1 P age. ControlTOUCH Keyboard Controller

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1 1 P age

2 Contents 1.1 About Your New ControlTOUCH System Specifications... 6 ControlTOUCH 61 Specifications:... 6 ControlTOUCH 25 Specifications: What s in the Box? The ControlTOUCH Feature Description Connecting the ControlTOUCH to your computer PC Touchscreen System Requirements PC Touchscreen Connections and Installation Touchscreen Important Info PC - Touch Function Installation MAC Touchscreen System Requirements MAC Touchscreen Connections and Installation MAC - Touch Function Installation Connecting the ControlTOUCH Keyboard System Requirements Installation of the ControlTOUCH Power Supply ControlTOUCH Basic MIDI Control Function Keys The Keyboard CHANGING VOICE AND VOICE BANK MIDI Controller Messages Programming the controls on Your ControlTOUCH ADVANCED SETTINGS Other Advanced Controls Pad Control Pad Curve ControlTOUCH Default Mapping Assignments SonicSource Introduction SonicSOURCE Installation P age

3 PC VST Installation MAC VST/AU Installation Quick Features Features in Detail SonicSource SoundSet Library Learning and using SonicSource SoundSet Image and Name ADSR Envelope Velocity Sensitivity and Key Scaling The Filter Three Band EQ LFO ~FM Switch Matrix Pitch Envelope Master Controls Effect Racks MODULATOR Types and Description DELAY The Key and Velocity Splits Interface Mixer Strip Arpeggiator Tips &Tricks Global Menu and Settings MIDI implementation Banks and Presets Creating a Custom Preset/Bank ControlTOUCH Usage Examples MIDI Out from USB Function Recording Your Performance on a Sequencer Controlling a Sound Module from the Computer Program & Bank Changes Explained Music Computing Warranty Information P age

4 7.2 Software License Agreement P age

5 1.1 About Your New ControlTOUCH ControlTOUCH keyboard controllers are designed for the modern day musician who requires traditional keyboard controller features along with a video display and touch screen controls. ControlTOUCH allows you to concentrate on your music creation or performance and less on the technology behind them. ControlTOUCH instantly transforms your laptop or desktop into a full-blown keyboard production station. ControlTOUCH 61: The 61-key version provides the following controls and features: 8 velocity sensitive trigger pads, 2X Assignable Pedal Interfaces, 8X Assignable Faders (61-key only), Pitch Bend Wheel and Modulation wheel, 6 Buttons for MTC, Master Volume Fader (61-key only), 8 double Function button with shift, providing 15 functions like (PROGRAM, CHANNEL, CURVE, OCTAVE, TRANSPOSE, BANK M, BANK L, DUAL, SPLIT, MUTE, AFTER TOUCH, CONTROL ASSIGN, etc), 10X numeric pad with +/- buttons, Built-in Memory, which can store/load 6 groups of user's parameters, MIDI/OUT, and MIDI/IN. ControlTOUCH 25: The 25-key version provides the following controls and features: 8 velocity sensitive trigger pads, 2X Assignable Pedal Interfaces, Pitch Bend Wheel and Modulation wheel, 6 Buttons for MTC, 8 double Function button with shift, providing 15 functions like (PROGRAM, CHANNEL, CURVE, OCTAVE, TRANSPOSE, BANK M, BANK L, DUAL, SPLIT, MUTE, AFTER TOUCH, CONTROL ASSIGN, etc), 10X numeric pad with +/- buttons, Built-in Memory, which can store/load 6 groups of user's parameters, MIDI/OUT, and MIDI/IN. Thousands of Sounds: Music Computing s SonicSource (Chapter 3) is a robust VSTi synth containing over 8GB of sound presets that is included with each ControlTOUCH, ready to use right out of the box. Need Support? Music Computing is operated by avid musicians and technology geeks who are passionate about music and their work. This is a standing requirement for being part of the company, which means there will always be answers and help when you need it. Support@musiccomputing.com 5 P age

6 1.2 System Specifications ControlTOUCH 61 Specifications: Keybed: Number of keys: 61 Type of keys: Synth-action Velocity sensitive: Yes Aftertouch: Yes Full size keys: Yes Controls: Features: 8 velocity sensitive trigger pads, 2X Assignable Pedal Interfaces, 8X Assignable Faders (61-key only), Pitch Bend Wheel and Modulation wheel, 6 Buttons for MTC, Master Volume Fader (61-key only), 8 double Function button with shift, providing 15 functions like (PROGRAM, CHANNEL, CURVE, OCTAVE, TRANSPOSE, BANK M, BANK L, DUAL, SPLIT, MUTE, AFTER TOUCH, CONTROL ASSIGN, etc), 10X numeric pad with +/- buttons, Built-in Memory, which can store/load 6 groups of user's parameters, MIDI/OUT, and MIDI/IN. Touchscreen: Size: 10" Adjustable viewing angle: Yes Number of touches: 1 Resolution: 1024 x 600 Connections needed: Controller section: 1 USB 2.0 Touchscreen: 2 X USB 2.0 (includes power, video and touch) or 1 X USB 2.0 (when used with the included power adapter). Software: Music Computing software: SonicSource Producer (VSTi / AU containing thousands of sound presets - 8GB provided on a dual-layer DVD disk) Compatible OS: Windows: Windows XP and Windows 7 - Macintosh: Mac OS X x (Snow Leopard) and 10.7.x (Lion) Size: 36.5" (L) X 10.5" (W) X 2.5" (H) (without touchscreen) Weight: approx 11 lbs (including touchscreen) Origin: Designed and Assembled in Austin, Texas 6 P age

7 ControlTOUCH 25 Specifications: Keybed: Number of keys: 25 Type of keys: Synth-action Velocity sensitive: Yes Aftertouch: Yes Full size keys: Yes Controls: Features: 8 velocity sensitive trigger pads, 2X Assignable Pedal Interfaces, Pitch Bend Wheel and Modulation wheel, 6 Buttons for MTC, Master Volume, 8 double Function button with shift, providing 15 functions like (PROGRAM, CHANNEL, CURVE, OCTAVE, TRANSPOSE, BANK M, BANK L, DUAL, SPLIT, MUTE, AFTER TOUCH, CONTROL ASSIGN, etc), 10X numeric pad with +/- buttons, Built-in Memory, which can store/load 6 groups of user's parameters, MIDI/OUT, and MIDI/IN. Touchscreen: Size: 10" Adjustable viewing angle: Yes Number of touches: 1 Resolution: 1024 x 600 Connections needed: Controller section: 1 USB 2.0 Touchscreen: 2 X USB 2.0 (includes power, video and touch) or 1 X USB 2.0 (when used with the included power adapter). Software: Music Computing software: SonicSource Producer (VSTi / AU containing thousands of sound presets - 8GB provided on a dual-layer DVD disk) Compatible OS: Windows: Windows XP and Windows 7 - Macintosh: Mac OS X x (Snow Leopard) and 10.7.x (Lion) Size: 17.5" (L) X 10.5" (W) X 2.5" (H) (without touchscreen) Weight: approx 7 lbs (including touchscreen) Origin: Designed and Assembled in Austin, Texas 7 P age

8 1.2.1 What s in the Box? If any of the following items are missing from your package, please contact your retailer. 1. ControlTOUCH Keyboard Controller with USB Cable 2. ControlTOUCH Touchscreen with USB cable, and power supply Touchscreen Driver Installation CD SonicSource Producer VSTi/AU DVD 5. Printed ControlTOUCH Users Manual 8 P age

9 2.1 The ControlTOUCH Feature Description Top of the ControlTOUCH 1. Numeric Keypad 2. Touchscreen 3. Drum Pads 4. LCD Display, Function Keys, Rotary Encoders, Faders (61-key) 5. Pitch and Mod wheel 6. Piano Keys Back Connectors of the ControlTOUCH 1. MIDI In port 2. MIDI Out port 3. Expression Pedal 4. Sustain Pedal 5. USB 2.0 Connection 6. DC power socket (usually not used, power comes from USB connection) 7. Power switch 9 P age

10 2.2 Connecting the ControlTOUCH to your computer. PC Touchscreen System Requirements System Requirements CPU: Intel Pentium/Celeron/AMD/K6/Athlon/Duron/Xeon 1.2GHz or above RAM: 512MB RAM or above USB: at least two or more USB2.0 port HDD (when not using the power supply): 30MB HDD space above O/S: Windows 2000 SP4/XP SP2 32bit/Vista 32bit/Win 7 32bit/Win 7 64bit PC Touchscreen Connections and Installation The USB Monitor can only be connected with a USB interface. Connect the Mini USB side of the cable into the monitor. If you are not going to use the enclosed power supply please plug in both USB ports. One of the connectors is for power; the other is the Monitor cable. Installing monitor driver (Auto Run) Insert the driver disk into your CD/DVD drive. Please make sure the USB MONITOR is connected to the PC. Installation takes about 1 minute. Do not power off or disconnect the USB cable until installation is completely finished. This may damage systems or may cause system errors. The USB MONITOR screen resolution is fixed for the best picture quality with each model. Installation steps: Browse to the PC folder and find the DisplayLink installer software from disk. Double click the icon 10 P age

11 You will see the following message window, select I Accept to accept the terms of use. When the installation is complete, the USB MONITOR setting icon appears on your system tray and the connected USB monitor information will pop-up. There is only one resolution for this monitor, and that is selected automatically upon successful completion on the install. Touchscreen Important Info The USB MONITOR is a USB monitor, and will be recognized as a Generic USB device on your system. Therefore the system boot-up screen or DOS screen cannot be displayed at all. You will not see anything on the screen until the OS has completely loaded. Any software that requires Hardware 3D accelerator cannot be displayed properly with this USB monitor. For example Real Player (Expansion Mode), 3D Graphic Games, Programs based on Direct X graphic engine will not function properly. If the PC doesn t support USB2.0, the USB MONITOR may not operate properly. If the systems Graphics card doesn t support WDDM (Windows Display Driver Model), the USB monitor s extension will not work at all. 11 P age

12 PC - Touch Function Installation To have control of the Touchscreens touch ability, the egalaxtouch driver must be installed. Browse into the folder egalaxtouch_ and double click the icon. The install wizards will start. Keep pressing NEXT until the installation finishes. 12 P age

13 The following shortcut icon will now be visible in the taskbar. For calibration, and monitor setup instructions, please refer to the file egalaxtouch UserGuide in the PC folder for instructions on using the features of the egalaxtouch software. 13 P age

14 MAC Touchscreen System Requirements OS: Lion 10.7, Snow Leopard 10.6, Leopard 10.5, Tiger 10.4 MAC Touchscreen Connections and Installation Connect the USB Monitor to the computer. Install the software: To run the DisplayLink Installer, double-click the DisplayLink Installer image: This will mount the DisplayLink installer. 14 P age

15 MAC - Touch Function Installation First, determine if you are running a 32bit or 64bit MAC system. Select Apple->About This Mac -> More Info and check your system setting. If you are not running 64-bit kernel and extensions mode, please install 32-bit driver. The driver disk has both 32bit and 64bit egalaxtouch for MAC installers. The 32bit folder is located at Touchscreen>MAC/eGalaxTouch/32bit and is compatible with: The 64bit folder is located at Touchscreen>MAC/eGalaxTouch/64bit and is compatible with: 15 P age

16 After determining if your system is 32bit or 64bit, choose an installer and run it. For the 32bit install, launch egalaxtouch allpid.mpkg, or the 64bit version egalaxtouch (64bit).mpkg. Launch the egalaxtouch installer. Select [Continue]. Select the [Install] button to continue. Select the destination to install. 16 P age

17 You will see this message. Press Continue Installation. When the installation completes Press [Restart] to restart your computer. Restart the computer. For calibration, and monitor setup instructions, please refer to the file egalaxtouch MAC Manual in the MAC folder for instructions on using the features of the egalaxtouch software. 17 P age

18 2.3 Connecting the ControlTOUCH Keyboard Please read the system requirements to make sure the keyboard is compatible with your computer. System Requirements Installation of the ControlTOUCH It is very simple to install the ControlTOUCH keyboard to your computer. Simply plug the one end of the USB into the ControlTOUCH and the other end into an open slot on your computer. Using a USB hub is not recommended for connecting the ControlTOUCH keyboard. When installed, the ControlTOUCH appears as a simple MIDI device with two input ports and one output port, these ports and labeled Panda. You should select the first Panda input port as the MIDI input device in your software. Once this is set, your software should be able to receive notes and controller data from the ControlTOUCH. If you have connected external MIDI gear like a drum machine or another keyboard to your ControlTOUCH s MIDI IN port, this gear can be interfaced to the computer by selecting the second listed Panda input port. This way, your ControlTOUCH is acting as a MIDI to USB interface. It is also possible to stream data from your computer to external MIDI gear connected to the MIDI OUT port of your ControlTOUCH effectively a USB to MIDI interface. To do this, you should select the Panda output device in your software. The port names are defined in the table below. Note that the MIDI ports will appear with different names depending on whether you are using Mac or PC. Most Windows users will see the third option in the chart below. 18 P age

19 Power Supply If you are using your ControlTOUCH with a computer via its USB port, there is no need for an external power supply. Your COntrolTOUCH will draw its power from the computer. However, if you are intending to use your ControlTOUCH without connecting to a computer s USB port, then you will need to use an external power supply. No power supply is included in the box, so please select one that meets the following requirements: 19 P age

20 3.1 ControlTOUCH Basic MIDI Control Programming MIDI data can get complicated at times, so with the ControlTOUCH Keyboard Production Stations; we have strived to make MIDI programming as simple as possible. In this section we look at the most common MIDI messages and how to program them on your ControlTOUCH. So to begin, you should familiarize yourself with the function button panel. This is a good place to introduce you to the way we approach the differences between the ControlTOUCH 61 and ControlTOUCH 25. The ControlTOUCH 25 looks different and a number of its functions are accessed in a different way, so for this model we will always give you a separate set of instructions. 20 P age

21 3.1.1 Function Keys ControlTOUCH 61 Functions Keys Definitions for all these controls will be given throughout section 3. ControlTOUCH 25 Function Keys 21 P age

22 3.2 The Keyboard When you play the keyboard, MIDI note messages are sent. These messages are read by your computer software or external MIDI gear and used to generate sound accordingly. This value represents how hard you pressed the key. A velocity value of 0 specifies that the key has been released. Since different people have different playing styles, your ControlTOUCH offers a number of different velocity curves. You should experiment with the different velocity curves to find the curve that best suits your playing style. To change the velocity curve: CURVE Velocity Curve selection function button. When this button is valid, the LCD displays the CURVE and the number of current velocity curve. It can be adjusted by NUMERIC button or +/- button. The initial value is 0, adjusting scale is 0~5. OCTAVE Octave adjusting function button. This function allows the keyboard to change the Pitch up/down by octave. When this button is valid, the LED shows the OCTAVE and the value of current transposition. It can be adjusted by Numeric button or +/- button. The initial value is 0, adjusting scale is -3~3, i.e. ascending/descending three octaves. TRANSPOSE Transpose adjusting function allows the keyboard to change the Pitch up/down by semi-tone. When this button is valid, the LCD displays the x pose and the value of current transpose. It can be adjusted by NUMERIC button or +/-button. The initial value is 00, adjusting scale is -12~12, i.e. ascending/descending an octave. 22 P age

23 CHANNEL Channel selection function button, selecting current MIDI channel. When this button is valid, the LCD displays the Channel and the current channel number. The channel can be selected with NUMERIC button or +/- Button. The initial setting is 00, adjusting scale is 0~ CHANGING VOICE AND VOICE BANK PROGRAM Voice adjusting function button: Adjusting the voice of current channel. When this button is valid, the LCD displays the Program and the current voice number. The voice can be adjusted or selected with NUMERIC button or +/-Button. The initial setting is 000, adjusting scale is 0~127. BANK L/M Voice bank adjusting function button: Adjusting the voice bank of current channel. When there buttons are valid, the LCD displays the BANK L/M and the current voice bank number. The voice can be adjusted or selected with NUMERIC button or +/- Button. The initial setting is 000, adjusting scale is 0~ P age

24 3.4 MIDI Controller Messages There are 128 MIDI controller messages that are used for controlling the MIDIadjustable parameters in your software or on your external MIDI gear. Examples of these controllable parameters include volume, pan, expression, reverb, chorus and portamento. Each of the controls on your ControlTOUCH keyboard is able to send any of the 128 standard MIDI controller messages to control such parameters. Please note that in order for these effects to work, the MIDI device you are sending to must be able to receive these messages. For example, you may want to set the Modulation wheel to control the reverb amount. This is done by assigning controller 91 to the Modulation wheel (control A10 on ControlTOUCH 25, control A19 ControlTOUCH 61). Examples of other popular effects are listed in the table below. There are many different types of virtual instruments available and most of these respond to MIDI controller messages, allowing you to control a variety of parameters from your ControlTOUCH keyboard. Please review the manual that came with your software or external gear to see what these controller numbers are. 24 P age

25 3.4.1 Programming the controls on Your ControlTOUCH When programming a physical controller on your ControlTOUCH, the controller that was last used will be the first one selected for programming. To select a different physical controller for programming, use one of the following two methods: The method is: Move the physical controller you wish to program, and press the assignable button. ASSIGNABLE DIAL Eight dials that can be assigned channel and controller Number independently. Operate the dial to select the dial, LCD shows the dial number and the adjusting value. Input the Number with NUMERIC button and +/- button when the dial is selected. ASSIGNABLE SLIDER Nine sliders that can be assigned MIDI channel and controller number independently. Operate the slider to select the slider, LCD shows the adjusting value. Input the number with the NUMERIC button or +/- button when the slider is selected. ASSIGNABLE WHEEL The modulation and pitch bend are the default function of the two wheels. It can be assigned controller number independently. The channel number is current MIDI channel number. ASSIGNABLE PEDAL Two pedal interfaces that can be assigned controller number independently. The channel number is current MIDI channel number. LCD displays PEDAL ON while pressing the pedal and PEDAL OFF while releasing the pedal MASTER VOLUME It sends GM Master Volume message(f0 7F 7F xx F7) PAD SETTING Activate a pad, Press the Ctrl Assign button.the LCD display will display the currently assigned controller of the pad. Enter the new controller number you want the pad to assigned using the numeric button or +/- button. Assignable Buttons (ControlTOUCH 61 only) The A-E buttons are Assignable Controls and only relate to the 61 key ControlTOUCH. These can be assigned as an extra CC number for instance. These are not memory or banking buttons. 25 P age

26 4.1 ADVANCED SETTINGS How to use the ControlTOUCH advanced functions. DUAL Dual switch function button: When Dual is ON, the LCD displays the 'DUAL_ON', Keyboard/Wheel/Pedal/Touch sends MIDI info of two channels, with the voice/channel of both channels adjustable. The 2nd voice and channel of the 2nd layer can be adjusted currently (Dual is ON). Dual and Split cannot be used at the same time. The rule is, When Dual is ON, Split is OFF. SPLIT Keyboard Split ON/OFF function button: When Split is ON, the LCD displays the SPLIT_ON,Wheel/Pedal/Touch sends MIDI info of two channels, the keyboard is split to the right section and the left section by the split point, with each section using its own channel. The voice/channel of both channels is adjustable. The voice and channel of the right section can be adjusted currently (Split is ON); Dual and Split cannot be used at the same time. The rule is, When Split is ON, Dual is OFF. SPLIT POINT Default Split Point is the central C (MIDI Number 60). User can choose the Split Point. Hold the Split button, LCD shows CHO, reminding user to select the SPLIT POINT. Press the key that needs to be the new Split Point, LCD shows On, meaning this key is set to be the new Split Point. TOUCH Channel After Touch ON/OFF function button: When Touch is ON, the LCD shows 'TOUCH ON, and the system sends Channel After Touch info according to the velocity when pressing the keys. 26 P age

27 4.1.2 Other Advanced Controls MTC MIDI Time Code ON/OFF function button: When MTC is ON, The LCD shows 'MTC ON, keyboard sends MTC info (F8). MUTE MUTE ON/OFF function button: When the MUTE function is ON, The LCD shows 'MUTE ON', no MIDI info will be sent. ASSIGN ASSIGN mode ON/OFF function button: When ASSIGN mode is ON, The LCD shows 'ASSIGN. Operate the controller to be assigned and select the controller. The LCD shows the controller number of the current controller. Input the desired controller number with the NUMERIC button or +/- button (e.g. when a dial is selected, the LCD shows the default Number 007. If you input 010, the dial is assigned as PAN).When ASSIGN mode is ON, press the CHANNEL button to assign the channel number of the channel-assignable controller. Operate the controller that needs to be assigned a channel, and select the controller, the indicator will be ON, the LCD shows the channel number of the current controller. Input the desired channel number with NUMERIC button or +/- button (e.g. when the dial is chosen, the LCD shows the default Number 00. If you input 01, the channel of the dial is assigned as 01). RESET Press the PROGRAM and CHANNEL buttons at the same time to reset the system restoring to factory setting, sending system initial setting info at the same time. This will not clear all banks. Select the bank you want to reset to factory. GM ON GM: General MIDI Standard, used by all synth brands. Press BANK M and BANK L buttons at the same time to send GM ON message(f0 7E 7F F7. LCD shows 'GM ON' when the message is sent. Internet search General MIDI for more information. GS ON GS: Extension of the GM Standard, used by Roland synths. Press BANK L and CTRL ASSIGN buttons at the same time to send GS ON message(f F F7). LCD shows GS ON when the message is sent. Internet search Roland GS for more information. XG ON XG: Extension of the GM Standard used by Yamaha synths. Press OCTAVE and CTRL ASSIGN buttons at the same time to send XG ON message(f C E 00 F7). LCD shows XG ON when the message is sent. Internet search Yamaha XG for more information. 27 P age

28 SNAP SHOT Press CHAN and BANK M buttons at the same time to send message of all user settings. LCD shows SNAP when the message is sent. MEMORY There are 6 memory slots available, labeled A-F. STORE MEMORY SETTING Press the MEMORY button. The system enters the storing state, it stores your settings. Using the NUMERIC button and +\-button select the memory slot to save to. Memory slots are triggered via the 1-6 buttons, and are labeled A-F. Press ENTER to store the control setting. RECALL MEMORY SETTING Press the MEMORY and OCTAVE buttons together, the system enters the recall state. Using the NUMERIC button or +\- buttons select the memory slot to recall. Memory slots are triggered via the 1-6 buttons, and are labeled A-F. Press ENTER to recall the parameters. SHIFT Use the SHIFT KEY to select the upper section of function keys. ENTER Press ENTER to confirm any changes to DATA. 28 P age

29 4.2 Pad Control Pressure Control Using the pressure control, the pads give you a different type of performance option on your ControlTOUCH. You can control parameters on your software in a way that would not be possible on a standard dial or slider. The pressure pads can be used to make some very interesting effects. As we ve seen above, each pad can be assigned an individual MIDI controller number. It is also possible to assign minimum and maximum values to the controller. As you apply more and more pressure to the pad, the value of the controller you are sending will increase, until the maximum value you specify is reached. On release, the pad will return to the minimum value you specify Pad Curve The Pad Curve setting is used to set the response curve of all eight pads. It is not possible to set the response curve of the pads independently. Pads Note setting: Press a pad, then press ASSIGN. After that, press SHIFT, then you can set the MIDI note by numeric buttons. Hit Enter to commit. MMC (MIDI MACHINE CONTROL) There are 6 buttons use for MMC-[ <<],[<<],[>>],[O],[stop],[play]. It is common to set the 6 buttons as Sequencer remote control buttons. 29 P age

30 4.3 ControlTOUCH Default Mapping Assignments This diagram shows the default mapping of the ControlTOUCH and transport assignments for Studio One Pro. To recall the default assignment: Press the [Recall] button on the ControlTOUCH, then select Number 1 on the numeric pad of the ControlTOUCH, then press the [Enter] button on the ControlTOUCH. 1. Numeric keypad. 2. Knobs Assignment: Memory 1 MIDI CHANNEL 1 knob 1=CC90 - default is 7 knob 2=CC92 knob 3=CC91 knob 4=CC86 knob 5=CC80 - default is 131 knob 6=CC81 knob 7=CC67 knob 8=CC93 30 P age

31 3. Fader Assignment: Memory 1 MIDI Channel 1 fader 1=50 fader 2=51 fader 3=52 fader 4=53 fader 5=54 fader 6=55 fader 7=56 fader 8=57 fader 9=58 4. Transport Controls From left to right. Loop, Rewind, Forward, Record, Play 31 P age

32 SonicSource VST Synthesizer v P age

33 5. SonicSource Introduction SonicSource by Music Computing is a virtual synth designed for use with the Windows (VSTi) and Mac OS X (VSTi/AU) computer operating systems. SonicSource contains three sample-playing layers, two multi-effect racks, and a library of multi-sampled instruments. The sample playing layers allow blending of waveforms and instruments into a wall of sound or alternatively, the use of the three multi-timbral layers as a workstation. These layers can then be further processed through SonicSource s powerful multi-effect racks. Over 8GB of modern sounds such as those produced by legendary electric keyboards including the Rhodes electric pianos, Hammond and Vox organs, Hohner clavinets, and Moog synthesizers are present as well as effects like tape based delay lines, rotating speaker cabinets, guitar distortion pedals, wah wah, phasing, and flanging are included. Additional sound libraries will be made available from Music Computing in the near future. 33 P age

34 SonicSOURCE Installation PC VST Installation VSTi 1) Copy over the "Music Computing" folder to your systems plug-ins folder. Library Installation 2) Copy over the "SonicSource DATA" folder to either your internal or external hard drive. Remember the location. Startup your VST host program or DAW make sure the program is pointed to the aforementioned plug in folders. Once SonicSource starts up it will ask where the "SonicSource Data" folder is located. Browse to where you placed the "SonicSource Data" folder, select it and press the OK or Confirm button. SonicSource is now ready to be used. MAC VST/AU Installation VSTi 1) Copy the enclosed vst plug-in folder (SonicSource.vst) to the default Mac location for VST plug-ins (/Users/username/Library/Audio/Plug-Ins/VST. where username is your username). Alternatively, there is a global vst plug-in directory (/Library/Audio/Plug- Ins/VST), if you wish the plug-in to be globally accessible. AU Component 2) Copy the enclosed plug-in (SonicSource.component) to the default Mac location for AU plug-ins (/Users/username/Library/Audio/Plug-Ins/Components. where 34 P age

35 5.1.0 Quick Features Three wave player sections with: ADSR envelope Velocity sensitivity Double Key Track scaling LP, HP, BP, and BR filters with resonance and envelope amount 3 band equalizer Pitch, Amp and Pan LFOs Pitch envelope enable Semitone transpose Fine pitch Send to FX 1 Send to FX 2 Volume Mute switch VU meter Velocity Zone: min and max Key Zone : high and low Poly-timbral over 3 parts 3 modes for each LFO: o Free o Sync o Inv. 'Fractal' randomization for filter modulation FM and AM per oscillator Additional controls Glide Mono mode LFO masters Fine tuning Two DSP sections: Echo (true stereo tape delay emulation, with Sync Chorus) Modulator o Leslie o Chorus o Flanger o Phaser o Wah Filter o OverDrive MIDI Learn: More than 100 parameters remotely controllable by MIDI Control Changes Arpeggiator Master Vibrato Stereo Layers Extra Quality option with up to 16x oversampling! 35 P age

36 5.1.1 Features in Detail SonicSource contains the following features A multimode filter (LP, HP, BP, BR) with control over cut, resonance and envelope modulation, as well as a special fractal modulation parameter. This expanded filter design provides further tools for balanced layering of sounds, and deep pads. FM/AM modulation capabilities per layer can be done via the ~FM switch matrix. AM and FM can be used to add interesting harmonic distortions to the original instruments, or to manipulate new sounds from the existing samples. A multi-effect MODULATOR rack that has the following: overdrive, phaser, chorus, flanger, rotary, and filter effects. Routing options between the layers and the effects allow the MODULATOR rack to function in both send and insert modes. Master controls: glide, mono mode, fine tuning, and velocity sensitivity MIDI Learn: More than 100 parameters can be controlled with Automation via any Midi Controller or Sequencer automation. Effects: SonicSource s effects are distributed over two effects slots, MODULATOR and DELAY. MODULATOR - You can choose from any of six quality effects for this module: Phaser, Chorus, Flanger, and Rotary (Leslie), Filter (with Wah) and Overdrive. Each effect is specially coded with its own parameters Delay SonicSource s delay is a true stereo delay unit modeled on an analog tape delay device for a warm sound. As well as standard parameter s you would expect from a stereo delay, SonicSource s delay features a flutter control for introducing modulations and artifacts similar to those heard with tape degradation, a special chorus modulation for making pitch effects and chorus sounds, and a reflections parameter which can be effectively used in combination with the delay lines to create spring reverb type sounds. 36 P age

37 5.1.2 SonicSource SoundSet Library SonicSource comes with a comprehensive library of multi-sampled keyboards all professionally captured from the original instruments. The default library features a range of electric pianos, organs and those rare string machines, rounded off by a nice selection of raw waveforms, including samples of the saw and square waves from the Korg MS20 and the Minimoog. On top of this large selection of sounds, there are a number of ethnic and experimental tones and percussive elements to choose from. The full default library includes: 37 P age

38 While all the sounds in the default library stand on their own, the three layer design of SonicSource is intended to achieve and expand the possibilities of the recording technique of layering and blending tracks. In SonicSource, such layering is achieved by blending and layering sounds within an intuitive interface. This makes it easy to create, for example, a stack of 70 s string machines with dynamic movement, or a Mellotron string/flute ensemble supported by a harmonic bass line, for big and dynamic layers. Alternatively, you could layer a pure sine tone with a Rhodes key multi-sample to reinforce the fundamental harmonic, or use the attack part from a Wurlitzer sample to start a stack of strings and analogue square waves. You can find many examples of such layering techniques in the default SonicSource preset bank. These can also serve as a starting point for your own sound design. If you like to be creative and love the vast range of sounds that where created in the classic period of electric keyboards and effects, you will find how exciting it can be to compose with the mini workstation that is SonicSource. See Section of this manual for a list of all current banks and presets within them. 38 P age

39 5.1.3 Learning and using SonicSource In this section, we are going to go deeper into the features of SonicSource and how they work, including some sound programming tips. To begin, we need to define two basic terms used in this manual and in SonicSource. Layer and SoundSet. Layer: A layer is basically an oscillator except that in SonicSource you load single samples or multi-mapped wave files which are in the DASHsnd format as the raw sound for each layer. SonicSource has three layers, labeled A, B, and C respectively. You can think of each layer as actually being a separate sample playback engine, with its own waveform, filter, envelope, mixer, EQ, LFO's and voice allocation. SoundSet: A SoundSet is the basic set of multi-samples (or single shots samples) that are mapped in the DASHsnd format. A SoundSet is not the same as a SonicSource preset, it being just one element of the synthesis settings that make up a preset. Any number of different presets can use the same SoundSet. Loading up a SoundSet in a SonicSource layer is effectively the same as choosing a raw shape for an oscillator on a standard synthesizer. Layer Structure SoundSet Image and Name By clicking on the SoundSet name display, a submenu will open showing all categories of SoundSets in the default SonicSource library (Electric Piano, Ensemble, Organ, and Waveform) plus any other add-on packs you may have installed. Within each submenu is the list of actual SoundSets that can then be loaded into each layer. Once a SoundSet is loaded, the graphical strip above the name display will either show a picture of the device the SoundSet derives from, or a representation of its waveform. By left-clicking on the A/B/C buttons for each layer, the SoundSet will automatically rotate to the next available in that category. This can be very useful for auditioning sounds without opening the menu. 39 P age

40 5.1.5 ADSR Envelope This option sets the Attack, Decay, Sustain and Release for the amplitude of the layer, as well as for the filter when it is assigned to the envelope. Each envelope has its own voice-allocation and settings. This is commonly referred to as ADSR (ad zer). The envelope is not linear- it has logarithmic attack and exponential decay and release times, thus you may notice extra CPU usage when doing longer attacks, decays or releases. Also keep in mind that using very long release times will use more voices. This could cause the sound of some voices to be "stolen" by newer notes if there are many notes still releasing while you play more notes. If this happens, and if it is a problem for the song mix, set voices to a higher value [16 is the highest] or lower the release values on the envelope. You can use "Shift + Mouse click" to fine tune the ADSR sliders, which can be very useful for precise Attack, Decay and Release times Velocity Sensitivity and Key Scaling Velocity Sensitivity: The vel sens dial allows you to set velocity sensitivity independently for each layer. Setting vel sens to the hard left (zero) makes the envelope insensitive to keyboard velocity pressure this is useful for such sounds as B3 and VOX organs, or Mellotron sounds, which as hardware simply feature a note on/note off keyboard. Moving from the hard left position, the layer becomes gradually more velocity sensitive for more dynamic playing, suitable for electric pianos, for instance. Key Scaling: The KEY dial is for ADSR keyboard tracking. It has two modes [see icons at right of the + symbol] - ADSR Speed (the higher option) and ADSR Level (the lower option). Both modes are active at the same time, and by clicking on the symbols the GUI toggles between each mode. With ADSR Speed tracking you can scale attack, decay and release times along the selected key zone for the layer. With ADSR Level tracking you can scale the envelope amplitude along the selected key zone for the layer. 40 P age

41 5.1.7 The Filter With SonicSource we introduce a 12 db multimode filter per layer. This filter features lowpass (LP), highpass (HP), bandpass (BP), and bandreject (BR) settings. The multimode filter also features separate controls for cutoff frequency (FRQ) and resonance (REZ). The filter frequency can be modulated by the ADSR envelope adjusting the ENV control for positive or negative response. Centre position (Ctrl + Left mouse click) of the filter envelope knob does not send any ADSR modulation to the filter. Fractal Modulation: The multimode filter also has a unique modulation feature clicking the MOD button activates a fractal LFO for adding interesting and dynamic movement to the filter. The fractal LFO is similar to a standard Sample&Hold random modulator, but achieves much more musical results since it produces patterns of modulation featuring the self-similarities typical of fractal figures. With MOD activated, depth and rate are set for the fractal modulation by using the same controls as AMP modulation in the modulation section for the layer. When MOD is inactive, these controls serve their standard function for AMP modulation. Please note that the LFO mode switch (OFF, FREE, INV, SYNC) does not affect the fractal LFO which modulates the filter frequency Three Band EQ Each layer in SonicSource has a powerful three band equalizer for balancing low, mid, and high frequencies of the sound. Each band uses its own separate code for the highest quality, which also means that each band introduced at a non-zero value will add CPU consumption. This flexibility also enables you to set any band not in use at zero by a left mouse click on it holding down the control key, so that the band will move to IDLE mode and will not process audio, thus minimizing CPU consumption. 41 P age

42 5.1.9 LFO LFO stands for Low Frequency Oscillator. SonicSource s LFOs are modulation sources that generate SINE waveforms aimed at specific modulation targets. Each layer in SONICSOURCE has independent modulators for pitch (PTH), amplitude (AMP), and panning (PAN). Further, each LFO can be used in three running modes FREE sets the LFO free running regardless of note messages, SYNC re-starts the modulation with ever note, and INV also restarts on every note, but the wave shape is inverted. The send and rate controls of the AMP group also affect the depth and rate of the fractal LFO that can be used to modulate the multimode filter frequency (see the multimode filter section for more details). Please remember that the fractal LFO is activated by the MOD button, whereas the AMP LFO is activated by the switch (OFF, FREE, INV, SYNC) in the AMP group. 5.2 ~FM Switch Matrix The ~FM section is also an exciting feature of SonicSource, introducing one more useful synthesis module to the Electronic Ensemble. Here you have the possibility to modulate the frequency or the amplitude of each or any of SonicSource s three layers by the means of a tuned oscillator called modulator. At the heart of the ~FM synthesis module is the switch matrix. Here you can select FM, AM, or OFF individually for each layer, and also make interesting switches between modes (manually, by automation or by midi-learned controls) for interesting effects. The pitch of the modulator may be adjusted by the Ratio control and the modulation signal is send individually to each layer through the relevant dial: A, B or C. The depth of the FM/AM oscillator can itself be globally modulated by an independent LFO. Use the rate dial to set the speed of the modulation and amnt to set the amount of the signal to be modulated. 42 P age

43 5.3 Pitch Envelope As listed in the LFO section (5.1.6), SonicSource features a dedicated LFO for pitch modulation (vibrato) per layer. On top of these, SONICSOURCE features a global pitch envelope (Pitch Env) for automatic pitch bending on note attack. You can set the distance from target pitch (+/-) with the Offset dial, to a maximum range of +/- 12 semitones. The Time dial sets the amount of time taken from the offset pitch to the destination pitch with a key depression. 43 P age

44 5.4 Master Controls The section named Master Controls features a number of global parameters PitchBd: Pitch bend adjusts the range for the standard MIDI Pitch Bend wheel from 1 to 12 semitones. Voices: Voices is a global control selecting the number of voices each layer will play. Setting to 16 voices means that each layer will play 16 voices. For example: Playing a 16 note chord on each layer would result in a total 48 voices. Glide: Glide is a portamento effect like you find in many synthesizers. The Glide dial adjusts the time the pitch takes to shift from one note to the other in two consecutively pressed keys. Employing this parameter puts SonicSource into MONO mode (one voice only) as there is no support for polyphonic portamento. The A button next to Glide toggles between two portamento settings- [On] will glide only tied notes, while [Off] will glide all consecutive notes. Fine Tune: The synth can be globally fine tuned with this control. Vel Sens: adjusts the velocity sensitivity curve of all layers. Turn left for slow response, and right for fast response to velocity changes. Digits (LED read out): This "LED" screen shows values for each parameter that you either hover over with the mouse, or are currently changing. This can be very helpful for fine tuning a particular sound. Out Gain: This is a master control for the synth volume. Limiter: You may use this limiter to avoid excessive level peaks going thru the synth output. It is a soft-knee limiter, and thus will not totally prevent clipping and distortion for output that is continuously too loud. If you experience unwanted output distortion, adjust the layer levels in the SonicSource mixer section, or the global Out Gain control instead. 44 P age

45 5.5 Effect Racks SonicSource has a comprehensive suite of effects through the MODULATOR and DELAY effect racks MODULATOR Types and Description The MODULATOR rack features six effect options to choose between Phaser, Chorus, Flanger, Rotary, Filter (with Auto Wah), and Overdrive. One effect can be loaded at a time, and the MODULATOR can function either as a send effect per layer or as an insert effect per layer. See the mixer section for more details on the send/insert switch. The default mode is Bypass, with no effect loaded into the rack. Phaser Notches: 2 or 4 Notches model selection Rate: modulation speed Depth: range of modulation Shift: shifts the harmonic range Feedback: increases resonance of the phasing Chorus Rate: both channels modulation speed Delay: delay time, affects pitch Depth: Range of modulation 45 P age

46 Flanger Rate1: left channel modulation speed Rate2: right channel modulation speed Depth: range of modulation Feedback: detune effect Delay: delay time, affects pitch Filter SonicSource s effect rack filter is capable of a large range of sounds. In LP12 mode, the filter s behavior will depend greatly upon the source signal that is being filtered. Uses for the filter can range from slow filter openings on pads using the envelope, to warm, gritty or lo-fi sounds with the resonance s auto saturation feature. In Wah mode, functionality is the same, but with a filter algorithm for accurate reproduction of classic Wah Wah tones. NOTE: In order avoid too much filter distortion, keep the Out Gain in the effect rack at maximum level and reduce the input level in the mixer s MODULATOR section (see section 5.7 for the mixer strip). Freq: set the frequency cutoff point for the filter Reso: boosts resonance amount Mode Menu: the filter features two selectable modes - LP12 and Wah Env Depth: amount of modulation by the envelope follower. Please note that this is very sensitive to the input level as set in the Mixer section Env Mode Menu: there are four selectable envelope modes - Sens1, Sens2, Soft1 and MIDI1. The first three variations depend on the sound used and the playing style; experiment with them according to the sound. MIDI1 disables the envelope follower allowing easy control of Freq by MIDI CC- see MIDI learn feature in the MIDI implementation section of this manual for information about CC assignment. LFO Rate: speed of LFO modulation LFO Rate Menu: this allows you to sync the LFO to the song tempo LFO Depth: amount of LFO modulation 46 P age

47 Rotary (Leslie) The Rotary effect simulates the classic effect of Leslie rotating cabinets, famously known as part of the classic Hammond organ sound, and used to great effect on a range of instruments. ConeSep: Sets the frequency of the Cone (upper part of the Leslie) which goes back and front SlowSpd: Slow speed of the Leslie for when Run is Off FastSpd: Fast speed of the Leslie for when Run is On Acceler: Acceleration from Slow to Fast and back, when you switch Run On/Off Amount: Amount of "Chorus" and Pitch-Fine-Detune when Leslie is moving Run: Modulates the Speed of the Leslie from Slow to Fast and back Overdrive SonicSource s overdrive effect can be used for slightly overdriven and saturation type effects, as well as for amplifier simulation with its cabinet modeling. Tone: Controls the color of the input signal. High frequencies can be reduced to avoid harsh treble distortion Drive: The two drive dials control positive and negative portions of the signal separately so that asymmetrical saturation, typical of tube amplifiers, is possible. Different combinations of these two setting in conjunction with the Tone setting will produce a variety of overdrive sounds Cabinet: Size sets the box size of the cabinet emulation and Wet Mix sets the amount of the distortion signal to be sent through the cabinet. 47 P age

48 5.5.2 DELAY The DELAY effect in SONICSOURCE is a very powerful delay unit capable of producing a range of sounds from tape based delays, to spring and slap reverbs, to chorus modulations. Fbk: The amount of the delayed signal that is then fed back through the delay line. Filter: Sets the low pass filter frequency for the delayed signal Flutter: Adds distortions and modulations to the feedback path to recreate the effects of tape wear in tape-based delay units. It also links the delay times so that Delay Time 1 controls the length of each delay line Delay Time (1 and 2): Sets individual delay times for the left and right delay lines respectively. Clicking the (+) buttons underneath each delay time dial enables you to sync the delay lines to host tempo with a selection of time divisions. NOTE: enabling Flutter (values more than zero) disables the Delay Time 2 control Volume (L and R): Separate volume controls for the left and right delay lines Reflections: introduces cross-feedback of delay lines Chorus Pitch: slight delay and detune of original pitch Chorus Depth: Range of pitch modulation in the chorus sub-unit of the DELAY 48 P age

49 5.6 The Key and Velocity Splits Interface SonicSource features an intuitive interface for mapping its three layers across the keyboard, both for key splitting purposes and for setting velocity zones for each layer. Velocity Zones: This is where you can set each layer (A, B, C) to play only within a selected velocity range. Velocity zone upper value: This sets the layer s upper value for velocity range. Velocity zone lower value: This sets the layer s lower value for velocity range. Key Split: Setting key splits for the three layers is simply a matter of left-clicking the left or right end of the layer range bar above the keyboard, and dragging to the appropriate position. You can also use right-click on the mouse to access a menu with the option Split Learn Low/High. After selecting this option on a particular layer, you can use your keyboard midi controller (or the GUI mini keyboard in SonicSource) to set the low and high keys that you wish to use as the key range. 49 P age

50 5.7 Mixer Strip Midi Channel: At the top of each layer s mixer strip is a pop-up box for setting the midi channel from which each layer will accept notes. This is useful for using SonicSource as a multi-timbral interface, and also for reducing CPU by setting any layers that are not in use to an unused midi channel. MODULATOR Send: This is for sending an amount of the signal from each Layer to the MODULATOR effect rack. MODULATOR insert switch: By activating this switch the MODULATOR rack is routed as an insert effect, and the dials serve as input gain dials, not as sends. This is useful for effects that are particularly suitable for insert, such as the filter and overdrive effects. It also provides different sound possibilities by enabling the output of the MODULATOR rack to be feed directly into the DELAY rack. Use the about menu to see a visual representation of routing combinations in SonicSource. DELAY Send: This is for sending an amount of the signal from each Layer to the DELAY effect rack. Pan: Stereo Position (Panning) of the signal per layer. Volume: Layer output in db. This will affect the Signal that it sent to the MODULATOR and DELAY effect racks. Mute: Mutes the layer's audio (zero volume) but continues processing of its sound. For CPU saving purposes change the midi channel (see above) instead. Transpose: Transposes the layer's pitch scale up or down by semitones to a maximum of +/- 24 (2 octaves). Fine Tune: Adjusts the layer's tuning by +/- fractions of one semitone, for detune, ensemble and beating effects with several layers slightly detuned. 50 P age

51 5.8 Arpeggiator SonicSource includes a great arpeggiator. The ARP is located in the bottom left corner of the interface. The following ARP options are explained here. Arpeggiator off Arpeggiator on Speed: Is the resolution of the note played. 1/2(half) is slow, whereas 1/128 is super fast. 51 P age

52 Mode: Determines how the notes are arpeggiated. Up: Held notes arpeggiate continuously from lowest to the highest pitch. Down: Held notes arpeggiate continuously from highest to lowest pitch. Up Down: Held notes arpeggiate continuously from lowest to highest pitch, then from highest to lowest, then repeat. Random: Held notes arpeggiate continuously using random pitches. Order: Held notes will play the notes in the same order as you pressed them on the keyboard. 52 P age

53 Step Mode: Step mode lets you choose the arpeggiator pattern. Exclamation points represent Note Hold, Periods represent short staccato notes. There is a text file in the Music Computing SonicSource SonicSource DATA SonicSource Extras folder that allows you to create additional patterns. Please back up the original before editing. Velocity: Determines the velocity values of the arpeggiated notes. 53 P age

54 Key Zone Low/High: This defines pitch ranges or limits in regards to arpeggiation. You can set different zones for high or low arp zone using this. 54 P age

55 MIDI channel: This determines what MIDI channel the arpeggiator triggers on. If you change this make sure to change the channel of the selected patch to the same MIDI channel. Hold Settings: Holds the settings while you load another preset. 55 P age

56 5.9 Tips &Tricks Avoid very long releases when they are not needed, since this can result unnecessary CPU usage and currently sounding notes being "stolen" by newly played notes. When using the layer multimode filter in LP mode, be careful with lower frequency cuts. If you hear some distortion or over saturation, try to lower the volume or slightly adjust the ADSR settings, for example, raise the sustain level or lower the envelope release. Use shift + left mouse click to fine tune the ADSR sliders, this is very useful for precise Attack, Decay and Release times. Shift + left click can also be used on any SonicSource parameter; likewise ctrl + let mouse click returns each parameter to its default setting, and alt + left mouse click toggles between circular and linear dial control. In order to avoid aliasing that can be caused in the upper keyboard range, you can use ADSR level key tracking control high harmonics by fading out right layers towards the upper range of the keyboard. To achieve this, just turn the KEY dial to the hard left with the KEY switch on level, so the volume for that layer will go gradually to zero at the key zone upper limit. By using the SYNC and INV LFO options for PAN on each layer for example layer A with SYNC and B with INV - you can make sounds cross fade from left to right in the stereo field for a great stereo effect. 56 P age

57 5.9.1 Global Menu and Settings Global menu and settings are accessed by clicking on the [?] button, or the Music Computing Logo. Save default bank: Saves the current bank of presets as the User-Default Bank, which will load up automatically when you insert a new instance of SonicSource. Load factory bank: Reloads the internal factory bank. About: Shows information about the synth authors, version number, and serial number for this copy of SonicSource. There is also a picture of the SonicSource routing schemes to help understand the different multi-effect configurations possible. Save controller presets: Saves the following parameters as default : Volume (Soft, Normal, High), and AutoGlide. MIDIForget: Removes all learned Midi-CC information. Volume: Sets the base volume level between High, Normal and Soft for VST hosts which have variable volume outputs. Quality: Oversampling reduces noise by giving you more frequency headroom. You can oversample in SonicSource up to 16x! 57 P age

58 5.9.2 MIDI implementation Message Receive Transmit Comment Note On X - Velocity sensitive. Adjustable with curve and amount per layer Note Off X - After Touch - - Pedal Volume (CC11) X - Each Channel has its own volume CC11 Pitch Bender X - Adjustable Range 0 12 semitone All CC data X - You can use MIDI-Learn on any parameter, just right-click for the options menu on each knob Program X - Change All notes off X - Sustain Pedal X - 58 P age

59 5.9.3 Banks and Presets SonicSource has tons of sounds included from the factory. This section shows you what sounds are included. When SonicSource is launched, the Default Bank will load. Default Bank: 59 P age

60 AOS: 60 P age

61 Default - SonicSource: 61 P age

62 Famous Keys 1: 62 P age

63 Famous Keys 2: 63 P age

64 Famous Keys 3: 64 P age

65 Famous Keys 4: 65 P age

66 Genesis 1: 66 P age

67 Genesis 2: 67 P age

68 Genesis 3: 68 P age

69 Genesis 4: 69 P age

70 Mellotronix: 70 P age

71 Mellotronix TC: 71 P age

72 Xenos Soundworks: 72 P age

73 Zvon PRlight: 73 P age

74 5.9.4 Creating a Custom Preset/Bank Making new presets in SonicSOURCE Open and create a new project in your host program... Studio One, Logic, Reaper, Cubase, FL Studio etc... Load SonicSource Vsti into a track on that project... Load a blank bank... Load the "BLANK" bank preset... Left or right-click on the window in the upper right corner of the SonicSOURCE interface P age

75 Select Browse Banks>Select the [BLANK] bank. Once this is done all the presets in the window will be named "Init." 75 P age

76 Using the blank preset slots... Select one of the "Init" blank preset slots... Add sounds into A, B, and/or C. Tweak them how you like. You will find the raw content for SonicSOURCE in the [WaveForms] folder. SonicSOURCE will automatically select this folder once you press the [Load Sound] button. After you have edited your new sound and ready to go back to your new list of presets, select [Browse Presets] this will take you back to the list. 76 P age

77 Rename the preset to whatever you want by right-clicking the currently selected blank preset and selecting [Rename]. Either select another "Init" preset in the list and repeat or. If you want to blend sounds for simultaneous playback using the three sound slots of SonicSOURCE, each engine slot (A, B, or C) has to be on the same MIDI channel. You can set the channel at the top of the window adjacent to the preset browser, right above the text that says A, B, C.). 77 P age

78 Save your progress... To save your progress you need to save the project in the host program you are using. This will give you a back up of your new preset bank, allowing you to resume later. Don't save the Bank at this point unless you are finished. Once you have made all the presets and ready to save the new bank... The last step is to save the new Bank. Once you have a bank of presets ready, you click on the "?" at the bottom right and click "Save Bank as Default". Then click Yes at the prompt Save Current Presets as User-Default Bank? 78 P age

79 That will create a new.bnk file for instance in "C:plugins\Music Computing\SonicSource DATA\SonicSource Banks\" directory, the basic name given will be "User Default". To give that new bank a unique name, you will have to browse to the aforementioned folder and rename that bank to whatever you want and it's done. Right-click the file and select [Rename]. That s it. 79 P age

80 6.1 ControlTOUCH Usage Examples MIDI Out from USB Function MIDI Out from USB can be used to switch the source of the MIDI data seen at the MIDI Out port of your ControlTOUCH. On initial power up, MIDI Out from USB mode is off. This means that as you play your ControlTOUCH, MIDI data will be sent to the MIDI Out port. If you turn MIDI Out From USB mode on, playing your ControlTOUCH will no longer send data to the MIDI Out port. The data is instead streamed from the computer. So, as long as you have selected ControlTOUCH as the active output port in your computer s sequencer, this is the data that will be sent the MIDI Out port. For example, if you want to control a sound module from ControlTOUCH, you should ensure MIDI Out from USB remains off. If you want the sound module to play data streamed from your computer however, then you should turn MIDI Out from USB on and ensure that the output port for ControlTOUCH(Panda) is selected as the computer s MIDI output device (this is done in your computer software). The following diagrams clarify the routing of MIDI data when MIDI out from USB mode is both off and when it is on: 80 P age

81 Recording Your Performance on a Sequencer A MIDI sequencer will allow you to record, play back, store and edit MIDI data. Although hardware sequencers exist, we will focus on the more commonly used software sequencers in this manual. Examples of popular software sequencers are Pro ToolsTM, CubaseTM and LogicTM, although there are many different sequencing applications available for your computer. In order to use the ControlTOUCH with your sequencer, you need to set up the sequencer software so that the Panda is recognized as the sequencer s MIDI input device. You need to choose a MIDI output device that is capable of making sound when MIDI data is sent to it. This may be a soundcard on your computer, a VST instrument or a sound module connected to a MIDI port which is in turn connected to your computer. Please consult your sequencer s user manual for more information on how this is done. With the ControlTOUCH set up to communicate with the sequencer, data will go into the sequencer and will be routed to a virtual synth within the sequencer software or sent to an external sound module via a MIDI output port. The virtual synthesizer or external sound module will turn the MIDI data into audible sounds. You can then record the incoming MIDI data and edit your performance using your sequencer. 81 P age