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DigiDesign Hybrid Manual

DigiDesign Hybrid Manual

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Hybrid
Version 1.5.x

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Summary of Contents for DigiDesign Hybrid

  • Page 1 Hybrid Version 1.5.x...
  • Page 2 Legal Notices This guide is copyrighted ©2008 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Digidesign.

  • Page 3: Table Of Contents

    About www.digidesign.com ........
  • Page 4 MIDI Controller Mapping ..........58 Appendix A. Hybrid Factory Patch Categories .

  • Page 5: Chapter 1. Introduction

    Hybrid fulfills even the most sophisti- Sample Rate and Channel Format cated sound design demands. Support Hybrid supports 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz sample rates. Features • Hybrid synthesizer architecture—the best Hybrid works with mono and stereo formats only.

  • Page 6: System Requirements And Compatibility

    Compatibility If you purchased a download version of a plug- in from the DigiStore (www.digidesign.com), To use Hybrid, you need the following: you were automatically registered. • An iLok USB Smart Key If you purchased a boxed version of a plug-in, •...

  • Page 7: Conventions Used In This Guide

    News and Events Get the latest news from Important Notices include information that Digidesign or sign up for a Pro Tools demo. could affect your Pro Tools session data or the performance of your Pro Tools system.
  • Page 8 Hybrid Plug-In Guide...

  • Page 9: Chapter 2. Installation And Authorization

    (.ZIP on Windows or .SIT on Windows Program Files\Common Files\ Mac). Digidesign\DAE\Plug-Ins – or – • Insert the Hybrid Install disc (included in the purchased boxed version of the Hybrid plug-in) into your computer. Double-click the Hybrid Installer application: Mac Hybrid_Setup.pkg...

  • Page 10: Authorizing Hybrid

    Authorizing Boxed Versions of Authorizing Hybrid Plug-ins Hybrid is authorized using an iLok USB Smart If you purchased a boxed version of a plug-in, it Key (iLok), manufactured by PACE comes with an Activation Code (on the included Anti-Piracy, Inc.

  • Page 11: Uninstalling Hybrid

    Windows Vista Uninstalling Hybrid To remove the Hybrid plug-in: If you need to uninstall the Hybrid plug-in from Choose Control Panel. your system, follow the instructions below for your computer platform. Under Programs, click Uninstall a Program. Select the Hybrid plug-in from the list of in- Mac OS X stalled applications.
  • Page 12 Hybrid Plug-In Guide...

  • Page 13: Chapter 3. Functional Overview

    3 chapter 3 Functional Overview Hybrid is an RTAS synthesizer plug-in that uses a This process of generating and shaping sound is combination of classic subtractive and digital called subtractive synthesis because it deals wavetable synthesis. mainly with removing frequencies from highly harmonic enhanced waveforms.

  • Page 14: Hybrid Overview

    Effects Page All settings of Hybrid can be saved as a single The Effects page contains two insert effects per patch. part and the Master Effects section where you can add global effects.

  • Page 15: Synthesis Architecture

    Oscillator Section Oscillators are the basic source of pitch and harmonic content. Hybrid features Filters have a stop band and a pass band delin- three oscillators, as follows: eated by the cutoff frequency. The frequencies in the stop band are attenuated or removed, •...
  • Page 16 The filter produces an additional audio signal at the frequency of the Hybrid has four envelopes: two main envelopes cutoff. Modulating the filter cutoff, while the fil- (one for the filter and one for the amplifier) and ter is self-oscillating, produces atonal electronic two assignable modulation envelopes.
  • Page 17 • One note sequence with velocity, for musical with adjustable intensities. Unlike other synthe- phrases sizers, Hybrid needs no overly complex modula- • Two control sequences for modulation pur- tion page. Instead, the modulation routing poses works in the background.
  • Page 18 Hybrid Plug-In Guide...

  • Page 19: Chapter 4. Operating Hybrid

    Part B Page Provides controls for all sound gen- Viewing Pages erating parameters of Part B, including settings for its oscillators, filters, amplifiers, envelopes, The Hybrid Plug-in window has seven tabs for and LFOs. accessing different control pages for editing Hy- brid.

  • Page 20: Adjusting Parameters

    Instead, there is one text box for a control uous controls is much higher than 100 steps. section (functional group of controls). This text Hybrid’s parameter smoothing avoids stair-step- box displays the last edited control of its section. ping for a true analog feel of controls.
  • Page 21 Tab key. To move back- ward, press Shift+Tab. However, because of Enabling Buttons Hybrid’s modular architecture, you can only Some controls have activate/deactivate buttons. Tab between parameters in the same section (for example, only within the Filter section).

  • Page 22: Accessing Parts

    Scroll Wheel on Knobs, Faders, Accessing Parts and Menus A Hybrid patch consists of up to two synthesizer A very convenient way to change values is to use elements, Part A and Part B. Use the Page tabs at the scroll wheel.

  • Page 23: The Part Pages

    The Part Pages Part A and B pages give detailed access to all The order of these relatively follows Hybrid’s sound generating parameters of Hybrid. The two signal flow. The oscillators stretch across the pages provide the same set of controls. For this...
  • Page 24 Oscillators tor. The Sub oscillator has a square waveform and follows the pitch of Oscillator 3 minus one Hybrid has three Oscillator sections, which pro- octave. The Noise generator provides white vide control over five sound generating ele- noise. ments: Two main oscillators and a third oscilla-...
  • Page 25 (modulator). Only the carrier is audi- ble. With Squ CM, the Shape control shifts the Saw Sync Produces classic hard-sync sounds from a sawtooth waveform (slave oscillator). Sync is short for synchronize. The slave oscilla- Chapter 4: Operating Hybrid...
  • Page 26 See Appendix A “Hybrid Wavetables” for a which produces sonic inter-modulation or side- complete list of the provided wavetable bands in the output spectrum. Try using an en- banks. velope to modulate the Shape control.
  • Page 27 The control range is from 0% to 100%. Wave Shapes of Osc 3 Oscillator 3 combines the following sound sources: Hybrid Oscillator 3 Main page • Oscillator 3 Oscillator 3 produces waveforms that can serve • Sub oscillator as a Modulation source for Filter FM. It features •...
  • Page 28 The control range is from –100% on the left to +100% on the right. Filter Section Hybrid’s analog modeling filter provides 23 dif- ferent Filter types ranging from classic 4-pole low-pass to completely new and unique types.
  • Page 29 The Filter section supports the following Filter types: LP4 Four-pole low-pass, frequencies above the cutoff are attenuated at 24 dB/oct. LP3 Three-pole low-pass, frequencies above the Selecting a Saturation mode cutoff are attenuated at 18 dB/oct. Chapter 4: Operating Hybrid...
  • Page 30 BR2 Two-pole band reject, 6 dB/oct low-pass and an 18 dB/oct low-pass in series, high fre- and 6 dB/oct high-pass in parallel. Frequencies quencies are faster attenuated than low frequen- around the cutoff are attenuated at 6 dB/oct. cies. Hybrid Plug-In Guide...
  • Page 31 Filter FM. Frequency modulation has the reputa- source from the pop-up menu. tion of being hard to use. However, if you keep the following rules in mind, this feature is as easy to use as any other in Hybrid. Chapter 4: Operating Hybrid...

  • Page 32: Amplifier Section

    The con- trol range is from L64 to R64. A value of L64 specifies a position hard left. A value of R64 Hybrid Amplifier section specifies a position hard right. A value of <C> specifies a center position.
  • Page 33 The insert is ac- tive when its button is lit. The insert is inactive (bypassed) when the button is not lit. Hybrid Amplifier Mod page Chorus Adjusts the amount of chorus that mixes Key Track Pan Changes the part’s position in the with the part.
  • Page 34 The number highlighted in color by the amount set by the envelope parameter of indicates the envelope that is currently being the Filter section. The modulation matrix allows edited. for additional uses of this envelope. Hybrid Modulation envelope Hybrid Filter envelope Hybrid Plug-In Guide...
  • Page 35 (key) is let off. Use shorter times for an immediate stop of the sound or modulation. Longer times cause the sound or modulation to fade out. The con- trol range is from 0 ms to 32 s. Chapter 4: Operating Hybrid...
  • Page 36 32 s. Dec Vel (Decay Velocity) Modifies the response of the decay and release segments by MIDI ve- locity. The control range is from –100% to +100%. With positive values, the decay and re- Hybrid Plug-In Guide...

  • Page 37: Lfo Section

    LFO Section tion. Sync has to be active for this parameter to have an effect. To activate the phase parameter Hybrid features three LFO (Low Frequency and LFO synchronization, you must choose a Oscillator) sections per part. The LFO section is Sync mode.
  • Page 38 LFO. sweep. Step Seq The LFO restarts with Hybrid’s step sequencer. The LFO rate specifies in multiples of step sequencer steps. Use this method to produce sweeps that match the length of a Adjusting LFO phase sequencer phrase.
  • Page 39 • S&H Alternate—Randomly stepped modula- fader to the left. tion like sample and hold that always alter- nates between high and low steps. • Random—Smooth random modulation. • Drift—Quasi-analog modulation shape that compares well to variations from electronic components. Chapter 4: Operating Hybrid...
  • Page 40 • To decrease the modulation, move the fader to the left. The monophonic design of LFO 1 and LFO 2 does not allow for rate modulation. Therefore, depth is the only destination for LFO 1 and LFO 2. Hybrid Plug-In Guide...

  • Page 41: The Sequencer Pages

    Sequencer Overview To access the Sequencer page: Click the Show Sequencer Page tab for the part Hybrid features two independent step sequenc- you want to edit. ers; one for Part A and one for Part B. Step sequencers play an important role in creating To play the sequencer or arpeggiator: modern sounding patches.
  • Page 42 Source selector and a Depth fader for mod- Drag single bars up and down, to increase or ulating the sequences’ depth with MIDI control- decrease the step values. lers. The modulation signals from the control se- quences are bipolar. Hybrid Plug-In Guide...
  • Page 43 4. • Each Note—The pattern starts by playing a The octave parameter only affects the ar- note. Hitting new notes causes a rescan of the peggios’ Playback modes. keyboard and restart of the pattern. Chapter 4: Operating Hybrid...
  • Page 44 Each note plays with its original veloc- The featured phrases offer a wide range of typi- cal playing styles in music. A note from the key- Hybrid Plug-In Guide...
  • Page 45 MIDI phrases can be triggered to play back when With link activated, the sequencer controls are playing a note on your keyboard. Hybrid comes linked. Any new settings on one sequencer will with over 150 factory MIDI phrases or you can be applied to the both sequencers.

  • Page 46: The Common Page

    Pitch/Voice A and Pitch/Voice B Section These that influence the overall playing behavior and sections provide additional sound settings for general performance of Hybrid. The Common Part A and B. They affect the general tuning and page includes the following control sections: pitch modulation of the parts.
  • Page 47 The control range is from 2 to 8 voices. Unison Detune Adjusts the amount of pitch devi- ation between the unison voices to thicken and animate the sound. The control range is from 0.0 to 100.0 cents. Chapter 4: Operating Hybrid...
  • Page 48 Voice Limit Limits the maximum number of voices to the specified amount. When this pa- To select a modulation source: rameter is set to Off, Hybrid voice limits are Click the Mod Source selector and select a computer-dependent. By setting an upper voice source from the pop-up menu.
  • Page 49 This effect is commonly used for monophonic in settings that are different for each in- lead sounds. You can choose from the following stance of the Hybrid plug-in. The session modes: saves and restores each of these. • Off—Portamento is off. The played notes reach their pitch immediately.
  • Page 50 For finer adjustments in Circular Absolute and Circular Relative modes simply drag in bigger circles with the mouse, or Command- drag circle (Mac) or Control-drag circle (Windows) the control. Hybrid Plug-In Guide...

  • Page 51: The Effects Page

    Effects Architecture each part, and a single Master Effects section for Hybrid features two effects Inserts, connected in applying effects to Hybrid parts. The effects In- series, per part. They intimately integrate with serts operate after all synthesis modules, but be- the sound of the associated part.
  • Page 52 Click the Insert selector and select None from the pop-up menu. The On button of the effect updates automatically. The state of an effect is also shown on the Ins1 and Ins2 buttons in the Amplifier sec- tion of the respective part. Hybrid Plug-In Guide...

  • Page 53: Master Effects

    Master Effects Hybrid Master Effects section The Master Effects section lets you apply a single Mode Selects the basic sound character of the ef- effect to all parts. You can select from three ef- fect. Select one of the following modes: fects types: chorus, delay, or reverb.
  • Page 54 On Activates and deactivates (bypasses) the ef- a beat. When Sync is disabled (unlit), the delay fect. times are adjusted in seconds. Time Left Sets the time to elapse before the left channel repeats the input sound. Hybrid Plug-In Guide...
  • Page 55 Master Effects section. to 250 ms. On Activates and deactivates (bypasses) the Time Adjusts the reverb time, hence the decay of effect. the reverb tail. The control range is from 0 s to 30 s. Chapter 4: Operating Hybrid...

  • Page 56: The Presets Page

    The Presets Page Hybrid Presets page This page provides controls for the preset man- The part presets are organized with the Preset agement of the parts and gives access to their browser. As with Settings from the Librarian, most commonly edited synthesizer parameters.
  • Page 57 Hybrid part presets are organized in categorized low the browsers to match sounds. To save a sin- folders and can be loaded from the Presets page’s gle part preset, use the save function of Hybrid’s browser. preset browser. To save a whole patch, use the Settings Librarian.
  • Page 58 Sessions You can create, delete, and rename folders by us- ing the buttons above the browser. Hybrid saves all part presets in a single file next to the TFX files of the Settings Librarian. This file automatically transfers between sessions To create a folder: when you do a Save Copy In.

  • Page 59: Morph Groups

    The control allows for steps in control simultaneously. To allow for predictable semitones and cents. The control range is from results, each Hybrid control has an adjustable –7.00 to +7.00 semitones. morph range. The Morph section provides the following controls: Filter Cutoff Adjusts the cutoff frequency.
  • Page 60 Deactivate the Edit Morph button of the ac- Select the page to view the control. cording Morph group to finish editing. A Hybrid control can only be assigned to one Morph group at a time. To assign a graphic control: Choose a Morph group by clicking the accord- ing Edit Morph button.
  • Page 61 Edit mode. Click the clear button next to the morph edit Deactivate the Edit Morph button of the ac- buttons to clear all assignments of the selected cording Morph group to finish editing. group. Chapter 4: Operating Hybrid...

  • Page 62: Midi Controller Mapping

    Hybrid’s Morph groups. For example, use the to virtually any parameter so that you can con- Modulation Wheel or Aftertouch from your trol Hybrid from a MIDI keyboard or controller. MIDI keyboard to have immediate control over morphs. Morph assignments and MIDI controller assignments do not exclude each other.

  • Page 63: Appendix A. Hybrid Factory Patch Categories

    Hybrid Factory Patch Categories Patch Category Patch Category Name Number Soft Pads Bright Pads Moving Pads Actions Pads Arpeggios Sequenced Poly Synths Keyboards Bells Percussive Basic Basses Soft Basses Hard Basses Drones Soft Leads Hard Leads Ambiences Appendix A: Hybrid Factory Patch Categories...
  • Page 64 Hybrid Plug-In Guide...

  • Page 65: Appendix B. Hybrid Wavetables

    Syncrotronic Digital sync saw wave Talkbox Five wave forms with talk box formants Syncrotronic Digital sync square wave Vowels Five wave forms with vowel formants Appendix B: Hybrid Wavetables...
  • Page 66 Cross-fade between saw and digital sounding textures square wave Wave Three wave forms from Genuine Natural bell spectra, works Glimpse additive synthesis Bell best when modulated through an envelope No Ground Two wave forms, one with no root Hybrid Plug-In Guide...
  • Page 67 12345 Electronic voice counting Wrapped A thin sounding wave form from one to five, works best Around and 64 digitally wrapped when modulated through an versions of it envelope Appendix B: Hybrid Wavetables...
  • Page 68 Pick Bass Spectra from an electric bass, works best when mod- ulated through an envelope Spectra from a saxophone, works best when modulated through an envelope Trumpet Spectra from a trumpet, works best when modulated through an envelope Hybrid Plug-In Guide...

  • Page 69: Appendix C. Part A And B Insert Effects

    appendix c Part A and B Insert Effects Reverb A simple low-CPU reverb with a wide, Plate Reverb spacious sound Wet/dry mix Wet/dry mix Time Reverb time Time Length of reverb tail PreDel Pre-delay time Lo EQ Low-cut EQ Damping High frequency damping (0% = bright 100% = dark) Hi EQ...
  • Page 70 Wet/dry mix time Time Length of reverb tail, changes the HF Damp High-cut filter to soften delay sound from dense early reflections repeats to a trashy, grainy 80’s reverb Lo EQ Low-cut EQ Hi EQ High-cut EQ Hybrid Plug-In Guide...
  • Page 71 Long Delay Same as Delay, but with increased Ducking Delay Same as Delay effect except these maximum delay time of 4 seconds additional parameters: Wet/dry mix Depth Positive depths produce a ducking effect, where the delayed signal is Delay Delay time (optional tempo sync) attenuated while the input signal is loud, and comes up in level to fill gaps Feedback...
  • Page 72 Feedback amount for more thick- Feedback Feedback amount ness and “swirliness” Balance Ratio of left delay time to right delay time High High-cut filter to soften delay repeats Damp Diffusion Amount of diffusion. High settings produce a random wash of delays. Hybrid Plug-In Guide...
  • Page 73 Space Chorus Chorus with inverted feedback Step Flanger Same as Flanger, but with addi- above a crossover frequency for a wide sound tional parameters Wet/dry mix Wet/dry mix Rate Modulation rate (increase for more Step Rate Rate of an “S&H” LFO, used as a obvious pitch modulation) source for the Step Depth para- meter.
  • Page 74 Number of active stages (1, 2, or 3) Pan Trim This parameter can be used to com- pensate for a psychoacoustic effect where the sound seems biased to one side of the stereo field because of the relative phases. Hybrid Plug-In Guide...
  • Page 75 Scanner Vibrato Pitch Shift Classic 1980’s low-budget pitch shifter. Useful for sound effects Mode Chorus 1, 2, 3 or Vibrato 1, 2, 3 (light to heavy) Wet/dry mix Rate Rate adjustment, relative to the origi- Left Pitch shift amount left channel, nal electro-mechanical effect ±12 semitones Depth...
  • Page 76 Mode Switch between mono and stereo signal level operation Env Rel Rate of response to a falling input signal level Shelf EQ Simple tone control Output Output level trim Bass Low frequency cut/boost Treble High frequency cut/boost Hybrid Plug-In Guide...
  • Page 77 Parametric EQ Two-band equalizer Bit Reduction Digital “Lo Fi” quality degrada- tion Output Output level trim Wet/dry mix Gain 1 Cut/boost amount Rate Simulated sample rate Freq 1 Cut/boost frequency Depth Sample bit depth Width 1 Cut/boost width Slew Rate Maximum rate of change of output Gain 2 Cut/boost amount (second band)
  • Page 78 Low-pass filter to reduce harshness Output Output level trim Low Cut High-pass filter to allow low frequen- Thresh Compression threshold cies through without overdrive Ratio Compression amount Mode Switch between mono and stereo operation Attack Attack time Release Release time Hybrid Plug-In Guide...

  • Page 79: Appendix D. Default Midi Controller Mappings

    appendix d Default MIDI Controller Mappings Part Section Parameter Controller MIDI Specification Part A Pitch/Voice Octave undefined Tune undefined Glide Mode Glide Mode Glide Time Glide Time Oscillator1 Type undefined Shape undefined Semi undefined Cent undefined Level undefined Oscillator2 Type undefined Shape undefined...
  • Page 80 Volume undefined Balance Ins1 undefined Ins2 undefined Chorus Effect Ctrl1 Delay Effect Ctrl2 Reverb undefined Attack undefined Decay1 undefined Level1 undefined Decay2 undefined Sustain undefined Release undefined LFO1 Rate undefined LFO2 Rate undefined LFO3 Rate undefined Hybrid Plug-In Guide...
  • Page 81 Part Section Parameter Controller MIDI Specification Sequencer SSeq Mode undefined SSeq Latch undefined Part B Pitch/Voice Octave undefined Tune undefined Glide Mode undefined Glide Time Softpedal Oscillator1 Type Legato Switch Shape Hold2 Semi Sound Controller#1 Cent Sound Controller#2 Level Sound Controller#3 Oscillator2 Type Sound Controller#4...
  • Page 82 Ins1 Effect1 Depth Ins2 Effect2 Depth Chorus Effect3 Depth Delay Effect4 Depth Reverb Effect5 Depth Attack undefined Decay1 undefined Level1 undefined Decay2 undefined Sustain undefined Release undefined LFO1 Rate undefined LFO2 Rate undefined LFO3 Rate undefined Hybrid Plug-In Guide...
  • Page 83 Part Section Parameter Controller MIDI Specification Sequencer SSeq Mode undefined SSeq Latch undefined Morph1 General Purpose1 Morph2 General Purpose2 Morph3 General Purpose3 Morph3 General Purpose4 Appendix D: Default MIDI Controller Mappings...
  • Page 84 DIGIDESIGN TECHNICAL SUPPORT (USA) PRODUCT INFORMATION (USA) INTERNATIONAL OFFICES Visit the Digidesign website 2001 Junipero Serra Boulevard Tel: 650.731.6100 Tel: 800.333.2137 for contact information Daly City, CA 94014-3886 USA Fax: 650.731.6375 Tel: 650.731.6300 Fax: 650.731.6399...

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