Your Anyma Phi o ers a se ngs menu where you can perform several com- mands, but also customize how your Anyma Phi reacts to MIDI, as well as various other se ngs such as the brightness of the front panel LEDs.

  • Page 46: Patch Commands

    Se ngs Save Save the current patch. This command is only available when the patch has unsaved modi ca- ons. Reset Reset the current patch to an empty one. However, the changes will not be automa cally saved, allowing you to return to the previously saved version by switching to another patch and going back.
  • Page 47 MIDI se ngs MIDI channel} Set the MIDI channel that the Anyma Phi will respond to. You can use this to lter out messages from other controllers that go through your MIDI setup to another synth but should not be taken into account by your Anyma Phi.

  • Page 48: System Se Ngs

    Se ngs Control A CC, …and CC Set up to two MIDI messages (CC or A ertouch) used as External control A in the synth. Default: CC 1 (Modula on wheel) and O Control B CC, …and CC Set up to two MIDI messages (CC or A ertouch) used as External control B in the synth.
  • Page 49 **Default **: _Minimum_ 156, _Range_ 93 {{SETTING: Diagnos cs Set the MIDI channel that the Anyma Phi will respond to. You can use this to lter out messages from other controllers that go through your MIDI setup to another synth but should not be taken into account by your Anyma Phi.
  • Page 50 Se ngs CC mapping Expression CC, …and CC Set up to two MIDI messages (CC or A ertouch) used as the expression signal in the synth, for example by wind controllers. When either message is absent, the synth will use the velocity envelope of the patch to generate the expres- sion signal.

  • Page 51: Se Ngs

    System se ngs LED brightness Make the front panel LEDs darker (1) or brighter (8). Default: 4 Encoder accel. Fine-tune encoder accelera on; i.e., how far you can change a value when quickly turning the encoder. Default: 3 Volume calibr. Enter the volume knob calibra on screen.
  • Page 52 Se ngs {{SETTING: Diagnos cs} Enter the Diagnos cs screen, which you can use for troubleshoo ng with customer service. Reset se ngs Reset all the se ngs to their default values.

  • Page 53: Shortcuts

    Shortcuts Global ac ons Press Enter the se ngs menu. ► Press Save the current patch. Turn 1 2 3 4 Modify a speci c parameter (shown in the bo om part of the display). Press 1 2 3 4 Select a speci c parameter (shown in the bo om part of the display).

  • Page 54: While In The Matrix

    Shortcuts Press/hold Select the next oscillator (OSC1 to OSC3). Press/hold Select the next e ect (SFX1 to SFX5). Press/hold Select the next modulator (MOD1 to MOD16). Press/hold Select the next mapping (MAP1 to MAP32). While in the matrix Turn Select another patch, forge ng the current changes up un l the last me it has been saved.

  • Page 55: On Startup

    On startup The following shortcuts only apply on startup: keep holding the indi- cated bu ons while powering on your Anyma Phi, and release them once the display shows your ac on has been taken into account. Power on while holding Enter the update mode, allowing you to transfer a new update into your Anyma Phi.

  • Page 57: Release Notes

    Release notes v0.8.90 − Added a pitch-bend range se ng. − The labels of the ve e ects in the audio signal chain are now SFX1 to SFX5 (previously FX1 to FX5), so as to avoid confusion with the more generic FX1 and FX2 controls on the Global line of the matrix.
  • Page 58 Release notes a patch. This doesn’t prevent from changing their value or making new mappings. − Added a volume knob calibra on screen, accessible in the se ngs menu (System sec on). See the related entry in the Se ngs chap- ter of the user manual for more details and a manual calibra on procedure.

  • Page 59: Complementary Informa On

    Complementary informa on Please take note of the following important informa on before you begin to use your Anyma Phi. Technical features − Hybrid monophonic synthesizer − Stereo audio outputs: – 1/4” mono line jack outputs – 1/4” stereo headphone jack output −...

  • Page 60: Credits And Licenses

    Complementary informa on Credits and licenses Idea and design Laurent Pouillard, Romain Bricout, Jonathan Aceituno, Ludovic Po er Hardware design and development Laurent Pouillard, Ludovic Po er Sound design Romain Bricout So ware design and development, user manual Jonathan Aceituno Marke ng and social media María Gómez Sales...
  • Page 61 The above copyright no ce and this permission no ce shall be included in all copies or substan al por ons of the So - ware. THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WAR- RANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUD- ING BUT NOT LIMITED TO THE WARRANTIES OF MER- CHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT.
  • Page 62 Complementary informa on − Redistribu ons in binary form must reproduce the above copyright no ce, this list of condi ons and the follow- ing disclaimer in the documenta on and/or other ma- terials provided with the distribu on. − Neither the name of Paul Mineiro nor the names of other contributors may be used to endorse or promote products derived from this so ware without speci c prior wri en permission.

  • Page 63: Disclaimer

    Our internal so ware uses font Silkscreen, and the PC/Mac editor uses fonts Lato and Font Awesome, all licensed under the SIL Open Font Li- cense. Copyright (c) 2001, Jason Ko ke (jason@ko ke.org), with Reserved Font Name Silkscreen. Copyright (c) 2010-2020, tyPoland Lukasz Dziedzic (lato- fonts.com), with Reserved Font Name Lato.

  • Page 65: Appendix: Module Reference

    Appendix: Module reference This sec on details all modules and parameters that you can encounter in the synth engine of your Anyma Phi. General Module name Label PATCH Patch Global patch parameters VELENV Velocity envelope The envelope used to create the Expression signal...
  • Page 66 Appendix: Module reference PATCH Patch ( Global patch parameters. Volume ( VOLUME ) The volume of the en re patch. 0 to 100% Patch color ( COLOR ) The color of the front panel lights and editor when the patch is selected. −...
  • Page 67 Glide type ( TYPE ) The kind of smooth transi on between notes to use. − Constant-rate Synth-like glide, where the me to get to another note is propor onal to how far away it is. − Constant- me Realis c glide, where the me to get to another note is constant.
  • Page 68 Appendix: Module reference VELENV Velocity envelope ( The envelope used to create the Expression signal from MIDI velocity, when expression or breath control are absent. This module provides two sets of ADSR parameters, one when the MIDI velocity is at its maximum value ( ), and the other when the velocity is at its minimum value ( ).
  • Page 69 Decay me (MinVel) ( DECAY ) The me needed to go from 1 to the sustain level in the decay phase. 0 to 8 seconds Sustain level (MinVel) ( SUSTAIN ) The output level during the sustain phase. 0 to 100% Release me (MinVel) ( RELEASE ) The me needed to go from the sustain level to 0 in the release phase.
  • Page 70 Appendix: Module reference − Max. velocity Use a xed velocity of 127.
  • Page 71 The Main bus takes four inputs: the three oscillators (OSC1 to OSC3), and another audio input, which can be chosed between white noise and a combina on of input ports of the Anyma Phi. The output of the bus is then sent to the reverb, and it is also sent to the Le and Right channels of the audio output depending on the Pan parameter.
  • Page 72 Appendix: Module reference Reverb Send ( REVERB ) The level of the Main bus sent to the reverb. 0 to 100% Pan ( PAN ) The balance of the Main bus output to the le and right channels. 100% Le to 100% Right Audio input Source ( AIN.SRC ) An external source for the audio input.
  • Page 73 The Aux bus takes four inputs: the three oscillators (OSC1 to OSC3), and another audio input, which can be chosed between white noise and a combina on of input ports of the Anyma Phi. The output of the bus is then sent to the reverb, and it is also sent to the Le and Right channels of the audio output depending on the Pan parameter.
  • Page 74 Appendix: Module reference Reverb Send ( REVERB ) The level of the Aux bus sent to the reverb. 0 to 100% Pan ( PAN ) The balance of the Aux bus output to the le and right channels. 100% Le to 100% Right Audio input Source ( AIN.SRC ) An external source for the audio input.
  • Page 75 VERB Reverb ( The reverb e ect at the end of the signal chain. The nal reverb is a mono e ect. It takes its input from the Main and Aux buses, and outputs to both the le and right channels of the audio output.
  • Page 76 Appendix: Module reference Oscillators Module name Label Modal Modal resonator Vibra ng structure simulator String String resonator Vibra ng string simulator Windsyo Windsyo Complex reed-based physical models PLUK Ar n PLUK Simple plucked string BOWD Ar n BOWD Simple bowed string BLOW Ar n BLOW Simple single-reed wind...
  • Page 77 Module name Label PRTC Ar n PRTC Par cle system simulator QPSK Ar n QPSK Telecommunica on data generator...
  • Page 78 Appendix: Module reference Modal Modal resonator ( Vibra ng structure simulator. A modal resonator simulates the resonance of a vibra ng structure by describing how it absorbs or reinforces certain frequencies (or modes) in the input signal. The reinforcements at certain modes sustain the os- cilla ons already present in the excita on sound and give the resul ng sound its mbre.
  • Page 79 Damping ( DAMPING ) The amount of damping on the material, making the sound decay slower or faster. 0 to 100% Posi on ( POSITION ) The posi on of the excita on point on the structure. 0 to 100% Voice count ( VOICES ) The number of voices.
  • Page 80 Appendix: Module reference String String resonator ( Vibra ng string simulator. Simulates the propaga on and re ec on of a wave in a string. The oscillator version of this resonator uses a short burst of noise as its excita on signal, simula ng an impact on the string. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch.
  • Page 81 Posi on ( POSITION ) The posi on of the excita on point on the string. 0 to 100% Voice count ( VOICES ) The number of voices. 1 to 3...
  • Page 82 Appendix: Module reference Windsyo Complex reed-based physical models. O ers a few physical models based on acous c wind instruments. The models have been pre-tuned and designed to o er a complex response similar to exis ng acous c instruments. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch.
  • Page 83 − Reed One − Flute − Duduk − Sylphinet...
  • Page 84 Appendix: Module reference PLUK Ar n PLUK ( Simple plucked string. Simulates a plucked string using a physical model based on the Karplus- Strong algorithm. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator.
  • Page 85 BOWD Ar n BOWD ( Simple bowed string. Simulates a bowed string using a physical model. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 86 Appendix: Module reference BLOW Ar n BLOW ( Simple single-reed wind. Simulates a conical single-reed instrument using a physical model. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 87 FLUT Ar n FLUT ( Simple ute. Simulates a wind instrument excited by an air jet, such as a ute, using a physical model. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator.
  • Page 88 Appendix: Module reference BELL Ar n BELL ( Addi ve bell sound synthesizer. Simulates a bell using a bank of decaying sine waves. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 89 DRUM Ar n DRUM ( Addi ve metal drum synthesizer. Simulates a metal drum using a bank of decaying sine waves with noise. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 90 Appendix: Module reference KICK Ar n KICK ( 808-style kick drum. Produces the typical bass drum sounds found on analog drum machines. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 91 CYMB Ar n CYMB ( 808-style cymbal. Produces the typical cymbal sounds found on analog drum machines. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 92 Appendix: Module reference SNAR Ar n SNAR ( 808-style snare drum. Produces the typical snare drum sounds found on analog drum ma- chines. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 93 Sine Sine wave ( Pure tone without any harmonics. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 94 Appendix: Module reference Triangle wave ( So tone with some odd harmonics. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 95 Square Square wave ( Harsh, rich tone with many odd harmonics. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 96 Appendix: Module reference Sawtooth wave ( Very rich tone with many harmonics. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 97 Ar n SUB ( Waveform with sub-oscillator. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 98 Appendix: Module reference BUZZ Ar n BUZZ ( One to many sine waves. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 99 VOSM Ar n VOSM ( Voice simulator. Produces sounds inspired by early voice simulators. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 100 Appendix: Module reference VOWL Ar n VOWL ( Early speech synthesizer. Produces lo- vowel sounds using simple ltering structures approxi- ma ng the human vocal tract. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator.
  • Page 101 VFOF Ar n VFOF ( FoF vowel simulator. Produces vowel sounds by approxima ng the sound of vocal cords and the ltering structure provided by the human vocal tract. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator.
  • Page 102 Appendix: Module reference HARM Ar n HARM ( Addi ve synthesizer. A bank of 12 sine waves, each tuned at a mul ple of the fundamental frequency, whose amplitude rela onships determines the nal mbre. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator.
  • Page 103 Noise White noise ( A simple white noise generator.
  • Page 104 Appendix: Module reference NOIS Ar n NOIS ( Filtered noise. White noise ltered through a resonant mul -mode lter. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 105 TWNQ Ar n TWNQ ( Resonant noise. White noise ltered through two resonant peak lters with variable dis- tance. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 106 Appendix: Module reference CLKN Ar n CLKN ( Random sample generator. Produces a looped random sample with variable bit depth. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 107 CLOU Ar n CLOU ( Granular cloud generator. Produces random noise grains at various temporal intervals. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 108 Appendix: Module reference PRTC Ar n PRTC ( Par cle system simulator. Produces random noise droplets at various temporal intervals. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the oscillator.
  • Page 109 QPSK Ar n QPSK ( Telecommunica on data generator. Produces sound using a digital modula on method used by fax ma- chines and modems with predetermined data. Keyfollow ( K.FOLLOW ) Whether the oscillator follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the oscillator.

  • Page 110: E Ects

    Appendix: Module reference E ects Module name Label Modal Modal resonator Vibra ng structure simulator String String resonator Vibra ng string State-variable lter Two-stage resonant lter Ladder Ladder lter Four-stage resonant lter Simple EQ Simple equalizer Voltage-controlled ampli er (decreases the level of its input signal) Ampli er A satura ng ampli er Drive...
  • Page 111 Modal Modal resonator ( Vibra ng structure simulator. A modal resonator simulates the resonance of a vibra ng structure by describing how it absorbs or reinforces certain frequencies (or modes) in the input signal. The reinforcements at certain modes sustain the os- cilla ons already present in the excita on sound and give the resul ng sound its mbre.
  • Page 112 Appendix: Module reference Posi on ( POSITION ) The posi on of the excita on point on the structure. 0 to 100% Voice count ( VOICES ) The number of voices. 1 to 3 Keyfollow ( K.FOLLOW ) Whether the e ect follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the e ect.
  • Page 113 String String resonator ( Vibra ng string. Simulates the propaga on and re ec on of a wave in a string. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Send ( SEND ) The level of input sent into the e ect.
  • Page 114 Appendix: Module reference Voice count ( VOICES ) The number of voices. 1 to 3 Keyfollow ( K.FOLLOW ) Whether the e ect follows the controller’s pitch. Pitch (semitones) ( SEMI ) The pitch correc on on the e ect. -64 to +63 semitones Pitch ( ne) ( FINE ) The pitch correc on on the e ect.
  • Page 115 State-variable lter ( Two-stage resonant lter. Filters the input using a classic two-stage lter capable of producing various responses. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals. 0 to 100% Filter mode ( MODE ) The type of lter reponse.
  • Page 116 Appendix: Module reference Keyfollow ( K.FOLLOW ) The amount by which the lter cuto follows the controller’s pitch. -100 to 100%...
  • Page 117 Ladder Ladder lter ( Four-stage resonant lter. Filters the input using a classic four-stage lter with variable resonance. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals. 0 to 100% Filter mode ( MODE ) The type of lter reponse.
  • Page 118 Appendix: Module reference − High-pass HP4 A high-pass lter (-24 dB/oct). − Band-pass BP1 A band-pass lter (-6 dB/oct). − Band-pass BP2 A band-pass lter (-12 dB/oct). − Notch A notch lter. Cuto frequency ( CUTOFF ) The cuto frequency of the lter. 12.26 Hz to 18.82 kHz Resonance ( RESO ) The resonance of the lter.
  • Page 119 Simple EQ ( Simple equalizer. Adjusts the spectrum of the input with simple equaliza on controls. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Send ( SEND ) The level of input sent into the e ect. 0 to 100% Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals.
  • Page 120 Appendix: Module reference Peak gain ( PEAKGAIN ) The peaking lter gain. 0 to 100%...
  • Page 121 Voltage-controlled ampli er (decreases the level of its input signal). Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Level ( LEVEL ) The level of the input signal. 0 to 100%...
  • Page 122 Appendix: Module reference Ampli er ( A satura ng ampli er. Makes the signal louder, simula ng the non-lineari es found in analog ampli ers. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals.
  • Page 123 Drive Overdrive ( Saturates without increasing volume. Makes the signal louder, simula ng the non-lineari es found in analog ampli ers, in a way similar to overdrive guitar pedals. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals.
  • Page 124 Appendix: Module reference XFader Cross-fader ( Balances between two inputs. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Mix ( MIX ) The cross-fading amount (this bus on the le , the other bus on the right). 0 to 100%...
  • Page 125 XFadeD Cross-fader with drive ( Cross-fader with drive controls. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Gain ( GAIN ) The gain applied to the input signal on this bus. 0 to 400% Gain 2 ( GAIN2 ) The gain applied to the input signal on the other bus.
  • Page 126 Appendix: Module reference XFold Cross-folder ( Wavefolds two inputs together. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals. 0 to 100% Gain ( GAIN ) The gain applied to the input signal on this bus.
  • Page 127 RingMod Ring modulator ( Ring-modulates two inputs together. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals. 0 to 100% Gain ( GAIN ) The gain applied to the input signal on this bus.
  • Page 128 Appendix: Module reference XOR modulator ( XORs two inputs together bit by bit. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals. 0 to 100% Gain ( GAIN ) The gain applied to the input signal on this bus.
  • Page 129 CMP modulator ( Cross-modulates two inputs with digital comparison operators. Creates a new signal by applying a comparison operator to each sam- ple of both inputs (�� and �� ). It is possible to cross-fade between the following four algorithms: −...
  • Page 130 Appendix: Module reference Chorus Thickens the input. Mixes the input with slightly delayed versions of itself. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Send ( SEND ) The level of input sent into the e ect. 0 to 100% Dry/wet ( DRY/WET ) The balance between the pre-e ect (dry) and post-e ect (wet) signals.
  • Page 131 Phaser Six-stage phase shi er. Applies a series of six lters that dephase the input, crea ng con nuous mo on in its spectrum. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Send ( SEND ) The level of input sent into the e ect.
  • Page 132 Appendix: Module reference PShiftr Pitch-shi er ( Transposes the input. Raises or lowers the pitch of the input over a given me window. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Send ( SEND ) The level of input sent into the e ect.
  • Page 133 Delay Delay line with feedback and damping. Creates a delayed version of the input. The resul ng output is damped and mixed with the input again to be passed through the delay line, crea ng a feedback loop that can be used to create echoes and various e ects.
  • Page 134 Appendix: Module reference Reverb Mono reverbera on e ect. Simulates the re ec ons and absorp ons of sound waves in a space, such as a room or a cave, making the input more persistent. Bus ( BUS ) Whether to apply the e ect on the Main or Aux bus. Send ( SEND ) The level of input sent into the e ect.

  • Page 135: Modulators

    Modulators Module name Label Envelope Simple envelope generator Simple low-frequency oscillator DAHDSR DAHDSR Envelope DAHDSR envelope generator LFO+ Advanced LFO Advanced low-frequency oscillator with shape and fade-in controls XFORM Xform General-purpose value transform CLAMP Clamp Limit a value to an interval WRAP Wrap Wrap a value around an interval...
  • Page 136 Appendix: Module reference Envelope ( Simple envelope generator. Creates a typical ADSR envelope star ng when a new note is played. A ack me ( ATTACK ) The me needed to go from 0 to 1 in the a ack phase. 0 to 8 seconds Decay me ( DECAY ) The me needed to go from 1 to the sustain level in the decay phase.
  • Page 137 Simple low-frequency oscillator. Creates a periodic sinusoidal control signal at a given rate. Rate ( RATE ) The number of periods of the waveform per second. 0.07 to 142 Hz...
  • Page 138 Appendix: Module reference DAHDSR DAHDSR Envelope ( DAHDSR envelope generator. A slightly more complex version of the classic ADSR envelope, with a variable delay before the a ack phase starts, and a hold phase where the output remains at its maximum value for a variable me a er the a ack phase and before star ng the decay phase.
  • Page 139 Delay me ( DELAY ) The me before the envelope starts its a ack phase. 0 to 8 seconds Hold me ( HOLD ) The me before the envelope starts its decay phase. 0 to 8 seconds Hard reset ( HARD.RST ) Whether the envelope is reset to zero when restarted.
  • Page 140 Appendix: Module reference LFO+ Advanced LFO ( Advanced low-frequency oscillator with shape and fade-in controls. Generates a waveform, such as a sine wave, a square, a triangle, or a random wave, with many possible varia ons. The waveform can pro- gressively appear or disappear, and its phase can be adjusted.
  • Page 141 Fade ( FADE ) The amount of me necessary for the oscilla ng waveform to fully appear (le ) or disappear (right). 0 to 8 seconds; fade-out to the le , fade-in to the right Phase ( PHASE ) The amount of phase of the waveform. 0 to 100%...
  • Page 142 Appendix: Module reference XFORM Xform ( General-purpose value transform. Transforms an input value by applying a series of opera ons. First, the value is constrained between the Minimum and Maximum. Then, a curve is applied to distort it. And nally, the value is smoothed using a slew limiter that can independently smooth the value when it increases or decreases.
  • Page 143 Rise me ( RISE ) The amount of smoothing when the value increases. 0 to 5 seconds Fall me ( FALL ) The amount of smoothing when the value decreases. 0 to 5 seconds...
  • Page 144 Appendix: Module reference CLAMP Clamp ( Limit a value to an interval. Clamps the input between the values indicated by Minimum and Maxi- mum. If the input is less than Minimum, the output will be Minimum. If the input is greater than Maximum, the output will be Maximum. Input ( IN ) The value to use.
  • Page 145 WRAP Wrap ( Wrap a value around an interval. Wraps the input around the interval indicated by Minimum and Maxi- mum. For instance, if Minimum is 0.5 and Maximum is 1, then 0.25 will become 0.75. Input ( IN ) The value to use.
  • Page 146 Appendix: Module reference FOLD Fold ( Fold a value inside an interval. Folds the input inside the interval indicated by Minimum and Maximum. For instance, as the input decreases con nuously below Minimum, the output will increase in mirror un l it reaches Maximum, at which point it will decrease, and so on, so as to always stay between Minimum and Maximum.
  • Page 147 LERP Interpolate ( Cross-fade between two values. Takes two inputs and outputs a point in-between these two values, do- ing a linear interpola on. Input 1 ( IN1 ) The start value. Input 2 ( IN2 ) The end value. Interpola on posi on ( LERP ) The mix between both values.
  • Page 148 Appendix: Module reference LERP4 Interpolate (4-point) ( Interpolate between four points. Interpolates linearly between a series of four points, which can be used to create custom envelopes or waveforms. P1 Posi on ( P1.POS ) The posi on of point P1. 0 to 100% P2 Posi on ( P2.POS ) The posi on of point P2.
  • Page 149 CALC Calculate ( **Perform successive opera ons on a series of values; e.g., (1+2)*3+4.** Input 1 ( IN1 ) An input value. Opera on 1 ( OP1 ) The opera on to apply to inputs 1 and 2. − Add Add both operands.
  • Page 150 Appendix: Module reference − Mul ply Mul ply both operands. − Minimum Take the minimum of both operands. − Maximum Take the maximum both operands. Input 3 ( IN3 ) An input value. Opera on 3 ( OP3 ) The opera on to apply to the previous result and input 4. −...
  • Page 151 CURVE Curve ( Apply a curve to a value. Input ( IN ) The value to use. Shape ( SHAPE ) The shape of the curve to apply. − Log/Exp Log -> Linear -> Exp. − Sigmoid Sigmoid Horiz. -> Linear -> Sigmoid Vert. Amount ( AMOUNT ) The amount of curvature to apply.
  • Page 152 Appendix: Module reference Quan ze ( Reduce the resolu on of a value. Input ( IN ) The value to use. Steps ( STEPS ) The number of di erent possible values of the output. 1 to 127...
  • Page 153 SMOOTH Smooth ( Smooth out the varia ons of a value. Input ( IN ) An input value. Rise me ( RISE ) The amount of smoothing when the value increases. 0 to 5 seconds Fall me ( FALL ) The amount of smoothing when the value decreases.
  • Page 154 Appendix: Module reference ACCU Accumulate ( Accumulate a value or varia ons over me. Input ( IN ) An input value. Gain ( GAIN ) An a enua on factor for the input. 0 to 25% High-pass ltering ( HIPASS ) The amount of high-pass ltering on the input.
  • Page 155 IMPULSE Impulse ( Generate an impulse from a value and a trigger. The output will be at 100% when the trigger occurs, and gradually fall down to zero. Input ( IN ) An input value. Trigger ( TRIGGER ) A trigger used to generate the impulse from the current input value. Fall me ( FALL ) The me for the impulse to fall down to zero.
  • Page 156 Appendix: Module reference COUNT Count ( Count occurrences of a trigger. Trigger ( TRIGGER ) A trigger. Steps ( STEPS ) The number of steps to count. 1 to 127 Wrap-around ( WRAP ) Whether to wrap around when the number of steps is reached. Reset trigger ( RST.TRIG ) A trigger used to reset the count to zero.
  • Page 157 TIME Time ( Measure the me since a trigger. The output will be at 0% when the trigger occurs, and gradually increase to reach 100% in a linear fashion. Trigger ( TRIGGER ) A trigger. Time ( TIME ) The me to reach 100% of the output value. 0 to 8 seconds...
  • Page 158 Appendix: Module reference LATCH Latch ( Capture a value when a trigger occurs. The output will be equal to the input value at the last moment the trig- ger occurred. Input ( IN ) An input value. Trigger ( TRIGGER ) A trigger used to capture the input value.
  • Page 159 Minimum ( Keep the minimum of a value since a trigger. The output will be equal to the minimum value of the input from the last moment the trigger occurred. Input ( IN ) An input value. Trigger ( TRIGGER ) A trigger used to reset to the input value.
  • Page 160 Appendix: Module reference Maximum ( Keep the maximum of a value since a trigger. The output will be equal to the maximum value of the input from the last moment the trigger occurred. Input ( IN ) An input value. Trigger ( TRIGGER ) A trigger used to reset to the input value.
  • Page 161 FOLLOW Envelope follower ( Transforms an audio signal into a smoothed value. The output will follow the amplitude of the selected audio input. Input ( IN ) The audio input source to use. − None − Audio input (Le ) −...

  • Page 162: Mappings

    Appendix: Module reference Mappings Source ( FROM ) The value that will be used to modulate a parameter. Des na on module ( TO ) The module where the des na on parameter is to be found. Des na on parameter ( TO.PARAM ) The parameter to be modulated.
  • Page 163 Scale ( SCALE ) The scale of the mapping amount. 0 to 100% Sidechain ( SIDE ) A value that can be used to modulate the amount. Sidechain amount ( SIDE.AMT ) How much the sidechain modulates the amount. -100 to 100%...
  • Page 164 ©2021 Aodyo. All rights reserved. Aodyo SAS 11B avenue de l’Harmonie 59650 Villeneuve d’Ascq France contact@aodyo.com www.aodyo.com...

Table of Contents