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Imaginando - FRMS
Imaginando - FRMS
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FRMS Help
Thank you for your interest in FRMS - Granular Synthesizer.
FRMS is designed to be a complex and rich sounding synthesizer with a user friendly interface. Combining the sonic possibilities of granular and FM synthesis, FRMS gives all levels of
experience, from beginner to advanced, the perfect tool to create a massive variety of sounds. Soundscapes, leads, drones, crispy metallic textures and much more, let your
imagination run wild through an exciting new world of sound design.
Contents
Overview
Layers
Waveform Panel
Control Panel
Envelope Panel
Matrix Panel
Modifiers Panel
Performance modes
Patch Browser
File Browser
Settings
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Midi learn
The Mapping feature of FRMS allows the mapping of its parameters for remote control by a MIDI controller.
Toggle the MIDI Learn function on by tapping it and FRMS's controls will get darker. Select the control you want to map, which will then appear highlighted (if the parameter doesn't
have any assignment it will be labeled as N/A).
Move the MIDI control you want to map and once a message from the MIDI Device is received, it will be mapped and displayed on FRMS. Once you are done mapping, turn MIDI Learn
off and FRMS is ready to operate with the given assignments.
Tempo
The tempo setting, controls the value of FRMS's internal clock. If FRMS is being used as a plugin inside a DAW, the tempo is defined by the host.
Patch
Tapping here opens the patch browser where it is possible to navigate between the different banks of patches and select any of the available FRMS patches.
Disk
This opens the save patch menu where you can name/save the current patch state as either a new patch, or overwrite an existing one, in either the local or cloud bank.
Revert
This resets the current patch back to its original saved state. (This button is only active/available if changes have been made to a saved patch - to indicate this, an asterisk will
appear to the right of the patch name.)
Random
Up arrow
This selects the previous patch from the list of patches in the currently selected bank.
Down arrow
This selects the next patch from the list of patches in the currently selected bank.
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Each layer can be thought of as an individual instrument. They can be summed together or used as an FM operator. Learn more about FM in the global panel section.
With this architecture, the sonic possibilities are expanded because each FRMS patch can use any combination of the available synthesis modes. For example, it is possible to
combine a granular sound, with a low-end, constant, sine tone, and some high, distorted FM harmonics all at once. Despite granular synthesis being the main focus of FRMS, by mixing
together the various synthesis types, you can generate interesting, complex and unique sounds that would otherwise require multiple instruments to achieve.
With this layering system, FM synthesis becomes very fluent and easy to achieve, because regardless of whether a layer is an oscillator or a granulator, it will function as an operator. It
is only necessary to enable the FM engine, select the desired FM mode, and control the amount of FM being applied by the desired layers. In this way, instead of modulating only
oscillators, it is also possible to modulate a granular layer using an oscillator or vice-versa.
There are two layer panels which means that you can work on two layers at the same time (without constantly toggling between them if the lock function is disabled - See below).
On the top left of each layer panel container you will find the following controls:
Layer selector - Choose between four available layers numbered from 1 to 4. The colored number represents the currently selected layer.
Lock - Locks the upper view with the bottom view. Eg: When you select a layer on the top view, it will automatically display the same layer on the bottom view.
COPY - Copies the state of all layer parameters to memory (excluding waveform)
PASTE - Pastes all layer parameters in memory to the current layer (excluding waveform).
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Depending on the layer engine mode, the following controls are available:
Note 2: When layer engine mode is granulator, you can use this area to create a selection for the crop functionality (when applied).
3rd Icon (Cut) - When there is a selection area in the waveform display, pressing cut will crop the wavefile to that selection.
6th Icon (Paste) - If there's a copied sound file, pastes that file in the current layer
1/8 - Selects the size of the buffer being used to store live input information as a 1/8 of 1 second
1/4 - Selects the size of the buffer being used to store live input information as a 1/4 of 1 second
1/2 - Selects the size of the buffer being used to store live input information as a 1/2 of 1 second
1 - Selects the size of the buffer being used to store live input information as 1 second
2 - Selects the size of the buffer being used to store live input information as 2 seconds
STEREO/MONO - This button sets how to record a file from input. It can be recorded as a stereo or mono file
Audio Device Selection (only available in desktop version) - Selects the audio device being used as input
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SOLO - Solos the current layer. This is an exclusive button. When soloing a layer, it will unsolo any previously selected solo layer.
ENGINE - Toggles between layer engine. It can be one of the following modes:
Oscillator Mode
Despite the main focus of FRMS being the granular engine, it is possible to use each layer as an oscillator source. Subtractive synthesis is based on the sculpting of rich and
complex waveforms, through the process of filtering and modulation. The term 'subtractive' comes from the fact that we start with full spectral waveforms, and we can
manipulate them with the removal of harmonic content, generating different timbral sounds, all coming from the same source. With this in mind, we offer 4 kinds of
waveforms:
Sinusoidal - The simplest and purest waveform. A sinusoidal is composed of only a single fundamental, having no harmonics.
Sawtooth - This waveform is the richest, classic periodic waveform because it is composed of all harmonics of its fundamental.
Square and Triangle - These two waveforms are composed only of odd harmonics
Granulator Mode
A complex sound may be imagined as a multicolored firework in which each point of light appears and instantaneously disappears against a black sky … A line of light
would be created by a sufficiently large multitude of points appearing and disappearing instantaneously. (Xenakis 1992 pp. 43-44)
Granular synthesis consists of combining a large number of tiny audio units (grains) over time, resulting in complex sound structures. Despite the origins of this concept being
theoretically present way back, it was only after Dennis Gabor and Iannis Xenakis experiments that this kind of synthesis became better funded. Then, Curtis Roads took
granular concepts and applied them with computational models and we were left with a completely new kind of sound synthesis, capable of new timbres and sonic
atmospheres.
With granular, instead of playing a sound file in a continuous linear way, we can divide that same sound file into thousands of micro pieces, modify them (pitch, amplitude and
duration) and reorganize them in any way we want. Then we can play them individually at any rate, ranging from slow reading (generating discrete, noisy sounds), to very fast
reading (generating very dense sonic atmospheres). From a single audio file we can generate a multitude of sounds with different characteristics, maintaining more or less
the timbral characteristics of the original file or even creating completely new and original sounds that have no resemblance with its source.
This synthesis offers a lot of control to the user, since we’re dealing with individual grains, each one having its own characteristics. Modifying one parameter can have a huge
effect on the overall sound.
KEY/FREE - In Key mode, the sound’s pitch is related to the pressed notes. In FREE mode, the sound’s pitch is only related to the layer’s tune knobs.
MODE - Selects the layer's filter mode. Filter can be a 4 pole low-pass, 2 pole low-pass, high-pass, band-pass or notch.
EG 2 - Controls the amount of modulation being applied to filter cutoff by the Envelope generator 2.
Note: It is also possible to apply envelope modulation to filter cutoff using the MATRIX panel (attention: they are accumulative). This is a quick and convenient way of doing it.
COARSE - Selects the tuning of the layer. It has a range of -3/+3 octaves and can be restricted/quantized with the use of quantized mode.
QUANTIZED/FREE - Selects the behaviour of the coarse knob. When in QUANTIZED mode, coarse works with fix steps of 1 semitone. In FREE mode there’s no fixed steps.
WAVEFORM - Selects the type of oscillator. Wave can be Sinusoidal (SIN), Sawtooth (SAW), Square (SQR) and Triangular (TRI).
PULSE WIDTH - Controls the size of the square wave pulse, if the wave type is square (SQR).
RAND COLOR - Controls the type of random that is generated and fed to randomization parameters.
FORWARD - Grain is read from the beginning to the end. (Left to right)
BACKWARD - Grain is read from the end to the beginning. (Right to left)
RANDOM (OFFSET) - Controls the amount of random applied to the grain starting point. Randomization is applied everytime a grain is fired.
RELATIVE - The amount of grain size is relative to the size of the sample.
ABSOLUTE - The amount of grain size is relative to a fixed value of 100 samples.
SYNC - The amount of grain size is relative to the bpm.
RANDOM (SIZE) - Controls the amount of randomization applied to each grain size. Randomization is applied everytime a grain is fired.
RANDOM (DENSITY) - Controls the amount of random applied to density of grains. Randomization is applied everytime a grain is fired.
RANDOM Tune - Controls the amount of random adjustment applied to each grain tune. Randomization is applied everytime a grain is fired.
AMP SPREAD - Controls the amount of random applied to the amplitude of each grain. Randomization is applied everytime a grain is fired.
STEREO SPREAD - Controls the amount of random applied to the panning position of each each grain. Randomization is applied everytime a grain is fired.
FM - Controls the amount of signal being sent to the next FM operator according to the selected FM mode under global panel..
DELAY - Controls the amount of signal being sent to the global delay effect.
REVERB - Controls the amount of signal being sent to the global reverb effect.
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This module can be manipulated direct with mouse or touch, either using the individual ADSR knobs or by directly interacting with the visual display of the envelope curve, it's possible
to change the attack, decay, sustain and release by making left/right and up/down movements.
LINK - When active, links the changes made on the current EG to the same EG on all other layers.
SYNC - When activated, EG time based values (ATTACK, DECAY, RELEASE) are in sync with the BPM.
CURVE - Controls the type of curve being applied to the attack stage.
CURVE - Controls the type of curve being applied to the decay stage.
CURVE - Controls the type of curve being applied to the release stage.
ALT - When toggled, this button allows access to the alternate function MAX, which allows you to control the maximum values of the time based parameters (ATTACK, DECAY,
RELEASE).
A.VEL - Controls the amount of modulation being applied to the attack stage by velocity value.
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The values can be between -1 and 1. This means that you can modulate negatively or positively a certain target.
In order to change a value, choose on the correspondent intersection and then use the slider at the right side.
RESET - Resets all the modulations of the current layer to their default value.
VALUE SLIDER - Allows you to set the modulation ammount of the select cell.
Sources:
PAGE 1
LFO1
LFO2
LFO3
LFO4
EG1
EG2
PAGE 2
SEQ (Sequencer)
(MOD) Mod Wheel
KBD (Keyboard)
VEL (Velocity)
AFT (After Touch)
Targets:
LEVEL
PAN
CUTOFF
RESO (Filter Resonance)
PITCH (COARSE+FINE)
FM
OFFSET
SIZE
DENSITY
STR SPD (Stereo Spread)
AMP SPD (Amplitude Spread)
RND OFF (Random Offset)
RND SIZE (Random Size)
RND DENS (Random Density)
RND TUNE (Random Tune)
PW (Pulse Width)
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LFO
FRMS has four LFO's available to be used as modulation sources.
WAVEFORM - Selects the waveform of the LFO. From the left to the right: Sinusoidal, Square, Sawtooth, Triangular, Sample and Hold (S&H), Filtered Sample and Hold (FS&H).
SYNC - When enabled the LFO frequency is synced with the BPM.
DELAY - Controls the amount of time the LFO is delayed before starting.
Arpeggiator
GATE - Controls the duration of the notes being played. The least the gate, the least the duration and vice-versa.
STEPS - Selects the amount of octaves being added to the arpeggiator notes. If steps are equal to 0, the arpeggiator only plays pressed notes. When steps is greater than 0,
arpeggiator plays pressed notes plus that same notes in the octaves above (according to its amount).
HOLD - When enabled, arpeggiator memorizes the pressed notes, and keeps playing them even if there aren't any pressed notes.
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Keyboard
The built-in keyboard works as a regular keyboard, with the possibility of also playing in MPE mode.
Moving (left and right) the zone between the two circles moves the keyboard keys up and down the octaves, and moving up and down increases and decreases the key’s size.
Chorder
With the built-in Chorder it is possible to play chords and to play single notes from the current selected chord. The notes displayed on the chord’s pads represent the fundamental, and
the chord types are arranged as followed:
PLAY/SEL - Sets the chorder to play mode. When pressing a pad in play mode, it plays that chord. When pressing in Selection mode it selects the chord.
HOLD - When active, if a chord is pressed it will play until it is pressed again or until hold is turned off.
Interval Button - Here it is possible to select the interval between the notes of the same line. For example, in 5P (perfect fifth) each chord of each row will be separated by a 5th.
PAN (device) - It is possible to move the chorder view while pressing this button and moving the chorder zone. This is available in the FRMS app for device.
The lateral horizontal lines represent the individual notes of the current selected chord. Clicking on them will play the corresponding note. Chords can be played with single notes
simultaneously.
The foremost right arrows will shift (up/down) the current chords by one octave at a time.
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Note: local bank is stored under Documents/Imaginando/FRMS/local.json and all the local resource files are store in Resources directory in the same path.
Note: All registered users have access to a free cloud sync plan for a maximum of 5 documents on the cloud. Paid plans with larger capacity are available. For more information, check
your dashboard.
Patches
This section allows you to navigate through the patches of a certain bank. Touch a patch to select it. If you want to mark as favorite, tap the star icon on the right side its name.
Filter
Use this section to filter by tags the patches listed.
Saving a ptch
Bank - Use this field to select the destination bank. Cloud bank is only available when logged in under Profile section.
Save - Overwrites the current patch. Only possible when the patch is modified or the name is different.
Save as... - Saves the current patch as a new patch with the specified name and bank.
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This window is open when clicking on the “Load” icon of the waveform panel. It is important to note that the loaded waveform will only be displayed when the layer is in Granulator
mode.
When opening the file browser, it will display a window with two sections:
On the left there is the Folder’s Browser. It is possible to select between the file banks (files that belong to the frms software), the user’s system folders to use personal audio files,
or the recording folder to use recorded files with the frms record functionality.
On the right there is the File’s Browser. Here it will be displayed the available files on the selected folder. Notice that FRMS only supports WAV and AIFF files, so, only these files
will be displayed in this section. When selecting a file, its corresponding waveform will be displayed above. If the Headphones icon is enabled, selecting a file will also play it.
Audio files can be loaded to the current layer through the LOAD button, or double clicking on the desired file. Clicking on the CLOSE button will exit the file browser.
When browsing through the audio files of system and recordings folders, it is also possible to delete the files through the Cross button in front of each file name. Deleting the files in
FRMS will also delete the files from your computer or device.
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Sample Rate
Select the sample rate (only available on desktop standalone version)
Buffer Size
Select the buffer size (only available on desktop standalone version)
Notifications
Enable or disable push notifications (promotions and other type of general notifications from Imaginando)
Note: the synthesizer engine is CPU intensive. It will drain you device battery even when you have the screen locked and the display is off. Don't forget it!
High Quality
Enables or disables the high quality audio rendering. Higher audio quality means more CPU usage.
MPE Mode
Enables or disabled the MIDI Polyphonic Expression mode support. The internal keyboard will also behave accordingly.
MIDI In Channel
Sets the MIDI channel(s) that are accept as input.
You can filter the MIDI channels inputs individually by ticking the boxes numbered from 1 to 16. When a channel is off, the routed destination inputs will be ignored. Use the clear and
select all options to activate/deactivate all the channels.
Voices
Voices defines the total polyphony of FRMS, this means the amount of notes that can be played simultaneously. A higher polyphony means a higher the CPU load. On mobile devices
the maximum number of voices is limited to 4. If you experience audio dropouts while playing FRMS, try to decrease the number of voices for optimal performance.
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