VIP Synth

Transcription

1 VIP Synth

2 Terms & Conditions: EULA (End user license agreement) PLEASE READ THE TERMS OF THE FOLLOWING AGREEMENT BEFORE USE. By using this product, you agree to become bound by the terms of the license agreement. VIProducer guarantees that all the sounds in this software have been created and recorded specially for this project, any similarity to any other recording is quite unintentional. 1. The sound samples recorded in this software remain the property of VIProducer and are licensed, not sold, to you for use on your sampling equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product and is not transferable. 3. The licensee may modify the sounds. The sounds may be used for commercial or non-commercial purposes within musical compositions. 4. This license expressly forbids re-sale or other distribution of these sounds, either as they exist in this software, or any modification thereof. You cannot sell, loan, rent, lease, assign or transfer all or any of the enclosed sounds to another user, or for use in any competitive product. 5. Licensor will not be responsible if the contents of this software does not fit the particular purpose of the licensee. The sounds provided are licensed without warranties of any kind. ALL RIGHTS RESERVED 2015 VIProducer. Neither the producer, nor VIProducer, nor any distributor of VIProducer products can be held responsible for any direct or indirect or consequential loss arising from the use of this product in whatever form. info@viproducer.com or VIP Synth 2

3 UVI Workstation: Main Features: New single mode for loading next generation of UVI sounds and instruments Compatible with the UVI scripted instruments Powerful Arpeggiator, extremely flexible and complete Easy to use Search Engine to find fast what you re looking for Universal compatibility Mac PC Operate in full 64 bits on Mac PC Manage instruments and loops in the same interface Smart integrated browser Convenient mixing environment with meters, mute, solo, volume, pan... Unlimited parts Up to 64 MIDI channels Disk streaming per part Multiple separate outputs MIDI learn Expert mode Cross-platform Multi s & all host compatible Unlimited FX Complete professional effects arsenal, with easy editing (delay, reverb, phaser, chorus, EQ, filter, drive, distortion, compressor...) Excellent sounding convolution reverb Direct sync to host : tempo & transport State-of-the-art real-time time-stretch algorithm Real-time sync to the beat: loops are always in time Latch mode Sample/Slice Start for loops and phrases Drag & Drop MIDI & Audio Import REX files, Apple Loops, AIFF, WAV and more... Expandable with all UVI sounds and instruments Mac systems: MacIntel processors 2 GB of RAM MAC OS X 10.6 or higher (if you have 10.5 and want to use our products, please contact us to get an earlier version of UVI Workstation (2.1.8) and of the UFS files). Hard Drive: when using Streaming, faster drive will allow more voices to play Windows Systems: Core duo or faster 1 GB of RAM Windows 7 or higher version, Windows 8 and 8.1 Hard Drive: when using Streaming, faster drive will allow more voices to play, SSDs are the best choice (Solid State Drives). VIP 3

4 Installation VIP Synth 4

5 Installation To use your VIProducer plugins, you must first install the UVI Workstation if you don t already have it on your system. It is a very powerful engine and can be downloaded at uvi.net/downloads. Once the UVI Workstation has been installed on your system, you can proceed to installing and authorizing your new plugins from VIProducer. Step 1: Once you have purchased your plugins, you will find your license code and a download link in the View Orders section of your VIProducer account. Step 2: To register your licenses you ll need to have an ilok account. If you don t already have one, register at Next, enter your serial number and ilok ID on the Product Registration page. product-registration/ and press Register. Step 2b: Open the ilok license manager (Download here if you haven t already: and under the Available tab will be able to transfer your product licenses to up to three different machines or iloks. VIP Synth 5

6 Step 3: You can now download your plugins in the View Downloads section of your VIProducer account. Save this file to your Desktop for ease. Step 4: The file will appear on your desktop as a.zip file. You need to double click on it to unzip it. Another file will then appear on your desktop with a.ufs extension. Step 5: This file needs to be copied to the UVISoundBanks. The default location for UVI soundbanks is: - OS X: [system disk]/library/application Support/UVISoundBanks/ - Windows 32-bit: C://Program Files (x86)/uvisoundbanks/ - Windows 64-bit: C://Program Files/UVISoundBanks/ Your plugin is now installed and ready to be loaded from the Sound Banks section of the UVI Workstation. VIP Synth 6

7 Main Functions VIP Synth 7

8 Dashboard Controls: Page Tab Besides the controls which are always visible, there are numerous other controls available to tweak the sound. These are arranged by section in pages. Page tabs: To provide the user with a greater degree of control and creative flexibility, a number of other controls have been made available. These extra controls are accessed via a series of page tabs, which allow navigation from any one page to another with a single click. 8

9 Dashboard Controls: Amp Pan: Controls the relative distribution of the sound in the stereo field. Glide: The level of glide determines how long it takes for each note to slide into the next. Volume: Controls the overall output level. Drive: Adds harmonic distortion to the overall sound but also affects the level as it is increased. 9

10 Dashboard Controls: Pitch Fine: Tunes the sound up or down by up to 100 cents. Semi: Tunes the sound up or down by up to 24 semitones. 10

11 Dashboard Controls: Amp Envelope: The amp envelope controls the behaviour of amp volume over time and is triggered once per input. Velocity: This fader controls the touch sensitivity of keyboard inputs. At its minimum setting, the note sounds at peak volume upon any input. At its maximum setting, the peak volume is fully dependent on the strength of the keyboard inputs. Release [R]: The time it takes for the sound to fall from the sustain level to zero amplitude. Sustain [S]: The level at which the sound will continue to play until the key is released. Decay [D]: The time it takes for the amplitude to fall from its peak level to the level set by the sustain control. Attack [A]: The time it takes for the amplitude to reach its peak level starting from the moment the key is pressed. 11

12 Dashboard Controls: Filter On/Off Button: When the switch is activated (illuminated orange), the filter becomes active and the corresponding controls can be adjusted. Cutoff: Adjusts the roll-off frequency of the filter. Type: There are thirty-six filters available to choose from. The various filter types are low-pass, high-pass, band-pass, notch, all-pass, peak and hybrid. There are numerous algorithms within these categories, each with their own unique character. Resonance: The level of amplification applied to the frequencies immediately before the cutoff frequency. This is to imitate the artifacts reproduced by the filters in early hardware synthesisers. Envelope: A bipolar control, which controls the extent to which the envelope affects the filter. When the value is negative, the effect of the envelope parameters is inverted. 12

13 Dashboard Controls: Filter Envelope The filter envelope controls the cut-off behaviour over time and is triggered once per input. The envelope behaviour itself is dictated by the state of the envelope knob as described in the previous section. Attack [A]: The time it takes for the filter to reach its peak effective starting from the moment the key is pressed. Decay [D]: The time it takes for the cutoff to fall from its peak level to the level set by the sustain control. Sustain [S]: The cutoff level maintained until the key is released. Release [R]: The time it takes for the cutoff to transition from the sustain level to zero effectiveness. Velocity: This fader controls the touch sensitivity of keyboard inputs. At its minimum setting, the note sounds at peak volume upon any input. At its maximum setting, the peak volume is fully dependent on the strength of the keyboard inputs. 13

14 Dashboard Controls: Reverb Reverb: Width: Controls the stereo width of the reverb. Mix: Controls the ratio of wet/dry signal. Size: Controls the size of the perceived space created by the reverb. This control also defines the minimum and maximum values of the decay control. High Damp: Controls the level of decay on the high frequency content, with the crossover being at 12kHz. Decay: Controls the length of the reverb tail. The range of lengths is dependent on the value set by size control. Low Time: Controls the level of decay on the low frequency content, with the crossover being at 250Hz. On/Off Button: When the switch is activated (illuminated orange), the reverb is engaged and the corresponding controls can be adjusted 14

15 Dashboard Controls: Delay Delay: On/Off Button: When the switch is activated (illuminated orange), the reverb is engaged and the corresponding controls can be adjusted Time: Controls the length of time between repeats, in sync with the tempo of the project. Dry: Designed to control the proportion of dry signal received at the input of the effect. [Note: because the delay is implemented in a more traditional way on an internal auxiliary send, this control has no effect]. Feedback: Controls how long the repeats continue for, with high settings capable of inducing a pleasing level of self-oscillation, without ever becoming earshatteringly unruly. Spread: Controls the stereo width of the wet signal. Trash: Adds distortion to the wet signal to emulate the saturation of a tape delay. Wet: Controls the ratio of wet/dry signal. 15

16 Main Page VIP Synth 16

17 Main Page Controls Besides the controls which are always visible, there are numerous other controls available to tweak the sound. These are arranged by section in pages. Main section: Note range controls: The note range can be limited by the user if desired. The lowest and highest notes required can be selected and then the on/off button must be depressed to impose the limit. On/Off Buttons: The On/Off buttons on the main page allow the user to toggle the Arp, Gate, FX and Master sections on and off quickly and easily, facilitating A/B comparisons. Preset menu: A number of presets have been provided to get you started. These presets provide a wide selection of settings for the Amp Envelope, Filter Section, Reverb and Delay as opposed to a global preset. With all the permutations available, this allows the user to come up with a selection of settings, which are more personalised than a global preset would be. Mode selection: Mode selection allows the user to change the way that the keyboard reacts to input. Poly mode is sixteen-voice polyphony. Poly II mode adds portamento. Mono mode jumps between notes with last note priority when two or more keys are depressed simultaneously. Mono II mode glides between notes in the same scenario. 17

18 Main Page Controls: Mix button Gives access to a mixer page, which allows for the mixing of four separate layers. These layers can be adjusted for level and pan. Layer A is the main sound of the samples included in the plugin. Layer B is reserved for any extra samples included in certain patches. [Note: In the event that there are no extra samples in a patch, the Layer B controls are greyed out]. Layer C is one of a selection of wavetables. Layer D is one of a selection of more traditional waveforms. Clicking on the mix button again returns the user to the main page. 18

19 Main Page Controls: Wave button Gives access to a page that allows control of the sounds in Layer C and Layer D. As with the mix button, clicking on the wave button a second time returns the user to the main page. Wave button :Gives access to a page that allows control of the sounds in Layer C and Layer D. As with the mix button, clicking on the wave button a second time returns the user to the main page. Layer C Preset Selection: A selection of aptly named presets has been provided to help you get started in blending your sounds together. Layer D Preset Selection: A further selection of presets has been created for Layer D. 19

20 Main Page Controls: Wave button Gives access to a page that allows control of the sounds in Layer C and Layer D. As with the mix button, clicking on the wave button a second time returns the user to the main page. Layer C - Wavetable Menu: A total of thirty-five different wavetables are available on Layer C. These are adjustable in four different ways. Pitch: Tunes the pitch up or down by up to 24 cents Symmetry: Controls the smoothness of the transitions between adjacent waveforms in the wavetable. Spread: Controls how many waveforms are made available to transition between. Stereo Width: Controls the stereo width of layer C. Unison Voices: There are up to eight unison voices available. Each of these voices is slightly detuned in 20

21 Main Page Controls: Wave button Gives access to a page that allows control of the sounds in Layer C and Layer D. As with the mix button, clicking on the wave button a second time returns the user to the main page. Layer D Waveform Design: Six traditional waveforms are available on Layer D. These are also adjustable in four different ways. Pitch: Tunes the pitch up or down by up to 24 cents. Shift: Shifts the starting point of the waveform forward. Detune: Detunes the waveform in layer D to create a fatter sound and to emulate the drifting tuning of an ageing analogue synthesiser. Stereo Width: Controls the width of the stereo image on layer D. Unison Voices: There are up to eight unison voices available. Each of these voices is slightly detuned in relation to the other in order to fatten the overall sound. 21

22 Modulation VIP Synth 22

23 Modulation Section [MOD]: filter or tremolo can be assigned to the mod wheel individually or all at once. These are assigned or unassigned by toggling the dedicated on/off switches. Mod Wheel Section: The vibrato, filter or tremolo can be assigned to the mod wheel individually or all at once. These are assigned or unassigned by toggling the dedicated on/off switches. Vibrato: The maximum rate of vibrato (pitch modulation) can be set with the level control. Filter: The maximum effect of the low-pass filter can be set with the level control. Tremolo: The maximum rate of tremolo (volume modulation) can be set with the level control. VIP SynthThe vibrato, 23

24 Modulation Section [MOD]: filter or tremolo can be assigned to the mod wheel individually or all at once. These are assigned or unassigned by toggling the dedicated on/off switches. LFO Section: An LFO is a low frequency oscillator, which is used to control the modulation of various parameters. These parameters can be controlled by the LFO, either individually or simultaneously, by toggling their dedicated on/off switches. LFO Shape Selection: The desired LFO shape can be selected from the dropdown menu. LFO Rate: The rate of the LFO can be adjusted in sync with the project. Filter, Pitch, Drive & Volume: The amount to which these are affected by the LFO is controlled by the level control VIP SynthThe vibrato, 24

25 Modulation Section [MOD]: Attack: This is the time it takes for the LFO to reach full effect from the moment a keyboard input is received. Smooth: Rounds off the edges of the LFO waveform to smooth out the effect of the resulting modulation. Depth: Controls the severity of the effect of the LFO on the target. At maximum depth, the level controls of the individual targets are at their most sensitive. As the depth is decreased, the resolution of these controls becomes finer. 25

26 Arp VIP Synth 26

27 Arp Section [ARPEGGIO]: Mode Selection: There are two arpeggiator modes, Arpeggio and Melody. Arpeggio plays through the depressed notes in alternation, in accordance with the triggers in the step editor. Melody mode allows the user to record a melody into the step editor, allowing the playback of that same melody in relation to any depressed key. On/Off Button: This activates/deactivates the selected arpeggiator without having to return to the main page. 27

28 Arp Section [ARPEGGIO]: Resolution: Controls the rate of the steps in the sequence, in sync with the project tempo. Mode: The selections in the dropdown menu determine the order in which the sequence of notes is triggered. Preset Selection: A number of arpeggiator patterns have been provided to get you started. 28

29 Arp Section [ARPEGGIO]: Trigger Mode: Controls the order in which the notes are retriggered. Octave: Controls the octave range in which the notes will be retriggered in relation to the depressed keys. Length: Controls the length of the note triggered by step in the sequence. each Swing: Controls how much every second step is moved off the grid, to create a more loose or humanlike feel. Steps: Controls the number of steps in the sequencer. Step Editor: The step editor can be used to create your own arpeggiator patterns by clicking on a step in the sequence and adjusting the velocity level. A step will not be played back unless it is activated. The active steps are indicated by light blue illuminated rectangles beneath them. To toggle a step active or inactive, simply click on the rectangular button beneath the desired step. 29

30 Resolution: Controls the rate of the steps in the sequence, in sync with the project tempo. Record Button: When the record button is pressed, any keyboard inputs are recorded into the step sequencer in the order that they are played. The Arpeggio Section [MELODY]: recording is halted after sixteen steps or if record is clicked a second time. What is actually recorded are the note intervals and the velocity information so that the melody can be played back in relation to a single keyboard input. Skip Button: When in record mode, each keyboard input is recorded in the next available step. If you wish to skip one or more steps in the sequence, this can be achieved by clicking the skip button as many times as required. Melody Preset Selection: To get you started, a number of arpeggiator melodies have been provided for you by the artist. 30

31 Steps: Controls the number of steps in the sequence. Gate: Controls the effectiveness of the gate on the arpeggiator. [Note: there will be no effect if the gate is not activated on the main page]. Arpeggio Section [MELODY]: Groove: Acts in a similar way to the swing function in the standard Arpeggio mode. The steps in the sequence are played back in a less quantised way to impart a more groovy feel to the melody. Step Editor: Melodies may be drawn in manually or a melody can be altered and edited subsequent to its recording. The velocity of each step can be drawn in, the same way as in standard Arpeggio mode. The numbers above the steps indicate the number of semitones above or below the initial keyboard input. The link button (located just above the numbers) allows the note immediately preceding it to be sustained. The note will sustain further for each link activated in succession. 31

32 Gate VIP Synth 32

33 Gate Section [GATE] The gate opens and closes to let signal pass or to block it from passing. This can be used to create some interesting rhythmical patterns. Steps: Controls the number of steps in the sequence. Resolution: Controls the rate of the steps in the sequence, in sync with the project tempo. Step Editor: The step editor can be reset by selecting the reset option in the preset menu. From here, you can create your own gate settings from scratch by setting how open or closed the gate is at each step. Smooth: Controls how smoothly the gate opens and closes. At its minimum setting, the effect is quite glitchy. At its maximum setting, the effect is smoother as the label would suggest. Gate Preset Selection: To get you started, a number of gate settings have been provided for you. 33

34 FX VIP Synth 34

35 FX Section [FX] FX Selection: There are two inserts available, each with the same selection of FX available to them. Bit Size: Bit Size: The bit size can be reduced from 24-bits down to 1-bit. By reducing the bit size, the number of steps available to represent the amplitude of each sample period is dramatically reduced. Reducing the bit size effectively makes the digital approximation of the audio waveform very jagged. At very low bit sizes, the digital approximation is so jagged that the audio begins to skip. Never has something so bad sounded so good. Bit Rate: The sample rate can be adjusted from 2kHz to 48kHz. Reducing the sample rate reduces the number of discrete slices in the digital representation of the audio. Reducing the sample rate has the effect of thinning out the sound and decreasing the fidelity. Reducing both the sample rate and bit rate together can add a touch of digital character or it can transform the original sound to that of a broken robot. Bit Drive: If you d like to add a bit of distortion to the effect, this is where the action is. Compressor: The compressor can be used to subtly reduce the dynamic range of the sound or it can remove it almost entirely at more aggressive settings. [Note: the attack is fixed at 10ms and the release at 5.00s]. Ratio: The ratio determines how aggressively the level is reduced above the level set by the threshold. At 1:1 there is no gain reduction at all. At 30:1 a signal 30dB above the threshold will be reduced to 1dB above the threshold. Threshold: This sets the threshold level at which the compressor will begin to reduce the gain. At high settings, the compressor might never be triggered and at lower settings, the compressor will be on constantly. This should be set in accordance with the kind of effect you re trying to achieve. Makeup Gain: As the compressor reduces the gain level of everything above the threshold, the overall level will be quieter. To compensate for this, adjust the makeup gain accordingly. 35

36 Distortion: Overdrive: Controls the amount of distortion applied. Trash: Controls the character of the distortion. At lower settings, the effect is acceptable in most social circles. At higher settings, the effect is a bit more naughty and might raise an eyebrow or two. Know your audience and set it accordingly. Output Gain: The input gain is fixed at 10.1dB. If this is too much, the output gain can be reduced to compensate for this or if you re the kind of person who likes everything on 11, there s an extra 10dB available. Flanger: Speed: Controls the speed of the modulation. Width: Controls the spread of the effect across the stereo field. Intensity: Controls the severity of the effect. Rotary: The rotary effect emulates the effect of a dual speaker, dual speed rotary cabinet. The crossover of this effect is set at 2.6kHz. Low Speed: Controls the frequency of rotation of the virtual woofer from 0Hz to 20Hz. High Speed: Controls the frequency of rotation of the virtual tweeter from 0Hz to 20Hz. Depth: Controls the perceived depth of the effect. Ensemble: Mode:Changes the harmonic content of the affected signal. Tone: Controls the brightness of the effect. Mix: Controls the proportion of the dry signal being processed by the effect. Phaser: Speed: Controls the modulation of the phasing in the audio spectrum. The speed setting is time based so the lower settings give rise to a faster sweeping effect and the higher settings give rise to a slower sweeping effect. Width: Controls the stereo width of the effect. Feedback: Controls how much the effect is fed back into itself. 36

37 Master VIP Synth 37

38 Master Section There are four different tools available to further enhance the sound in the master section. Each of these can be activated/deactivated by toggling the rectangle at the top right of each sub-section. 10-Band Graphic EQ: This EQ can be used to finely sculpt the sound, with each band having ±12dB on tap. The effect of each band can be heard in isolation by making use of the bypass switches beneath each fader. Stereo Width: Controls the width of the stereo image. Exciter: Adds high-end sparkle to the sound. There is an algorithm that emulates a tape machine and another which emulates tube circuitry. These can be used independently of one another or combined to create a tube/tape hybrid exciter. Limiter: Reducing the threshold brings the overall level up without clipping the master bus. The ceiling is fixed at 0.0dB and the release is fixed at 100ms. 38

39 Additional Info 39

40 MIDI Control Any of the plugin parameters that appear on the user interface can be assigned to a MIDI controller on your keyboard or control surface. Control-clicking the parameter you wish to assign will open a menu indicating the MIDI status of the selected parameter. The parameter can then be assigned by moving the controller you wish to assign it to. It can also be assigned manually by scrolling through the menu. To clear any assignment, follow the same procedure and click clear upon apparition of the menu. Further Notes: Alt-clicking any control resets it to its default value. Cmd-holding any control allows finer adjustment resolution. To further enhance your experience, basic familiarisation with the UVI or Mach Five workstation documentation is recommended. Credits: Plugin Design: Damien Egan Scripting: Arnaud Sicard GUI Design: Natali & Nick Preset programming: Jonny Willatt & Damien Egan Sound Editing: Jonny Willatt Manual Copy: Jonny Willatt 40

41