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APPLIED ACOUSTICS SYSTEMS Strum Acoustic GS-1 User Manual

Synthesizer dedicated to the emulation of acoustic guitars
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Summary of Contents for APPLIED ACOUSTICS SYSTEMS Strum Acoustic GS-1

  • Page 1 USER MANUAL...
  • Page 2 Information in this manual is subject to change without notice and does not represent a commitment on the part of Applied Acoustics Systems DVM Inc. The software described in this manual is furnished under a license agreement. The software may be used only in accordance of the terms of this license agreement. It is against the law to copy this software on any medium except as specifically allowed in the license agreement.

  • Page 3: Table Of Contents

    Contents 1 Introduction 1.1 System Requirements ....... . . 1.2 Installation ........10 1.3 Authorization and Registration .
  • Page 4 CONTENTS 3.2.3 Muffled Downstroke and Upstroke ..... . 24 3.2.4 Mute All ........24 3.2.5 Alternate Strum .
  • Page 5 CONTENTS 5 Presets and MIDI maps 5.1 Presets ......... 39 5.1.1 The Preset Library .
  • Page 6 CONTENTS 6.2.5 The Palm Module ....... 50 6.2.6 The Global Module ......50 6.2.7 The Body Module .
  • Page 7 CONTENTS 7 Toolbar Program Display ........66 MIDI map .
  • Page 8 CONTENTS 12 License Agreement...

  • Page 9: Introduction

    Introduction 1 Introduction Strum Acoustic GS-1 is a synthesizer dedicated to the emulation of acoustic guitars. The syn- thesizer is entirely based on the A A S physical modeling technology and uses no sampling nor wave tables. Instead it produces sound by solving, on the fly, mathematical equations modeling the different components of a guitar and how they interact.

  • Page 10: Installation

    Introduction Keep in mind that the computational power required by Strum Acoustic depends on the number of voices of polyphony and the sampling rate used. These computer configurations will enable you to play the factory presets with a reasonable number of voices. 1.2 Installation Mac OS Insert the Strum Acoustic program disc into your CD-ROM drive.

  • Page 11: Step 1: Generating The Challenge Key

    1.3 Authorization and Registration 1.3.1 Step 1: Generating the Challenge Key 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 Strum Acoustic now, click on the Next button otherwise click on the Authorize Later button.
  • Page 12 Introduction Figure 2: Enter your serial number in the pop-up window. Figure 3: The challenge key appears automatically after entering the serial number. support issues, and notify you of product updates promptly. This information is kept completely confidential. Registration of your product will entitle you to receive support and download updates when available, as well as take advantage of special upgrade prices offered from time to time to registered A A S users.
  • Page 13 1.3 Authorization and Registration Figure 4: Enter your registration information on the A A S webserver. key will appear on-screen. Figure 5: Generation of the response key on the A A S server. If your computer is not connected to the internet, take note of your serial number and challenge key and proceed to an internet connected computer.

  • Page 14: Step 3: Completing The Unlock Process

    Introduction 1.3.3 Step 3: Completing the Unlock Process The response key corresponding to your serial number and challenge key will be printed in your browser window. In order to complete the unlock process, copy the response key and paste it into the corresponding field of the installer window of Strum Acoustic.

  • Page 15: Obtaining Your Response Key And Registering By Fax Or Over The Phone

    1.4 Getting Started Figure 7: Authorization has been successful. 1.3.4 Obtaining your Response Key and Registering by Fax or over the Phone: Should you not have access to the internet, A A S support representatives are available to assist you in the unlock and registration process Monday to Friday, 9am to 6pm EST. You may contact us by phone at: North America Toll-free number: 1-888-441-8277 Outside North America: 1-514-871-8100...

  • Page 16: Exploring The Factory Presets

    Introduction Mac OS - Double-click on the Strum Acoustic icon located in the Applications folder. Before you start exploring the factory presets, take a moment to set up you audio and MIDI configuration as explained below. Audio Configuration Audio configuration tools are available from the Audio menu. The Audio Settings function allows you to select an audio output device from a list, organized by driver type, of those available on your computer.

  • Page 17: Using Midi Links

    1.5 Getting Help application for the first time, this “tree view” will include a destination folder for imported presets as well as a Presets folder. To open a folder, click on the “ ” symbol on Windows or symbol on Mac OS which will reveal the folder content. The preset library is different from the program list and can be viewed as a repository con- taining all the presets available to the application.

  • Page 18: Forum And User Library

    Introduction Worldwide: 1-514-871-8100 Fax: 1-514-845-1875 Email: support@applied-acoustics.com Our online support pages contain downloads of the most recent product updates, and answers to frequently asked questions on all A A S products. The support pages are located at: www.applied-acoustics.com/support.php 1.6 Forum and User Library The A A S community site contains the Strum Acoustic user forum, a place to meet other users and get answers to your questions.

  • Page 19: An Overview Of Strum Acoustic

    An Overview of Strum Acoustic 2 An Overview of Strum Acoustic Strum Acoustic is a synthesizer which was designed with the goal of enabling keyboard players to easily create realistic guitar tracks. This is a task which is usually difficult to achieve due to the very different nature of these two types of instruments.

  • Page 20: Strumming

    An Overview of Strum Acoustic 2.2 Strumming On a guitar, notes and chords are triggered by the action of the picking hand (usually right hand). The resulting sound is very typical of a guitar as the guitarist triggers the strings sequentially, more or less rapidly, with an up and down motion of the hand.
  • Page 21 2.4 Signal Flow Figure 8: Control modules and output stage of String Studio (Panel A). string. This is the signal received by the synthesis or string module which then simulates the vi- bration signal of the individual strings of the guitar. The output of this module corresponds to the signal that would actually be measured at the bridge of the instrument and which is transmitted to the body of the instrument.
  • Page 22 An Overview of Strum Acoustic Figure 9: General architecture of Strum.

  • Page 23: Keyboard Layout

    Keyboard Layout 3 Keyboard Layout Strum reacts to MIDI signal differently than a traditional synthesizer. It uses a special keyboard layout and associates signals from standard MIDI controllers with specific effects or techniques on the guitar. In this chapter, we will describe how the keyboard is used to play Strum. The MIDI signal received by Strum is interpreted in terms of the fretting hand (usually left hand) and picking hand (usually right hand) of a guitar player.

  • Page 24: Palm Muted Downstroke And Upstroke

    Keyboard Layout 3.2.2 Palm Muted Downstroke and Upstroke Palm muting is a technique which consists in partially muting the strings with the help of the picking hand by letting it lightly touch the strings near the bridge. The pick (or fingers) is then dragged across the strings in a downward or upward motion.

  • Page 25: Pitch Bend Wheel

    3.3 Pitch Bend Wheel MIDI note 77(F5): Alternate bass. When the chord played by Strum is not inverted and the chord includes a fifth (natural, lowered or raised) then the alternate bass is the fifth. If the bass is played on the lowest string (sixth string), then the alternate bass will be played on the fifth string if possible except in the case of the open G chord where it is played on the fourth.

  • Page 26: Aftertouch

    Keyboard Layout 3.4 Aftertouch In Strum, bending can be controlled using monophonic aftertouch (also known as channel pressure on certain controllers). The pitch of the note can be increased in this way by up to one tone depending on the settings of the Bend control of the Aftertouch section of the interface. If a chord was just strummed, the highest note of the chord is bended.
  • Page 27 3.6 Hold Pedal Figure 10: Sections of the MIDI keyboard as used by Strum.

  • Page 28: Playing Strum

    Playing Strum 4 Playing Strum Strum can be played in different ways, directly from a MIDI keyboard or using MIDI loops. In this section we describe these different approaches an how to reproduce specific techniques used by guitar players. We conclude this section by describing the different voicing options used by Strum. 4.1 Auto-Strum Mode and Strumming Keys Notes and chords are triggered as they are played on the keyboard when the Auto-Strum mode is selected.

  • Page 29: Chord Change

    4.2 Playing with Auto-Strum 4.2.2 Chord Change Figure 12: Re-triggering a downstroke. Once a chord has been played, the chord detection, voicing and strumming modules are only triggered when a new note is played; releasing notes from a chord has no effect. Consequently, Strum holds the current chord as long as all its notes are not released.

  • Page 30: Hammer-On And Pull-Off

    Playing Strum 4.2.4 Hammer-On and Pull-Off Hammer-on and pull-off are playing techniques used by guitar players to play legato or grace notes. The hammer-on effect is obtained by first picking a note and then hammering down another finger onto the same string at a higher fret. The pull-off effect is almost the opposite of the hammer on. It is obtained by first picking a note and then sharply pulling-off the finger from the fretboard in order to hear a second fretted note on the same string.

  • Page 31: Palm Muted Down- And Upstroke

    4.3 Using the Strumming Keys In the case where only one or two notes are played on the keyboard, the notes can be triggered from both the downstroke or upstroke strumming key and the Range parameter is ignored. If no note is played on the keyboard, the downstroke and upstroke keys trigger a strum over the range defined by the Range parameter but the strings are muted.
  • Page 32 Playing Strum Figure 16: Scratching with the arp keys. higher or the same note as the bass key (arp 6 key). The most useful arp keys are therefore usually the bass, arp 4, arp 3 and arp 2 keys (E5, G5, A5 and B5). A good position to play arpeggios is to use the thumb to play the bass, the index to play the arp 4 key, the middle finger for the arp 3 key, the ring finger for the arp 2 key and finally the little finger for the arp 1 key.

  • Page 33: Specific Techniques

    4.4 Specific Techniques 4.4 Specific Techniques 4.4.1 Trills This technique consists in switching rapidly between two notes by using hammer-ons and pull-offs. With Strum, a trill is played by holding the first note and depressing and releasing the second note. The interval between the notes must be one or two semi-tones.

  • Page 34: Bass & Chords

    Playing Strum Another technique to obtain partial strums consists in releasing strumming keys before the strum is completed. In this way, the strings still not strummed, are not played. In other words, partial strumming is achieved by playing staccato on the strumming keys while full strums are obtained by playing them normally.

  • Page 35: Power Chords

    4.5 Using MIDI Loops When the Auto-Strum mode is switched on, one first plays the note which should not be bended and then the second one. The bending effect is then obtained by moving the pitch wheel or using the aftertouch. This will only work, however, for intervals larger than one tone because otherwise Strum always automatically triggers a hammer-on or pull-off when intervals of one or two semi- tones are played legato.

  • Page 36: Creating Midi Loops

    Playing Strum through the MIDI loop player. Note that loops are note limited to strumming keys and can also include melodies and chords. 4.5.1 Creating MIDI Loops Loops for Strum are easily created in your favorite sequencer by respecting the following rules: All the events must be on MIDI channel 1.
  • Page 37 4.6 Chord Voicing Movable Chords. These chords do not use open strings. As a result they can be moved along the fretboard of the guitar allowing one to easily play the same voicing in different tonalities. This type of chords includes barre chords which are obtained by using one finger to press down multiple strings across the fretboard.
  • Page 38 Playing Strum Funk. Moveable-Root with Playing Position on a high fret. Flamenco Open-Root with a rapid strumming speed. Use the alternate strum on the four highest strings.

  • Page 39: Presets And Midi Maps

    Presets and MIDI maps 5 Presets and MIDI maps Strum Acoustic comes with several factory presets covering a wide range of sounds. This collection of presets lets you play and familiarize yourself with this synthesizer without having to tweak a single knob.

  • Page 40: Playing And Changing Presets

    Presets and MIDI maps When you start the application for the first time, the program list contains a selection of presets from the factory preset library. At that point, the presets in the program list are identical to their version in the library. 5.2 Playing and Changing Presets Presets are always played from the program list.

  • Page 41: Editing And Saving Presets

    5.3 Editing and Saving Presets 5.3 Editing and Saving Presets Moving the different controls on the Strum Acoustic interface modifies the preset loaded in the current program. As soon as the current program is modified, the preset icon located on the left of the program name in the toolbar changes color and a ‘*”...

  • Page 42: Saving The Program List

    Presets and MIDI maps in the library. This behavior might not always be convenient and it is possible to deactivate it by deselecting the Ask to save preset before opening another option in the Preferences command from the Edit menu. 5.4 Saving the Program List When you open Strum Acoustic, the applications always loads the same program list.

  • Page 43: Renaming Presets And Folders

    5.5 Organizing the Preset Library 5.5.3 Renaming Presets and folders On Windows systems, to rename a preset or folder, click a first time on the corresponding icon in the browser in order to select it. Then click a second time to enter in name edition mode. Note that this sequence of operation is different from double-clicking on the icon which loads the preset in the case of a preset icon or opens a folder in the case of a folder icon.

  • Page 44: Midi Maps

    Presets and MIDI maps desired. In order to hide the browser completely, move the double-headed arrow cursor fully to the left. Note that when Strum Acoustic is used as a plug-in, the browser size is fixed and can not be modified.

  • Page 45: Restoring The Factory Presets And Midi Links

    5.9 Restoring the Factory Presets and MIDI Links On Windows systems: C: Documents and Settings [User] Application Data Applied Acous- tics Systems Strum Acoustic 1.0. On Mac OS systems: [System Drive]:Users:[User]:Library:Application Support:Applied Acoustics Systems:Strum Acoustic 1.0. The name of the database file is StrumAcoustic.tdb. In order to archive your database, just copy this file to your usual backup location or medium.

  • Page 46: Parameters

    Parameters 6 Parameters This section can be used as a reference on the different controls appearing on Strum’s graphical interface. We begin by describing the behavior of the different types of controls appearing on the interface 6.1 General Functioning of the Interface 6.1.1 Tweaking Knobs All the knobs on the interface are selected by clicking on them.

  • Page 47: Drop-Down Menus And Displays

    6.2 The Guitar Modules 6.1.3 Drop-down Menus and Displays Clicking on a display with a small down-pointing triangle on its right, such as the Type control of the Multi-Effect module, reveals a drop-down menu with a set of possible settings for the control. Adjustment of the control is obtained by clicking on a selection or using the up and down arrows and the Enter key of the computer keyboard.

  • Page 48: The Strings Module

    Parameters The Global, Pick/Fingers, Strings, Hammer, Mute and Palm modules are related to the modeling of the individual strings of the guitar. The Body module on the right of the guitar shape represents the body of the guitar and allows one to adjust its behavior. The different knobs in this view are so-called offset knobs.

  • Page 49: The Pick/Fingers Module

    6.2 The Guitar Modules 6.2.2 The Pick/Fingers Module The Pick/Finger module allows one to control the excitation of the string with a pick or fingers. The Stiffness parameters de- termines the flexibility of the plectrum or in other words the re- sistance it exerts against the string.

  • Page 50: The Palm Module

    Parameters knob. This parameter is used to control the amount of high frequencies in the resulting sound; turning this knob to the left decreases the amount of high frequencies relatively to low frequencies while turning it to the right increases it. 6.2.5 The Palm Module Palm muting is a technique used by guitar players to muffle the strings slightly while simultaneously playing the strings with the picking hand.

  • Page 51: The Multi-Effect Module

    6.4 The Multi-Effect Module The low-cut (or high-pass) filter is used to remove from the output sound of the instru- ment frequency components below the cut-off frequency. The cut-off frequency of the fil- ter is increased by turning the knob clockwise. when this knob is in its leftmost position, the filter has no effect on the sound.

  • Page 52: Delay

    Parameters Gain = 30 dB, Q = 20 Amplitude (dB) Gain = 30 dB, Q = 50 Gain = 20 dB Gain = 10 dB Gain = 30 dB, Q = 20 Freq Frequency (Hz) Figure 23: Peak filter. mono and stereo chorus, a mono an stereo flanger, a vibrato, a phaser, an auto wah, a wah wah and a notch filter.

  • Page 53: Chorus

    6.4 The Multi-Effect Module and the effect module only delays the input signal. Turning this knob clockwise increases the amount of signal reflected back at the end of the line. Finally the Time knob controls the length of the delay lines and therefore the delay between echoes. 6.4.2 Chorus The Multi-Effect module includes both a mono and stereo chorus effect.

  • Page 54: Wah

    Parameters The phaser effects can be controlled with the three knobs appearing at the bottom of the module. The Mix knob is used to adjust the ratio of “dry” and “wet” signal in the output signal of the module. When the knob is adjusted in the left position, only the original or “dry” signal is sent to the output while in the right position only the processed or “wet”...

  • Page 55: Reverb

    6.5 Reverb Q=10 Amplitude (dB) −3dB Frequency (Hz) Center Frequency Band Width (Q=1) Figure 24: Frequency response of a notch filter. 6.5 Reverb The Reverb module is used to recreate the effect of reflec- tions of sound on the walls of a room or hall. These reflections add space to the sound and make it warmer, deeper, as well as more realistic since we always listen to instruments in a room and thus with a room effect.

  • Page 56: The Strings Module

    Parameters Figure 25: Editing parameters for string number 6 (E2). from 6 to 1 with 6 being the lowest string (E2) and 1 being the highest one (E4). Clicking on the different string numbers reveals parameters for this specific string which implies that all strings can be tuned independently.
  • Page 57 6.6 Edit Mode For each polarity, one can adjust three parameters called Decay, Tone and Inharm. The Coupling knob is used to adjust the amount of energy exchanged between the two polarities of the string motion. Turning this knob clockwise increases the coupling and therefore the amount and frequency of the beating in the sound.

  • Page 58: The Pick/Fingers Module

    Parameters in a stronger presence in the final sound. 6.6.2 The Pick/Fingers Module The Pick/Finger module allows one to control the parameters related with the excitation of the string. It can simulate the excitation of the string with a pick or with a finger. Three different pick/finger or plectrum models are implemented in Strum as shown in Figure 26, 27 and 28 each of them corresponding to a different plectrum profile.
  • Page 59 6.6 Edit Mode The excitation force produced by the plectrum when interacting with the string is determined by the Jut, Speed, Stiffness and Damp- ing parameters. The Stiffness and Damping parameters determine the flexibility of the plectrum or in other words the resistance it ex- erts against the string.

  • Page 60: The Hammer Module

    Parameters 6.6.3 The Hammer Module The Hammer module is used to control hammer-on et pull-off effects as explained in section 6.2.3. In Strum, hammer-ons and pull-offs are triggered when legato playing on the keyboard is detected. The three parameters of this section are Tone, Amp and Velocity.

  • Page 61: The Body Module

    6.7 Performance Parameters 6.6.6 The Body Module The Body module simulates vibrations of the top plate of the body of the guitar, or soundboard, and that of the air cavity of the body. The soundboard of the body is efficient at radiating a large range of frequencies while the role of the air cavity is to boost low frequencies.

  • Page 62: Chord

    Parameters Additional information on the chord is available at the top of the display above the name of the chord itself. When the chord detected contains no third or no fifth the corresponding no 3 or no 5 message is highlighted. Finally, while Strum can recognize a great variety of chords and find most voicings used by guitar players, it is possible that it will not find a voicing in its chord database for a particular chord played on the keyboard.

  • Page 63: Strumming

    6.7 Performance Parameters only contain strumming sequences and the loop player is then used to play rhythmic or strumming patterns over chords currently played on the keyboard. Using loops is useful to carefully control or edit a performance or execute passages that are difficult to play on the keyboard. Loops are loaded using the Load button of the player.

  • Page 64: Tuning

    Parameters off, chords are recognized and voiced by Strum but the strings are not triggered until strumming keys are used. For more details on how to use the strumming keys, please refer to section 3.2. Note that, as was mentioned in section 6.7.2, when the Auto-Strum mode is on, Strum introduces a delay between the time notes are played on the keyboard and a the time a chord is actually triggered.

  • Page 65: Aftertouch

    6.7 Performance Parameters 6.7.7 Aftertouch In addition to the pitch wheel, monophonic aftertouch (channel pressure) can be used to control a bending effect. The depth of the effect is controlled using the Depth knob from the Aft. Touch section. In its center position, the depth is equal to 1 semi- tone.

  • Page 66: Toolbar

    Toolbar 7 Toolbar The toolbar at the top of the Strum Acoustic interface allows you to monitor important information related to your current set-up. 7.1 Program Display Located on the left of the toolbar, displays the number and name of the program cur- rently loaded in the synthesis engine.

  • Page 67: Audio And Midi Settings

    Audio and MIDI Settings 8 Audio and MIDI Settings This chapter explains how to select the audio and MIDI devices used by Strum Acoustic as well as how to create and edit MIDI links and MIDI maps. When referring to commands that are different on Windows and Mac OS systems, the commands are listed in the following order: Windows command/Mac OS command.

  • Page 68: Creating Midi Links

    Audio and MIDI Settings 8.2.2 Creating MIDI Links Every control on the Strum Acoustic interface can be manipulated by an external MIDI controller. In most cases this is much more convenient than using the mouse, especially if you want to move many controllers at once.

  • Page 69: Deleting Midi Links

    8.2 MIDI Settings Note that the range of a knob can be inverted by setting the value of Maximum Value to a smaller value than that of Minimum Value. Click on the OK button and the link appears in the list of controllers linked to the control. Click on the OK button again to confirm the change and to leave the MIDI Links window.

  • Page 70: Defining A Default Midi Map

    Audio and MIDI Settings 8.2.7 Defining a Default MIDI Map It is possible to define a default MIDI map that will be loaded automatically when Strum Acoustic is launched. First select a MIDI map by clicking on its icon in the browser and choose the MIDI Link Info command from the Edit or the Ctrl-I/Apple-I keyboard shortcut.

  • Page 71: Using Strum Acoustic As A Plug-In

    Using Strum Acoustic as a Plug-In 9 Using Strum Acoustic as a Plug-In Strum Acoustic is available in VST, AudioUnit and RTAS formats and integrates seamlessly into the industry most popular multi-track recording and sequencing environments as a virtual instrument plug-in.

  • Page 72: Midi Channel

    Using Strum Acoustic as a Plug-In 9.6 MIDI Channel Make sure that the MIDI controller, sequencer and Strum Acoustic all use the same MIDI channel. If you are not certain of the channel used by your controller or sequencer, set the MIDI channel of Strum Acoustic to Omni.

  • Page 73: Quick Reference To Commands And Shortcuts

    Quick Reference to Commands and Shortcuts 10 Quick Reference to Commands and Shortcuts File Menu Command Windows Mac OS Description New Folder. . . Apple+Shift+N New Folder in the Browser Open Preset Ctrl+O Apple+Option+O Open the selected preset Save Preset Ctrl+S Apple+S Save the current preset...
  • Page 74 Quick Reference to Commands and Shortcuts Edit Menu Command Windows Mac OS Description Undo Ctrl+Z Apple+Z Undo last command Redo Ctrl+Y Apple+Shift+Z Redo last command Copy Ctrl+C Apple+C Copy selected item Paste Ctrl+V Apple+V Paste Delete Delete selected item Info. . . Ctrl-I Apple+I Edit information about a...
  • Page 75 Quick Reference 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...
  • Page 76 Quick Reference to Commands and Shortcuts MIDI Command Windows Mac OS Description MIDI Settings Display the MIDI Settings window Learn MIDILink MIDI link learn mode for the last control touched Add MIDI Link Enables one to add a MIDI link on the last controlled touched Forget MIDILink Drop a MIDI link...
  • Page 77 Quick Reference to Commands and Shortcuts Programs Menu Command Windows Mac OS Description Locate Program in Browser Ctrl-L Apple-L Locate the current program in the browser and select it Rename Program Ctrl-R Apple-R Rename the current program in the program list Switch to Program Ctrl-P Apple-P...
  • Page 78 Quick Reference to Commands and Shortcuts Help Menu Command Windows Mac OS Description About Srum Acoustic GS . . . Display the About Stum Acoustic window User Manual Display the user manual Quick Reference Sheet Display the keyboard layout reference sheet Authorize String Studio .

  • Page 79: Appendix - Lists Of Chords Detected By Strum

    Appendix - Lists of Chords Detected by Strum 11 Appendix - Lists of Chords Detected by Strum We present here a list of the main chords recognized by Strum and for which it can find a guitar voicing. The following guidelines should be kept in mind: The chords are presented using C as the root.
  • Page 80 Appendix - Lists of Chords Detected by Strum List of Chords recognized and voiced by Strum Cadd9 C9 (no 5) Cm9 (no 5) C9sus4 C9sus4 (no 5) C9 5 C9 5 CMaj9 CMaj9 (no 5) CmMaj9 CmMaj9 (no 5) CMaj9 5 C6 9 Cm6 9 Cm6 9 (no 5)
  • Page 81 Appendix - Lists of Chords Detected by Strum List of Chords - Example of a possible position on the keyboard. Csus2 Csus4 Caug Cdim C( 5) Cm6 (no 5) C7 (no 3) C7 (no 5) Cm7 (no 5) C7sus2 C7sus2 (no 5) C7sus4...
  • Page 82 Appendix - Lists of Chords Detected by Strum List of Chords - Example of a possible position on the keyboard. C7sus4 (no 5) C7 5 Cdim7 C7 5 Cm7 5 CMaj7 CMaj7 (no 3) CMaj7 (no 5) CmMaj7 CMaj7sus2 CMaj7sus4 CMaj7 5 Cadd9 C9 (no 5)
  • Page 83 Appendix - Lists of Chords Detected by Strum List of Chords - Example of a possible position on the keyboard. C9sus4 (no 5) C9 5 C9 5 CMaj9 CMaj9 (no 5) CmMaj9 CmMaj9 (no 5) CMaj9 5 C6 9 Cm6 9 Cm6 9 (no 5) Cm11 Cm11 (no 5)
  • Page 84 Appendix - Lists of Chords Detected by Strum List of Chords - Example of a possible position on the keyboard. C13 9 (no 5) CMaj13 CMaj13 (no 5) C7 9 C7 9 (no 5) C7 9 C7 9 (no 5) C7 5 9 C7 5 9 C7 5 9...
  • Page 85 Appendix - Lists of Chords Detected by Strum List of Chords - Example of a possible position on the keyboard. C7 13 C7 13 (no 5) Cm7 13 Cm7 13 (no 5) C7 13 CMaj7 13 CMaj7 13 (no 5) C7 9 13 C7 9 13 C9 11...

  • Page 86: License Agreement

    License Agreement 12 License Agreement IMPORTANT! CAREFULLY READ ALL THE TERMS AND CONDITIONS OF THIS AGREE- MENT BEFORE OPENING THIS PACKAGE. OPENING THIS PACKAGE INDICATES YOUR ACCEPTANCE OF THESE TERMS AND CONDITIONS. IF YOU DO NOT AGREE WITH THE TERMS AND CONDITIONS OF THIS AGREEMENT, PROMPTLY RETURN THE UN- OPENED PACKAGE AND ALL COMPONENTS THERETO TO THE PARTY FROM WHOM IT WAS ACQUIRED, FOR A FULL REFUND OF ANY CONSIDERATION PAID.
  • Page 87 License Agreement 5. LIMITATION OF LIABILITY. TO THE MAXIMUM EXTENT PERMITTED BY APPLI- CABLE LAW, IN NO EVENT WILL AAS BE LIABLE TO THE LICENSEE OR ANY THIRD PARTY FOR ANY INDIRECT, SPECIAL, CONSEQUENTIAL, INCIDENTAL OR EXEMPLARY DAMAGES WHATSOEVER, INCLUDING BUT NOT LIMITED TO LOSS OF REVENUE OR PROFIT, LOST OR DAMAGED DATA, BUSINESS INTER- RUPTION OR ANY OTHER PECUNIARY LOSS WHETHER BASED IN CONTRACT, TORT OR OTHER CAUSE OF ACTION, EVEN IF AAS HAS BEEN ADVISED OF THE...
  • Page 88 License Agreement rendered inoperative but the remaining provisions shall continue in full force and effect. 9. ENTIRE AGREEMENT. This Agreement is the entire agreement between AAS and the Licensee relating to the Software and: (i) supersedes all prior or contemporaneous oral or written communications, proposals and representations with respect to its subject matter;...
  • Page 89 Index aftertouch, 26, 65 mono, 53 alternate strum, 24, 65 stereo, 53 apply offset, 47 commands, 73 arp keys, 24, 28 community, 18 arpeggios, 24, 31 compare, 41 ASIO drivers, 67 contact, 17 audio, 67 database configuration, 16, 67 backup, 45 device, 67 restoring, 45 format, 67...
  • Page 90 INDEX general parameters, 47 moveable chords, 36 getting started, 15 muffled downstroke, 31 global, 50 muffled strokes, 24 muffled upstroke, 31 hammer-on, 30, 49, 60 multi-effect help, 17 auto wah, 54 hold pedal, 65 chorus, 53 delay, 52 import, 44 flanger, 53 individual strings, 24 phaser, 53...
  • Page 91 INDEX automation, 71 sampling rate, 10, 67 MIDI channel, 72 scratch, 31 shortcuts, 73 MIDI parameters, 71 signal flow, 19, 20 MIDI program change, 72 standalone mode, 15 multiple instances, 71 stationary bend, 34 performance, 72 strings, 48, 56 saving projects, 71 strum down, 28 window size, 71 strum range, 63...

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