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D16 Group LUSH-2 User Manual

Multilayer polyphonic synthesizer
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User Manual
20 June 2023, 15:45

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Summary of Contents for D16 Group LUSH-2

  • Page 1 User Manual 20 June 2023, 15:45...
  • Page 2 Software AU / VST2 / VST3 / AAX compatible host application (64bit!) Hardware requirements / recommendations are based on estimates performed on available computers at D16 Group HQ, and therefore cannot cover all possible configurations available on the market. CPU usage may vary widely depending on the manner in which the product is used. Factors that may contribute to variance in CPU usage include particular patch and its complexity, the global quality setting, project sample rate.

  • Page 3: Preliminary Information

    PReliminaRy infoRmation • Preliminary information This chapter contains general advice for using the plug-in’s interface. To do a right-click on macOS with single button mice: Either use your mouse click while holding the CTRL key on your keyboard or use two fingers on your touchpad. Checking the value of a parameter Right-click on any parameter to check its value in its context menu: A parameter’s context menu Note: It’s currently not possible to enter a precise value in the input box; it’s just to check the value. Fine-tuning continuous parameters Tweak a control (knob) while holding the CTRL key (on Windows) or Apple CMD key (on macOS) - this will make the tweaking more precise while moving the mouse pointer up and down.
  • Page 4 PReliminaRy infoRmation • Enabling parameters for automation Lush 2 synthesizer has thousands of sound parameters and VST/AU/AAX host automation allows only a handful of automatable parameters so by default all parameters are disabled for automation. Using the parameter’s context menu (described above), you can enable automation for parameters you wish to control externally: A parameter’s context menu Lush 2 works only with specific sample rate values Lush 2 works only with the following sample rate values [Hz]: • 44100 • 48000 • 88200 •...
  • Page 5 intRoduction to lush • Introduction to Lush Lush 2 is a polyphonic subtractive synthesizer. Its structure is based on 8 layers. Each Layer is an independent synthe- sizer with its own parameters and polyphony. Each of the layers can listen to a different MIDI channel and respond to a different keyboard zone. Therefore, the synthesizer works as a multi-timbral instrument where each Layer is controlled via a different MIDI channel. It is also possible to conveniently split a MIDI keyboard into sections, where different Layers listen to different keyboard sections of the same MIDI channel. You can also create complex sound textures by overlapping Layers, where more than one layer listens to the same keyboard zone on the same MIDI channel. Lush 2 allows for convenient mixing of Layers within a custom-designed, built-in Mixer, where we can add final touch- es through parametric equalizers, compressors (one per channel) and 3 built-in send effects. Each of the tracks corre- sponding to one Layer or each of 3 available effect tracks corresponding to 3 send effects can be sent to any of 11 available plug-in outputs. A diagram showing the general signal flow...
  • Page 6 intRoduction to lush • The plug-in GUI looks as follows: The Graphical User Interface At the top of GUI, there is a bar called the Control section: The Control section And below it, we can see the part of the GUI responsible for editing a single Layer (this is the default view, after opening Lush 2 in a host application). The Synthesis view containing a Layer’s parameters...

  • Page 7: Control Section

    contRol section • OptiOns Control section The Control section occupies the top bar of the GUI. The Control section In the Control section, we can distinguish the following groups of controls: Options The Options button allows access to an Options menu. All plug-in settings can be configured from here. The Options button Global preset browser The Global Preset section can load and save Global Presets (this preset type is described later) and adjust Global Preset settings: The Preset Management section for Global Presets Here, we have the following controls: • Global Preset - The text box containing the name of the currently loaded Global Preset. Clicking the display opens a browser to load and manage presets (more on that in the Preset Management part of the manual). •...

  • Page 8: View Selector

    contRol section • Layer seLectOr Layer selector The Layer Selector contains three rows of buttons to select a Layer for editing (first row - Select), turn the Layer on/off (second row - Enable) and mute / solo the Layer (third row - Mute). Above this, there is a row of Padlocks for locking individual Layers, preventing overwrite of selected Layer parameters when a Global Preset is loaded. The Layer Selector View selector Buttons for switching the View: The View (tab) selector • Synth - Edits a selected Layer’s sound parameters. • Modulation Matrix - Edits a selected Layer’s modulation matrix. • Mixer - Mixes and combines the sound from all Layers together. Master volume Master Volume knob - controls the overall volume of the output sound coming from Lush 2.
  • Page 9 contRol section • GLObaL preset settinGs This window will appear: The Global Preset Settings window Here, you can manage the MIDI Zones and transposition (MIDI tab), and choose how Arpeggiators interact with each other across the Layers (Arpeggiator tab). MIDI tab Zone editor In the MIDI tab, we can easily and conveniently edit which MIDI zones different Layers will respond to. Each keyboard Zone is defined as a complete range between two notes. The lower note defines the beginning and the higher note defines the end of the Zone. The Zone editor is arranged in rows, where each row represents a single Layer. The MIDI Zone editor When you hover over a zone, two small dots will light up on either side: Editing a Zone You can drag the dots using the mouse pointer and set the beginning or end of each zone. You can also hold the rectangle in the middle using the mouse pointer and move an entire zone left and right.
  • Page 10 contRol section • GLObaL preset settinGs Zone learn Additionally, the Zone Learn function is available: The Zone Learn function We can use it to define a Zone directly from the MIDI keyboard: Press the Zone Learn button. Click to select a row in the Zone Editor, which will turn orange. The plug-in is now ignoring Channel settings in Options, instead listening to all MIDI channels and waiting for two MIDI note messages. When you press two keys on your MIDI keyboard, either simultaneously or one by one, the plug-in will automati- cally set the beginning and end of a Zone, taking the lower note as the beginning and the higher note as the end. You can repeat steps 2 – 4 if you want to set up MIDI Zones for more than one Layer. Press Zone Learn again to deactivate the function. Transposition Next to the Zone Editor, the Transpose column can perform transposition for each Layer: The Layer Transposition column This column lists the Transposition parameters from all Layers in single place for convenience, so changes here will be reflected as changes in the synthesis view also: The Layer transposition parameter...
  • Page 11 contRol section • GLObaL preset settinGs Arpeggiator tab The Arpeggiator tab - Global Preset Settings This section contains only one setting: Arpeggio Sync Mode. If we use the Arpeggiator on more than one Layer, Arpeggio Sync Mode defines how the Arpeggiators communicate or synchronize across Layers. The timers for Arpeggiators in Layers can work independently or together according to specific criteria. If the timers of two or more Arpeggiators are joined together, the first Arpeggiator triggered (Master) generates a master timing signal simultaneous- ly while generating its sequence of notes. The other Arpeggiators will be synchronized to this. In other words, subse- quent triggered Arpeggiators (Slave) will generate a note sequence(s) quantized / synchronized with a timing signal generated by the Master Arpeggiator. Arpeggio Sync Mode defines the criterion by which Arpeggiators in Layers are grouped together. Within a single group, the first Arpeggiator triggered becomes the Master. We can select one of the following criteria: •...

  • Page 12: Layer Parameters

    layeR PaRameteRs • GLObaL preset settinGs Layer parameters We access Layer parameters by clicking the Synth button in the Control section: The View (tab) selector They are displayed in the main part of GUI: The Synthesis view, containing a Layer’s parameters From the 8 available, we can select the Layer we want to edit using the Layer selection buttons in the Control section: The Layer selector...
  • Page 13 layeR PaRameteRs • GLObaL preset settinGs In a single Layer, we can distinguish between the following groups of controls: • Layer [No.] - Browse presets for individual Layers and transpose them The Layer Presets browser • Voices - Polyphony management The Voices section • FX Rack – For processing the Layer’s outgoing signal through two insert effects The FX Rack section • Layer Out - To make final touches before the signal goes into the Mixer The Layer master • A set of sound parameters to generate the sound The Layer’s sound parameters •...
  • Page 14 layeR PaRameteRs • the Layer’s tOp bar The layer’s top bar At the top of Layer parameters, you will find this section: The Layer control parameters You can find there: Layer preset browser The Layer Preset Browser section: The Layer Preset Browser Presets in Lush 2 can be created and stored on a few levels of hierarchy, either for specific groups of parameters or for all parameters; they can be created for a single Layer or for a combination of all 8 Layers, and they can also be created for additional parameters such as Mixer send settings. Single Layer presets are called Layer Presets and presets for a combination of Layers are called Global Presets, and because these are stored in hierarchy, a Global Preset can load up Layer Presets within it.
  • Page 15 layeR PaRameteRs • the Layer’s tOp bar In this section, we can edit Polyphony and Portamento settings for the Layer: • Polyphony - Choose up to 32 voices of Polyphony for the selected Layer. If the number of voices is equal to 1 then the Layer will play in Mono mode. • Portamento - Only available with Mono mode (Polyphony = 1). Turn the knob to control Portamento time, which is the time of smooth pitch slide between two successive notes. The radio group to the right controls the Porta- mento mode and it has three values: • Off - Portamento is off. • Always - Portamento is always on (for overlapping and non-overlapping MIDI notes). • Legato - Portamento works only for overlapping MIDI notes. Unison Voices - Unison settings Unison mode makes the Layer play a single note with a few voices of Polyphony at the same time, in which each voice has slightly varied settings (for Tune, Panorama and/or its Filter’s cutoff). By default, Unison mode is turned off (value of Unison at 1). Increasing the value of the Unison LED display turns on Unison, and the Spread knobs become active. •...

  • Page 16: Sound Synthesis

    layeR PaRameteRs • sOund synthesis Voice settings panel Polyphony mode - Polyphony for the Layer is limited by the number of voices allocated; if Polyphony is too small then previously played and sustained sounds will be stopped by new incoming MIDI notes. This will be most noticeable for sustained phrases and/or for sounds with longer release times. In Lush 2, we can choose how notes should be distribut- ed among available voices of polyphony; that is to say, the order in which voices should be assigned to incoming notes and later released. There are two modes built-in: • First played first released - (Default value) This is analogous to a queue of notes where the first note in a sustained sequence will be also the first one released - a method inspired by Korg’s analogue synthesizers. • First played last released - Voices management is done in a way similar to a stack, where the note previous to any new note will be the first released - this method was inspired by Roland’s analogue synthesizers. Sound synthesis Lush 2 is a subtractive synthesizer and the signal flow control does not differ substantially from most compact hardware or software synthesizers on the market. It encompasses all the elements and components widely used in modern synthesizers. The Synthesis parameters Oscillators Lush 2 has four oscillators: •...
  • Page 17 layeR PaRameteRs • sOund synthesis Oscillators mixer Oscillators can be mixed together proportionally, set by sliders placed in the Voltage Controlled Oscillator (VCO) section: Synthesis - VCO mixer Starting from the left side, sliders in this section are responsible for: • Volume of Square oscillator with adjustable pulse width • Volume of Sawtooth oscillator • Volume of Suboscillator • Volume of Noise generator A VCO diagram...
  • Page 18 layeR PaRameteRs • sOund synthesis Oscillator’s independent Voltage Controlled Amplifier (VCA) Clicking the Envelope icon in the VCO section: Accessing the Independent VCA We get access to the Independent VCA panel. An individual VCA panel It’s possible to modulate the volume of individual oscillators with a modulation Source; the source browser box above the oscillator faders allows you to choose one of either two available Envelopes or two available LFOs. The Volume Mod buttons below it select which oscillators should be affected. A diagram showing the oscillators’ independent amplitude modulation by selected Source...
  • Page 19 layeR PaRameteRs • sOund synthesis The oscillators’ waveform options Clicking the sine wave icon in the VCO section: Accessing the VCO modifiers panel We get access to the VCO Waveform Options panel. The VCO modifiers panel SuperSaw The SuperSaw mode is controlled by one button and two knobs. SuperSaw mode • Super - Activates and deactivates SuperSaw mode and the following parameters: • Amt - Sets the effect strength; the bigger the value is, the more saw oscillators are added. • Detune - Sets the detune value between additional saw oscillators. Note: Please note that SuperSaw and Hard Sync cannot work simultaneously. If you turn on Hard Sync mode, SuperSaw will be automatically disabled.
  • Page 20 layeR PaRameteRs • sOund synthesis SuperSaw is a function of the Sawtooth oscillator, therefore the amplitude of SuperSaw is controlled by Sawtooth’s volume fader in the VCO section. The VCO’s sawtooth volume Suboscillator waveform The Wave display: The Suboscillator’s waveform This chooses one of the five available waveforms for the Suboscillator: • Square with 50 / 50 pulse width, one octave below base frequency • Sawtooth, one octave below base frequency • Square with 50 / 50 pulse width, two octaves below base frequency • Sawtooth, two octaves below base frequency •...
  • Page 21 layeR PaRameteRs • sOund synthesis Oscillators’ hard restart option Oscillators’ hard restart The Osc Reset (Oscillators Hard Restart) option is turned off by default. If activated, a given Layer’s oscillators’ phases (VCO) are reset each time a new note is played. The Legato (overlapping notes) in monophonic mode is an exception, where a new incoming note does not reset oscillator phases, even with OSC Reset activated. VCO settings Clicking the Cog icon next to the VCO label, you can access the VCO Settings panel. The Cog icon in the VCO section The VCO settings panel From here, you can control the Pitch Drift option, which is a random, wandering pitch change that affects each oscilla- tor independently. It gives the characteristic of an unstable vintage analog synth. The greater the value, the bigger the drift; a value of 0 (default) means no drift at all.
  • Page 22 layeR PaRameteRs • sOund synthesis Pulse width modulation The Pulse section The three parameters in the Pulse section are responsible for controlling the pulse width of the first oscillator in the VCO section: • Width - Controls the pulse width of the square wave. • Mod - Decides the amount of pulse width modulation by a modulation source. • Source - Selects the modulation source: LFO1, LFO2, ENV1, ENV2. A PWM diagram Hard sync Usually, Hard Sync requires two oscillators; one of them restarts the period of the second one. The Master oscillator has a constant frequency based only on a MIDI note’s frequency; the Slave oscillator has a frequency based on note frequency, varied by additional modulation sources (like Envelope or LFO). In Hard Sync mode, the Master oscillator, as it reaches the end of its phase, also restarts the Slave oscillator’s phase. In Lush 2, Hard Sync is achieved using a second hidden oscillator for Pulse and Sawtooth generators. Hard Sync can be controlled and activated in the Hard Sync section of the GUI.
  • Page 23 layeR PaRameteRs • sOund synthesis • Sync - Activates and deactivates Hard Sync. • Offset - Decides frequency offset of the slave oscillator. • Mix - Crossfades between the Slave oscillator, and the mixed 50 / 50 Slave and Master oscillators. When Hard Sync is enabled, the pitch modulation (Mod fader in Pitch section) affects the Slave’s oscillator frequency only. Envelope generators - ENV1 and ENV2 Envelopes can be used for controlling the signal amplitude, filters, sound pitch or pulse width. We have two generators at our disposal in the Layer parameters section. Their controls are located in sections: ENV1 and ENV2. ENV1 and ENV2 sections These are classic ADSR generators with four parameters: •...
  • Page 24 layeR PaRameteRs • sOund synthesis We have the following values to choose from: • Trig - Each incoming note to Lush 2 re-triggers the Envelope. • Gate - A note re-triggers the Envelope if no other note is currently playing. Therefore, overlapping notes do not re-trigger (Mono only). • LFO1 - The Envelope is re-triggered when a new period of LFO1 starts. • LFO2 - The Envelope is re-triggered when a new period of LFO2 starts. Trig and Gate affect played notes differently in Mono mode (Polyphony = 1); however, in Poly mode (Polyphony > 1) there is no difference between the practical operation of Trig and Gate. A diagram demonstrating the retriggering of an Envelope Invert The Envelope can be inverted on its y-axis using the Invert option. A diagram for positive (straight) and negative (inverted) envelopes...
  • Page 25 layeR PaRameteRs • sOund synthesis Depending on the Invert button’s state, the envelopes are straight or inverted. The envelope’s Invert button LFO1 and LFO2 In the Layer parameters section, there are two multipurpose Low Frequency Oscillators, with control parameters for each located in sections LFO1 and LFO2 of the GUI: LFO1 and LFO2 sections Both LFOs can be used for controlling sound pitch, filter parameters, pulse width or sound amplitude. There are two main parameters for an LFO: • Waveform - Clicking the display we can choose one of 5 available waveforms: • Triangle • Square • Sawtooth • Random • Noise • Rate - Defines the frequency of the LFO, except for the Noise waveform which isn’t affected by frequency.
  • Page 26 layeR PaRameteRs • sOund synthesis Tempo synchronization By default, the Sync parameter is set to Off. An LFO’s Sync parameter With Sync set to off, the LFO’s Rate is expressed in Hz (tempo independent units). If you set the Sync parameter to any other value, the Rate will be expressed in notation values relative to the host application tempo: 32, 16, 8, 4, 2, 1 bars, 1/2 , 1/4 , 1/8 , 1/16 and 1/32, and the Sync parameter will select the rhythmic modifier for the Rate: • Full note •...
  • Page 27 layeR PaRameteRs • sOund synthesis In Poly mode (Polyphony > 1), the behavior of Trig or Gate is the same, because in both cases the LFO is reset for every incoming note. A diagram demonstrating the retriggering of an LFO Extra parameters Clicking the Wave icon or Waveform display, we get access to an LFO’s additional parameters: Accessing an LFO’s extra parameters...
  • Page 28 layeR PaRameteRs • sOund synthesis Once we open the panel, here’s what we see: An LFO’s extra parameters We can adjust the LFO with the following controls: • Waveform - Clicking the display, we can choose one of 5 available waveforms: • Triangle • Square • Sawtooth • Random • Noise • Invert - Inverts the LFO’s waveform. • Phase - Adjusts the LFO’s phase shift from 0 to 360 degrees. Filters Lush 2 has two serially connected filters. • The first is a multi-mode resonant filter (Low-pass, Band-pass and High-pass). • The second is a High-pass filter with a characteristic RC analogue filter. In the HPF section, we have only one parameter and this controls the second of those two filters (High-pass); FRQ – the cutoff frequency of the High-pass filter.
  • Page 29 layeR PaRameteRs • sOund synthesis In the Filter section, we have access to parameters that control the multi-mode resonant filter: The multi-mode resonant Voltage Controlled Filter (VCF) From the left, respectively: • Type - We have three available filter types to select from: • LP - Low-pass, • BP - Band-pass, • HP - High-pass. • 101 Mode - When disabled, the overall peak volume of the filter output is constant across the Cutoff Frequency and Resonance domain and the Filter itself is softer in comparison to SH-101 characteristics. When enabled, the Filter is more unstable and analogue, like with faithful emulation of self-oscillations appearing in SH-101. • FRQ - Sets the filter cutoff frequency. • ENV1 - Sets the depth of modulation for the cutoff frequency by Envelope 1. • ENV2 - Sets the depth of modulation for the cutoff frequency by Envelope 2. •...
  • Page 30 layeR PaRameteRs • sOund synthesis Pitch parameters and modulation In the Pitch section on the GUI, we have a set of parameters that control the influence of the Envelopes or LFOs on the frequency of oscillator in the VCO section. The Pitch section Starting from the left, the first two parameters control pitch tracking: • Freq - Sets the absolute frequency of the VCO (from 20 Hz to 8 kHz); this parameter works only when Track is turned off (described below). • Track - (Turned on by default) Takes the pitch of incoming midi notes into account when a sound is generated. If we turn off the Track, the pitch of incoming midi notes is ignored by Lush 2 and the frequency is constant (controlled by the Freq parameter). In consequence, no matter what key we press on the keyboard, the sound will have exactly the same frequency. A pitch frequency tracking diagram Next, we have a column with another two parameters: •...
  • Page 31 layeR PaRameteRs • sOund synthesis Amplitude modulation – VCA The VCA section selects the way amplitude is modulated. The VCA section The Source switch is responsible for selecting the generator: • ENV1 - Selects ENV1 to control sound amplitude. • ENV2 - Selects ENV2 to control sound amplitude . • Gate - Selects the Gate signal to control sound amplitude, i.e. an incoming MIDI Note On message generates positive slope (sound amplitude has maximum value) and MIDI Note Off message generates negative slope (sound amplitude is zero). • Product - Selects the product of two modulators to control sound amplitude. We can select which modulators are used in the displays below: Product sources Each display allows you to select one of the following modulators: LFO1, LFO2, ENV1, ENV2. A VCA amplitude modulation diagram...
  • Page 32 layeR PaRameteRs • sOund synthesis Wheel and bend sections These two sections allow you to change the effect of the modulation wheel and/or pitch bender on the filter’s and/or oscillator’s frequencies. The Wheel and Bend sections • Bend - Sets the pitch bender to control the oscillator’s frequency and/or filter cutoff frequency. There are two parameters: • VCO - Sets the range across which the pitch bender will affect the oscillator’s frequency (independently for bender up and down positions, expressed in half-tones.cents). • VCF - Sets the range across which the pitch bender will affect the filter cutoff frequency (independently for bender up and down positions, expressed in half-tones.cents). • Wheel - Allows the modulation wheel to control the depth of effect of LFO1 on the oscillator frequency and/or filter cutoff frequency. We have the following parameters: • VCO - Sets the depth of modulation for the oscillator’s frequency by LFO1’s output - gives a vibrato effect controlled by the modulation wheel. • VCF - Sets the depth of modulation for the filter frequency by LFO1’s output. Note: Please note that the Waveform of the LFO1 output for the wheel section is always triangular.

  • Page 33: Insert Effects

    layeR PaRameteRs • insert effects Insert effects Two insert effects (working in-chain) can be used per Layer: The FX Rack We are able to select one of the available FX Algorithms: • Chorus • Flanger • String Ensemble • Phaser • Vowel Filter • Distortion • Decimator • Tremolo Or just turn off the insert effect (for Layer) - by selecting None as an Algorithm. To choose the effect you need, pull down the menu by clicking the Algorithm box. Each of the insert effects has its own set of parameters to control. To access those parameters, pull down the FX Rack panel using the button with three dots in the header: Opening the FX Rack panel The FX knob in each of two insert effects controls the mix between processed and unprocessed signals leaving the effect: The FX knobs...
  • Page 34 layeR PaRameteRs • insert effects Chorus Insert effect – Chorus • Rate - Controls the rate of the LFO for the chorus’ delay line. • Depth - Controls the amplitude of the LFO for the delay line. • Fat - Uses a single delay line when disabled. While enabled, another delay line is added to the effect (two delay lines) to get a richer sound. • Stereo - Controls the LFO for the stereo phase shift on delay lines between left and right channels. Flanger Insert effect - Flanger • Rate - LFO frequency • Depth - Depth of flanger effect • Feedback - Flanger feedback • Invert - Inverts flanger feedback (negative loop instead of positive) String ensemble This is a combination of chorus and phaser effects.
  • Page 35 layeR PaRameteRs • insert effects • String Mode – Chorus work mode: • Light – Low depths of LFOs controlling delay lines. • Heavy – High depths of LFOs controlling delay lines. • Stereo - Sets phase shift between stereo channels. • Phaser - Turns on/off the Phaser in String Ensemble. • Rate - Rate of the Phaser LFO. • Depth - Amplitude of the Phaser LFO. • Color - Turns resonance on and off for the Phaser effect. Phaser Insert effect - Phaser • Rate - LFO frequency. • Depth - LFO amplitude. •...
  • Page 36 layeR PaRameteRs • insert effects • Vowel Stack - Controls the position of the Vowel Filter in a vowel list; the LFO oscillates around this position. A vowel set diagram • Above the fader, we see a vowel list with five elements, which can be modified by the user. You can cycle through each vowel element with mouse clicks. Each position can choose between five vowels: A, E, I, O, U. • Vocal Tract - Selects one of the available vocal timbres. • Rate - Sets the frequency of the LFO controlling the Vowel Filter. • Depth - Sets the depth of the LFO controlling the Vowel Filter. • Reso - Resonance. Distortion Insert effect - Distortion • Dynamics - Sets the amount of compression before distortion. Higher values mean more compression and a less dynamic signal.

  • Page 37: Master Section

    layeR PaRameteRs • Master sectiOn Tremolo Insert effect – Tremolo • Waveform - Selects the tremolo’s LFO waveform (Sine or Triangle). • Rate - Sets the rate of the tremolo effect. • Depth – Sets the depth of the tremolo effect. • Stereo - Sets the tremolo stereo phase shift between Left and Right channels. Master section There are three available parameters: A Layer’s master section • Fine - Allows precise (fine) pitch tuning of oscillators in the Layer. • Volume - Adjusts Layer output volume. • The 440 Hz button generates a test signal - a sine wave with 440 Hz frequency (middle A key). The Level VU meter indicates the Layer’s output signal level. Arpeggiator Lush 2 has a very advanced Arpeggiator section. Just like other modules in the Layer, this also works independently for each Layer. This means that for every Layer, the Arpeggiator can be activated or not. The Arpeggiator section is located...
  • Page 38 layeR PaRameteRs • arpeGGiatOr An Arpeggiator section In the top area, there is a preset management system for the Arpeggiator. You can store your own settings for this section or load prepared ones: Arpeggiator - Preset Management Here, we can distinguish the following set of controls: • Preset - Shows the name of the currently loaded preset. Clicking the display opens a browser to load, save and manage presets (more on that in the Preset Management part of the manual). • Copy (icon) - Copies parameters from the currently selected Layer’s Arpeggiator into a buffer. • Paste (icon) - Pastes parameters from the buffer onto the selected Layer’s Arpeggiator. The parameters below control the Arpeggiator: • Rate - Sets the rhythmical value of a single step in the Arpeggiator sequence: 1 bar, 1/2 , 1/4 , 1/8 , 1/16 , 1/32 and 1/64. Additionally, with the help of three radio-button LEDs, Full / Dot / Tri, we can modify the rhythmical value of the Rate parameter: •...
  • Page 39 layeR PaRameteRs • arpeGGiatOr • Hold Mode - Typically, Hold Mode causes an Arpeggiator sequence to constantly play even if MIDI keys are no longer held on the keyboard. Successively pressed keys will be added to the Arpeggiator sequence; in other words, incoming MIDI Note off messages are ignored. In Lush 2, we have a few Hold Modes to select from: • Toggle - In this mode, the MIDI keyboard works in Toggle Mode; pressing one key adds a corresponding note to the Arpeggiator’s sequence and pressing the same key once again removes the note from the sequence. • Trigger - When keys are pressed on the keyboard, their corresponding notes are added to the sequence. When we press and hold, for example, two keys, they are added to a sequence, even if we release one of them, and two notes are still in-queue (playing). Even if we release all pressed keys, the sequence will still play; however, if we press any notes again on the MIDI keyboard, the notes previously played are removed from the sequence, and the new ones pressed will be added to the sequence immediately. • Normal - Hold Mode works regularly (as described above). • Off - Hold Mode is inactive. • Clear Keys - Removes all notes from the Arpeggiator sequence which were added earlier with Hold Mode, irrespective of the chosen Hold Mode. Using the Clear Keys button while holding CTRL performs the action for all Layers in Lush 2.
  • Page 40 layeR PaRameteRs • arpeGGiatOr Arpeggiation examples Let’s assume the following values for the Arpeggiator’s parameters: • Octaves = 1 oct • Mode = Up • Repeat = 1x • Rate = 1/16 (full) To get an Arpeggiator that sounds regularly, we have to set all the LEDs in the Gate row and disable all the LEDs in the Tie row. For a C-min chord pressed on the MIDI keyboard, the sequence will look as follows: Arpeggiator - example 1 diagram We can slightly modify the Gate row and as a result get the following sequence: Arpeggiator - example 2 diagram If we instead slightly modify the Tie row, we will receive this sequence: Arpeggiator - example 3 diagram...

  • Page 41: Modulation Matrix

    modulation matRix • arpeGGiatOr Modulation matrix Modulation Matrix is a tool that increases the expressivity of the sound by allowing the user to alter Layer sound parameter values using MIDI events. Each Layer in Lush 2 contains its own independent Modulation Matrix. To edit the Modulation Matrix, click the Modulation Matrix button in the Select View section. The Select View section After doing so, you will see the Modulation Matrix view in the front panel of Lush 2: A Layer’s Modulation Matrix As you can see, the Control section in the top part of the GUI is still visible and accessible, making it possible to switch between Layers and edit the Modulation Matrix for each without leaving the Modulation Matrix view. The Modulation Matrix in Lush 2 is displayed in a tabular form, in which the following columns can be distinguished: The Modulation Matrix row •...
  • Page 42 modulation matRix • arpeGGiatOr • Pitch Table - Values (range [0 - 1]) of Pitch Table (see the Pitch Table chapter) assigned to each and every MIDI note, • Arp Gate - Gate step sequence from a Layer’s Arpeggiator (sequence has two-state steps and, because of that sequence, each step can have one of two values; {0,1}), • Arp Tie - Tie step sequence from a Layer’s Arpeggiator (sequence has two-state steps and, because of that sequence, each step can have one of two values; {0,1}). • Destination - The destination parameter to be modified. Each Source -> Destination assignment is represented by a user-assignable Modulation Amount value ranging from -100% to 100%. A Modulation Amount dial Operating a Modulation Matrix is based on a formula: Destination + Source * Modulation Amount Where: •...

  • Page 43: Voice Volume - A Special Destination Parameter

    modulation matRix • Voice Volume - a sPecial destination PaRameteR To remove a row, use the adjacent X button: Modulation Matrix - removing a row When you hover over a row with the mouse pointer, you will see up and down caret icons that you can use to reorder rows: Modulation Matrix - reordering rows Voice volume - a special destination parameter In the Destination column, we have a specific parameter available which can be selected, namely Voice Volume (almost at the bottom of the pulldown list). This parameter has no equivalent in any of the GUI parameters. It controls the volume of a single voice generated by the synthesizer. Using it as the Destination in the Modulation Matrix enables a dynamic response between the incoming MIDI velocity and the volume of the plug-in’s sound. This parameter works according to a slightly different formula than other Destinations in the Modulation Matrix. When the Modulation Amount value is set to 0, the Voice Volume is not modified at all (voices will lack volume dynamics). When Modulation Amount is set to 1, the MIDI Note Velocity affects the Voice Volume to full extent (maximum volume dynamics) in accordance with a principle: the greater the Velocity of a MIDI note, the louder the generated sound. But if we set the...
  • Page 44 modulation matRix • aRP gate, aRP tie - sPecial modulation souRces The diagram below shows an example of how settings of the Arpeggiator Gate and Tie rows correspond to sequences of Arp Gate and Arp Tie Sources in the Modulation Matrix: Modulation Matrix - Arp output example diagram Note: Arp Gate and Arp Tie Sources work even if the Layer Arpeggiator is turned off (Arpeggiator Mode parameter set to Off).

  • Page 45: Velocity Curve

    modulation matRix • VeLOcity curVe Velocity curve Next to the Modulation Matrix table, you can find the Velocity Curve selector: The Velocity Curve selector This allows you to select between seven different dynamic curves to be taken into account in the Modulation Matrix (Velocity Source). • Convex 3 • Convex 2 • Convex 1 • Linear • Concave 1 • Concave 2 • Concave 3 Linear is selected as default. Sustain pedal mode Below, you can find the Sustain Pedal toggle button: The Sustain Pedal mode switch...
  • Page 46 modulation matRix • pitch tabLe • Disabled - (Note not sustained) Sustain pedal works in the Modulation Matrix only. • Enabled - (Note sustained) Selected by default; sustain pedal fulfills its basic function and sustains played notes when pressed and can also be used as a Source for the Modulation Matrix. Pitch table Switching to the Pitch Table tab in a Modulation Matrix will bring up the Pitch Table editor: The Pitch Table tab There is a graph situated in the Pitch Table tab that assigns a certain value in the range of [0 - 100%] to each MIDI Note coming into the Layer. This set of values is used in the Modulation Matrix as the Source: Pitch Table. The Pitch Table column in Modulation Matrix sources Depending on the MIDI Note received by Lush 2, a corresponding value is returned as a Pitch Table value in the Modulation Matrix.
  • Page 47 mixeR • Mixer In Lush 2, we have 8 independent Layers; each of them is actually an independent synthesizer with its own set of parameters, completely separated from the others. You can combine and mix the sound from all the Layers together in the Mixer view. The View selector After clicking the Mixer button, the Mixer view appears on the front panel of Lush 2: The Mixer view The first 8 channel strips represent the synthesizer Layers. The three following channel strips are the effect (FX) channels with three send effect algorithms permanently assigned to them (one each): • Reverb • Delay • Chorus Each of those send effects has its own set of parameters and a preset management system. Each Mixer channel (Layer or FX) can be routed to one of the eleven available plug-in outputs. A diagram showing signal flow through the Mixer...

  • Page 48: Layer Channel Strip

    mixeR • Layer channeL strip Layer channel strip Before the outgoing signal from a Layer is mixed with signals from other Layers, it passes through a channel strip. Mixer – a Layer’s channel strip Starting from the top of the channel strip, we can distinguish the following controls: • Display with Layer preset name - Displays the name of the loaded Layer preset. Clicking the display opens a browser to load, save and manage presets (more on that in the Preset Management part of the manual). • Edit - Opens a panel with additional parameters for the strip. • Output - Selects the output channel the Layer’s outgoing signal is routed to after processing. • Pan - Controls a Layer’s stereo balance. • Level - Controls the output volume of the channel strip; the adjacent VU meter shows current outgoing signal level. •...
  • Page 49 mixeR • Layer channeL strip Opens up the Edit panel with additional parameters for the channel strip: Strips’ Edit panel Here, we have parameters controlling a dedicated compressor and parametric EQ: • Compressor • ENV - Selects one of the three available fixed envelopes using a radio group of three LEDs: • Fast - Fast attack, slow release. • Mid - Medium attack, medium release. • Slow - Slow attack, fast release. • Ratio - Selects one of three available fixed compression ratios using a radio group of three LEDs: • • • 1:10 • Threshold – Sets the compressor threshold. • Parametric EQ • Hi - Sets high-shelf gain from -24 dB to +24 dB for frequencies >= 8 kHz. •...
  • Page 50 mixeR • fX channeL strips Channel strip signal flow per layer The diagram below depicts the signal flow through a channel strip: A diagram showing signal flow through a layer’s channel strip FX channel strips Send knobs control the amount of signal from each Layer that is sent to each FX channel; they can be found in the Sends sections of Layer channel strips. The input of an FX channel is a sum of all parts from all sent Layers. Each FX channel is assigned to one effect algorithm (Reverb, Delay or Chorus) and then it goes through any further EQ or compression specific to the send. The 3 FX channel strips The FX channel, apart from having an assigned effect algorithm, contains few other (common) elements affecting the sound: The common FX channel controls...
  • Page 51 mixeR • fX channeL strips • Preset name - Displays the name of the loaded preset for a particular effect (each FX channel has its own preset management system to store effect algorithm presets). Clicking the text box opens a browser to load, save and manage presets (more on that in the Preset Management part of the manual). • Edit - Opens the Edit panel for the FX channel. In each strip, only the most commonly-used parameters are exposed. Opening the Edit panel shows all parameters available. • Output - Sets the plug-in output number to route the FX channel output to (1 - 11). • Pan - Panorama. • Level - Controls the amplitude of the FX channel output signal. • EQ - Enables and disables parametric EQ (hidden in the strip’s Edit panel). • Comp - Enables and disables the Compressor (hidden in the strip’s Edit panel). • Enable [effect name] - (The button at the bottom) Enables and disables the effect algorithm associated with a particular FX channel. Edit panel Clicking the Edit button in an FX channel strip: Accessing Edit panel Opens up an Edit panel with additional parameters for the channel strip:...
  • Page 52 mixeR • fX channeL strips The general part of an edit panel In the general part of an Edit panel for FX channels, we can see the following set of parameters: The common parameters in an Edit panel for FX channels Here, we have parameters controlling a dedicated Compressor and parametric EQ: • Compressor • Attack - Selects one of the three available fixed envelopes using a radio group of LEDs: • Fast - Fast attack, slow release. • Mid - Medium attack, medium release. • Slow - Slow attack, fast release. • Ratio - Selects one of three available fixed compression ratios using a radio group of LEDs: •...
  • Page 53 mixeR • fX channeL strips Reverb The first FX channel is Reverb; its parameters are located in a strip on the right side of the channel. The Reverb parameters in the FX channel strip Only a handful of settings are exposed and the rest can be accessed by pressing the Edit button. The Reverb parameters accessible from the Edit panel Here, we can distinguish the following groups of parameters: • Early reflections: • Size - Sets the room size for early reflections only. • Diffusion - Sets the reflecting surface’s ability to spread the echo out. If this parameter is set to its lowest value, the reflecting surface is perfectly flat and does not distort the reflected wave. If set to its highest value, the reflecting surface distorts waves and spreads them out in different directions. • Attenuation - Changes the characteristic of the wall’s surface - its absorption of high frequencies.
  • Page 54 mixeR • fX channeL strips • Late reflections: • Size - Sets the room size for late reflections only. • Diffusion • Attenuation • Feedback - Controls how much wave energy is consumed by reflection. The smaller the value, the more energy is consumed, meaning the feedback is weaker. • Modulation - Controls the reverb delay lines’ continuous variation. • Mix: • Pre delay - Sets the delay between the dry signal and reverberation. • ER / LT - Cross-fades between early reflections output and late reflections output. Delay The second FX channel is Delay; its parameters are located in a strip on the right side of the channel. The Delay FX channel strip Only a handful of settings are exposed and the rest can be accessed by pressing the Edit button. The Delay parameters accessible from the Edit panel The following parameters control the Delay effect:...
  • Page 55 mixeR • fX channeL strips Loop section Sync - Turns on/off synchronization with the host application. When off, the delay time is set by a Delay knob, other- wise it’s set using the two LED displays (Delay L and Delay R): • Delay - Sets the delay time in milliseconds. This control works only when Sync is turned off (non-tempo synchro- nized delay). • Delay L / Delay R - Sets the delay by note values (relative duration), when in tempo synchronization mode (Sync turned on). We can set these values separately for left and right channels: The tempo-based delay time panel There are separate LED displays for both left and right channels (L, R). The numbers on the top are numerators; on the bottom - denominators. The entire fraction represents a note value, which is a delay time between the taps. The denominator is a rhythmic scale (e.g. 16 means it’s a 16th note), the numerator is a multiplier; for example, 3/16 is a duration time of three 16th notes: A 3/16th delay time diagram •...
  • Page 56 mixeR • fX channeL strips Filter section • Feedback - Sets feedback value of the Delay effect. • Cutoff - Sets the cutoff frequency of the filter in the delay loop. • Resonance • Filter Type - OFF (no filter), LP (low-pass filter), BP (band-pass filter), HP (high-pass filter). Chorus The third FX channel is Chorus; its parameters are located in a strip on the right side of the channel. The Chorus FX channel strip All Chorus parameters are accessible and none are hidden in an Edit panel. We can distinguish the following set of parameters: • Offset - Sets the offset between the dry signal and the closest LFO oscillations controlling the delay lines, expressed in milliseconds. • Depth – Sets the amplitude of LFO oscillations, expressed in milliseconds. • Rate - Controls LFO frequency [0.01 Hz - 20 Hz]. The LFO waveform is triangular. •...
  • Page 57 MIDI channels MIDI messages from different channels can be sent to specific Layers in Lush 2. To set which MIDI channels each Layer within Lush 2 responds to, just click the Options button and go to MIDI -> Channels Setup: Opening the MIDI Channels Setup window When you do so, the Channels Setup window will appear: The MIDI Channels Setup window Using combo boxes, you can choose whether a Layer should respond to Any MIDI channel or to a particular one (1-16). This setting is stored within a DAW project. MIDI output By default, Lush-2 bypasses the MIDI messages it receives, meaning every MIDI event that goes into the plug-in is also sent out from the plug-in (which you can use to feed another MIDI track). If this functionality causes issues with your DAW (such as creating unwanted MIDI loopbacks) you can disable Lush-2 MIDI Output by clicking the Options button and unchecking the MIDI -> Enable MIDI Out option.
  • Page 58 oPtions • Midi and paraMeter autOMatiOn The Enable MIDI Out option MIDI learn Right-click any plug-in parameter to open the context menu: A context menu Left-clicking outside the menu area closes it automatically. Clicking the bottom arrow expands the menu and displays all available options: An expanded context menu Linking a parameter to MIDI CC The Learn function enables a quick assignment of physical controllers (from a MIDI controller) to plug-in parameters. Click the Learn button to put the plug-in into a pending state before moving any MIDI CC controller. Once the CC is recognized, click OK to save the change or click the Cancel button to restore the previous setting. Linking a parameter to MIDI CC...
  • Page 59 oPtions • Midi and paraMeter autOMatiOn Unlinking a parameter from MIDI CC You can also delete a MIDI CC code attributed to a parameter from the context menu: From the context menu, click the Clear button: The Clear MIDI CC button Then confirm using the OK button. Loading / Saving a MIDI CC Map These options are available in the MIDI submenu, accessible under Cog icon in the left-upper corner: The Load Map and Save Map options • Save Map - Saves the current MIDI CC map to a file. • Load Map - Loads a MIDI CC map from a stored file.
  • Page 60 oPtions • Midi and paraMeter autOMatiOn Loading and saving an automation template Once you enable the desired parameters for automation, you can save the automation map as a template to load later on in another plug-in instance. The Host Automation options Click the Options button and go to the Host Automation menu to see the following options: • Load Template - Loads an automation map from a file. • Save Template - Saves current plug-in state as a new automation map file. MIDI / automation summary Once you have enabled some parameters for automation or assigned them (using MIDI Learn) to MIDI CC, you can check the current status of that assignment using MIDI / Automation Summary option in Options menu: The MIDI / Automation Summary menu option Using this option will bring up the MIDI / Automation Summary window: The MIDI / Automation Summary window This shows the list of parameters enabled for automation (with the respective IDs they are assigned to) and/or the MIDI...
  • Page 61 oPtions • The Size, System Scale and Theme options are accessible from the GUI submenu under the Options menu in the upper- left corner of the plug-in. With these, you can adjust the look of the plug-in to suit the pixel density and resolution of your screen, and make some tweaks to the look. The GUI Size and look options Size This option lets you choose one of several default skin sizes to best match the plugin to the resolution of your computer monitor. System Scale System Scale controls the rescale factor for the whole plug-in. For the best visual results, you should set it to the exact value from your system settings (screen properties). Theme The Theme allows you to choose skin color variant according to your preference Hide Keyboard The GUI -> Hide Keyboard option allows you to hide the music keyboard, which saves more space on the screen: The Lush 2 music keyboard...

  • Page 62: Quality Settings

    oPtions • QuaLity settinGs Quality settings The Quality submenu under Cog icon in upper-left corner allows to choose sound quality for Real-time or Offline modes. Quality settings The higher the quality, the bigger the impact on the CPU. Processing Under the Options -> Processing submenu we can find two items: The Processing submenu in Options • Multi Core Support - Increases performance on multi-core processors. • Retrigger Mode - Decides how the Reset parameter works for Envelopes with monophonic sounds. Multi core support According to most plug-in format specifications, plug-ins process sound using a single thread unless multithreading is enabled in the host DAW. Plug-ins with a large demand for processor resources can significantly use it up, so Lush 2 allows you to activate multi-core support; this lets the host DAW generate sound using the many processor cores available in most systems. Enabling the Multi Core Support option activates multi-thread processing in the plug-in and allows the available processor cores to evenly share the workload, removing bottlenecks in the general processor’s use. A multi-core processor is a necessary prerequisite for using this option, otherwise the processor’s load may even increase. Retrigger mode This allows you to switch the envelope retrigger mode while Polyphony = 1 (monophony) and within the envelope Reset mode on Trig.

  • Page 63: Default Settings

    oPtions • defauLt settinGs Default settings You can save your current settings so that the plug-in will default to them for each new instance, or restore the plug- in to load with its factory settings. Changing default settings Click the Cog icon in the left-upper corner of the plugin. Go to the Default State submenu and choose the Save current option. Changing the default state of the plug-in With this option, the current plug-in state will be saved as the default / initial state for when you insert a new instance of the plug-in. The plug-in state includes: sound parameters (default preset), views, preset filters, sound quality settings, loaded / created MIDI CC map and GUI settings. Restoring factory defaults To return the default state for new instances to factory settings: Click the Cog icon in the left-upper corner of the plugin. Go to the Default State submenu and choose the Restore factory option.

  • Page 64: Preset Management

    PReset management • preset stOraGe Preset management Preset storage Presets, both from Factory content and User ones, are stored as files in proper locations on the disc. Each time a plug-in instance is loaded into a project, these locations are scanned and the presets found there are consolidated into a single linear structure (list) in the Preset Browser. Preset structure The presets structure in Lush 2 is hierarchically organized; there are five kinds of presets, which store different groups of parameters. • Layer presets - Stores the following parameters: • Voices section, • FX Rack section, • Layer Out section, • All parameters from the Synthesis section, • Modulation Matrix, •...
  • Page 65 PReset management • padLOcks A diagram showing preset structure in Lush 2 Padlocks Padlock is a functionality that lets you lock a certain set of parameters when a preset is loaded; values of locked param- eters will not be altered. There are two kinds of Padlocks in Lush 2, with a different range of effect: • Layer Padlock - a Layer Padlock covers all Layer parameters (including the Arpeggiator in a particular Layer) and locks them only when loading Global Presets. This kind of Padlock will not work if we try to load a Layer Preset or an Arpeggiator Preset. The Layer Padlocks To activate Padlocks for selected Layers, click on the Padlock icons (in the Control section) that correspond to any Layers you want to lock. Padlock icons work in toggle mode. •...

  • Page 66: Browsing Presets

    PReset management • brOwsinG presets Browsing presets The Preset management section (no matter what kind of preset it concerns) enables quick navigation and browsing of the preset structure: The Preset management section • PRESET - Displays the name of the currently loaded preset. Clicking the display opens the Preset Browser panel, allowing you to browse factory / user presets. • Prev / Next - Hovering over right side of the Preset display exposes the Prev / Next buttons: They allow for linear browsing of the presets list (depending on currently set filters - see sections below). • Save - Saves current parameters as a new preset or allows for overwriting of the existing one (see sections below). Right-clicking over the Preset display opens a context menu with two or three additional options: • Init - Restores initial settings of plug-in parameters. • Reload - Reloads the most recently loaded preset. • Save – See description above.
  • Page 67 PReset management • brOwsinG presets Sources In this section, you can choose a Source / Source(s) that you want to browse presets from. Preset Sources There are two resources to choose from: • Factory - Delivered together with the plug-in and cannot be modified (read-only). • User - Created by the user and can be freely modified or shared with other users. Choosing any of them will cause the results to narrow to the presets from one resource. Filter The section below is the Filter, which represents a preset filtering system using Groups and Tags to browse the content. The Filter section Groups and tags Each Preset is described by a few common Groups. Within each of them there may be one or more Tags from a particu- lar set. The Filter group Presets from the Factory resource were assigned Groups and Tags when they were created. Groups and Tags describe the content clearly, taking into account the plug-in’s purpose. Editing of the Groups and Tags for Factory content is limited. User presets can be described with the same Groups and Tags as Factory content, or you may define additional Tags within factory Groups and even create your own Groups with your own Tags to describe your own presets.
  • Page 68 PReset management • brOwsinG presets Results This is a list of presets from chosen Sources that meet the filtering criteria. The basic function of this section is to browse and load presets. It can also be used for editing, which is described later. The Results list • Click any name to choose and load the preset. • Double-click the name to choose, load the preset and close the browser. Hitting the OK button confirms loading a preset and closes the browser. Using Cancel closes the browser but reverts all parameter changes that loading a new preset might have caused. The OK and Cancel buttons in the browser Using the X icon has the same effect as the OK button: Close Browser window...
  • Page 69 PReset management • brOwsinG presets Preset filtering using Groups and Tags The Filter section contains Groups of Tags. Each Group is represented by a rectangle with the Group name + set of Tags inside. Group 2 with two tags set (Tag 2 and Tag 3) The filtering process cascades from top to bottom. This means that all presets available in the selected Sources are filtered by selected Tags from the first Group (uppermost one), then the Group below and so on, until filtered by the last active Group (the bottom one). Preset Filtering with the use of Groups The result of the cascade filtering process is listed in the middle column, the Results / presets list section. You can also consider the Results list as an intersection of preset sets, found by filtering through every individual Group. Basic Actions Tags work as toggle buttons. Click to activate / deactivate a Tag; a gray background color means that the Tag is inactive, and orange means that the Tag is active.
  • Page 70 PReset management • brOwsinG presets The Operator button works in toggle mode and offers a choice of two alternative Operators for the Group: • - Means that a preset is shown in the Results when the preset includes at least one of the active Tags from the Group. • - Means that a preset is shown in the Results only when the preset includes all active Tags from the Group. Filter enable / disable You can quickly enable / disable the Filter using the toggle switch in the top-most section of the Filter: An On/Off switch for a Group Filter Other types of filtering Searching by name Alternatively, you can look for a preset by entering its name or just a piece of its name into the Find preset field: The Find preset input The Results are refreshed on-the-fly and they work together with the other filters. Using the X icon clears the entire field: Clearing the search field Filtering Favorite presets You can mark presets as a Favorite by clicking the Heart icon while hovering on preset name . You can unmark...
  • Page 71 PReset management • brOwsinG presets The flag is stored globally, meaning that a Favorite preset will be accessible as such from every other instance of the plug-in Once you have your Favorite presets flagged, you can quickly filter them using the toggle button with a Heart icon on it: Favorite presets filtering If the button is active, then only Favorite presets will be shown (considering all remaining filters). Filtering Pinned presets You can Pin one or more presets using the Pin icon while hovering over a preset name . You can unpin a preset by clicking the icon again (toggle mode): Pinning a preset on the list Unlike Favorites, this flag works locally and it’s stored with the project file (not global config), so Pins are stored individ- ually for every instance (with total recall, so a plug-in state is recalled if saved in the context of a project). But, similarly to Favorites, you can easily filter presets using the toggle button with the Pin symbol on it: Pinned presets filtering If the button is active, then only Pinned presets will be shown (considering all remaining filters). Sometimes project or plug-in reload may be required It’s allowed for every source (factory or user)
  • Page 72 PReset management • brOwsinG presets Info pane The column to the right shows information about the selected preset or presets. It also provides access to some of the preset editing functions. The Info pane There’s a preset name at the top. The Preset name in the Info pane Additionally, if you’ve selected more than one preset there’s information about how many more have been selected: Selecting more than one preset...
  • Page 73 PReset management • brOwsinG presets Below the preset(s) name there are few common sections describing selected presets: • Tags • Author • Description Browser’s visual adjustments Folding sections If you don’t need to see the contents of every section / subsection, you can fold some of them up using the Caret icons: Sections folded up Resizing columns You can use the three-dotted handles to change a column’s width to your preference. Resizing Browser columns...

  • Page 74: Editing Presets

    PReset management • editinG presets Editing presets You can perform certain actions on presets, such as adjusting Groups and Tags, deletion, renaming the presets as well as their export or import. One should bear in mind, however, that some operations are only allowed on user presets but not on Factory content. Preset selection for Edit Some operations can be done on more than one preset, so you’re allowed to select more than one preset at once; in the Results section, you can choose a preset or a set of presets in the following ways: • Click a preset - Selects (and loads) one preset from the list. • Win ( + Click the preset ), Mac ( + Click the preset ) - Adds another preset to an already chosen Ctrl preset or a set of presets. • Shift + Click the preset - Selects a range of presets from the last chosen preset to the preset clicked with the Shift key. •...
  • Page 75 PReset management • editinG presets Preset deletion Once you have selected one or more presets, right-click to open the context menu and select the Delete items option: Deleting presets Alternatively, you can use the Trash bin button in the Info pane to delete selected presets: The Trash bin button Tags editing When you select a preset or presets to change their tags, click the Pencil button next the Tags section in the Info pane to enter Edit mode for the Tags: Entering the Tag edit mode Or Delete option (depending on how many presets have been selected).
  • Page 76 PReset management • editinG presets With the Edit mode enabled, you will see all possible Groups and Tags available for the preset(s): The Tag Edit mode Tag buttons work in toggle mode, much like filtering. Clicking them either sets or erases a Tag for a chosen preset. If a Tag is set for a preset, it is indicated by an orange background color, whereas if a Tag is not set, it has a gray background color. If you choose multiple presets with existing tags, Tag buttons will appear orange if a specific Tag appears in all selected presets, and gray if it appears in none. When a specific Tag is set only for a few of the selected presets, it appears as half-gray and half-orange. Tags appearing only in part of selection Changing the Tag status for one or more chosen presets sets or erases this Tag in all these presets. A status change is signaled by an Asterisk to the left of a Tag. A Tag with a status change Tag buttons highlighted in half-gray and half-orange color (where Tag values across the highlighted presets aren’t all the same) workin a three-state system when switching between states; they turn gray if you erase the Tag for all selected presets, orange if you set the Tag for all selected presets, and return to half-gray and half-orange if the selected items remain unchanged or are returned to their initial state.
  • Page 77 PReset management • editinG presets Author editing When you select a preset or presets to change the Author, click the Pencil button next the Author section in the Info pane to enter the Edit mode for the Author field: Editing Author Once you’ve finished editing the field, confirm the operation using the OK / Cancel buttons: Confirming Author editing This operation is possible for user content only. Description editing When you select a preset or presets to change the Description, click the Pencil button next the Description section in the Info pane to enter the Edit mode for the Description field: Editing Description Once you’ve finished editing the field, confirm the operation using the OK / Cancel buttons: Confirming Description editing This operation is possible for user content only.
  • Page 78 PReset management • editinG presets Setting presets as Favorites As described in the chapters above, you can mark a preset as a Favorite by clicking the Heart icon while hovering over the preset name: Setting a preset as a Favorite The flag is stored globally, meaning that a Favorite preset will be accessible as such from every other instance of the plug-in It’s also possible to perform the operation for a selection of presets. After you select the desired presets in the Results window, right-click on the presets to open a context menu: Setting Favorite presets from the context menu And select the Set favorite option. To clear Favorite flags for the selection of presets, use the Clear favorite option instead. Pinning presets You can Pin one or more presets using the Pin icon while hovering over the preset name: Pinning a preset Unlike Favorites, this flag works locally and it’s stored with the project file (not globally). This means the Pins are stored individually for every instance (with total recall, so a plug-in state is recalled if saved in the context of a project).
  • Page 79 PReset management • editinG presets It’s also possible to perform the operation for a selection of presets. After selecting the desired presets in the Results window, right-click on the presets list to open the context menu: Pinning presets from selection And select the Pin option. To clear the Pin flag for a selection of presets, use the Unpin option instead. Preset exchange If you want to make a backup, or exchange a preset with a collaborator, you can export / import selected presets. Export Select a preset or presets that you’re going to export and drag-and-drop them outside your DAW into a location you’d like to store them: Exporting presets The presets will be saved as individual files (one per preset) in the plug-in’s native format.
  • Page 80 PReset management • creatinG custOM taGs and GrOups structure Import If you’d like to import preset files, you can drag-and-drop preset files from where they’re stored, into the preset browser: Importing presets They will be automatically imported as user presets. Creating custom Tags and Groups structure Adding custom Tags Users are allowed to add their own custom Tags to both their own content and factory content. To add a new Tag to an existing filter Group, click over the Group’s name to pull down a menu and select the Add Tag option Adding a new Tag You can do this either in the Info Pane (right column, while the Tag edit mode is enabled) or Filter (left column). This operation is allowed for a user’s Groups only...
  • Page 81 PReset management • creatinG custOM taGs and GrOups structure Editing custom Tags There are a few edit options available for a user to perform on their own Tags, which are available by right-clicking a Tag’s name in the Filter section: The Filter section You will see a context menu with all the available options: Editing options for a user Tag • Rename - Changes the name of a Tag. • Move to - Moves a Tag to another Group. • Remove - Deletes a Tag. The menu is accessible only for a user’s own Tags. Adding custom Groups You can add a custom filter to Groups by clicking the Filter label and selecting the Add Group option from the pull-down menu: Adding a user Group Tags from other Groups.
  • Page 82 PReset management • creatinG custOM taGs and GrOups structure Editing custom Groups There are a few edit options available for a user to perform on their own Groups. Click on a Group’s name in the Filter section: The Filter section You will see a context menu with the following options: Edit options for a user Group • Add Tag - Adds a new tag to the Group (described earlier). • Rename - Changes the Group’s name. • Remove - Deletes the Group, possible only when all Tags in the Group have also been removed. • Move up - Moves a Group up in the Filter. Possible unless the Group is already the topmost one. • Move down - Moves a Group down in the Filter. Possible unless the Group is the last one. These operations are possible only on user Groups. Groups in the Filter are ordered with Groups from Factory content first, then user groups below. You can edit user Groups in either the Info Pane (right column, while Edit mode for Tags is enabled) or Filter (left column).
  • Page 83 Requirements ..................... 2 The general part of an edit panel ..........52 Preliminary information ................... 3 Reverb ................... 53 Introduction to Lush ..................5 Delay ..................... 54 Control section ....................7 Loop section ................. 55 Options ......................7 Filter section ................ 56 Global preset browser ................7 Chorus ..................56 Layer selector ..................... 8 Options ........................ 57 View selector ....................

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