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D16 LuSH-101 User Manual

Multitimbral polyphonic synthesizer
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Multitimbral Polyphonic Synthesizer
User Manual

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Summary of Contents for D16 LuSH-101

  • Page 1 Multitimbral Polyphonic Synthesizer User Manual...

  • Page 2: Overview

    Layers within a specially designed for this purpose (built into the LuSH-101), in which we can make a final touch to a sound through parametric equalizers, compressors (one per each channel) and 3 send effects (built-in the Mixer). Each of the tracks corresponding to one...
  • Page 3 At the top of GUI there is a bar called section: Control section Layer Below the bar we can see a part of GUI, which is responsible for editing a single (this is the default view, after opening the LuSH-101 in a host application).
  • Page 4 Overview Synthesis view containing layer's parameters In the Control section we can distinguish the following groups of controls: Options Options • button, which enables access to an panel. The entire global configuration is performed from there. Options (about) button • MIDI section contains a Midi...
  • Page 5 Master mixer Layers – Mixing and combining the sound from all together. • Modulation matrix – Editing selected Layer's modulation matrix. • Master volume • knob - controlling overall volume of the output sound coming from the LuSH-101 Master volume knob...

  • Page 6: Layer

    Layer Layer We access Layer parameters by clicking the Synthesis button in the Control section: View (tab) selector They are displayed in the main part of GUI: Synthesis view containing layer's parameters We can select, which Layer (from the 8 available) we want to edit using Layer select buttons in the Control...
  • Page 7 Layer Layer In a single we can distinguish the following groups of controls: • Layer settings: Layer settings • Timbre preset browser: Timbre browser • Voices (polyphony management): Voices section • Insert effect: Insert effect section...
  • Page 8 Layer Layer master: • Layer master • Set of sound parameters: Layer's sound parameters...

  • Page 9: Layer Settings

    Layer • Layer settings • Arpeggio Gater – set of parameters controlling Layer Arpeggiator Layer's sound parameters Layer settings Parameters from Layer settings, Voices section, Layer Master are stored per each layer independently. Layer control parameters...
  • Page 10 Layer listens out on all channels on a MIDI port redirected to a LuSH-101. Note: this parameter is NOT stored within the preset of any kind, it is stored within the host application project only! •...
  • Page 11 Layer • Layer settings Layer's transposition in the range of halftones. • Zone Layer's zone Apart from the MIDI channel, we can also set a keyboard Zone, to which the Layer will be responding, by creating a split, if keyboard zones are disjunctive and Layers listen to the same MIDI channel.
  • Page 12 Layer • Layer settings Voices Polyphony Layer – It is the total number of voices of (up to voices). If the number of voices is • equal to then implicitly the Mono mode is set and other controls in this section start to work. Mono –...
  • Page 13 Layer • Layer settings Unison spread Unison mode “steals” Polyphony, e.g. when we set Unison to 2, we will not be able to set We need to remember that the polyphony greater than 16, because it would exceed voices in total (Unison voices * Polyphony).
  • Page 14 Layer settings Timbre preset management section: Timbre browser LuSH-101 Presets in can be created and stored on a few levels of hierarchy (for particular groups of parameters only or for all of them), which defines a preset type. For a single...

  • Page 15: Synthesis

    • Synthesis Synthesis LuSH-101 is a subtractive synthesizer and the control of the signal flow used here does not differ substantially from most of compact hardware or software synthesizers on the market. It encompasses all the elements and components widely used in modern synthesizers.
  • Page 16 Layer • Synthesis Vco diagram Oscillators can be mixed together in proportions set by sliders placed in the Source mixer section: Synthesis - source mixer Starting from the left side, sliders in this section are responsible for:...
  • Page 17 Layer • Synthesis Volume Square • oscillator with adjustable pulse width. Volume Sawtooth • oscillator. Volume of Suboscillator. • Volume Noise • generator. LEDs (VOL x ENV1) above the SQR, SAW, Noise sliders allow independent (for each oscillator) modulation of ENV1 amplitude using (first envelope).

  • Page 18: Hardsync

    Slave – which has frequency based on note frequency varied envelope or LFO). Master restarts Slave's period. In LuSH-101 HardSync by additional modulation sources (like possible, because it uses implicitly the second hidden oscillator for PWM Square generator and Sawtooth generator.

  • Page 19: Supersaw

    Layer • Synthesis Supersaw Two last sliders in the Source Mixer section and the above them are responsible for controlling the SuperSaw Sawtooth mode for the oscillator. Supersaw parameters Supersaw LED activates and deactivates that mode, and parameters: • Amt. - Amount, the effect strength, the bigger the value is, the more saw oscillators are added.

  • Page 20: Pulse Width Modulation - Pwm

    Layer • Synthesis Pulse Width Modulation – PWM The three parameters in Pulse section are responsible for controlling the pulse width of the first oscillator in the Source Mixer section: • Width – Pulse width of square wave. • – Amount of pulse width modulation by a modulation source. •...
  • Page 21 Layer • Synthesis Synthesis - envelopes ADRS These are classic generators with four parameters: • – Attack time. • – Decay time. • – Sustain level. • – Release time There are two additional parameters: • Polarity – Positive / Negative: Positive and negative envelope...
  • Page 22 Trigger – This parameter decides when the Envelope is triggered. We have the following values to choose from: Trig – Each incoming to LuSH-101 note re-triggers an Envelope. • Gate – The note re-triggers Envelope if any other note is not played at the moment. Therefore, the trigger is not •...

  • Page 23: Low Frequency Oscillators - Lfo

    Layer • Synthesis Low Frequency Oscillators - LFO In the Layer there are two multipurpose low frequency oscillators, which parameters are located in sections LFO1 LFO2 on GUI: Synthesis - LFOs Both LFOs can be used for controlling sound pitch, filter parameters, pulse width or sound amplitude. There are two basic parameters for LFO: Waveform •...
  • Page 24 Layer • Synthesis Further parameters controlling the work mode: • Reset –decides under what conditions theLFO is reset (it is set on the beginning of its period). We have 4 possibilities: Trig – Each new incoming note resets the LFO. •...

  • Page 25: Filters

    Layer have synchronized LFOs together in a phase, giving an impression of a single controlling all voices at once. Filters LuSH-101 has two serially connected filters. • The second one is a multi-mode resonant filter (Lo-pass, Band-pass and Hi-pass) •...
  • Page 26 Layer • Synthesis section we have access to parameters that control multi-mode resonant filter: Synthesis - VCF filter section From the left respectively: • Type – We have three available filter types to select from: – lo-pass, • – band-pass, •...
  • Page 27 Layer • Synthesis Kybd Kybd • – Keyboard tracking; applying frequency on cutoff frequency of the filter. The parameter controls the amount of this effect. When the Kybd is set to min., the cutoff frequency remains unchanged in relation to frequency causing higher notes to be duller with low pass filter turned on.

  • Page 28: Oscillator's Frequency Control

    Layer • Synthesis Oscillator's frequency control In the Pitch Sync section on GUI we have a set of parameters which control the influence of the envelopes or LFOs on Source Mixer the frequency of oscillator in the section. Pitch / sync section The first two parameters (starting from left) control the amount of modulation of envelopes or LFOs on the oscillator frequency: •...
  • Page 29 – Turned on by default. When tracking is turned on, the pitch of incoming midi notes is taken into • account when a sound is generated. If we turn off the Tracking, the pitch of incoming midi notes is ignored LuSH-101 Frequency and the frequency is constant (controlled by parameter described below).

  • Page 30: Amplifier - Vca

    Layer • Synthesis Vcf keyboard range affect Amplifier - VCA In this section (VCA) we have only one switch, which allows to select the generator of amplitude. Synthesis - amp section • Source – The switch responsible for selecting the generator: ENV1 –...

  • Page 31: Wheel And Bender Modulation

    Layer • Synthesis Gate Gate – Sound amplitude is controlled by the signal, i.e. incoming MIDI Note On message generates • positive slope (sound amplitude has maximum value) and MIDI Note Off message generates negative slope (sound amplitude is zero). LFO2 x ENV2 –...
  • Page 32 Layer • Synthesis Wheel LFO1 • – Allows controlling, through the modulation wheel, the depth of effect of on the oscillator frequency or/and filter cutoff frequency. We have the following parameters: – The depth of modulation of the oscillator's frequency by LFO1's output – gives a vibratto effect •...

  • Page 33: Master Section

    Layer • Synthesis Bender Wheel The way the parameters in sections affect the filter cutoff frequency: Bender and wheel in vcf section Master section There are three available parameters: Fine tune – It is a precise (fine) tuning of oscillators in the Layer. •...

  • Page 34: Insert Effects

    Layer • Insert effects Insert effects A single insert effect can be used per Layer: Insert effect section We are able to select one of the available FX algorithms: • Chorus • Flanger • String Ensemble • Phaser Vowel Filter •...

  • Page 35: Chorus

    Layer • Insert effects Chorus Insert effect - chorus Speed • – speed. We have three fixed values: Slow • Fast • • Mode • – Chorus mode. Thin – Single delay line. • – Double delay line. • • Stereo –...

  • Page 36: String Ensemble

    Layer • Insert effects Depth • – Depth of flanger effect. Rate • – LFO frequency. Feedback • – Flanger feedback. Invert • – Inverting flanger feedback. Dry / wet • – Proportions between processed and unprocessed sound. String ensemble This is a combination of chorus and phaser effects.

  • Page 37: Phaser

    Layer • Insert effects Phaser Insert effect - phaser Speed • – LFO frequency. LFO swtich LFO (Sng. position) • – The way of controlling the phaser. By default, the Phase is controlled by a single or by two LFOs (Dbl.

  • Page 38: Distortion

    Layer • Insert effects Vowel set Above the fader we see a Vowels' list, which can be modified by the user. The list is composed of five elements. Each of them can be modified by a mouse click (left button goes forward, right button goes backward). We have one vowel of five available to choose from: A, E, I, O, U.

  • Page 39: Decimator

    Layer • Insert effects Decimator Insert effect - decimator • Preamp - Input signal amplification before it is degraded, the parameter's range is in [0 ..48 dB]. • AA Filter - Turning on and off the Antialias low-pass filter, which cutoff frequency is linked with a decimation frequency (Frequency knob).

  • Page 40: Arpeggiator

    Layer • Arpeggiator Arpeggiator LuSH-101 has a very advanced Arpeggiator section. Just like the other modules in the Layer, this one also works in an independent way for each Layer. This means that for every Layer Arpeggiator can be activated or not. The Arpeggiator section is located on the right side of Synth view.
  • Page 41 MIDI keys are no longer held on the keyboard. Successively pressed keys will be added to the Arpeggiator sequence, in other words, incoming MIDI Note off messages are ignored. In LuSH-101 we have a few Hold modes to select from: –...
  • Page 42 Hold mode. Using Clear keys button while holding CTRL performs the action for all Layers in LuSH-101. In the bottom part of Arpeggio Gate section there are two rows of LEDs. Each column accords with a single step of Arpeggiator sequence –...

  • Page 43: Examples

    Layer • Arpeggiator Padlock Arpeggiator There is also a icon in the upper left corner of the section: Apreggiator's padlock It is used for locking all parameters within the Layer's Arpeggiator, thus preventing overwriting their values when the Timbre preset or Global Preset is loaded.
  • Page 44 Layer • Arpeggiator To get a regularly sounding Arpeggiator we have to set all the LEDs in the Gate row, and disable all the LEDs in Tie row. For C-min chord pressed on the MIDI keyboard the sequence will look as follows: Arpeggiator - example 1 We can slightly modify the Gate...
  • Page 45 Layer • Arpeggiator Arpeggiator - example 2 If we instead slightly modify the row, we will receive this sequence:...
  • Page 46 Layer • Arpeggiator Arpeggiator - example 3 Obviously, the maximal length is steps, but you may decrease it: 1. Press the Length button in the Arpeggio Gater section. 2. Click on any LED in the Gate row making it the last step in a sequence. This is how the length is set. 3.

  • Page 47: Modulation Matrix

    Layer sound Layer parameters values using MIDI events. Each in LuSH-101 contains its own and completely independent from others Modulation Matrix. To edit the...
  • Page 48 Modulation Matrix Select view section After doing so, you will see the Modulation Matrix view in the front panel of LuSH-101: Modulation matrix As you can see the Control section in the top part of GUI is still visible and accessible, making it possible to switch...
  • Page 49 Layer • Modulation Matrix Modulation Matrix - Source • Destination - Destination parameter, which is supposed to be modified: Modulation Matrix - Destination • Amount - A slider which controls the influence of the Source on a Destination. Modulation Matrix - Amount fader Operating the Modulation Matrix is based on a formula:...
  • Page 50 Layer • Modulation Matrix Expression • - Midi CC #11 (range [0..1]), Pitch Bend • - Midi Pitch Bender (range [-1 .. 1]), Velocity • - Midi Note velocity (range [0..1]), Pitch Pitch Tracking Timbre settings • - Values (range [0..1]) of (see the chapter) assigned to each and every MIDI note,...

  • Page 51: Voice Volume - A Special Destination Parameter

    Modulation Matrix, most of them are just external MIDI events that come in from an In regard to in the active port redirected to the LuSH-101. The Arpe Gate and the Arpe Tie are two exceptions of that rule, because...
  • Page 52 Layer • Modulation Matrix Arpeggiator Tie Gate Arpe Gate This is an exemplary setting of rows and corresponding to them sequences of Arpe Tie Sources in the Modulation Matrix: Modulation matrix - arpe output example Note: Arpe Gate and Arpe Tie Sources work even if the Layer Arpeggiator is turned off (Apre Mode parameter set to off). Regardless of whether the Arpeggiator is turned on or off the tempo of the generated sequence is controlled by the Rate knob (Arpeggiator section).

  • Page 53: Timbre Preset Settings

    Layer • Timbre Preset Settings Timbre Preset Settings Timbre Preset Settings panel contains configuration settings specific for a single Layer / Timbre, that do not necessarily have to be at hand when you edit a sound. To open theTimbre Preset Settings panel use Sett button in the...
  • Page 54 MIDI note coming into the Layer. This set of values is used in the Modulation Matrix as a Source: Pitch. Depending on a MIDI note received by LuSH-101 a corresponding value is returned as a Pitch (rescaled to the range [0..1]) in the Modulation Matrix. Pitch...
  • Page 55 Layer • Timbre Preset Settings Miscellaneous tab Timbre preset settings – Miscellaneous tab In this tab, the following options are available: • Velocity dynamics curve - Allows to select between seven different dynamic curves, the one selected is taken into account in Modulation Matrix (Velocity).
  • Page 56 MIDI notes and are still playing, need to be stopped by successively and continuously incoming new MIDI notes (because of the limited polyphony). This concerns mainly LuSH-101 sounds with longer release times. In we can choose how notes should be distributed among available voices of polyphony (the order in which voices should be assigned to incoming notes and later released).

  • Page 57: Mixer

    You can combine and mix the sound from all the Layers together on Master mixer view. Select view section After clicking the Master mixer button, the Mixer view appears on the front panel of LuSH-101. Mixer view First 8 channel strips representthe synthesizer Layers:...
  • Page 58 Mixer Mixer - layers' channel strips Three succeeding channel strips are the channels with three algorithms permanently assigned to them (one per each): Mixer - send effects and FX channels strips...
  • Page 59 Mixer • – Reverb is assigned to channel, • – Delay is assigned to channel, • – Chorus is assigned to channel, Each of those send effects has its own set of parameters, and in respect to the complexity (number of parameters) of Reverb Delay effects , they have their own preset management system.

  • Page 60: Layer Channel Strip

    Mixer • Layer channel strip Layer channel strip Before the signal outgoing from a Layer is mixed with signals from other Layers, it passes through a channel strip. Mixer - layer's channel strip Starting from the top of the channel strip we can distinguish the following controls: Mixer - layer's channel strip - top section...
  • Page 61 Mixer • Layer channel strip Timbre – This text box displays the name of the loaded timbre and allows to change the Timbre's name by clicking • on it. • – Panorama, this control corresponds to a knob, which is placed in the Layer master section in the Layer...
  • Page 62 Mixer • Layer channel strip 1:10 • • Thres. - Compressor threshold. Below there is a simple parametric equalizer, the section: Mixer - layer's channel strip - eq • – Hi-shelf gain from -24db to +24db for frequencies >= 8khz. •...
  • Page 63 Mixer • Layer channel strip • – Is a send value for Channel. • – Is a send value for Channel. • – Is a send value for Channel. The Pre fad. (Pre fader) switch, which controls whether the signal is sent to Volume Channels, takes the fader into...

  • Page 64: Fx Channel Strip

    Mixer • FX Channel strip FX Channel strip The part of the signal, controlled by knobs (in Send sections of Layer channel strips), from each Layer is sent to the Channel. The input of the FX Channel is a sum of all the parts from all Layers. Each of the FX Channels is assigned Delay...
  • Page 65 Mixer • FX Channel strip Mixer - FX Channel strip - top section • Audio out – It is the plug-in output number towhich the output signal from the FX Channel will be routed to (1-11). • – Panorama. • Volume –...

  • Page 66: Fx Algorithms

    – Gain value for a peak for middle frequencies from -24db to +24db. • – Low-shelf gain from -24db to +24db for frequencies <=100hz. Signal flow through a FX Channel strip FX algorithms LuSH-101 mixer we have three different fx algorithms assigned permanently to particular Channels. Reverb Reverb is assigned to the Channel, its parameters are located in FX 1 –...
  • Page 67 Mixer • FX algorithms Here we can distinguish the following groups of parameters: • Early reflections: Size – Size of the room for early reflections only. • Diffusion - It is the reflecting surface’s ability to spread the echo out. If this parameter is set to Sharp, the •...

  • Page 68: Delay

    Mixer • FX algorithms • The text box containing the name of currently loaded Reverb preset. Prev / Next • – These two buttons are used for linear navigation through the bank of Reverb presets. Browse • – This button opens a browser with Reverb presets. Save / Save as •...
  • Page 69 Mixer • FX algorithms FX Delay - tempo based delay time For left and right channels (L, R) there are two LED displays per each (arranged vertically and separated by a straight line). The numbers on the top are numerators; on the bottom - denominator. The entire fraction represents a note value, which is a delay time between the taps.
  • Page 70 Mixer • FX algorithms FX Delay - example 1 • Join – This LED works only when Sync. is on. If Join is turned on, it means the delay lines for the right and left channel are joined together and we set a delay time globally for both of them by setting a delay time for the left channel only (L column).

  • Page 71: Chorus

    Mixer • FX algorithms The preset section allows for managing the presets for the Delay effect: • The text box containing the name of the currently loaded Delay's preset. • Prev / Next – These two buttons are used for linear navigation through the bank of Delay's presets. •...

  • Page 72: Global Preset Settings

    Mixer • Global preset settings Global preset settings This panel contains settings specific for the Global Preset that are not necessarily at hand when you edit a sound. To open the Global Preset Settings panel you need to use Sett. button in the Global preset management section on GUI:...

  • Page 73: Arpeggio Sync Mode

    Mixer • Global preset settings Arpeggio Sync Mode If we use the Arpeggiator on more than one Layer, Arpeggio Sync Mode defines a way of communication / Arpeggiators across the Layers. Timers which tick Arpeggiators Layers synchronization of the can work either independently, or they can be joined together according to specified criteria.

  • Page 74: Preset Management

    Preset Management • Preset structure Preset Management Presets structure The presets structure in LuSH-101 is hierarchically organized, there are five kinds of presets, which store different groups of parameters. • Layer preset – In LuSH-101 it is called a Timbre. Within this type of preset the following parameters are stored:...
  • Page 75 Preset Management • Preset structure Arpeggiator preset Arpeggio Gater • – section settings. Reverb preset FX 1 – Reverb • – Reverb settings in Mixer tab, section. Delay preset FX 2 – Delay • – Delay settings in Mixer tab, section.

  • Page 76: Preset Storage

    When you insert a plug-in to a host application, before the window opens, some initial actions are performed. Among those, LuSH-101 scans the location in which presets are stored on the hard disk and projects this location into the tree (hierarchical) structure, which corresponds to a structure of folders and files: •...

  • Page 77: Padlocks

    • Padlocks By default, presets are kept on the hard drive: • for MacOS – the folder “~/Library/Application Support/D16 Group/LuSH-101/Arpe” • for Windows – the folder "c:\Users\[user_name]\AppData\Roaming\D16 Group\LuSH-101" Following files types are recognized by LuSH-101: • .shprst - Global Preset, •...

  • Page 78: Preset Browser

    Arpeggiator's top bar. Preset Browser As it was mentioned in the previous chapter, presets in LuSH-101 are stored as files on the hard drive. Therefore, the Preset Browser reflects the file structure of a location on the disk where presets are actually kept.
  • Page 79 Preset Management • Preset Browser The hierarchy of the file structure on the disk is represented by columns (each column is a single level in the directory tree), in which the leftmost column is the highest level in the file structure (Preset root folder), and subsequent columns, going to the right, represent successive levels of the directory tree.
  • Page 80 Preset Management • Preset Browser Preset Browser - Preset description Preset Author and Rating. We can change the Rating It contains information like: name, according to our recognition by giving it 1 to 5 stars (by mouse clicking on one of the stars). The author's name is assigned automatically to all newly created and saved presets based on information given by user in a Preset tab in...
  • Page 81 - Deleting a selected item or group of items. - Refreshing the columns content in the Preset browser. It is necessary in the situation when LuSH-101 is loaded Preset files and the content of the hard drive (in the location where are kept) has changed.

  • Page 82: Arpeggiator Preset Browser

    Preset Management • Preset Browser Arpeggiator Preset Browser The previous chapter focused on describing general features of the Preset Browser, namely its simplest possible Presets for Delay Reverb effects in the Mixer. The Preset variant, which appears in the case of browsing the Browser Layer Arpeggiator is slightly more advanced (level up in complexity), enriched with additional...

  • Page 83: Global Preset Browser

    MIDI keyboard. Global Preset Browser - Zones' Layout Timbre Layers LuSH-101 Below the keyboard names for all the are shown and if an enabled MIDI port is redirected to this control indicates their activity in response to MIDI notes.

  • Page 84: Configuration

    Configuration Configuration Configuration panel in LuSH-101 allows us to change the general settings of the plug-in. Use the Options button on GUI to load it: Options (about) button In the Configuration panel the following tabs are available: Configuration Panel - Tabs Synthesis •...

  • Page 85: Synthesis Tab

    Configuration • Synthesis tab Synthesis tab This tab is used to control the processing settings and the quality of the sound generated by the synthesizer: Options - Synthesis Tab Current Quality (real-time and offline) Allows to select the current quality for real-time or offline.

  • Page 86: Default Quality

    Current envelope retrigger mode setting. Default envelope retrigger mode is stored within a configuration file of the LuSH-101. This file is saved in a moment of unloading any of active plug-in instances from the host application.

  • Page 87: Current Processing Settings

    According to the specification, a plug-in generates or processes the sound in a one-track manner and it is the host application which activates the plug-in in a separate thread. Plug-ins with a large demand for the processor resources can significantly use it up. LuSH-101 allows to activate multi-core support, which creates processing threads by Multi-core generating the sound with the use of many processor cores available in the system.

  • Page 88: In / Out Tab

    Configuration • In / Out tab In / Out tab Allows to modify the default MIDI input channels and / or Audio outputs routing. Options - In, Out tab From this location it is possible to change the default MIDI channel for any Layer: Layer's midi channel default Audio...

  • Page 89: Default Midi Channels

    Mixer - FX Channels audio outputs In / Out Values set in the tab are stored within the LuSH-101 configuration file every time the plug-in is unloaded from the host application and recalled when a new instance is created. Default MIDI channels...

  • Page 90: Default Audio Outputs

    Mixer) and makes it the default one. Presets tab In the Presets tab, we have an access to functions allowing certain global actions on preset file. Every preset in LuSH-101 apart from storing the values of sound parameters, stores also certain additional Author Presets information i.e.

  • Page 91: Parameters Tab

    Parameters tab Parameters tab Due to the fact that the number of sound parameters in LuSH-101 synthesizer is counted in thousands, and the parameters automation assured by the host application accordingly with VST/AU technologies allows to use max. 128 automatable parameters, we can map/assign the chosen internal parameters of the synthesizer on 128 automatable...
  • Page 92 Configuration • Parameters tab Host parameter assignment Layer 1 Filters For example, when we assign the general usage parameter No.1 to the internal synthesis parameter -> -> Filter Type (filter type for the first layer). Parameters tab - Parameter mapping...

  • Page 93: Assignment List Management

    Configuration • Parameters tab Then we can automate the chosen parameter from the host application level. Cubase - Layer 1 Filter Type automation Assignment List Management On the right side of parameter assignment list there are editorial function buttons available: - clearing the entire assignment list.

  • Page 94: Midi Control Tab

    Midi Control tab Midi Control tab LuSH-101 can assign its controls (on GUI) to any MIDI CC (Midi Control Change) event, allowing the control of the plug-in to use external hardware or software controller. MIDI CC Assignements table and functional buttons Controls included in the tab: •...

  • Page 95: Midi Learn

    In this mode the plug-in waits for any change in the parameter's value (movement of any control on GUI) and for a movement of any MIDI CC control on the external MIDI controller, which operates on an active MIDI input channel directed to LuSH-101. The order of these actions is irrelevant.
  • Page 96 Configuration • Midi Control tab During the above-mentioned actions, the status bar informs about the currently changing values of controls and provides their names. When a link is established between MIDI CC and the sound parameter, a line is added to the list of MIDI CC assignments.

  • Page 97: Unlinking And Midi Link Management

    - Removes all MIDI CC links. - Loads a MIDI map from file (.shccmap – LuSH-101 MIDI CC Map). - Saves all links in the list to a MIDI map file. Note: MIDI map files are saved in XML format, which enables their edition in any text editor...

  • Page 98: Gui Tab

    Every time a LuSH-101 is loaded in the host application (new instance is created) the is used for a Skin setting. Default Skin is stored within a configuration file of LuSH-101. This file is saved at the moment of unloading any of active plug-in instances from the host application.

  • Page 99: Table Of Contents

    Contents Contents Flanger ................34 Overview ................String ensemble ............35 Layer ..................Phaser................36 Layer settings ..............Vowel filter ..............36 Synthesis ................14 Distortion..............37 Oscillators - VCO ............14 Decimator ..............38 HardSync ..............17 Tremolo ................38 Supersaw ...............
  • Page 100 Contents FX algorithms ..............65 Current processing settings ......... 86 Reverb ................65 Default processing settings ........86 Delay ................67 In / Out tab ................ 87 Chorus ................70 Default MIDI channels ..........88 Global preset settings ..........71 Default audio outputs ..........

Table of Contents