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AAS Tassman User Manual

Modular software synthesizer based on physical modeling
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USER MANUAL

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  • Page 1 USER MANUAL...
  • Page 2 Program Copyright c 2000-2007 Applied Acoustics Systems, Inc. All right reserved. Tassman is a Trademark of Applied Acoustics Systems DVM Inc. Windows 98, 2000, NT, ME, XP and DirectX are either trademarks or registered trademarks of Microsoft Corporation. Macintosh, Mac OS, QuickTime and Audio Units are registered trademarks of Apple Corporation.

  • Page 3: Table Of Contents

    Introduction ........55 The Tassman Player ........55...

  • Page 4: Contents

    CONTENTS Audio Device Settings ....... . 57 MIDI Settings ........57 Latency Settings .
  • Page 5 CONTENTS 6.14 Bowed String ........80 6.15 Breath Controller .
  • Page 6 CONTENTS 6.46 Multimode ........106 6.47 Multi-sequencer .
  • Page 7 CONTENTS 6.78 Slider ......... 139 6.79 Static Delay .
  • Page 8 CONTENTS 7 Toolbar Instrument Display ........163 Performance Display .

  • Page 9: Introduction

    Tassman uses no sampling or wavetable, it just calculates the sound as you play in accordance to the controls it receives. For example, if you choose to hit a plate with a mallet, the Tassman simulates (1) the impact of the mallet at a particular point, (2) the resulting displacement of the plate due to wave motion (taking into account the geometry and physical parameters of the plate related to its material), and (3) sound radiation at a particular listening point.

  • Page 10: System Requirements

    1.1 System requirements you need. Before discussing the Tassman in more detail, we would like to take the opportunity to thank you for choosing an Applied Acoustics Systems product. We hope that you have as much fun playing with the Tassman as we had developing it! 1.1 System requirements...

  • Page 11: Authorization And Registration

    After launching the installer for the first time, a pop-up window will appear asking you if you wish to authorize your product now or later. If you are ready to authorize Tassman now, click on the Next button otherwise click on the Authorize Later button. If your computer is connected to the internet, we recommend that you authorize your product now.

  • Page 12: Step 2: Generating The Response Key And Registering Your Product

    1.3 Authorization and Registration Figure 1: Choosing to authorize Tassman now or later. Figure 2: Enter your serial number in the pop-up window. 1.3.2 Step 2: Generating the Response key and Registering your Product If your computer is connected to the internet, click on the link to the A A S web server appearing in the pop-up window.
  • Page 13 1.3 Authorization and Registration Figure 3: Challenge key appears automatically after entering the serial number. Figure 4: Enter your registration information on the A A S webserver. The next form asks you to provide additional information about yourself including your mailing address and phone number.

  • Page 14: Step 3: Completing The Unlock Process

    In order to complete the unlock process, copy the response key and paste it into the corresponding field of the installer window of Tassman. If you obtained your response key from another computer, type the response key by hand in the installer window.
  • Page 15 1.3 Authorization and Registration Figure 6: Final step of the unlock process. Enter your response key in the window. Figure 7: Authorization has been successful. On Mac OS computers, this will only be necessary if: You change your computer You change the motherboard of the computer...

  • Page 16: Obtaining Your Response Key And Registering By Fax Or Over The Phone

    Whether you’re new to the world of soft synths and computer music production, or are a seasoned industry professional, the Tassman is sure to be a source of creative inspiration, and offer up hours of virtual knob twiddling fun.
  • Page 17 MIDI menu - MIDI Settings - This menu lists all of the available MIDI ports installed on your system. Select the port or ports you wish to use and click OK. Tassman can receive up to 16 simultaneous channels of MIDI data.
  • Page 18 As was mentioned earlier, the Tassman has been designed to meet the needs of a wide range of users. Similarly, the included synths and presets have been created to cover an equally wide range of tastes.

  • Page 19: Using Tassman As A Plug-In

    9am to 6pm EST. Whether you’ve got a question regarding a new synth you are building, or need a hand getting the Tassman up and running as a plug-in in your favorite sequencer, we’re here to help. Contact us by phone, fax, or email at:...

  • Page 20: Forum And User Library

    1.6 Forum and User Library The A A S community site contains the Tassman user forum, a place to meet other users and get answers to your questions. The community site also contains an exchange area where you will find presets for your A A S products created by other users and where you can make your own creations available to other users.

  • Page 21: Tutorials

    The main section of the Builder is the construction area on which you will make your patch. The Browser at the left, contains all the folders needed in Tassman. You will find the Imports, Instrument, Modules and Sub-patches folders.
  • Page 22 Figure 8: Tutorial 1, step 1 Playing To play and hear the instrument you need to display the Tassman Player view. In the View menu choose the Show Player command which will switch to the Tassman Player view. You can now see the playing interface of the two modules you have connected in the Builder.
  • Page 23 Playing Now switch back to the Tassman Player. To hear the effect of the LFO, turn the mod1 knob of the VCO to the right and you will start to hear the frequency varying. The mod1 knob is simply a gain knob that adjusts the effect of the input signal by multiplying it by a gain.
  • Page 24 2.1 Tutorial 1. A Simple Analog Synth fine knobs on the VCO panel. The speed of the vibrato can be adjusted with the frequency knob on the LFO panel, the oscillation of the red LEDs on the panel giving you an indication of the speed of the vibrato.
  • Page 25 2.1 Tutorial 1. A Simple Analog Synth Figure 10: Tutorial 1, step 3 and you will hear the sound become brighter as the cutoff frequency increases (to hear the effect you can use any waveform from the VCO except the sine wave, which only has one frequency component).
  • Page 26 2.1 Tutorial 1. A Simple Analog Synth Figure 11: Tutorial 1, step 4 Playing The amplitude of the modulation signal is controlled with the mod1 gain knob on the filter panel. As you turn this knob to the right you will start hearing the effects of the cutoff frequency variations. This cutoff frequency increases with the amplitude of the modulation signal.
  • Page 27 We will now add two last modules to our patch, a Volume and a Level meter. These modules do not produce sound, but are very useful for monitoring the output from a synth and they appear in practically every instrument made with the Tassman. Construction Select the Level module from the Output folder in the In/Out section of the Browser and the Volume module from the Envelopes section and then place them in the construction area.

  • Page 28: Tutorial 2 Playing A Synth With A Keyboard

    2.2 Tutorial 2 Playing a Synth with a Keyboard Figure 13: Tutorial 1, step 6 Step 7: Saving your synth We will conclude this example by saving the instrument you have just made. To save a patch, use the Save Instrument or Save Instrument As command from the File menu.
  • Page 29 It is assumed in this tutorial that you have a MIDI keyboard which can be connected to your computer. This is, of course, the best way to take full advantage of the Tassman. This is not a limit, however, since there are lots of things to do with the Tassman even without a keyboard. In the next tutorial we will replace the Keyboard module by a Sequencer module.
  • Page 30 2.2 Tutorial 2 Playing a Synth with a Keyboard signal output corresponds to the highest note played when one or more keys are pressed and to the last key played when no key is pressed. In order to change the pitch of the VCO, remember that the mod1 gain knob of the first modulation input of the VCO must be turned to the right.
  • Page 31 2.2 Tutorial 2 Playing a Synth with a Keyboard Playing Make sure the mod1 knob of the VCO is in its center position. You should now be able to play melodies on your keyboard with the sound going on or off as keys are pressed and released. Step 3: Add an ADSR Description Now that we are able to trigger the sound with the keyboard, we would like to be able to shape the...
  • Page 32 2.2 Tutorial 2 Playing a Synth with a Keyboard Playing The ADSR can shape the amplitude in many different ways. This is one of the most important components in the characterization of a sound. For example, a piano sound has a completely different envelope than does a violin or a trumpet.
  • Page 33 This method has the further limitation of allowing you to tweak only one knob at a time. Tassman, however, allows you to link all the controllers on the front panel of the Player to any hardware MIDI controller (such as a modulation wheel, sustain pedal, breath controller or a knob box).
  • Page 34 LFO on the VCO. As you move the wheel, observe that the mod2 knob also moves on the screen. Remember that any knob of the interface on the Tassman Player can be linked to any controller. You can, furthermore, link as many interface controls as you want and you can move them simultaneously.
  • Page 35 You can now start playing with the synth again, it now has four voices of polyphony. Note When you create a polyphonic patch, the Tassman duplicates the modules appearing between the Polykey and Polymixer as many times as there are voices of polyphony. Although only one polyphony line will be mapped on the player (since the voices all share the same controls) other modules have indeed been created.
  • Page 36 2.2 Tutorial 2 Playing a Synth with a Keyboard voices. You can also try to move some elements out of the polyphonic section. For example, instead of using a filter at the end of a polyphonic section, you can connect the output of the Polymixer to the input of a filter.

  • Page 37: Tutorial 3 Using A Sequencer

    In this tutorial, we will use the same synth again as this will give us the oppor- tunity to create a sub-patch and to include it in the Tassman module library. There are combinations of modules that you will be using often or even some instruments that you will want to use as a basis for constructing other instruments.
  • Page 38 2.3 Tutorial 3 Using a Sequencer Step 1: Creating a sub-patch Description We will use the synthesizer we constructed in the first tutorial and define it as a sub-patch to use in our new patch. This operation involves four steps. First, the modules that will constitute the sub-patch must be selected.
  • Page 39 2.3 Tutorial 3 Using a Sequencer Figure 19: Tutorial 3, step 1 Step 2: Using a sub-patch Description The sub-patch you have just created appears in the Sub-Patch section of the Browser. It can be used just like any other module, this will enable you to connect it to other modules in the construction area.
  • Page 40 2.3 Tutorial 3 Using a Sequencer Figure 20: Tutorial 3, step 2 Playing You have now connected the sequencer to your synth and are ready to play. In the next step you will learn to use the Sequencer. You can view the internal connection of the new library module by right-clicking (PC) or Ctrl+double-click (Mac) on the module in the construction area.
  • Page 41 2.3 Tutorial 3 Using a Sequencer remain silent). The 16 steps are displayed in one row, each step representing a sixteenth-note. A pattern can be of any length between 1 and 16 steps. To set the loop, click on the loop button below the step you want the loop point to be.

  • Page 42: Tutorial 4 Playing With Acoustic Objects

    We will now build an instrument with modules simulating acoustic objects such as plates, strings and mallets. The acoustic objects included in the Tassman library react just like their real physical counterparts. The Tassman, however, allows you to do things that would be impossible to achieve...
  • Page 43 2.4 Tutorial 4 Playing with Acoustic Objects Figure 21: Tutorial 4, step 1 Playing The Noise Mallet module can be triggered by the output signal from another module, but it can also be triggered manually by clicking on the trig button from its front panel (which is how we will use this object for the moment).
  • Page 44 Pull one wire between the output of the Plate module and the input of the Volume module. Pull a wire between the output of the Volume module and the input of the Audio Out and the Level module. Launch the Tassman Player with the Ctrl-T/Apple-T shortcut. Figure 22: Tutorial 4, step 2 Playing Now click on the trig button of the Noise Mallet and you will hear the sound of the Plate being hit by the mallet.
  • Page 45 Plate module. Pull a wire between the third output of the Vkeyboard (velocity signal) and the second and third inputs of the Noise Mallet. Switch to the Tassman Player. Figure 23: Tutorial 4, step 3 Playing You can now trigger the mallet from the keyboard.
  • Page 46 2.4 Tutorial 4 Playing with Acoustic Objects different velocities and note how the sound of the plate changes as the excitation signal varies. In this configuration, the higher the velocity the higher the strength of the impact and the stiffer the mallet.
  • Page 47 Step 5: Playing with presets We now conclude this tutorial with some presets that we have made for you. To try them, load the following presets from the tutorials/tutorial4/Step4 folder of your Tassman browser. patch4 4 1 In this preset, the first Plate has a very short decay time, so you only hear it on the initial thump of the sound.

  • Page 48: The Tassman Builder

    Very rapidly you will be able to construct the instruments you have always dreamed of. And that’s not all! The architecture of the Tassman is entirely modular, which makes it a powerful evolutionary creation tool. As you create patches, you can save them as sub-patches and then reuse them in another patch just like any other elementary module.

  • Page 49: Creating An Instrument

    Builder. For more information on the functioning of a module or the controls ap- pearing on its front panel, please consult the reference section of this manual or its online version, which can be opened from the Tassman Help menu. 3.2 Creating an instrument Choosing modules The first step in creating an instrument consists in adding the modules it will be made from.
  • Page 50 3.2 Creating an instrument An Audio Out module must always be included in your patch. You can save an unfinished patch without an Audio Out, but you will not be able to play the instrument. Connecting modules Modules have a certain number of inputs (on the left of the module) and outputs (on the right of the module) which are used to exchange signals between modules.
  • Page 51 The first editable field is the name of the module. By default the name given to a module is made out of the module type followed by an integer. You can choose any name you like for the module. The name you choose will appear on the module front panel in the Tassman Player.

  • Page 52: Setting Midi Links

    View Menu (or use the Ctrl-T/Apple-T shortcut). 3.3 Setting MIDI Links Every control of every module that appears on the module front panel of the Tassman Player can be linked to an external MIDI controller. To link a control to a specific MIDI controller, choose the Edit MIDI Links command from the MIDI menu.

  • Page 53: Making Polyphonic Instruments

    A very powerful feature of the modular or “building-block” architecture of the Tassman is that you can define patches as new modules of the Tassman library. This means that you can reuse patches you have already made in new patches. Using sub-patches is very useful if you often use the same combination of modules in many patches.
  • Page 54 It might be useful to document a sub-patch so that you will have a reminder of its purpose or functioning when you use it in another patch. To have text appear in the help area of the Tassman Builder when you select a sub-patch.

  • Page 55: The Tassman Player

    4 The Tassman Player 4.1 Introduction The Player is the view used by the Tassman to play instruments. It appears on the screen as an instrument front panel with knobs, buttons, sliders and switches which you can tweak to play the instrument.

  • Page 56: Tweaking Knobs

    Remember that the keyboard shortcuts only affect the most recently selected controller. The value of the controller currently selected is displayed on the toolbar at the top of the Tassman win- dow. The number displayed on the counter is a value corresponding to the setting of the controller currently selected.

  • Page 57: Audio Device Settings

    Select Learn MIDILink. Move a knob or slider on your MIDI controller (this can be a keyboard, a knob box or any Device that sends MIDI). This will link the control of the Tassman to the MIDI controller you just move.
  • Page 58 0 corresponds to the Tassman Player controller minimum position (left position for a knob) and a value of 1 to the Tassman controller maximum position (right position for a knob). Note that the range of knob can be inverted by setting the value of Maximum Value to a smaller value than that of Minimum Value.

  • Page 59: Latency Settings

    Roughly, the total latency is due to three factors: the time taken by the sound card driver to send MIDI signals to the Tassman, the time taken by the Tassman to compute the requested number of sound samples and finally the time taken by the sound card driver to send back the sound samples to the card and play them.

  • Page 60: Output Effect Stage

    The output effect stage is always displayed in the top row of the Tassman. This effect stage is added to each Tassman synth and allows one to add effects to the sound, record on the fly, export loops as wave or aiff files for further processing and control the tempo and sync sources (internal or sync to host) of sequencer or effect modules.
  • Page 61 When the Tassman is used as a plug-in in a host sequencer and the ext source is chosen, the clock signal will be that sent by the host sequencer while in standalone mode the clock will be the one received on the MIDI channel selected in the Player toolbar.

  • Page 62: Performances

    Master Recorder This section is used to record the output of the Tassman to a wave or aiff file. The eject button, is used to choose the name and location of the destination file and it should always be used before starting a recording.

  • Page 63: The Browser

    (more on performances in Chapter 4. Playing the different performances is certainly the best way to explore the wide sonic possibilities of the Tassman. To load a performance, simply double click on the green icon.

  • Page 64: The Modules Folder

    The Import and Export commands, found in the File drop down menu, allow one to easily exchange synths with other Tassman users, or decrease the number of synths in your Browser by archiving older or rarely used instruments elsewhere, on CD-R, or a second hard disk for example.

  • Page 65: Customizing The Browser

    Presets - May appear within an instrument, sub-patch, or module file. While this all may seem a little convoluted on paper, the Tassman’s browser performs in very much the same way as various other programs you use everyday. The most important thing to consider when organizing your synths, sub-patches, and presets within the Browser is how you feel comfortable working.

  • Page 66: Browser Filters

    The Import and Export commands, found in the File drop down menu, allow one to easily ex- change presets and MIDI maps with other Tassman users. This feature can also be used to decrease the number of elements in the browser by archiving older or rarely used ones elsewhere, on CD-R, or a second hard disk for example.

  • Page 67: Restoring The Factory Library

    Section 5.9 and creates a new preset database containing only the factory presets and MIDI maps. The next time you open Tassman, the browser will be in exactly the same state as when you first installed the application.

  • Page 68: Specifications For Modules

    Specifications for modules 6 Specifications for modules 6.1 ADAR The ADAR is an envelope generator. It uses a gate signal for input and generates an output envelope signal. The ADAR module can generate two types of envelopes attack/decay or attack/release. The envelope type is set using the ad/ar selector.

  • Page 69: Adsr

    6.2 ADSR 6.2 ADSR The ADSR is an envelope generator. It uses a gate signal for input and generates an output envelope signal. An envelope is a time varying signal having a value between 0 and 1 Volt. It is divided into four, the Attack, Decay, Sustain and Release which can be adjusted as shown in Figure 2.

  • Page 70: After Touch

    6.3 After Touch Typical Use The ADSR is Typically used for generating amplitude envelopes through a VCA, or spectral en- velopes by modulating the frequency of the filter modules. An ADSR can also be used to obtain an auto wah wah effect as shown in Figure 95 under Vbandpass2. Figure 28: Amplitude envelope created with ADSR Note: See also ADAR, VADSR and VADAR modules.

  • Page 71: Audio In

    6.5 Audio In The Audio In module is used to process external audio in Tassman. The output of this module is a monophonic signal from a track or a bus of a host sequencer where the Tassman has been inserted as an effect.

  • Page 72: Bandpass2

    6.7 Bandpass2 Typical Use To ensure a good signal/noise ratio and avoid distortion due to excessive loudness, the Audio Out is often used in conjunction with a Volume and a Level. Figure 30: Use of an Audio Out Note: There must be an Audio Out in your patch if you want to hear you instrument. See also Stereo Audio Out.
  • Page 73 6.7 Bandpass2 Amp dB Q = 0.01 Q = 0.1 Q = 1 Q = 10 Frequency Center Frequency Figure 31: Frequency response of a Bandpass2. Amp dB Resulting Filter Filter 2 Filter 1 Filter 3 Frequency Figure 32: Response of the parametric equalizer shown in Figure 33. Figure 33: Parametric equalizer made with a Bandpass2.

  • Page 74: Beam

    6.8 Beam 6.8 Beam The Beam module simulates sound produced by beams of different materials and sizes. This module first calculates the modal parameters corresponding to beam-shaped objects according to the value of the different parameters requested at construction time and, next, calls the Multimode module to simulate sound production by the beam.

  • Page 75: Bowed Beam

    6.9 Bowed Beam 6.9 Bowed Beam The Bowed Beam module simulates sound produced by bowed beams of different materials and sizes. This module first calculates the modal parameters corresponding to beam shaped objects depending on the value of the different parameters requested at construction time and, next, calls the Bowed Multimode module to simulate sound production by the beam.

  • Page 76: Bowed Membrane

    6.11 Bowed Membrane the direction of the motion. The second input signal is a force signal which is considered to act perpendicularly to the motion of the beam. Third input is a pitch modulation signal. Typical Use. See Bowed Multimode module. The default value of the following parameters is set during construction Length: the length, in meters, of the beam.

  • Page 77: Bowed Multimode

    Multimode module. 6.12 Bowed Multimode The Bowed Multimode module is used by the Tassman to simulate mechanical objects such as strings, plates, beams and membranes that are excited as a result of the interaction with a bow. The output of this module is the acoustic signal that would be produced when these objects are bowed and given a certain geometry, material, listening point and damping.
  • Page 78 6.12 Bowed Multimode The Bowed Multimode module is not directly accessible to the user. Rather, other modules such as Bowed String, Bowed Plate, Bowed Beam, Bowed Marimba and Bowed Membrane use the Bowed Multimode mod- ule as their front. These other modules first calculate the different modal parameters corresponding to their respective structure type as requested at construction and, next, call the Bowed Multimode module in order to im- plement the parameters they require.

  • Page 79: Bowed Plate

    6.13 Bowed Plate Velocity The velocity knob is a gain knob acting on the velocity input of a Bowed Multimode object. Noise The noise knob is used to set the amount of irregularities in the bow structure. Damping vs Frequency In a mechanical structure, the damping, or decay time, varies for the different frequency compo- nents of the oscillating motion.

  • Page 80: Bowed String

    6.14 Bowed String considered to act perpendicularly to the motion of the beam. The third input is a pitch modulation signal. Typical Use. See Bowed Multimode module. The default value of the following parameters is set during construction Length: the length, in meters, of the plate. Width: the width, in meters, of the plate.

  • Page 81: Breath Controller

    6.15 Breath Controller Typical Use. See Bowed Multimode module. The default value of the following parameters is set during construction Length: the length, in meters, of the string. Frequency: fundamental frequency, in Hertz, of the string when there is no pitch modulation signal or when its value is equal to 0.

  • Page 82: Comb

    6.16 Comb 6.16 Comb The Comb filter enhances frequency components located at harmonic intervals. The frequency response of the filter is com- posed, as shown in Figure 36, of resonances around frequency com- ponents located at multiples of a fundamental frequency (hence its name).
  • Page 83 6.16 Comb (green LEDs on), the gain equals 1 and the resonance frequency variation is 1 Volt/octave. This position is used to follow an equal temperament scale when connecting the output of a Keyboard module to a modulation input of a Comb module. The frequency variation with the modulation signal can be increased or decreased by turning the modulation knobs clockwise or anti-clockwise.

  • Page 84: Compressor

    The Constant module has 1 output, a constant value (DC) which is set during construction. This module has no input and no front panel control. To change the value of the constant in the Tassman Player, use the Constant module in combination with a Volume module. Its value can be positive or negative.

  • Page 85: Control Voltage Sequencer

    6.19 Control Voltage Sequencer Figure 38: The pitch of a Plate module adjusted with a Constant module. 6.19 Control Voltage Sequencer The Control Voltage Sequencer module enables you to record sequences of voltage. This module in itself does not produce sound but is used, usually instead of a Keyboard module, to control other modules such as VCO, VCA or filters.
  • Page 86 6.19 Control Voltage Sequencer The sequencer will loop each time a pattern ends. To make the sequencer stop at the end of a pattern the once button must be clicked. The patterns can be played following 5 play modes using the mode control. Forward (FWD) plays the pattern incrementally.

  • Page 87: Control Voltage Sequencer With Songs

    6.20 Control Voltage Sequencer with Songs 6.20 Control Voltage Sequencer with Songs This module is the same as the Control Voltage Sequencer but with song mode added. For more information about the song mode, please refer to the Multi Sequencer module documentation. Note: see also Multi-Sequencer, Control Voltage Sequencer, Single Gate Sequencer, Single Gate Sequencer with Songs, Dual Gate Sequencer and Dual Gate Sequencer with Songs.

  • Page 88: Delay

    6.22 Delay The default value of the following parameter is set at construction MIDI channel: MIDI channel used by the sustain pedal. 6.22 Delay The Delay module is a feedback loop with a variable delay in the feedback. There is one input and one output. The input signal is sent into the feedback loop. The output is the sum of the input signal and the returning signal from the feedback loop.

  • Page 89: Dual Gate Sequencer

    6.23 Dual Gate Sequencer 6.23 Dual Gate Sequencer The Dual Gate Sequencer module enables you to record two sequences of gates at the same time. This module in itself does not produce sound but is used, usually instead of a Keyboard module, to trig other modules such as Player or drum sounds.

  • Page 90: Dual Gate Sequencer With Songs

    6.24 Dual Gate Sequencer with Songs The tempo display will adjust the speed of the pattern. The ext/int switch will determine if it is the internal clock (int) that sets the tempo or an external source (ext) such as another sequencer or a Sync Lfo.

  • Page 91: Flanger

    6.25 Flanger This module is the same as the Dual Gate Sequencer but with song mode added. To read more about song mode, please refer to the Multi Sequencer module documentation. 6.25 Flanger The Flanger module implements the effect known as “flanging” which colors the sound with a false pitch effect caused by the addition of a signal of varying delay to the original signal.
  • Page 92 6.25 Flanger Long Delay Time Short Delay Time 0 dB 0 dB Frequency Frequency Figure 44: Frequency response of a Flanger module. Effect of the length of the delay line. Light effect (mix=0.1) Medium effect (mix=0.25) Strong effect (mix=0.5) 0 dB 2xf0 3xf0 4xf0...
  • Page 93 6.25 Flanger Tuning The delay length is adjusted with the delay knob and is displayed, in milliseconds, in the counter next to the knob. The length of this delay can be modulated by using the second input of the module, the amount of modulation depending on the adjustment of the depth knob. In the left position, there is no modulation and the delay line remains fixed while in the right position, with a modulation signal varying between [-1,1] Volt, the delay line varies between 0 and twice the value set with the delay knob.

  • Page 94: Flute

    6.26 Flute The default value of the following parameters is set during construction delay: time delay, in seconds, applied to the input signal (values between [0, 92]ms). feedback: coefficient,[0, 1[, determining amount of “wet” signal re-injected into the delay line. If feedback = 0 there is no “wet” signal re-injected while if feedback = 0.99, maximum of “wet”...

  • Page 95: Gain, Gain 2, Gain 3, Gain 4

    6.27 Gain, Gain 2, Gain 3, Gain 4 In the following example, a Flute module is controlled with a Keyboard module. The ADSR is used to shape the driving pressure signal. Note: For polyphonic flute-like sounds, use the Organ module. 6.27 Gain, Gain 2, Gain 3, Gain 4 The Gain, Gain 2, Gain 3 and Gain 4 knob modules have respectively one to four inputs and one to four outputs.

  • Page 96: Inverter

    As soon as an Inlet or Outlet module is included in a patch, the Tassman Builder will consider that you want to define the current patch as a sub-patch and will save it as so in the Sub-Patches folder of the Browser. You can then use it just like any other module.

  • Page 97: Keyboard

    6.31 Keyboard This module is to invert the control voltage generated by an ADSR so that the cutoff frequency of a VCF module first goes down when triggering a new note as shown in Figure 50. The inverter can also be used to obtain a stereo tremolo effect (amplitude modulation) as illustrated in Figure 51. Figure 51: Stereo tremolo effect.

  • Page 98: Knob

    6.32 Knob Note: see also the Vkeyboard and Polykey and Polyvkey modules. 6.32 Knob The Knob module is used to adjust the amplitude of a signal. It acts in the same way as the Slider module. It has one input and one output. The output signal is the input signal multiplied by a constant varying between 0 and 2 (+6dB).

  • Page 99: Lfo

    6.35 LFO (Low Frequency Oscillator 6.35 LFO (Low Frequency Oscillator The LFO module has no input and one output. The output is a periodic signal with frequency varying between 0.1 and 35 Hertz depending on the setting of the frequency knob. The oscillation of the two red LEDs on the front panel give an indication of the output frequency.

  • Page 100: Lin Gain

    6.36 Lin Gain 6.36 Lin Gain This module is used to modify the amplitude of a signal. It has one input, the signal to be adjusted, and one output, the adjusted signal. The amplitude of the signal is a controlled with the amount slider on the front panel. The output signal is the input signal multiplied by a gain having a value between the min and max range set in the dialog of the module in the Builder.

  • Page 101: Mallet

    6.39 Mallet res=0.02 res=0.1 res=0.5 res=1 frequency cutoff frequency Figure 54: Frequency response of a Lowpass2. 6.39 Mallet The Mallet module is used to simulate the force impact produced by a mallet striking a structure. It is usually used in combination with acoustic objects such as the Beam, Membrane, Plate and String modules in order to play them.

  • Page 102: Marimba

    6.40 Marimba is connected to a pitch signal, the stiffness exactly follows the pitch variation so as to ensure that the spectral content (or color) of the sound produced by a structure is uniform when the pitch is varied. The third input also modulates the stiffness, but in the reverse manner as for the second input so that the stiffness of the mallet decreases when the input signal increases.

  • Page 103: Master Recorder Trig

    6.41 Master Recorder Trig The default value of the following parameters is set at construction Length: the length, in meters, of the beam. Frequency: fundamental frequency, in Hertz, of the beam when there is no pitch modulation signal or when its value is equal to 0. Note that the fundamental frequency is independent of the length of the beam.

  • Page 104: Master Sync Input

    When the source switch of the Sync module of the output stages is set to ext, the clock signal will be that from a host sequencer when the Tassman is used as a plug-in or, in standalone mode, the clock signal received on the MIDI channel selected in the Player toolbar.

  • Page 105: Membrane

    6.43 Membrane Figure 57: A Master Sync Input is used to synchronize a Multisequencer module. 6.43 Membrane The Membrane module simulates sound production by rectangular membranes of different ma- terials and sizes. This module first calculates the modal parameters corresponding to membrane shaped objects according to the value of the different parameters requested at construction time and, next, calls the Multimode module to simulate sound production by this object.

  • Page 106: Mix2, Mix3, Mix4 And Mix5

    6.44 Mix2, Mix3, Mix4 and Mix5 Excitation point-y: y-coordinate, in meters, of impact point from the lower left corner of the membrane. Listening point-x: x-coordinate, in meters, of listening point from the lower left corner of the membrane. Listening point-y: y-coordinate, in meters, of listening point from the lower left corner of the membrane.
  • Page 107 6.46 Multimode and mechanics and is used to describe complex vibrational motion using modes (elementary os- cillation patterns which can be used to decompose a complex motion). By adding together modes of different frequencies, amplitude and damping, one can reproduce the behavior of different type of structures.

  • Page 108: Multi-Sequencer

    6.47 Multi-sequencer Damping vs Frequency In a mechanical structure, the damping, or decay time, varies for the different frequency compo- nents of the oscillating motion. The variation of the damping with frequency is another character- istic of the material of a structure and is adjusted, in a Multimode object, with the damp/frq knob on the module front panel.
  • Page 109 6.47 Multi-sequencer bar containing four quarter notes, each step of the sequencer itself represents a sixteenth note. The module can memorize 32 different sequences between which you can switch while playing. The sequences can also be chained in any order with the Song mode. This module has three inputs and seven outputs.
  • Page 110 6.47 Multi-sequencer The numbered gate buttons control the gate output signal. The output will generate a square pulse of 1/8 of a quarter note with an amplitude of 1 Volt for each active gate buttons. To hear a step, the gate button must be clicked (green light on). The loop buttons are used to set the length of the Pattern from 1 to 16 steps.

  • Page 111: Nand

    6.48 Nand 6.48 Nand The Nand module performs the inverse of the logical AND operation. The one output of this module is either 1 (true) or 0 (false) depending on the values sent to the two inputs. This module has no front panel. The following diagram shows the output value depending on the values in the two inputs.

  • Page 112: Nor

    6.51 Nor adjusted with the mod1 knob. The greater the amplitude, the greater the stiffness. This modulation input is used, for example, when a variation of the stiffness of the mallet with the note played is desired. When the knob is adjusted in its center position and when this input is connected to a pitch signal, the stiffness exactly follows the pitch variation so as to ensure that the spectral content (or color) of the sound produced by a structure is uniform when the pitch is varied.

  • Page 113: On/Off, On/Off2, On/Off3, On/Off4

    6.53 On/Off, On/Off2, On/Off3, On/Off4 6.53 On/Off, On/Off2, On/Off3, On/Off4 The On/Off, On/Off 2, On/Off 3 and On/Off 4 switch modules have respectively one to four inputs and one to four outputs. Their behavior is very simple: when the buttons are in the Off position, the output is zero regardless of the input signals and when the buttons are pushed in the On position, the output signal is the exact copy of the input signals.

  • Page 114: Organ

    6.55 Organ 6.55 Organ The Organ module simulates a simple polyphonic street pipe organ. Every note played on the organ excites a pipe of different length, thereby changing the pitch. This module has three inputs and one output. The first input is a gate signal, generally that from a Keyboard.

  • Page 115: Panpot

    6.57 Panpot Tassman Builder will consider that you want to define the current patch as a sub-patch and will save it as so in the Sub-Patches folder of the Browser. You can then use it just like any other module.

  • Page 116: Phaser

    6.58 Phaser Figure 62: Panpot modulated by LFO. The default value of the following parameters is set at construction Angle: default source position. A value of 0 positions the source on the left, 0.5 in the middle and 1 on the right. Range: determines the maximum possible amount of source excursion from its original po- sition, varies between 0 and 0.5 (90 degrees).
  • Page 117 6.58 Phaser Fourth order All Pass Filter Output Signal feedback Input Signal Figure 63: Phaser algorithm. increased, these peaks become sharper. The functioning of the Phaser is very similar to that of the Flanger module. The filtering effect is different however, since the Phaser module only introduces rejection around two frequencies which, in addition, are not in an harmonic relationship.

  • Page 118: Pickup

    6.59 Pickup frequency varies between 0 and twice the value set with the frequency knob. The feedback knob is used to fix the amount of “wet” signal re-injected into the delay. Finally, the mix knob determines the amount of “dry” and “wet” signal sent to the output. When this knob is adjusted in the left position, only “dry”...
  • Page 119 6.59 Pickup objects (such as a string or a beam) near the pickup. As such an object vibrates near a pickup, the latter outputs an oscillating signal determined by the varying distance between the object and the pickup. The waveform of the output signal can be varied by adjusting the pickup position relative to the object.

  • Page 120: Pitch Wheel

    6.60 Pitch Wheel The Pickup module is used in Figure 67 to construct an electric piano. In Figure 68, a Pickup module is used as a distortion. The effect is applied to the signal coming out from a Polyphonic Mixer. Figure 68: A Pickup used as a distortion.

  • Page 121: Player

    6.62 Player the plate thus shortening the decay time of the sound produced by the structure. When the signal is greater than 0, dampers are raised. Note that this damping adds to the natural damping of the plate itself. If this input is not connected to any other module, the default value is set at 0 which implies that the plate motion will be damped.
  • Page 122 6.62 Player be sent to any other module for processing. The input signal is a gate signal, typically the gate signal from a Keyboard, or a Sequencer which triggers the Player according to the gate-trig- none selector. When the selector is at the gate position, the Player starts whenever a low-to-high transition occurs and stops whenever a high-to-low transition occurs.

  • Page 123: Plectrum

    6.63 Plectrum 6.63 Plectrum The Plectrum module is used to simulate the excitation of a string when it is plucked by a finger or a pick. The output of this module is the force signal applied by the plectrum on the string. Before a string starts to vibrate, the plectrum moves the string.

  • Page 124: Polykey

    This module must always be used in combination with a Polymixer module. A polyphonic patch is created by inserting modules between a Polykey and a Polymixer module as shown in Figure 70. Tassman will automati- cally duplicate the modules appearing between the Polykey and Polymixer module one time for each voice requested during construction in the Polykey module edit pop-up menu.

  • Page 125: Polymixer

    Polykey or Polyvkey module. A polyphonic patch is created by inserting modules between a Polykey or a Polyvkey and a Polymixer. Tassman will automatically reproduce the modules appearing between the Polykey and Polymixer module one time for each voice requested during construction in the Polykey or Polyvkey module edit pop-up menu.

  • Page 126: Polyvkey

    6.66 Polyvkey 6.66 Polyvkey Similar to the Polykey module except that there is an additional output which is proportional to the velocity with which the key was pressed. The stretch knob on the interface is used to simulate stretched tuning used on instruments such as pianos.
  • Page 127 6.67 Portamento time =1s time=0.25s time=0.1s input signal time Figure 71: Behavior of Portamento as a function of time constant. gate signal time input signal time output signal time Figure 72: Portamento triggered by gate signal. Typical Use The Portamento is often used to create a glissando effect between two notes. Figure 45 shows a complete example of a Portamento triggered by a gate signal (when the on/off switch is off).

  • Page 128: Recorder

    6.68 Recorder Figure 73: Portamento used with Keyboard. The default value of the following parameter is set at construction glide time: sets the time constant of the integrator (values between 0.01s and 10s); the higher the time constant the slower the response of the integrator. 6.68 Recorder The Recorder module is used to record the output of an instrument to a sound file.

  • Page 129: Recorder2

    6.69 Recorder2 See also the Player and Recorder2 modules. 6.69 Recorder2 The Recorder2 module is used to record the output of an instrument to a sound file. This module has 3 inputs which are respectively the gate signal and the left and right channel signals to be recorded. Recording is triggered from the module front panel or from the gate signal according to the gate-trig-none selector.

  • Page 130: Reverberator

    6.70 Reverberator 6.70 Reverberator The Reverberator module is used to recreate the effect of the reflexion of sound on the walls of a room or a hall. These reflex- ions add spaciousness to the sound and make it warmer, deeper, and more “real”.
  • Page 131 6.70 Reverberator often more absorbent in the very low and in the high frequencies the reverberation time is shorter for these frequencies. This can be adjusted in the Reverberator module with the low and high decay knobs. Another parameter which affects the response of a room is its geometry; the more complex the geometry of a room, the more reflexion are observed per unit of time.

  • Page 132: Rms

    6.71 RMS 6.71 RMS The RMS (Root Mean Square) module is an envelope follower. Its output is the root mean square of the input signal. The inverse of the integration time (1/ ) is set during construction and determines the response time of the circuit. This module has no front panel control. ouput signal output signal input signal...

  • Page 133: Sample & Hold

    6.72 Sample & Hold Figure 78: Use of RMS in Vocoder. 6.72 Sample & Hold The Sample & Hold module performs a sample & hold function. It has two inputs, the first a triggering signal and the second the signal to be sampled. The module has one output which holds the last sampled value of the second input.

  • Page 134: Sbandpass2

    6.73 Sbandpass2 0.75V 0.25V time time time Figure 79: Behavior of Sample & Hold module. Figure 80: A Sample & Hold module is used to generate pseudo random signals. 6.73 Sbandpass2 This module is a static second-order band-pass filter (-6dB/octave). It is the same as the Bandpass2 module but without the playing interface.

  • Page 135: Selector2, Selector3 And Selector4

    6.74 Selector2, Selector3 and Selector4 resonance: resonance around the center frequency. 6.74 Selector2, Selector3 and Selector4 The Selector module comes in 3 flavors: Selector2, Selector3 and Selector4. These modules have 2, 3 or 4 inputs respectively and one output. The purpose of these modules is to connect the input corresponding to the position of the knob on the front panel to the output.

  • Page 136: Single Gate Sequencer

    6.76 Single Gate Sequencer 261.6 Hz, which corresponds to the C3 key on a piano (middle C). The range switch transposes the pitch one or two octaves up or down. The reading on the counter gives the frequency of the output signal, in Hertz, when there is no modulation signal.
  • Page 137 6.76 Single Gate Sequencer sequence represents a bar containing four quarter notes, each step of the sequencer itself represents a sixteenth note. The module can memorize 32 different sequences between which you can switch while playing. This module has three inputs and four out- puts.

  • Page 138: Single Gate Sequencer With Songs

    6.77 Single Gate Sequencer with Songs Figure 83: Single Gate Sequencers controlling Player modules. Note: see also Multi-Sequencer, Control Voltage Sequencer, Control Voltage Sequencer with Songs, Single Gate Sequencer with Songs, Dual Gate Sequencer and Dual Gate Se- quencer with Songs. 6.77 Single Gate Sequencer with Songs This module is the same as the Single Gate Sequencer but with song mode added.

  • Page 139: Slider

    Tassman has been inserted as an effect. This signal can be then be processed on the fly by Tassman modules and then sent back to the track or the bus trough the use of an Audio Out or Stereo Audio...

  • Page 140: Stereo Audio Out

    6.81 Stereo Audio Out Note: See also Audio In. 6.81 Stereo Audio Out The Stereo Audio Out module is used to output stereo signals. It has two inputs, the first sent to the left audio channel of the sound card, the second to the right channel. For the saturation characteristics of this module, refer to the Audio Out module.
  • Page 141 6.82 Stereo Chorus Input Signal Output Left Signal left variable delay line left feedback cross feedback right feedback right variable delay line Output Right Signal Figure 85: Stereo Chorus module. Tuning The length of the delay lines associated with the left and right channel, are adjusted with the delay left and delay right knob respectively.

  • Page 142: String

    6.83 String The default value of the following parameters is set at construction delay: time delay, in seconds, applied to the left and right input signals (values between [0, 92]ms). feedback: coefficient,[0, 1[, determining amount of “wet” signal re-injected into the delay lines.

  • Page 143: Sync Delay

    6.84 Sync delay Figure 86: A String exciting a Plate. parameters necessary to obtain the required fundamental frequency. The default value of this parameter is 261.62 Hz which corresponds to the middle C (C3) of a piano keyboard. This setting is convenient when controlling a String module with a Keyboard module. Decay: proportional to the decay time of the sound produced by the string.

  • Page 144: Sync Ping Pong Delay

    6.86 Sync Ping Pong Delay very low frequencies used as control signals rather than audio ones. It has two inputs and three outputs. The first input is the sync input signal which is used to sync the module to an external source.
  • Page 145 6.86 Sync Ping Pong Delay Left Ouput Left Input Lowpass Left Delay Line Feedback Right Ouput Lowpass Right Delay Line Right Input Figure 87: Ping Pong Delay algorithm. length of the delay line which is adjusted to fit the number of steps appearing in the display, four steps representing a quarter note.

  • Page 146: Toggle

    6.87 Toggle 6.87 Toggle The Toggle module is a clock divider. This module has two inputs and one output. The first input is the clock signal to be divided. The second input is used to reset the circuit. The output is the input signal with a frequency divided by two.

  • Page 147: Tremolo

    6.89 Tremolo Timbre The timbre of the output of the tone wheel can be varied with the flute reed selector. In the left position, the module outputs a sine-like tone. As the selector is turned to the right, the signal gets distorted and evolves toward a triangle-like tone as its harmonic content increases.

  • Page 148: Tube

    6.90 Tube 6.90 Tube The Tube module simulates sound propagation in a cylindrical tube of a given length and radius. The effect of a tube is to color an input signal by enhancing frequencies located around its resonance frequencies. When the tube is very long, it produces an echo effect.
  • Page 149 6.90 Tube Amplitude of the tube resonances The amplitude of the resonances can be adjusted with the radius of the tube when it is open at the listening point. At the extremity of a tube sound energy is radiated toward the exterior, the termination in fact acting like a low-pass filter.

  • Page 150: Tube4

    6.91 Tube4 6.91 Tube4 The Tube4 module simulates sound propagation in a resonator made from 4 tubes of variable lengths and radii connected in series as shown in Figure 92. The input signal, or source, is assumed to be localized at the extremity of the first tube while the output, or listening point, is placed at the extremity of the fourth tube.

  • Page 151: Tube Reverb

    6.92 Tube Reverb termination: specifies whether the final tube is open or closed at its extremity. A value of 0 indicates that the tube is closed and a value of 1 that it is open. Note: For more details on the filtering effect of tubes see the Tube module. 6.92 Tube Reverb The reverb effect obtained with this module is obtained with an assemblage of three tubes.

  • Page 152: Vadar

    6.93 VADAR Typical Use In the example of Figure 94, two Tube Reverb modules are used to make a stereo reverb effect. The Reverb modules are adjusted with short tubes in order to simulate early reflections in a room. The Tube4 module is used to introduced a delay and simulate late reflections. Figure 94: A stereo reverb.

  • Page 153: Vadsr

    6.94 VADSR Note: See also the ADAR, ADSR and VADSR modules. 6.94 VADSR The VADSR acts exactly like the ADSR module except that the VADSR has four additional inputs for controlling each phase of the envelope. It also had four more knobs for adjusting the gain of these four inputs. The first, second and fourth modulation signals affect the duration of the attack decay and release phases: the higher is the amplitude of the modulation signal, the shorter is the attack, decay or release time;...

  • Page 154: Vca (Voltage Controlled Amplifier)

    6.96 VCA (Voltage Controlled Amplifier) Center Frequency Variation The amount of variation of the center frequency obtained with the modulation inputs depends on the adjustment of the mod1 and mod2 gain knobs. The total modulation signal is the sum of the two inputs each multiplied by the gain corresponding to its respective mod knob.

  • Page 155: Vco (Voltage Controlled Oscillator)

    6.97 VCO (Voltage Controlled Oscillator) Typical Use A VCA is mainly used to apply an amplitude envelope to a signal. An ADSR can be used to supply the appropriate gain signal. Figure 96: ADSR as Gain Signal to VCA. Figure 97: VCA in Ring. A VCA can also be used to obtain a ring modulation effect.
  • Page 156 6.97 VCO (Voltage Controlled Oscillator) Tuning the Output Pitch The coarse and fine knobs and the range switch are used to tune the output frequency (or pitch) to the desired level. The variations in output pitch caused by changes in the modulation signals are relative to this level. When the two knobs are in their center position (green LED on for the coarse knob), the range switch is set to 8 and there is no modulation signal, the playing frequency has a value of 261.6 Hz, which corresponds to the C3 key on a piano (middle C).

  • Page 157: Vcs

    6.98 VCS Typical Use The VCO is used for generating the starting signal of an analog synthesizer. Figure 99 shows a standard patch using this module. Figure 99: Typical VCO Use. 6.98 VCS The VCS module is very similar to the VCO module except that it only generates sine waves.

  • Page 158: Vhighpass2

    6.99 Vhighpass2 inputs each multiplied by the gain corresponding to their respective knob. When the mod1 knob is in the center position (green LEDs on), the gain equals 1 and the pitch variation is 1 Volt/octave. This position is used to play an equal temperament scale when connecting the output of a Keyboard module to this modulation input.

  • Page 159: Vkeyboard

    6.100 Vkeyboard Cutoff Frequency Variation The amount of variation of the cutoff frequency obtained with the modulation inputs depends on the adjustment of the mod1 and mod2 gain knobs. The total modulation signal is the sum of the two inputs each multiplied by the gain corresponding to its respective mod knob. When the mod knobs are in the center position (green LEDs on), the gain equals 1 and the pitch variation is 1 Volt/octave.

  • Page 160: Vlowpass2

    6.101 Vlowpass2 equal to a 0.08333 value. MIDI channel: MIDI channel used by the keyboard. 6.101 Vlowpass2 The Vlowpass2 module is a voltage-controlled second-order low-pass fil- ter (-12dB/octave). This module has three inputs and one output. The first input is the signal to be filtered, while the second and third inputs are mod- ulation signals which are used to vary the cutoff frequency of the filter.

  • Page 161: Vlowpass4

    6.102 Vlowpass4 sounds, for example, where one wants to close the filter with an upward going envelop such as during the attack of a note. Typical Use A Vlowpass2 can be used as a filter to reduce the high frequencies in a signal, as shown in the following example : Figure 103: Use of Vlowpass2 to Reduce High Frequencies.

  • Page 162: Xor

    6.104 Xor The Volume module is used to adjust the amplitude of a signal. It has one input and one output. The output signal is the input signal multiplied by a constant varying between 0 and 2 (+6dB). Typical Use The Volume module is used whenever the level of a signal must be adjusted.

  • Page 163: Toolbar

    Toolbar 7 Toolbar The toolbar at the top of the Tassman interface allows you to monitor important information related to your current set-up. 7.1 Instrument Display Displays the name of the currently loaded instrument. 7.2 Performance Display Displays the name of the currently or last loaded performance.

  • Page 164: Cpu Meter

    For some controls, the value is displayed in the appropriate units. 7.9 MIDI LED This red LED is turned on when Tassman receives MIDI signal. 7.10 Builder and Player Button Button used to switch between Player and Builder view.

  • Page 165: Quick References To Commands And Shortcuts

    Quick references to commands and shortcuts 8 Quick references to commands and shortcuts File Menu Command Mac OS Description Ctrl+N Apple+N New patch New Folder Apple+Shift+N New Folder in the Browser Open Ctrl+O Apple+O Open the selected patch Close Current Patch Ctrl+W Apple+Shift+W Close the current patch...
  • Page 166 Quick references to commands and shortcuts Edit Menu Command Mac OS Description Undo Ctrl+Z Apple+Z Undo last command Redo Ctrl+Y Apple+Shift+Z Redo last command Ctrl+X Apple+X Cut selected item Copy Ctrl+C Apple+C Copy selected item Paste Ctrl+V Apple+V Paste Delete Delete selected item Select All Ctrl+A...
  • Page 167 Quick references to commands and shortcuts Audio Command Windows Mac OS Description Audio Settings Display the Audio Settings window Audio Control Panel Display the Latency Settings window if DirectSound is used, the ASIO control panel when ASIO drivers are used and the Audi MIDI setup configuration tool on Mac OS systems MIDI Command...
  • Page 168 Quick references to commands and shortcuts Arrange Menu Command Mac OS Description Align Left Edges Alt-Left Align the left edges of the selected modules (builder) Center Horizontally Shift F9 Align horizontally the selected modules (builder) Align Right Edges Alt-Right Align the right edges of the selected modules (builder) Align Top Edges Alt-Up...
  • Page 169 Quick references to commands and shortcuts View Menu Command Mac OS Description Show Player/Builder Ctrl-T Apple-T Toggle between the builder and player views Show/Hide Browser Apple-B Show/Hide the browser panel Show/Hide Help Show/Hide the help panel (builder) Locate Ctrl-L Apple+ Select and make visible in the browser the current instrument or the module...
  • Page 170 Mac OS Description About Tassman Display the About Tassman window User Manual Display the user manual Authorize Lounge Tassman . . . Display the Authorization window. Active only if the application has not been authorized. Visit www.applied-acoustics.com . . .

  • Page 171: License Agreement

    AAS. The Software is licensed to you as a single product. Its component parts may not be separated for use on more than one computer. Patches resulting from the TassBuilder and presets for the Tassplayer may be used on other computers.
  • Page 172 Licensee, if any, subject to any changes to this License made by AAS from time to time and provided to the Licensee, provided AAS is under a separate obligation to provide to Licensee such updates or upgrades and Licensee continues to have a valid license which is in effect at the time of receipt of each such update or new release.
  • Page 173 Agreement shall constitute a waiver or consent unless expressly waived or consented to in writing by a duly authorized representative of AAS. A waiver of any event does not apply to any other event, even if in relation to the same subject-matter.
  • Page 174 Index acoustic objects, 41 damper, 86, 101, 104, 105, 120, 141 adar, 67 database adsr, 30, 68, 93, 96, 154 backup, 66 after touch, 69 restoring, 66 analog synth, 20 default preset, 59 and, 69 delay, 59, 87, 147, 149 audio configuration, 16 static, 138 audio device, 56...
  • Page 175 INDEX gain1, 94 mallet, 41, 100, 107, 110 gain2, 94 marimba, 86, 101, 106 gain3, 94 master recorder trig, 102 gain4, 94 master sync input, 103 generator, 154 membrane, 100, 104, 106 getting started, 15 MIDI device, 56 help, 18 settings, 56 highpass1, 94 MIDI configuration, 16...
  • Page 176 INDEX output stage, 59 sample and hold, 98, 132 saturation, 70 panpot, 114, 139 sbandpass2, 133 performance, 62 selector, 134 performances, 61, 62 sequencer, 36, 142 phaser, 115 control voltage, 84 physical modeling, 8 control voltage with songs, 86 pickup, 117 dual gate, 88 pitch wheel, 119 dual gate with songs, 89...
  • Page 177 INDEX unlocking, 10 user library, 19 vadar, 151 vadsr, 152 vbandpass2, 69, 152 vca, 29, 67, 69, 153 vco, 20, 154 vcs, 156 velocity, 125 vhighpass2, 157 vibrato, 82, 92, 98, 139 vkeyboard, 28, 158 vlowpass2, 23, 159 vlowpass4, 85, 160 vocoder, 132 volume, 26, 71, 83, 160 wah, 117...

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