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APPLIED ACOUSTICS SYSTEMS TASSMAN User Manual

Modular software synthesizer
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  • 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

    4.1 Introduction ........52 4.2 The Tassman Player ........52 4.3 Tweaking knobs .
  • Page 4 CONTENTS 5 The Browser 5.1 The Instruments folder ....... . 60 5.2 The Performances folder .
  • Page 5 CONTENTS 6.23 Dual Gate Sequencer ....... . . 85 6.24 Dual Gate Sequencer with Songs ......86 6.25 Flanger .
  • Page 6 CONTENTS 6.55 Organ ......... 110 6.56 Outlet (1-12) .

  • Page 7: Contents

    CONTENTS 6.87 Toggle ......... 142 6.88 Tone wheel .

  • Page 8: 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 9: System Requirements

    1.2 Installation Mac OSX Insert the Tassman program disc into your CD ROM drive. Open the CD icon once it appears on your desktop. Click on the Tassman Install icon and follow the instructions of the installer. For download installations simply click on Install icon and follow the instructions of the in-...

  • Page 10: Registration

    Introduction Insert the Tassman program disc into your CD ROM drive. Click on the CD ROM icon on your desktop. Click on Install icon and follow the instructions of the installer. For download installations simply click on Install icon and follow the instructions of the in- staller.

  • Page 11: Getting Started

    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 12 Multi-channel interfaces will have their outputs listed as stereo pairs. 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 13 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...
  • Page 14 find the sounds you need while you work. Building your Own Instruments One of the Tassman’s greatest strengths is its modularity. As you explore the various factory instruments and presets, ideas for your own creations are sure to come up. The tutorials section of the manual provides an excellent basis for getting your ideas off the ground, and coming to grips with the basic functionalities of the Tassman’s Builder.

  • Page 15: Using The Tassman As A Plug-In

    Below you’ll find step by step instructions on how to open the Tassman as plug-in in several of these applications. Instructions have been pro- vided for the most recent versions of each product. For further details on using virtual instruments, please refer to the documentation of your host sequencer.

  • Page 16: Getting Help

    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 17: About This Book

    AAS products. The support pages are located at: www.applied-acoustics.com/faq.htm The AAS community site also contains the Tassman user forum, an excellent place to meet new users and get answers to your questions, as well as the synth download page, tutorials, and MP3s create with AAS products.

  • Page 18: 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 19 Figure 1: 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 20 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...
  • Page 21 2.1 Tutorial 1. A Simple Analog Synth turned to the left, the gain is zero, which means that the input has no effect. As you turn the knob to the right, the amplitude of the modulation signal affecting the VCO increases so that you hear a deeper vibrato.
  • Page 22 Tutorials Figure 3: Tutorial 1, step 3 Playing Vlowpass2 stands for “variable second-order low-pass filter”. This means that the cutoff frequency of the filter can be controlled with an external modulation signal. It can, however, also be adjusted with the cutoff frq knob on the filter panel. Launch the Player and move the cutoff knob to the right 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 23 2.1 Tutorial 1. A Simple Analog Synth Construction Pull a wire from the output of the LFO that we already have in the construction area to the second input of the Vlowpass2 filter. Figure 4: Tutorial 1, step 4 Playing The amplitude of the modulation signal is controlled with the mod1 gain knob on the filter panel.
  • Page 24 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 25: Tutorial 2 Playing A Synth With A Keyboard

    2.2 Tutorial 2 Playing a Synth with a Keyboard Figure 6: Tutorial 1, step 6 Playing When sound is produced by the synth, you will see the needle of the level meter move with the amplitude of the signal. The red section of the meter indicates the saturation zone. The Volume slider is used to change the amplitude of the output signal from the synthesizer.
  • Page 26 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 27 2.2 Tutorial 2 Playing a Synth with a Keyboard Figure 7: Tutorial 2, step 1 knob to the left for microtonal variations or to the right for larger variations. You can also use the pitch bend wheel of your keyboard to change the pitch. Note that the sound is uninterrupted even after you have released a key on the keyboard.
  • Page 28 Tutorials Figure 8: Tutorial 2, step 2 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 sound with different types of envelopes. To achieve this we will use an ADSR module (Attack, Decay, Sustain, Release).
  • Page 29 2.2 Tutorial 2 Playing a Synth with a Keyboard Figure 9: Tutorial 2, step 3 sustain and no release. Try to set the ADSR to those settings. Because there is no sustain in this example, the sound starts to decay shortly after you press keys. Now let’s try to produce a violin-like envelope.
  • Page 30 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 31 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 32 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...
  • Page 33 2.2 Tutorial 2 Playing a Synth with a Keyboard polyphony line will be mapped on the player (since the voices all share the same controls) other modules have indeed been created. This means that the computing load can quickly become very heavy when using polyphony.

  • Page 34: 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 35 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 36 Tutorials Figure 12: 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 37 2.3 Tutorial 3 Using a Sequencer Figure 13: 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 38 Tutorials 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. You have four banks of sequences (A, B, C, and D), each containing eight more sequences (1 to 8) for a total of 32.You will now learn to enter your own sequences.

  • Page 39: 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 40 Tutorials Figure 14: 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 41 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 15: 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 42 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 16: Tutorial 4, step 3 Playing You can now trigger the mallet from the keyboard.
  • Page 43 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 44 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 45: 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 46: 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 47 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 48 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 49: 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 Edit menu.

  • Page 50: 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 51 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 52: 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 53: 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 54: Audio Device Settings

    To select the audio device used by the Tassman: Go to the Edit menu, choose Preferences and then Audio Settings. On Mac OSX, the same command is under the Tassman menu. A list of the audio devices installed on your computer will appear in the Audio Configuration window.
  • Page 55 MIDI controller. A value of 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 56: 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 57: 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...
  • Page 58 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 59: 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 60: 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 61: 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 62: 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 63: Browser Filters

    filters from the drop down menu at the top of the browser in order to view only certain categories of objects depending on what you are currently doing with the Tassman. The list of filters is as follows:...

  • Page 64: 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 65: 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 66: After Touch

    Specifications for modules 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 88 under Vbandpass2. Figure 21: Amplitude envelope created with ADSR Note: See also ADAR, VADSR and VADAR modules.

  • Page 67: 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 68: Bandpass2

    Specifications for modules 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 23: 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 69 6.7 Bandpass2 Amp dB Q = 0.01 Q = 0.1 Q = 1 Q = 10 Frequency Center Frequency Figure 24: Frequency response of a Bandpass2. Amp dB Resulting Filter Filter 2 Filter 1 Filter 3 Frequency Figure 25: Response of the parametric equalizer shown in Figure 26. Figure 26: Parametric equalizer made with a Bandpass2.

  • Page 70: Beam

    Specifications for modules 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 71: 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 72: Bowed Membrane

    Specifications for modules 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 73: 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 74 Specifications for modules patterns that can be used to decompose a complex motion. By adding together modes having different frequencies, amplitudes and damping, one can reproduce the behavior of different type of structures. The accuracy of the resulting signal depends on the number of modes used in the simulation.
  • Page 75 6.12 Bowed Multimode Force The force knob is a gain knob acting on the force input of a Bowed Multimode object. 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.

  • Page 76: Bowed Plate

    Specifications for modules 6.13 Bowed Plate The Bowed Plate module simulates sound produced by bowed rectangular plates of different ma- terials and sizes. This module first calculates the modal parameters corresponding to plate shaped objects according to the value of the different parameters requested at construction time and, next, calls the Bowed Multimode module to simulate sound production by the plate.

  • Page 77: Bowed String

    6.14 Bowed String 6.14 Bowed String The Bowed String module simulates sound production by bowed strings of different materials and sizes. This module first calculates the modal parameters corresponding to string shaped objects according to the value of the different parameters requested at construction time and, next, calls the Bowed Multimode module to simulate sound production by the string.

  • Page 78: Comb

    Specifications for modules The default value of the following parameters is set during construction MIDI channel: MIDI channel used by the breath controller. 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 29, of resonances around frequency com- ponents located at multiples of a fundamental frequency (hence its name).
  • Page 79 6.16 Comb can be modulated by using the modulation inputs of the module. The amount of variation of the resonance 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 80: 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 81: Control Voltage Sequencer

    6.19 Control Voltage Sequencer Figure 31: 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 82 Specifications for modules 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 83: 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 84: Delay

    Specifications for modules 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 85: 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 86: Dual Gate Sequencer With Songs

    Specifications for modules 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. The swing knob will introduce a swing feel to the rhythm of the pattern.

  • Page 87: 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 88 Specifications for modules Long Delay Time Short Delay Time 0 dB 0 dB Frequency Frequency Figure 37: 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...
  • Page 89 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 90: Flute

    Specifications for modules 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.

  • Page 91: 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 92: 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 93: 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 43. The inverter can also be used to obtain a stereo tremolo effect (amplitude modulation) as illustrated in Figure 44. Figure 44: Stereo tremolo effect.

  • Page 94: Knob

    Specifications for modules 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 95: 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 96: Lin Gain

    Specifications for modules 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 97: Mallet

    6.39 Mallet res=0.02 res=0.1 res=0.5 res=1 frequency cutoff frequency Figure 47: 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 98: Marimba

    Specifications for modules 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 99: 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 100: 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 101: Membrane

    6.43 Membrane Figure 50: 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 102: Mix2, Mix3, Mix4 And Mix5

    Specifications for modules 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 103 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 104: Multi-Sequencer

    Specifications for modules 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 105 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 106 Specifications for modules 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 107: 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 108: Nor

    Specifications for modules 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 109: 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 110: Organ

    Specifications for modules 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 111: 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 112: Phaser

    Specifications for modules Figure 55: 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 113 6.58 Phaser Fourth order All Pass Filter Output Signal feedback Input Signal Figure 56: 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 114: Pickup

    Specifications for modules 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 115 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 116: Pitch Wheel

    Specifications for modules The Pickup module is used in Figure 60 to construct an electric piano. In Figure 61, a Pickup module is used as a distortion. The effect is applied to the signal coming out from a Polyphonic Mixer. Figure 61: A Pickup used as a distortion.

  • Page 117: 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 118 Specifications for modules 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 119: 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 120: 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 63. 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 121: 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 122: Polyvkey

    Specifications for modules 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 123 6.67 Portamento time =1s time=0.25s time=0.1s input signal time Figure 64: Behavior of Portamento as a function of time constant. gate signal time input signal time output signal time Figure 65: 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 124: Recorder

    Specifications for modules Figure 66: 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 125: 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 126: Reverberator

    Specifications for modules 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 127 6.70 Reverberator a real room the reverberation time is not constant over the whole frequency range. As the walls are 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.

  • Page 128: Rms

    Specifications for modules 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.

  • Page 129: Sample & Hold

    6.72 Sample & Hold Figure 71: 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 130: Sbandpass2

    Specifications for modules 0.75V 0.25V time time time Figure 72: Behavior of Sample & Hold module. Figure 73: 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 131: 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 132: Single Gate Sequencer

    Specifications for modules 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 133 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 134: Single Gate Sequencer With Songs

    Specifications for modules Figure 76: 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 135: 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 136: Stereo Audio Out

    Specifications for modules 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 137 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 78: 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 138: String

    Specifications for modules 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 139: Sync Delay

    6.84 Sync delay Figure 79: 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 140: Sync Ping Pong Delay

    Specifications for modules 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. The second input resets the waveform at the beginning of its cycle each time a signal above 0.1 Volt is received.
  • Page 141 6.86 Sync Ping Pong Delay Left Ouput Left Input Lowpass Left Delay Line Feedback Right Ouput Lowpass Right Delay Line Right Input Figure 80: 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 142: Toggle

    Specifications for modules 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 143: 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 144: Tube

    Specifications for modules 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 145 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 146: Tube4

    Specifications for modules 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 85. 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 147: 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 148: Vadar

    Specifications for modules Typical Use In the example of Figure 87, 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.

  • Page 149: Vadsr

    6.94 VADSR The modulation entries can be connected to the velocity output of a Vkeyboard or a Sequencer module. 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.

  • Page 150: Vca (Voltage Controlled Amplifier)

    Specifications for modules 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. When they are in the center position (green LEDs on), the gain equals 1 and the pitch variation is 1 Volt/octave.

  • Page 151: 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 89: ADSR as Gain Signal to VCA. Figure 90: VCA in Ring. A VCA can also be used to obtain a ring modulation effect.
  • Page 152 Specifications for modules 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 153: Vcs

    6.98 VCS Typical Use The VCO is used for generating the starting signal of an analog synthesizer. Figure 92 shows a standard patch using this module. Figure 92: Typical VCO Use. 6.98 VCS The VCS module is very similar to the VCO module except that it only generates sine waves.

  • Page 154: Vhighpass2

    Specifications for modules Pitch Variation The amount of variation of the playing frequency obtained with the modulation inputs depends on the adjustment of the mod1 and FM gain knobs. The total modulation signal is the sum of the two 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.

  • Page 155: Vkeyboard

    6.100 Vkeyboard relative to this level. The resonance knob is used to emphasize the frequencies near the cutoff frequency as shown in the following figure: 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.

  • Page 156: Vlowpass2

    Specifications for modules The default values of the following parameters is set at construction pitch wheel range: determines the range of pitch variations that can be obtained with the pitch wheel. The convention is 1 Volt/octave (maximum value is 2 Volts). A semitone is equal to a 0.08333 value.

  • Page 157: Vlowpass4

    6.102 Vlowpass4 When the modulation signal is the pitch output from a Keyboard module, this position can be used to make the cutoff frequency follow an equal temperament scale. The modulation signal of the second input can be inverted by pressing the inv button. This can be useful when generating bass sounds, for example, where one wants to close the filter with an upward going envelop such as during the attack of a note.

  • Page 158: Volume

    Specifications for modules 6.103 Volume 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 159: Quick References To Commands And Shortcuts

    Quick references to commands and shortcuts 7 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 Instrument Ctrl+O Apple+O Open the selected patch Close Apple+W Close the window and exit the application...
  • Page 160 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 161 Quick references to commands and shortcuts Edit / Preferences Menu Command Mac OS Description General Display the Edit General Preferences window Audio Settings Display the Audio Settings window Midi Settings Display the MIDI Settings window Latency Settings Display the Latency Settings window Arrange Menu Command...
  • Page 162 Ctrl-Shift-Tab Apple+= Walk forward in the list of opened instruments Next Patch Ctrl-Tab Apple+- Walk backward in the list of opened instruments Help Menu Command Mac OS Description Manual Display the user manual About Tassman Display the About Tassman window...

  • Page 163: License Agreement

    (the “Software”) are the copyrighted work of Applied Acoustics Systems DVM Inc. (“AAS”), its subsidiaries, licensors and/or its suppliers. 1. LICENSE TO USE. The Licensee is granted a personal, non-exclusive and non-transferable license to install and to use one copy of the Software on a single computer solely for the per- sonal use of the Licensee.
  • Page 164 License Agreement 4. LIMITED WARRANTY. Except for the foregoing, THE SOFTWARE IS provided “AS IS” without warranty or condition of any kind. AAS disclaims all warranties or conditions, writ- ten or oral, statutory, express or implied, including but not limited to the implied warranties of merchantable quality or fitness for a particular purpose, title and non-infringement of rights of any other person.
  • Page 165 License Agreement Contracts for the International Sale of Goods and conflict of laws provisions, if applicable, and the parties hereby irrevocably attorn to the jurisdiction of the courts of that province. Les parties sont d’accord ` a ce que cette convention soit r´ e dig´ e e en langue anglaise. The parties have agreed that this agreement be drafted in the English language.
  • Page 166 Index acoustic objects, 39 delay, 57, 84, 144, 146 adar, 64 static, 135 adsr, 28, 65, 90, 93, 151 sync, 139 after touch, 66 sync ping pong, 140 analog synth, 18 distortion, 116 and, 66 dual gate sequencer, 85 audio configuration, 12 dual gate sequencer with songs, 86 audio device, 54 echo, 84, 144, 146...
  • Page 167 INDEX help, 16 settings, 54 highpass1, 91 MIDI configuration, 12 hold, 129 MIDI controller, 54 MIDI links, 25, 30, 31, 49, 54 import, 61 MIDI links range, 55 inlet, 91, 110 MIDI map, 55 installation, 9 MIDI program change, 55 instruments, 56, 60 mix, 102 creating, 14, 45, 46...
  • Page 168 INDEX plate, 40, 80, 97, 103, 116, 139 programming, 37 Player, 52 single gate, 132 launching, 18, 52 single gate with songs, 134 layout, 52 using, 37 player, 8, 86, 117, 132 shifter, 131 launching, 18 shortcuts, 159 plectrum, 119 single gate sequencer, 132 plug-in, 15 single gate sequencer with songs, 134...
  • Page 169 INDEX vkeyboard, 26, 155 vlowpass2, 21, 156 vlowpass4, 82, 157 vocoder, 129 volume, 24, 68, 80, 158 wah, 114 wah wah, 150 wire, 45 editing, 18, 47 xor, 158...

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