Phoscyon 1.8.

0
/f skj n/ Owners manual

Acknowledgement:

Sebastian Bachli nski Gary Brennan

February 10, 2010

Chapter 1 Overview
After loading the plugin in the host application, the Phoscyon Graphic Interface should appear:

Figure 1.1: Graphical user interface Phoscyons interface is split into following parts: Control module - On the top of the GUI you can see a row of controls. There are responsible for work mode of the plug-in, Midi learn and preset management.

Figure 1.2: Control module

Chapter 1. Overview Sound control section - Next row of controls including one switch and 12 knobs. These are responsible for synthesis control.

Figure 1.3: Sound control section Arpeggiator - To process incoming notes from sequencer (in External mode), or from internal sequencer (in Internal mode).

Figure 1.4: Arpeggiator section Distortion - Bundled distortion eect unit you can process the output sound through.

Figure 1.5: Distortion section

Chapter 1. Overview Internal sequencer - Responsible for editing patterns in Int.Seq. mode.

1.1. Work modes

Figure 1.6: Internal sequencer section

1.1

Work modes

The Int.Seq. switch allows you to select one of the sequencer modes.

Figure 1.7: Plug-in modes Phoscyon works in two modes: Internal - In the On position Phoscyon uses the internal sequencer, including patterns, while notes coming from the host (or using white keys from music keyboard on GUI) are used to control the order in which patterns play. The next few chapters describe both of the sequencer modes in detail - Internal mode. External - In the O position Phoscyon uses notes coming directly from the host program to generate sound.

Chapter 1. Overview

1.2. Midi learn

1.2

Midi learn

This function allows Phoscyons sound parameters to be easily mapped to Midi CCs

Figure 1.8: Midi and Preset management section 1. Click the Midi learn button or choose Midi Learn Mode item from Options menu.

Figure 1.9: Midi conguration section

Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About

Figure 1.10: Options menu - Midi learn item The LED above Midi learn button will light up

Chapter 1. Overview

1.2. Midi learn

2. In the Midi learn / Preset name edit box, the waiting... message will appear. In this mode, plug-in is waiting for any movement of its controls on GUI or any of controls on the external midi controller connected to a host (with an active midi input channel directed to Phoscyon). The edit box will display the name of currently modied control 1 .

Figure 1.11: Preset management section 3. Turn o Midi learn mode by clicking the Midi learn button once again or by checking o the Midi Learn Mode item from Options menu. The midi controller will now be controlling the function on Phoscyon. You should make certain that the proper midi port and midi channel are set in the host application. Just look at Midi act. LED, which lights up if any midi message is coming into Phoscyon. The midi control settings can be saved to a le (see the chapter 9 [Page 55]).

1.2.1

Midi unlink

To remove connection GUI Control Midi CC, You need to use Unlink option:

Figure 1.12: Midi conguration section 1. Turn on Midi learn button or choose Midi Learn Mode item from Options menu.

If youd like to make few assignments during one Midi learn cycle, just repeat step 2)

Chapter 1. Overview

1.3. Preset management

2. In the Midi learn / Preset name edit box, the waiting... message will appear. In this mode, plug-in is waiting for any movement of its controls on GUI or any of controls on the external midi controller connected to a host (with an active midi input channel directed to Phoscyon). The edit box will display the name of currently modied control.

Figure 1.13: Preset management section 3. When the connection you would like to be removed be displayed, just press Unlink button or Unlink Connection item (which now will be active) in Options menu 2 . 4. Uncheck the Midi Learn Mode item or click Midi Learn button to turn o Midi learn mode.

1.3

Preset management

All the sound parameter settings (cuto, resonance, etc.)

Figure 1.14: Sound control section distortion parameters

Figure 1.15: Distortion section

Youre allowed to unlink few connections one by one, by repeating steps 2 and 3.

Chapter 1. Overview arpeggiator parameters

1.3. Preset management

Figure 1.16: Arpeggiator section and Volume parameter are stored in a Preset.

Figure 1.17: Master volume The Preset manager tool is provided to simplify the organisation and use of Presets. The Preset section on GUI is used for navigation through the preset bank. To read more about preset management go to chapter 8 [page 50].

Figure 1.18: Preset section

Chapter 2 Play modes

2.1 External Sequencer - mode

Clicking the Int.Seq diode in the Seq box will switch it o:

Figure 2.1: Plug-in modes External mode represents a way of controlling the monophonic synthesiser. In this mode the plug-in acts as a regular sound module. The Midi Note On message triggers the sound, and Midi Note O ends it. With this mode turned on, we dont have to use any additional kind of midi messages e.g. Accent, Gate, Side (as it takes place in Internal mode). It causes a bit of a dierence in the way bass lines are written (a more common way). In this mode only parameters controlling the sound, distortion eect and the arpeggiator still work. Phoscyon is a monophonic synthesiser, which means that during play (triggered with the Midi Note On), if another note comes (another Midi Note On), the rst note stops playing immediately and the next one starts to play. Between both notes a Slide is executed with the time set by the Slide time knob. In other words, the user can only play one note at a time. The user can also specify the amount of Slide.

Chapter 2. Play modes

2.2. Internal Sequencer - mode

Figure 2.2: Slite time knob

2.1.1

Accent velocity level

Sounds are Accented when their velocity exceed the certain value. Below this threshold value, sounds are played without Accent. You can choose one of available predened threshold values from Options menu, in a Accent Velocity Level node:
Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About Low (32) Mid (64) High (96)

Figure 2.3: Accent velocity level submenu This setting is stored within the host applications project.

2.2

Internal Sequencer - mode

In the Internal mode Phoscyon uses the internal bank of patterns. Pressing Play on the host sequencer, or Start/Stop on Phoscyon, will start play back of the default internal patterns.

Chapter 2. Play modes

2.2. Internal Sequencer - mode

Figure 2.4: Start/Stop button The LED diode next to Start/Stop button indicates if pattern is playing (it lights up then). Note: If a pattern is started using the Phoscyons Start/stop button and the host sequencer has not been started then, playback can only be stopped using the Start/Stop button on Phoscyon

2.2.1

Tempo synchronisation

The Int.Sync. switch allows You to select the synchronisation mode of the synthesiser. For the O value it synchronises to the tempo of the host program.

Figure 2.5: Plug-in modes For the On value the synthesiser isnt synchronised with host program but instead has its own internal tempo settings (Only in the Pattern write mode, described later).

Figure 2.6: Tempo controlling section While Phoscyon is internally synchronised, the Tempo display shows current tempo, otherwise its empty.

10

Chapter 2. Play modes

2.3. Internal Pattern Storage

2.3

Internal Pattern Storage

There are two internal Play modes: Native mode - available when the Host mode LED is turned o:

Figure 2.7: Plug-in modes Host mode - when this LED is turned on. Each of these modes shares common pattern storage system. The whole bank of patterns comprises of 96 dierent patterns that can be triggered using GUI or Midi messages (depending on a Play mode).

2.3.1

Native mode

Phoscyon is in this mode when it is rst loaded. This is the default mode. It allows a range of patterns (or single pattern) to be selected and for Phoscyon be played continually in cycle through these patterns. These patterns can be selected to play using Music keyboard on GUI.

Figure 2.8: Selecting patterns using music keyboard 8 white keys from Music keyboard select the pattern. The Gate, Accent and Slide buttons (step attributes) are used to select the bank. That covers only 24 rst available patterns from internal memory of Phoscyon (thats limitation of Native mode). Alternatively theres possible to select pattern to play from Midi keyboard using keys C-1 to C-2 to select pattern in bank, and keys D-2, E-2 and G-2 to choose between one of three available banks.

11

Chapter 2. Play modes

2.3. Internal Pattern Storage

The currently selected pattern is shown on the Phoscyon interface:

Figure 2.9: Pattern display and navigation section In format: [BANK NUMBER]-[PATTERN NUMBER] Below it is displayed the patterns name (in Pattern name text box). After loading Phoscyon, the pattern corresponding to the C-1 note is chosen. The current pattern is marked by a blinking LED on one of the white keys from Music keyboard. The bank is marked by LED on one of the last 3 attribute buttons: Gate, Slide, Accent. When the Start button is pressed, the LED on the Step number will indicate the current step in the pattern.

Figure 2.10: Pattern length and Step number LEDs To select another pattern whilst playing, select it using the combination of one of the white keys and attribute button:

Figure 2.11: Selecting patterns using music keyboard or select it using the keys on a connected Midi keyboard. The next pattern will start when the current pattern comes to the end of its nal step. Making a patterns chain To select the start pattern, press the appropriate white key on Music keyboard with the mouse. To select the last pattern in the range, select another pattern WHILST holding down the Ctrl key on the keyboard. Phoscyon will now cycle up through the range and repeat. A Midi keyboard can be used to select a range to play. To do this, press the two notes on the keyboard, which cover the range, at the same time. Phoscyon will now cycle through this range 12

Chapter 2. Play modes and continually loop.

2.3. Internal Pattern Storage

Whilst playing back in chain mode, selecting a dierent pattern (either using a Step key on the interface or key on Midi keyboard) will cause Phoscyon to play that pattern next after coming to the last step in the currently playing pattern. It will then continue to play the new pattern until stopped.

2.3.2

Host mode

In Host mode, patterns are triggered using a Midi notes only (we have access to full bank of patterns stored within Phoscyons memory). Each note coming from host program corresponds to one internal pattern. The whole bank of patterns is accessed by the 96 available Midi notes (whole Midi keyboard range without rst and last octave). A Note on causes the corresponding pattern to play. Releasing the key and sending a Note o will eventually stop the pattern. It depends on whether the Note o is set in Options menu. In general the Note On message starts the pattern, while Note O message stops the it.
Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About

Figure 2.12: Options menu - Note o ag Theres an another ag, which works in Host mode, namely: Self reset. When the Self reset ag is set a Note On message (playing the same note) will restart the pattern (the pattern starts playing from the rst step). If this attribute is not set then the pattern will not reset when a corresponding Midi On message arrives (when the same note is played).

13

Chapter 2. Play modes

2.3. Internal Pattern Storage

Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About

Figure 2.13: Options menu - Self reset ag Playing any pattern for the rst time or playing any pattern other then one preceding it will always reset said pattern. This ag is most commonly used together with the Note o ag. With these ags its easy to t a pattern of 5 steps with a pattern of 16 steps. You can do it by switching of both of the attributes (see the gure below).

14

Chapter 2. Play modes

2.3. Internal Pattern Storage

Figure 2.14: Note o clear and Self reset example Above we can see an example of Self reset and Note o usage. a) The Midi notes triggering pattern. b) What happens to the actual sound in four dierent setting combinations. It should be noted that in Host mode the Start/Stop button on Phoscyon doesnt function. Patterns are only played back while a key on a connected Midi keyboard is pressed (and held). In this mode, currently playing pattern is indicated by display unit:

Figure 2.15: Pattern display and navigation section

15

Chapter 2. Play modes In format: P.[TONE NAME][- or #][OCTAVE NUMBER] Below it is displayed the pattern name (in Pattern name text box).

2.4. Midi output

2.4

Midi output

Phoscyon has permanently active Midi output, which allows to control external instrument (virtual or hardware) by Phoscyons internal sequencer. It works either in Native or Host mode. Velocity values of Midi notes sent by Phoscyon are calculated on a basis of Step attributes (accented or non-accented). When You set the Phoscyon into External mode, it just passes Midi notes through itself unchanged. So basically the same notes You redirect into a plug-in You will get on the Midi output.

2.5

Play modes - Options menu

You can choose play mode for Phoscyon alternatively not only from GUI, but also from options menu:
Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About

Figure 2.16: Options menu Internal Sequencer - Corresponds to Int.Seq LED. Internal Synchronization - Corresponds to Int.Sync. LED. Host Mode - Corresponds to Host Mode LED. 16

Chapter 2. Play modes

2.6. Threshold mode

2.6

Threshold mode

Threshold mode works only in Internal modes. Edit step values button allows you to switch this mode on/o but only in Internal mode. Threshold mode is active when Edit step values is o. Activation of Threshold mode is indicated by a Threshold led above Rand.Gate, Rand.Accent and Rand.Slide knobs.

Figure 2.17: Edit step values (button)

Figure 2.18: Step values/threshold These knobs allow you to set threshold values for each of the attributes: Gate, Accent, Slide. The threshold value for a given attribute of a step means that only attributes with values below the threshold value will be included (treated as switched on). The leftmost position of a given knobs threshold value is equal to 0, and the rightmost is equal to 127. For attribute values ranging 0-127 it means that if the threshold value is equal to 0 then none of the attribute will be included. On the other hand if the threshold value is equal to 127 then every (switched on) attribute will be included (no matter the value of the attribute). Remember that these knobs work as described above only when Threshold mode is on. In Internal sequencer mode, with Threshold mode switched o, these knobs are responsible for setting the values of the proper attributes for each edited step (see Step management in a section Internal mode). Threshold mode can be very useful when the values of certain attributes need to be edited. Changing threshold values across the time (e.g. with event edition in a host program) allows the 17

Chapter 2. Play modes

2.6. Threshold mode

user to control the attribute amount at any given moment. Another very important application of this mode is using it with Randomizer (see the chapter ?? [page ??]). Note: If the threshold value for Gate attribute is equal to 0 then Phoscyon will not generate sound because attribute Gate for every step will not be included.

18

Chapter 3 Synthesis
3.1 Controls

The block of synthesis controls is placed in the top portion of the Phoscyon GUI. These controls are described below:

Figure 3.1: Sound control section Wave - This switch allows the user to choose between saw or square waveforms. Tuning - This tunes the instrument continuously in the range of +/- 12 half-tones. (A-440Hz in the middle position). Slide time - Duration frequency change between two notes (slide/legato) with Slide attribute placed on the rst of them. Left position corresponds to 0ms (legato), middle position to about 60ms (standard setting), and right position to about 1.5s. Cut o freq - Filter cut o frequency. This is the frequency lter cut o which is added to the lter envelope. In other words, this parameter moves the range of eect of the lter envelope. Reso link mode - Allows the user to choose the work mode of the Resonance and Sweep time knobs. If its turned on then the Resonance knob controls both resonance as well as sweep time parameters and Sweep time knob is inactive. If its turned o then the control of Resonance and Sweep time is divided respectively between knobs. Resonance - Controls the lter boost at the cut o frequency. If the Reso link mode switch (placed next to Resonance knob) is turned on, the knob also controls the speed of attack of the accent envelope (Sweep time parameter). Sweep time - Controls the speed of attack of the accent envelope if Reso link mode is turned o. If Reso link mode is turned on this knob is inactive. 19

Chapter 3. Synthesis

3.1. Controls

Envmod - Envelope modulation. Denes the range in which the lter envelope is aected. The higher the value of Envmod is set, the more gain the amplitude of the envelope has. Env.Attack - Envelope attack. Denes the time of attack of the lter envelope. Env.Decay - Denes decay time of the lter envelope. This parameter applies only to notes without the Accent attribute. Acc.Decay - Denes decay time of lter envelope. This parameter applies only to notes with the Accent attribute. Accent link mode - Allows the user to choose the work mode of the Env.Accent and Accent vol. knobs. If it is turned on then the Env. Accent knob controls both envelope accent as accent volume parameters and the Accent vol. knob is inactive. If its turned o then the control of Env.Accent and Accent vol. parameters is divided between the respective knobs. Env.Accent - Controls the accent level of the accent envelope on modication of the envelope lter (for notes with the Accent attribute). If the Accent link mode switch (placed next to Env. Accent knob) is turned on the knob also controls the Accent vol. parameter (for notes with the Accent attribute). Accent vol. - Controls the Accent volume parameter (for notes with the Accent attribute) if the Accent link mode is turned o. If the bf Accent link mode is turned on this knob is inactive. Step length - Denes the time of sound duration. Time of sustain in the range from about 0.1 of 16th note to full 16th note. Aside from the controls listed above there is one more knob belonging to the synthesis block. The Volume controls the volume of the sound the synthesiser produces. If the knob is in the extreme left position, then the synthesiser stops processing. In the middle position volume of the sound is on normal level and no overdrive will appear. In the extreme right position the amplitude is up to +6dB.

Figure 3.2: Master volume

20

Chapter 3. Synthesis

3.2. Oscillator tuning

3.2

Oscillator tuning

Its possible to choose one of available tunings to achieve the sound character we desire. To do it just go to Options menu and select one of items from Oscillator Tuning node:
Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About Accurate) Vintage Battery Low

Figure 3.3: Accent velocity level submenu There are three tunings to choose from: Accurate - Linear tuning across the scale (precise). Vintage - Slightly de-linearized giving the impression of real vintage gear. Batter Low - Extremely detuned. Note: This setting is stored within the host application project

3.3

Filter envelope

The base element of the lter envelope circuit is the envelope generator which generates a base signal with two states: Attack and Decay. The duration of the Attack state is controlled by the Env.Attack parameter. However, the duration of the Decay state is controlled by the Env.Decay or Acc.Decay parameter depending on the state of the Accent attribute in a given step. If Accent is set then Acc.Decay is taken, otherwise Env.Decay is used. The generator is reset at each step not preceded by the Slide attribute. The amplitude of a generated envelope is always constant. The signal from the envelope generator follows two paths:

21

Chapter 3. Synthesis

3.3. Filter envelope

1. Depending on the Accent attribute state, the signal goes through the RC lowpass lter. The output amplitude of this lter is controlled by the Env.Accent parameter . The cut o frequency is controlled by the sweep time parameter (the Resonance or Sweep time knob depending on Reso link switch position).

Figure 3.4: Envelope generator diagram 2. The amplitude of the signal is controlled by the Envmod parameter and moved by the oset dened by the Cuto parameter. The signals from these two paths are summed up and the resulting signal controls the cut o frequency of the 3-pole lowpass lter. The RC lowpass lter smooths the envelope and moves frequency of the 3-pole lter up in step with the Accent attribute. In this way the famous wow is created. It should be mentioned that the output signal of the envelope generator controls the gain of the input signal amplitude. This makes accented tones sound louder than unaccented tones. The value of this gain is controlled by the Accent vol. parameter (Env.Accent or Accent vol. knob depending on the Accent link mode switch position).

22

Chapter 3. Synthesis

3.3. Filter envelope

Figure 3.5: Envelope generation process Envmod 0.6 0.2 Cuto Env.Att. Env.Dec. Acc.Dec. Env.Acc. Accent lnk. 0.0 0.0 0.7 0.2 1.0 On 0.0 0.2 0.4 0.2 1.0 On

a) b)

23

Chapter 4 Bass line editing

Every pattern is a single track, with up to 16 steps. Each of these has attributes such Note, Gate, Accent and Slide.

4.1

Attributes of step

Note - denes the pitch that is played within each step. Gate - decides whether sound in the step is played or not. This only concerns the amplier since the oscillator is set to the frequency of the steps note. Accent - decides whether a step will become accented meaning that the volume of an accented step will be louder than steps which are not. Additionally, during an accented step, the frequency of the synthesizers lter will be pitched. Slide - when a step has the Slide (portamento) attribute switched on, the pitch of this step will be held over to the next step with a simultaneous smooth tone change between each pitch.

4.2

The pattern editing

The controls used with pattern edition are placed in the down half of the GUI in the section labelled as Pattern control and edit, and also in the bottom keyboard.

Figure 4.1: Pattern edit and Pattern control sections Note: Most of the controls used with pattern edition implement two functions. When Randomiser mode or Threshold mode is on, some of their controls are used with other functionality. 24

Chapter 4. Bass line editing

4.2. The pattern editing

To edit the currently selected pattern, press the Patt write button (its not necessary in Host Mode, since Pattern write is the only possible mode there).

Figure 4.2: Pattern write button Phoscyon by default follows the edited pattern with playing one, because of Auto follow button turned on. Auto follow button works only when the Pattern write mode is active.

Figure 4.3: Auto follow button With Auto follow button turned o, to choose a pattern to edit we need to navigate through available patterns using the Prev and Next buttons. The playing pattern wont change but the edited pattern will be the newly selected one.

25

Chapter 4. Bass line editing

4.2. The pattern editing

Figure 4.4: Pattern display and navigation section With Auto follow turned on, currently playing pattern becomes the edited one immediately and the switching between patterns using keys Prev and Next is disabled. Note: When Auto follow mode is on, the edited pattern changes to match the pattern which is playing. Prev and Next buttons dont work then.

4.2.1

Entering notes

The one octave keyboard allows the user to set Note attributes for the pattern (for one step at the time).

Figure 4.5: Music keyboard To be more precise the keyboard sets the base of the note range C3-C4. To cover the entire range of notes in which the synthesiser operates the user should use Transpose buttons.

Figure 4.6: Octave transpose buttons These two buttons, labelled as Transpose and placed above the higher C on the keyboard. Allow the user to set note transposition for an edited step in the range of -1 to +2 octaves. With the base note (C3-C4) it is allowed to reach a whole range C2-C6 on the synthesiser. When only the Transpose down attribute is set it indicates a transposition down 1 octave. When only the Transpose up attribute is set it indicates transposition up 1 octave. When both of these attributes are set it indicates a transposition up 2 octaves. 26

Chapter 4. Bass line editing

4.2. The pattern editing

4.2.2

Entering step attributes

Gate, Accent, Slide - These three buttons control the states of their corresponding attributes (Gate, Accent and Slide) for an edited step.

Figure 4.7: Gate, Accent, Slide buttons

4.2.3

Entering step values

Aside from their states (switched on/o), Gate, Accent and Slide also have their own values that range 0-127. These values can be set per each step in Internal mode.

Figure 4.8: Step values/threshold Values can be entered when Edit step values button is on:

Figure 4.9: Edit step values (button) Those values are useful in a Threshold mode (see chapter 2.6, page 17) or during bass line randomization (see chapter 5, page 33). 27

Chapter 4. Bass line editing

4.2. The pattern editing

4.2.4

Navigating trough steps in pattern

Prev.Flatten, Next accept - These two buttons allow you to change position in a pattern with regard to pattern length. Pressing the Next button moves the position to the next step while pressing the Prev button moves position to the previous step.

Figure 4.10: Next and Prev buttons The number of the step is indicated on the display Step number LEDs. You can also use those LEDs to choose edited step directly without necessity of going through pattern using Prev, Next buttons.

Figure 4.11: Pattern length and Step number LEDs

28

Chapter 4. Bass line editing

4.3. Editing functions

4.3

Editing functions

Figure 4.12: Pattern edit section Clear - Resets all attributes of the pattern, meaning the settings will be as follows: Note equal to C3, Gate, Accent and Slide attributes are switched o and their values are equal to 0. Before clearing the pattern whole its content is copied to the undo buer. Copy - Copies all the patterns contents. Meaning: the length of pattern, states of its attributes and all of the steps contents. Paste - Replaces a patterns content with the content from the clipboard (if there is any content in the clipboard). Shift - Nudges the patterns content to the right or left depending on the arrow that is pushed on the rocker switch. Pressing once shifts by 1 step. All attributes of the step are shifted as well. Transpose - transposes the contents of the pattern up or down by 1 half tone. The notes are wrapped at the ends of the keyboard note range. This means that note C5 changes into B2 when its transposed up and note C2 changes into B4 when its transposed down. To select the destination pattern (for copying), use the Prev and Next buttons (with Auto follow turned o) or leave Patt.Write mode and choose another pattern to edit that way, enter Patt.Write mode.

Figure 4.13: Pattern display and navigation section

4.4

Length of pattern

Whilst in Pattern write mode, length of currently selected pattern can be set using the Pattern length LED row. First You need to press Patt.Len button on Pattern control section. 29

Chapter 4. Bass line editing

4.5. Controlling the tempo

Figure 4.14: Pattern control section Pattern name edit box will show Set Length message. Then you need to set length by clicking on a LED representing the last step on this row to set patterns length (the LEDs representing length of pattern will be blinking).

Figure 4.15: Pattern length and Step number LEDs

4.5

Controlling the tempo

Figure 4.16: Tempo controlling section When the synthesiser works in the internal clock mode (Int.Clock. LED is on) the adjustment of internal tempo settings can be done with the tempo controls placed in the mid-left area of the GUI (see gure 4.5). The internal tempo parameter has a range of 40 - 300 Bpm (Beats Per Minute). The Bpm display is used to adjust the tempo value, by dragging any of decimal places with the mouse. Dragging digit representing higher value will cause adjusting less precise, if you want to precisely adjust tempo, just drag position representing lower value. Tempo value is stored per pattern and can be change only in Patt.Write mode.

4.6

Shue

Shue is also called Syncopation or Swing, It is added by dragging the Shue display when in Pattern write mode. Shue is represented values from 0 to 100 (percentage), when its 30

Chapter 4. Bass line editing

4.7. Loading and saving patterns

set to 0, shue is turned o and notes are spread equally in pattern. Increasing value causes Shue eect more audible and pattern more swinging.

Figure 4.17: Shue display Shue value is stored per pattern independently.

4.7

Loading and saving patterns

It is possible to save or load a single pattern or a complete bank of patterns.

4.7.1

Saving patterns

1. Before saving, the pattern should be named (click on Pattern name display):

Figure 4.18: Pattern display and navigation section Just click on it and enter the name for the newly created pattern. Pressing enter ends the editing process. 2. To save pattern just click Next button with CTRL menu should appear:
Save Pattern Save Pattern Bank
1

key pressed on keyboard. The

Figure 4.19: Saving pattern Choose the Save pattern option to show le save dialog. To save all patterns currently stored in Phoscyon, choose Save pattern bank option.
1

On MacOS use Apple key instead of Ctrl key.

31

Chapter 4. Bass line editing

4.7. Loading and saving patterns

4.7.2

Loading patterns

1. To load pattern click Prev button with CTRL key pressed on keyboard. The menu should appear:
Load Pattern Load Pattern Bank

Figure 4.20: Loading pattern Choose the Load pattern option to show le dialog. To load whole bank of patterns to Phoscyons memory, choose Load pattern bank option. Following le types are saved and loaded by Phoscyon: .phptrb - Bank consisting all 96 patterns. .phptr - Single pattern. Note: Files saved by Phoscyon are in standard XML format and can be easily edited within any text editor.

32

Chapter 5 Randomising basslines

5.1 Randomiser

The Randomiser lls internal patterns with random complex content (it works only in Internal mode). When the randomiser is switched on the LEDs of the controls eected by it start to blink. when randomiser is active Threshold mode cannot be turned o (it changes the use of the Event threshold knobs). Turning on the randomiser is performed by pressing the Rand.Mode button.

Figure 5.1: Rand.Mode button Almost all the controls used with randomiser have more than one function. These controls are double labelled. The red coloured labels describe the behaviour of the control when used with Randomiser. Their altered uses are as follows:

33

Chapter 5. Randomising basslines

5.1. Randomiser

Prev.Flatten., Next.Accept. - These buttons allow you to move to the previously drawn sequence or the next drawn sequence.

Figure 5.2: Next and Prev buttons Randomize notes, Rand.Gate, Rand.Accent, Rand.Slide - The state of these buttons dene whether Randomizer will draw corresponding attributes or not. This feature allows the user to choose which attributes will change or not. It also allows you to exclude chosen attributes from being drawn after reaching their expected settings (leaving them untouched).

Figure 5.3: Random notes, Gate, Accent, Slide Eg. When Randomize Notes and Rand.Gate are set while Rand.Accent and Rand.Slide are not, only values of Note and Gate will be drawn while values of Accent and Slide stay unchanged. Using the values of Gate, Accent and Slide means that the state of the attribute is always set (in all the steps of edited pattern) however its value is drawn from its full range (0-127). Due to the fact that Threshold mode is always set when using Randomiser the density of these attributes can be easily controlled with the Event threshold Knobs.

34

Chapter 5. Randomising basslines

5.1. Randomiser

Figure 5.4: Step values/threshold Notes, Traspose Up/Down - The one octave keyboard allows you to dene the drawing pool (set) of notes from which Randomiser will draw note values. Together with the Transpose Up/Down buttons it can dene another pool of notes for each of four octaves. The randomiser draws notes from a pool dened by all octave pools.

Figure 5.5: Octave transpose buttons If only Transpose down is set the Randomiser draws form the 2nd octave. If only Traspose up is set it draws form the 4th octave. If both Tranpose Up/Down are set it from the 5th octave and if none are set it from the 3rd octave. Note: This function is active only when the Randomize notes attribute is set. In any other case the controls stay inactive. Arp.Chord - With this switch the pool of notes used for drawing can be easily reduced to a set of notes contained in a specied chord. When one of the predened chords is set, the drawing pools for all four octaves are initially set to notes contained in that chord. Then the pools can be modied. For Custom setting, the drawing pools all need to be set by the user. The custom drawing pool is remembered even after Rand chord is changed.

35

Chapter 5. Randomising basslines

5.1. Randomiser

Figure 5.6: Arp.Chord / Rand.Chord dial Transpose - With the Transpose rocker switch all notes can be transposed up or down one half-tone (the notes are then treated as one chord and transposed together). With this feature Randomiser can be easily set to draw notes from specied keys eg. only notes from E-Major. Only notes from drawing pools are transposed. The actual values of step notes stay unchanged.

Figure 5.7: Pattern edit section Clear - When pressing the Clear button in Randomiser mode the drawing pool is cleared. When the Ctrl key is held while pressing Clear all notes in the edited drawing pool are set.

Figure 5.8: Pattern edit section Prev.Flatten - As it was mentioned above the states of Gate, Accent and Slide attributes are always set when they are drawn. This means that after drawing a pattern and changing one of the Event threshold knobs the pattern will sound dierent. This is because all states of attributes are set so only the threshold value for the attribute decides which of them will be included or not. Flatten deals with this problem and saves wanted density of attributes. This function is activated by pressing the proper button with Ctrl key held. It changes the states of the attributes depending on the values of the attributes and threshold values. 36

Chapter 5. Randomising basslines

5.1. Randomiser

The function operates only on the attributes for which the corresponding Randomiser attributes (Rand.Gate, Rand.Accent and Rand.Slide) are set.

Figure 5.9: Next and Prev buttons Lets say weve drawn a pattern and after it weve set threshold values for Gate and Slide and we want to save their values and make them independent of their threshold values. We want also to leave the Accent attribute dependent on its threshold value. So we make sure that Rand.Accent is not set while Rand.Gate and Rand.Slide are set. Next we use the Flatten function. The resulting states and values of the Accent attribute dont change, however, states for the Gate and Slide attributes stay active only for the steps in which the value of the attribute is lower than its threshold value at the moment the function was activated. The values of the Gate and Slide attributes for all steps are set equal to 0. In other words the Flatten function limits (clips) the attributes of the steps with values exceeding the threshold value. Next.Accept - Each time you press this button you randomise new bass line or just patterns attributes accordingly to the chosen settings. Pressing this button with Ctrl button accepts current state and its added to a undo buer. This makes possible to go back to this state using Undo button after further randomisations.

Figure 5.10: Next and Prev buttons

37

Chapter 5. Randomising basslines Undo - Goes back to the latest Accepted randomised state.

5.1. Randomiser

Figure 5.11: Pattern edit section

38

Chapter 6 Arpeggiator
6.1 Controls

The block of Arpeggiator controls is placed in the centre of the Phoscyon GUI.

Figure 6.1: Arpeggiator section Arp.Chord switch is responsible for setting the tone set for the Arpeggiator. Note: This switch implements two functions. When Randomiser is turned o the switch is connected to the Arpeggiator. However if Randomizer is turned on (only in Internal mode) the switch is connected to Randomizer. When setting the tone of the Arpeggiator, the user can choose one of the dened chords (Major, M7, Dim, etc) or choose a Custom chord dened by the user. Note: The dened tone is not taken into account if the Arpeggiator is turned o. Arp.Mode - The O position keeps the Arpeggiator turned o. Positions from Random to Up-Down allow the user to set the run-time mode of Arpeggiator. It then controls the order of the playing notes. Arp.Shue - Decides how much of swing (syncopation) is added to sequence generated by Arpeggiator. Changing value is performed by dragging the Arp.Shue display. Shue is represented values from 0 to 100 (percentage), when its set to 0, shue is turned o and notes are spread equally in time. Increasing value causes Shue eect more audible and pattern more swinging. 39

Chapter 6. Arpeggiator

6.2. Usage

Note: This control works only when Arpeggiator is turned on, otherwise its disabled Oct.Range - The four buttons allow the user to set the range of the octaves that Arpeggiator will play. Initial Arpeggiator notes are transposed in the range of active octaves. The method of transition between octaves depends on the Arp.Mode. Numbers of octaves (from -1 to +2) are given relative to the increase or decrease in the octave of the initial note. Note: If all the octaves buttons on the Arpeggiator are turned o, and the Arpeggiator is turned on, then the synthesiser will play as itd be octave 0 button still turned on. Arp.Tempo multiplier/ Arp.Repeater - If the horizontal switch (placed under the multiplier/repeater switch) is in the left position then the multiplier/repeater switch controls the value of the Arp.Tempo multiplier which is the tempo multiplication factor. If the mentioned switch is in the right position then the multiplier/repeater switch controls the value of Arp.Repeater. This value responds to the number of repetitions of every note from the dened tone of the Arpeggiator. Note: Value 1.5 for Arp.Repeater is omitted.

6.2

Usage

The Arpeggiator allows the user to program the sound used by Phoscyon, the range of octaves, repetitions, tempo multiplying etc. During operation the Arpeggiator increases note repetition by the following means. When the value of this counter reaches the value of the Repeater, the Arpeggiator takes the next dened note and resets the counter. After reaching the last of the dened notes, the Arpeggiator changes to the next octave deed by the octave range and sets the rst of dened notes again. When the last octave from the dened octave range is reached the whole cycle repeats. In External mode the Arpeggiator input notes come directly from the host. When two or more notes start or end at the same time, the host decides what order in which to send the notes to the synthesiser, at the same it decides what order to push the notes into the queue. Setting such notes with little time distance allows one to deal with these problems. In Internal mode the Arpeggiator input notes come from the internal sequencer. With internal patterns it can be set to only one note per step. If the step has no Gate attribute it corresponds to a sequence of two messages: Note On and Note O (just like pressing and releasing a piano key). If a step has a Gate attribute it means that only Note On message (pressing and holding key) is sent. The Note O message will appear when the step with other note arrives or when a step with no Gate attribute comes along. When the Arpeggiator is turned on the Accent and Slide attributes work in the same way as when the Arpeggiator is turned o. The attributes can be used to create complicated Arpeggiator sequences. The Arpeggiator sequences can be used while playing live as well. 40

Chapter 6. Arpeggiator

6.2. Usage

6.2.1

Arpeggiator tone

With the Arp.Chord switch the user can choose the Custom tone mode or one of 7 predened tones.

Figure 6.2: Arp.Chord / Rand.Chord dial In the Custom mode the tone is created from incoming notes (from host application). With the 7 predened chord types the Arpeggiator works a little dierent. All tones produced are part the the specied chord. All predened tones are illustrated in gure below. Major C,E,G

Minor

C,D ,G

7th

C,E,G,A

m7th

C,D ,G,A

M7

C,E,G,B

m7-5

C,D ,F ,A

Dim

C,D ,F

Notes coming into the Arpeggiator (message Note On) are not queued as in the case of the Custom tone (like regular arpeggio), only the last incoming note is given attention. This note 41

Chapter 6. Arpeggiator

6.2. Usage

is used as a base note for the chosen (dened) chord. This means that the chosen chord is played in relation to this base note. Eg. Major tone with the base note C3 will form a C-Major chord into 3-rd octave, and the base note E4 will form an E-Major chord into 4-th octave. If any new note comes in it transports playing sequence immediately.

6.2.2

The range of octaves

Arpeggiator transposes notes from a dened tone in the range from -1 to +2 octaves. Switching to the chosen octave causes this octave to be used during Arpeggiator operation. Arpeggiator plays only if at least one octave is used. The mode of transition between octaves depends on the Arp.Mode settings.

Figure 6.3: Arpeggiators octave range The changes in the set of octaves dont take place until the last note from the dened tone is played. The Arpeggiator then resets the note position within the dened tone and changes the set of octaves. If the value of the transposed note exceeds the synthesiser range (C2-B5) it is then wrapped at the ends. Transposed notes above B5 are moved to the lower end of range (above C2). Respectively transposed notes below C2 are moved to the upper end of range (below B5).

42

Chapter 6. Arpeggiator

6.2. Usage

6.2.3

Arpeggiator run-time modes

With the Arp.Mode switch the user can choose from one of 5 run-time modes:

Figure 6.4: Arp.Mode switch O - Arpeggiator is o. Random - Arpeggiator draws octave randomly. Up - The transitions between notes from dened chord are normal which means that notes are changed in the same order that are specied in the dened chord. After reaching the last note the rst note will be played again and also the octave from the dened set will change. Octaves from dened sets of octaves are changed increasingly from the lowest one and after reaching the highest one it starts over from the lowest octave again. Eg. for a set of octaves equal to (-1, 0, +2) the octaves will change as follows: -1, 0, +2, -1, 0, +2, . . . Down - The transitions between notes are normal as well. However, octaves from the dened range are changed decreasingly from the highest and after reaching the lowest it starts from the highest octave again. Eg. for a set of octaves equal to (-1, 0, +2) the octaves will change as follows : +2, 0, -1, +2, 0, -1, . . . Up-Down - The transitions between notes are also normal. The way of transition between octaves from the dened set changes in cycles: Up, Down, Up, Down, . . . Eg. for set of octaves equal to (-1, 0, +2) the octaves will change as follows: -1, 0, +2, 0, -1, 0, +2, 0, ...

43

Chapter 6. Arpeggiator

6.2. Usage

6.2.4

Arpeggiator repetitions

Arp.Repeater parameter allows the user to dene the number of repetitions of every note from a dened chord before Arpeggiator will go to the next note of the chord.

Figure 6.5: Arpeggiators tempo multiplier and repeater

6.2.5

Multiplication of tempo

The Arp.Tempo multiplier parameter denes the multiplication factor of the tempo of Arpeggiator. This follows in relation to the tempo of synthesiser, be it the tempo of the host program in External mode or that of the internal sequencer in Internal mode. this feature means that for the multiplication factor equal to x the Arpeggiator will execute x steps of its internal work during one step

Figure 6.6: Arpeggiators tempo multiplier and repeater

44

Chapter 7 Distortion
The distortion eect deforms the sound of the synthesiser and enhances high frequencies, making the sound become more expressive while adding to the cut o frequency of the synthesisers lters. With the distortion eect switched o the synthesis of low frequencies is at a low volume level because of the poor high frequency content (though using the external equaliser can change this situation). To obtain the constant level of amplitude desired from the synthesiser (both on low as well as on high frequencies) you can use the distortion eect. This doesnt mean that with the distortion eect switched o our synthesiser is useless and the acid sound will get lost in the bush of other tracks, but to obtain the constant level of amplitude well need to use the compressor. Hint: One can also use the distortion eect for something it was not exactly created for. Turning Preamp to the left, and Clip and Brightness to the right well get non distorted sound processed through the Diode-clipper. With these settings the signal goes together through LowPass, BandPass and HighPass lters. When additional events for the Size and Density parameters are recorded the sound will become similar to phaser eect and many others.

7.1

Structure

In the distortion block (see the gure below) the signal from the synthesiser is processed as follows: 1. The signal is amplied proportional to the Preamp parameter. 2. Depending on Clip parameter settings the signal comes through the diode-clipper. 3. The signal is sent proportionally to three lters: LowPass, BandPass and HighPass whose frequencies are controlled by Size and Density parameters. The resonance is controlled by the Wetness parameter. 4. Outputs of all the lters are summed up. 5. The ltered signal and signal from the diode-clipper are cross-faded (the Brightness parameter) and is nally sent to the output of the synthesiser. 45

Chapter 7. Distortion

7.2. Controls

Figure 7.1: Distortion block diagram

7.2

Controls

The block of Distortion controls is placed in the top-right area of the GUI. There are six knobs which give total control over the dirty sound we all love so much.

Figure 7.2: Distortion section Preamp - The level of gain for the Distortion input signal. Denes the gain of the signal that goes into the Distortion eect. The leftmost position gives no additional gain while the rightmost position gives +60 dB. 46

Chapter 7. Distortion Clip - The clip level of the input signal.

7.2. Controls

Signal coming to the Distortion block can be clipped to dene the level of amplitude. The right position of the knob means no clipping (the amplitude is at 0dB). The leftmost position indicates that the signal is clipped. To get a more distorted sound you can use Clip with the Preamp parameter which adds gain to the signal before clipping it. Size - Controls the middle frequency of the BandPass lter. Controls the middle frequency of the BandPass lter in the range of 0Hz (left posi- tion) to 22050Hz (right position). This parameter also indirectly controls the cut o frequencies of LowPass and HighPass lters. The cut o frequency of each of them is moved up or down from the mid frequency of BandPass by roughly the oset amount controlled by the parameter Density. Wetness - Controls resonance of the lters. Controls the boost of the cut o frequency of the LowPass and HighPass lters and the bandwidth of the BandPass lter. The left position means no boost and a wide band while the right position means maximal boost and a tight band. Brightness - Expressiveness of sound. Controls the position of the cross-fader used between ltered and non-ltered signal. The left position means that all non-ltered signal comes through the cross-fader and the signal is not ltered (when this is the case the parameters Size, Density and Wetness dont aect the sound). The right position means the exactly opposite situation while the mid position means an even mix of the two.

47

Chapter 7. Distortion

7.2. Controls

Figure 7.3: Distortion diode clipper

Figure 7.4: Distortions density parameter

48

Chapter 7. Distortion

7.2. Controls

Figure 7.5: Distortions wetness parameter

7.2.1

Pre/Post Eq Switch

This switch is responsible for choosing the distortion work mode. (diagram above the signal ow in the distortion eect). We can distinguish two blocks in the gure 7.1, Diode clipper with preamp and Equaliser (containing three lters: BandPass, LowPass, and HighPass).

Figure 7.6: Distortion - Pre/Post Eq switch When the switch is set to the Pre position, the signal comes through the Equaliser and next through the Diode Clipper with preamp. When the switch is set to the Post position, then the signal comes through the Diode Clipper and next through the Equaliser.

49

Chapter 8 Preset Management

8.1 Browsing presets

Presets are organised into groups. Storing like this is completely compatible with the native method used by the host application. In the host sequencer, the presets are unfolded from hierarchical to a linear structure with 128 preset slots. The user can see those presets in the browser as being assigned to particular groups (dened by user).

Figure 8.1: Preset management section The user interface Preset Management controls are: Preset name - This displays the name of currently selected preset. It also allows editing of the preset name. Prev/Next - Those buttons are used to navigate through all presets (whole bank), Next button moves to the next slot, and Prev button to the previous one. When the end of a group of presets is reached, the rst slot of the next group will be chosen when the Next button is pressed again. Similar action will be performed if we press the Prev button when the beginning of a group is reached. Prev + Ctrl - Prev button pressed with Ctrl
1

key, copies current preset slot to buer.

Next + Ctrl - Next button pressed with Ctrl key, pastes buer to current preset slot with postx copy added to its name. Browse - Allows selection of presets using a browser menu.

On MacOS use Apple key instead of Ctrl key.

50

Chapter 8. Preset Management

8.2. Loading and Saving presets

Preset Group 1 Preset Group 2 Preset Manager Load Preset Save Preset Load Bank Save Bank Preset 1 Preset 2

Figure 8.2: Browsing presets via context menu It is worth mentioning that changing any of the presets is not permanent. After removing and reloading the plug-in again, the factory presets will be recalled. However, saving the project within the host application with Phoscyon, and reloading that project will cause a recall of all changes we have made in this project.

8.2

Loading and Saving presets

There are some additional options that add functionality to preset management. They are placed in the context menu which is accessible from the Browse button:

Figure 8.3: Preset management section When we click this button, the context menu is unfolded:
Preset Group 1 Preset Group 2 Preset Manager Load Preset Save Preset Load Bank Save Bank

Figure 8.4: Preset management - under Browse button In this chapter, well focus on the last 4 items: Load Preset - Loading preset and overwrite the active slot from the le (.phprs- Phoscyon Preset). 51

Chapter 8. Preset Management

8.3. Preset manager

Save Preset - Saving current preset as a le (.phprs- Phoscyon Preset). Load Bank - Loading whole bank of presets from le (.phprsb- Phoscyon Bank). Save Bank - Saving whole bank of presets as a le (.phprsb- Phoscyon Bank). Note: Internal les written by a Phoscyon are in XML format and can be edited in a text editor.

8.3

Preset manager

As was mentioned earlier, presets in Phoscyon are organised into groups. Presets can be chosen from the context menu (under the Browse button). Presets can also be chosen within the host sequencer (where they appear as a at structure). Preset manager is a tool, which allows to easy management of the presets structure. To open it, just click the Browse button.

Figure 8.5: Preset section From the context menu choose Preset Manager item:
Preset Group 1 Preset Group 2 Preset Manager Load Preset Save Preset Load Bank Save Bank

Figure 8.6: Preset manager - Item The Preset Manager menu will appear.

52

Chapter 8. Preset Management

8.4. Preset storing

Figure 8.7: Preset manager window This shows the preset structure with the bank name as the root. A preset represents the deepest level of the structure. Each of the items can be renamed by double clicking on the item with the mouse. The preset structure appears as a standard list of presets within the host application making it fully compatible with it. As a result, no matter how the structure is represented (either as a tree structure or at), the maximum number of presets is 128. The number of presets in this structure cannot be changed. We can only move the presets from one group to another (by dragging) or changing their order in group. The Group order in the bank can also be changed by dragging. There are two buttons at the bottom of the Preset Manager window. Add group - Adding the empty group in a bank. Remove group - This removes a group from a bank but only when it is empty. It means that all preset slots were reallocated among the existing groups. To exit from the Preset manager press the Cross button in the top right corner.

8.4

Preset storing

Using Next, Prev buttons within Preset Manager we can navigate through the preset bank. Any change made in preset can be stored automatically or on demand:

53

Chapter 8. Preset Management

8.4. Preset storing

Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Host Play Detection Preset Storing Automatic On Demand

Figure 8.8: Preset storing ag Automatic - When any parameter in the current preset is changed, it is automatically stored. This is the default. On demand - If a parameter is changed, the change is not saved within the preset until the Store button is pressed (Ctrl key + Browse button) 2 . Navigating to a new preset will cause changes to be lost unless stored. Note: In this method of storing presets, Store the preset before saving project le in host application if You wish the current values shall be recalled after reloading the project. This Preset Storing ag is stored in a conguration le and applies to all newly inserted instances of the plug-in. Saving the conguration le is performed after closing any instance of the plugin.

On MacOS use Apple key instead of Ctrl key

54

Chapter 9 Conguration
9.1 Midi control

Phoscyon has an ability to assign its controls (on GUI) to any Midi Control Change code (MidiCC), This allows control of the plug-in using external software or hardware.

9.1.1

Loading and saving Midi Map

To save a Midi Map (mapping of GUIs controls with MidiCC), we can use the option from the context menu, which is accessible under the Options button:
Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About

Figure 9.1: Options menu Load Midi CC Map - Loading a Midi Map from le (.phccmap- Phoscyon Control Map). 55

Chapter 9. Conguration

9.2. Default resources

Save Midi CC Map - Saving a current Midi Map to le (.phccmap- Phoscyon Control Map). Note: Midi Map les written by a Phoscyon are XML standardized, it means You can re-edit them within any text editor.

9.2

Default resources

Therere included some default patterns and presets with Phoscyon. These are loaded every time it is started. This can be changed to point to user default patterns and kits.
Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About Presets Patterns Midi CC Map

Figure 9.2: Default resources The following types of resources can be replaced by users ones and those will be loaded every time new instance of plug-in be loaded: Presets - Default Phoscyons Preset Bank (.phprsb) Patterns - Default Phoscyons Pattern Bank (.phptrb) Midi CC Map - Default Phoscyons Midi CC Map (.phccmap)

9.2.1

Default presets

To set the default bank of presets, use the options from the Presets submenu:

56

Chapter 9. Conguration

9.2. Default resources

... Save Midi CC Map Default Settings Default Resources About ... Presets Patterns Midi CC Map Use Factory Presets Use Clear Presets Choose le

Figure 9.3: Default presets We can choose one of following options: Use Factory Presets - This is default one after installation of Phoscyon. If You choose this option, default bank of presets becomes the factory one provided within plug-in by producer. Use Clear Presets - After choosing this item from menu, the default bank will contain all presets consisting of zeroed parameters. Choose File - Its possible to set by user his own default bank of presets he previously made, by using this option. Choose File opens a le dialog to browse a location where the bank of presets made by user is saved. When user conrms, the path to that bank is stored in the Phoscyons conguration le. And this bank becomes the default one.
Use Factory Presets Presets Use Clear Presets User Dened [Users bank le name] Choose le

...

Patterns Midi CC Map

Figure 9.4: Users default presets When the users bank is set as a default preset bank, the menu indicates this fact by showing the checked User Dened menu item, and one row below the le name of users preset bank.

9.2.2

Default Midi CC Map

The option used to set the default Midi CC map. Only two options are available in this submenu: No Mapping - It is the default one, mean no default Midi CC mapping is available after loading Phoscyon into the host application. Choose le - Similarly to selecting default preset resource, this options is used to set the default Midi CC Map, which will be loaded every time we load Phoscyon in the host application. 57

Chapter 9. Conguration

9.2. Default resources

... Save Midi CC Map Default Settings Default Resources About ... Presets Patterns Midi CC Map No Mapping Choose le

Figure 9.5: Default Midi CC Map When we set the path to Midi CC Map using this options, its indicated by showing Midi CC Map le name in this submenu:
Presets No Mapping User Dened [Users Midi CC Map le name] Choose le

...

Patterns Midi CC Map

Figure 9.6: Users default Midi CC Map

9.2.3

Default Patterns

To set Default patterns bank, choose Patterns item in Default resources submenu:
... Save Midi CC Map Default Settings Default Resources About ... Presets Patterns Midi CC Map Use Factory Bank Use Clear Bank Choose le

Figure 9.7: Default Patterns We can choose one of following options: Use Factory Bank - This is default one. If You choose this option, default bank of patterns becomes the factory one provided within plug-in by producer. Use Clear Patterns - After choosing this item from menu, the default bank consists of empty patterns. Choose File - Its possible to set by user his own default bank of patterns he previously made, by using this option. Choose File opens a le dialog to browse a location where the bank of patterns made by user is saved. When user conrms, the path to that bank is stored in the Phoscyons conguration le. And this bank becomes the default one. 58

Chapter 9. Conguration

9.3. Default settings

Use Factory Patterns Presets Use Clear Patterns User Dened [Users bank le name] Choose le

...

Patterns Midi CC Map

Figure 9.8: Users default patterns When the users bank is set as a default patterns bank, the menu indicates this fact by showing the checked User Dened menu item, and one row below the le name of users preset bank.

9.3

Default settings

Default settings node in Options menu contains all the conguration settings stored within plug-ins, and recalled every time the plug-in is loaded:
Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Host Play Detection Preset Storing

Figure 9.9: Default settings node in Options menu

9.3.1

Host play detection

This solves sync problems with some hosts. It mainly concerns Native mode. The properly written host should send a Transport Change code to the plug-in after pressing the Play button in the host application.

59

Chapter 9. Conguration

9.3. Default settings

Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Midi Learn Mode Unlink Connection Load Midi CC Map Save Midi CC Map Default Settings Default Resources About Internal Sequencer Internal Synchronization Host Mode Note O Self Reset Accent Velocity Level Oscillator Tuning Host Play Detection Preset Storing By Transport Change By The Lowest C Note

Figure 9.10: Host play detection When the By Tranport Change option is selected, then dont need to add an extra Midi track to force the plug-in to start to play. It should start to play automatically. In some cases it doesnt work. If this happens, choose the By The lowest C Note option. Then, add a Midi track with output set to Phoscyon and place the Midi note (lowest C note) in the Midi clip. As soon as the Midi Note On is sent to the plug-in, Phoscyon will start playing.

60

Contents

Contents
1 Overview 1.1 Work modes . . . . 1.2 Midi learn . . . . . 1.2.1 Midi unlink 1.3 Preset management 1 3 4 5 6 8 8 9 9 10 11 11 13 16 16 17

. . . .

. . . .

. . . .

. . . .

. . . .

. . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

. . . . . . . . . . . . . .

2 Play modes 2.1 External Sequencer - mode . . 2.1.1 Accent velocity level . 2.2 Internal Sequencer - mode . . 2.2.1 Tempo synchronisation 2.3 Internal Pattern Storage . . . 2.3.1 Native mode . . . . . . 2.3.2 Host mode . . . . . . . 2.4 Midi output . . . . . . . . . . 2.5 Play modes - Options menu . 2.6 Threshold mode . . . . . . . .

3 Synthesis 19 3.1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 3.2 Oscillator tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.3 Filter envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 4 Bass line editing 4.1 Attributes of step . . . . . . . . . 4.2 The pattern editing . . . . . . . . 4.2.1 Entering notes . . . . . . . 4.2.2 Entering step attributes . 4.2.3 Entering step values . . . 4.2.4 Navigating trough steps in 4.3 Editing functions . . . . . . . . . 4.4 Length of pattern . . . . . . . . . 4.5 Controlling the tempo . . . . . . 4.6 Shue . . . . . . . . . . . . . . . 4.7 Loading and saving patterns . . . 4.7.1 Saving patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 24 24 26 27 27 28 29 29 30 30 31 31

Contents 4.7.2

Contents Loading patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

5 Randomising basslines 33 5.1 Randomiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 6 Arpeggiator 6.1 Controls . . . . . . . . . . . . . . . 6.2 Usage . . . . . . . . . . . . . . . . 6.2.1 Arpeggiator tone . . . . . . 6.2.2 The range of octaves . . . . 6.2.3 Arpeggiator run-time modes 6.2.4 Arpeggiator repetitions . . . 6.2.5 Multiplication of tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 39 40 41 42 43 44 44

7 Distortion 45 7.1 Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 7.2 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 7.2.1 Pre/Post Eq Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 8 Preset Management 8.1 Browsing presets . 8.2 Loading and Saving 8.3 Preset manager . . 8.4 Preset storing . . . . . . . . presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 50 51 52 53 55 55 55 56 56 57 58 59 59

9 Conguration 9.1 Midi control . . . . . . . . . . . 9.1.1 Loading and saving Midi 9.2 Default resources . . . . . . . . 9.2.1 Default presets . . . . . 9.2.2 Default Midi CC Map . 9.2.3 Default Patterns . . . . 9.3 Default settings . . . . . . . . . 9.3.1 Host play detection . . .

. . . Map . . . . . . . . . . . . . . . . . .

62