Synful Orchestra Users Guide

Copyright 2004 Synful LLC

 Table Of Contents
1. Welcome ___________________________________________________________________________________ 1

2. System Requirements ________________________________________________________________________ 2

3. Synful Orchestra Needs a Host Program _________________________________________________________ 3

4. Installing and Activating the Synful Orchestra Software ____________________________________________ 3

5. Basic Concepts ______________________________________________________________________________ 5

6. The Synful Orchestra Control Panel _____________________________________________________________ 6

Accessing the Synful Orchestra Control Panel in Sonar ................................................................................................... 6
Accessing the Synful Orchestra Control Panel in Cubase ................................................................................................ 6
Overview of the Control Panel ........................................................................................................................................... 7

7. Assigning Programs to Channels _______________________________________________________________ 8

Using the Synful Orchestra Control Panel......................................................................................................................... 8
Using the MIDI Track Settings of The Host Program ........................................................................................................ 8
Sending MIDI Program Changes to the Channel .............................................................................................................. 8
Determining Program Numbers for Synful Orchestra Programs ....................................................................................... 8
MIDI Program Numbering: 1-128 or 0-127 ........................................................................................................................ 8

8. Control Parameters in a Synthesizer ___________________________________________________________ 10

9. Control Parameters in a Program ______________________________________________________________ 11

Program Select Box......................................................................................................................................................... 11
Details of Individual Program Control Parameters .......................................................................................................... 11
Listening to Results While Adjusting Program Control Parameters ................................................................................ 12

10. Creating, Copying, and Deleting Programs ______________________________________________________ 13

Uses of Multiple Programs for the Same Instrument....................................................................................................... 13

11. Saving and Loading Projects, Presets, Banks, and Programs in Cubase _____________________________ 14
Saving and Loading a Cubase Bank ............................................................................................................................... 14
Saving and Loading a Cubase Instrument ...................................................................................................................... 14
Saving and Loading a Cubase Preset ............................................................................................................................. 14
Saving and Loading a Cubase Project ............................................................................................................................ 14

12. Saving and Loading Projects and Presets in Sonar _______________________________________________ 15

Saving and Loading a Sonar Preset ................................................................................................................................ 15
Saving and Loading a Sonar Project ............................................................................................................................... 15

13. Delay for Expression ________________________________________________________________________ 16

What is Delay for Expression? ........................................................................................................................................ 16
When Should Delay for Expression Be Used? ................................................................................................................ 16
Why is Delay for Expression Important? ......................................................................................................................... 16

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 Table Of Contents

Using Delay For Expression While Overdubbing, or With Other Synthesizers, or With Time Code ............................... 16

14. Synful Pitch Wheel __________________________________________________________________________ 17

Portamento in Real String and Wind Playing .................................................................................................................. 17
The Problem with MIDI Pitch-Wheel and MIDI Portamento ............................................................................................ 17
The Synful Pitch Wheel Solution ..................................................................................................................................... 17

15. Tips for Good Phrasing ______________________________________________________________________ 19

16. RPM - Reconstructive Phrase Modeling_________________________________________________________ 20

RPM Phrase Database .................................................................................................................................................... 21
Searching and Splicing .................................................................................................................................................... 22
Coarticulation in RPM -- the Key to Natural Phrasing .................................................................................................... 22
Synful RPM Additive Synthesis ....................................................................................................................................... 22

17. Tips on Audio Drivers and Low Latency ________________________________________________________ 23

What is an Audio Device Driver? ..................................................................................................................................... 23
What are Some Types of Audio Device Drivers for Windows Machines? ...................................................................... 23
What Happens When a Driver Doesn't Work .................................................................................................................. 23
How Do I Adjust for the Lowest Latency Without Getting Clicks and Pops ..................................................................... 23
Adjusting Latency in Sonar .............................................................................................................................................. 24
Adjusting Latency in Cubase ........................................................................................................................................... 24

18. Index _____________________________________________________________________________________ 25

iii
Welcome
Congratulations and welcome to the Synful users community! Synful makes the most sophisticated, expressive, and
realistic synthesizers in the world. While Synful synthesizers can be simple to use, there are a number of new concepts
and innovations which should be studied to take full advantage of the Synful synthesizer capabilities. This manual
describes basic capabilities as well as the new concepts in detail. Where appropriate Flash demo movie tutorials are
provided to make learning efficient and easy.

Some of the many Synful Orchestra advantages are:

• Woodwinds, brass, and strings sound completely realistic.

• Unprecedented expressive control and natural phrasing.

• Easy to use instruments controlled by ordinary MIDI.

• Patented Synful RPM additive synthesis technology renders samplers obsolete.

1
System Requirements
1. Windows XP, Windows 2000 or higher required.

2. Synful Orchestra will run on any Pentium class processor. The number of real-time voices generated depends
on the CPU speed. A 1 GHz or faster CPU is recommended. Synful Orchestra takes advantage of but does not
require special features of the Pentium IV CPU. Specifically, more voices will be obtained on any processor that
supports SSE2 (Streaming SIMD Extensions 2). These include Intel Pentium IV or higher and AMD Athlon 64 or
higher. 168 voices are obtained on a 1.5 GHz Pentium IV with 512K memory. 62 voices are obtained on a 1
GHz Pentium processor without SSE2 (Pentium III or lower).

3. 256K memory required.

4. 75 Mbytes of hard disk space required.

2
Synful Orchestra Needs a Host Program
Synful Orchestra is a plugin program that cannot run by itself. It needs to run with a host program. It supports two plugin
formats VST and DXi. There are many VST and DXi host programs including some free ones. If you do not have a VST or
DXi host program you can download a free trial of these popular DXi and VST programs:

Download Demo Version of Sonar DXi Host Program from Cakewalk

Download Demo Version of Cubase VST Host Program from Steinberg

Installing and Activating the Synful Orchestra

Software
This section will guide you through the installation of the Synful Orchestra software. The installation process installs all the
files you need automatically. It installs both DXi and VST versions of Synful Orchestra. If you use only VST or only DXi the
installation will still install both versions.

1. If you have not already done so, download the synful_orchestra_setup.exe file to any location on your hard
disk. The file can be downloaded from http:\\www.synful.com. The synful_orchestra_setup.exe is the full
version of the program. It is the same for purchased and demo or free-trial versions. If you have already
downloaded the free-trial version and installed it and have now purchased a license and received an activation
code, you do not need to download and install again. Simply skip to step 8 below to activate the software.

2. Browse to the location of the synful_orchestra_setup.exe file on your hard disk and double click on it to begin
the installation. A Microsoft Windows security dialog may appear. Click on Continue to proceed with the
installation. The InstallShield preparing to install dialog will appear with a progress bar as the installation files
are extracted. This may take a minute or so. The Synful Orchestra splash screen will appear. Click Next.

3. Click the Next button on the Welcome to InstallShield for Synful Orchestra dialog.

4. Read the End User License Agreement and click the I accept ... radio button. Then click Next.

5. The Synful Orchestra Folder dialog appears. This gives you a chance to change the main installation location
for Synful Orchestra. The default location on the dialog is usually a good one. The main Synful Orchestra files
are installed here including the Synful Orchestra DXi.dll The Synful Orchestra Vst.dll is installed in a
separate location. You will be given a change to select that location on the next dialog. Click Next (even if you
will not be using DXi).

6. The Vstplugins Folder dialog appears. If you are going to use the Synful Orchestra Vst plugin you will
generally want to change the default install location to your normal Vstplugins folder. For example if you use
Cubase SX you probably should change the Vstplugins Folder install location to \Program
Files\Steinberg\Cubase SX\Vstplugins. A Synful Orchestra folder will be created in the Vstplugins folder
and the Synful Orchestra Vst.dll file will be placed in this folder. If you will not be using Synful Orchestra Vst
then leave the Vstplugins Folder location at its default location (or set it to the same location as the main
install location if you changed that from its default on the previous step). Click Next

7. The Installing Synful Orchestra dialog appears with a progress bar. When the progress bar reaches
completion, if Synful Orchestra has never been activated on this machine, then the Activation dialog appears.
If Synful Orchestra has been purchased an activation code is delivered to you via email. This activation code
can be input in the Activation dialog. This unlocks Synful Orchestra on your computer and it can then be used
indefinitely without the Activation dialog appearing again. Save the activation code in a SAFE PLACE since
you may need to use it again in the future. Do not share it with friends or distribute it in any way. You can also
use Synful Orchestra for a limited period of time without activating. This allows you to evaluate the program
before purchasing -- "Try Before You Buy". After this period expires the program will no longer run on your
computer unless an activation code is purchased. Once Synful Orchestra has been activated on a computer
the program can be uninstalled and reinstalled on that computer any number of times without having to
reactivate. You can also activate Synful Orchestra on two additional machines (a total of 3 activations) using
the same activation code. This is to allow you to install on a desktop and a laptop machine or other personal
machines, or to upgrade to a new machine. After these activations you must contact Synful at
support@synful.com to justify further activations. Some major hardware changes on a machine may also
require a new activation.

3
Synful Orchestra Users Guide

8. Whether you activate on not this finishes the main Synful Orchestra installation. You can immediately begin
using installing Synful Orchestra. To see how to being using Synful Orchestra in Sonar or Cubase open the
Synful Orchestra Help as described below and then select Tutorial - Setting up Synful Orchestra in Sonar or
Tutorial - Setting up Synful Orchestra in Cubase. If you are using a different host program you can still benefit
from these tutorials. To open Synful Orchestra Help click on your Windows start menu and then the programs
pop-up list. There will be a new Synful entry in this list. Click on it and on the Synful Orchestra submenu. You
can select Synful Orchestra Help for interactive help or the “Synful Orchestra Users Guide.pdf”. The tutorials
are only available in the interactive help. You will need to install an Acrobat Reader to view the PDF file.
Acrobat Reader can be downloaded for free from many placed on the web.
9. If you select Activate Later in the Activation dialog then each time you use either the Synful Orchestra Vst or
Synful Orchestra DXi plugin the Activation dialog will reappear. At any appearance of this dialog you can
input an activation code. If no activation code is input the software will be disabled after the trial period
expires. If after trial expiration you then purchase an activation code you can still access the Activation dialog
and input the activation code by inserting a synthesizer in a project or reinstalling the software. Both actions
will bring up the Activation dialog.
10. When you are done with this installation procedure you can immediately begin using installing Synful Orchestra.
To see how to being using Synful Orchestra in Sonar or Cubase open the Synful Orchestra Help as described
above and then select Tutorial - Setting up Synful Orchestra in Sonar or Tutorial - Setting up Synful Orchestra
in Cubase.

4
Basic Concepts
In this section we define the basic concepts Synthesizer, Program, Instrument, Channel, Voice, and Bank. In later
sections we will describe how to manipulate these.

• Channel - This refers to a MIDI Channel. There are 16 MIDI Channels in one Synful Orchestra synthesizer.
More than one Synful Orchestra synthesizer can be inserted into a project allowing for a virtually unlimited
number of MIDI Channels.

• Instrument -- Synful Orchestra is shipped with a fixed collection of Instruments -- Flute, Violin, Trumpet, etc.
The user does not deal directly with Instruments but instead deals with Programs.

• Programs -- A Program includes an Instrument and a collection of control parameters that the user can modify
to alter the sound of the Instrument (See Control Parameters in a Program). At any given time one and only one
Program can be assigned to a MIDI Channel. There are several ways to change the Program assigned to a
particular MIDI Channel (see Assigning Programs to Channels). The user can create new Programs by copying
old Programs. The user can then modify the control parameters of the new Program. Many Programs can refer
to the same Instrument. For example, there can be three Programs that all refer to the Violin Instrument but
have different control parameters. A Program that refers to the Violin Instrument is referred to as a Violin
Program. Synful Orchestra is shipped with one Program per Instrument. See Control Parameters in a Program,
Creating, Copying, and Deleting Programs, Saving and Loading Projects and Presets in Sonar, and Saving and
Loading Projects, Presets, Banks, and Programs in Cubase. In Cubase you can save and load a single
Program using a special Program (or what Cubase calls Instrument) file.

• Voices -- When a user plays a note on MIDI controller a Channel receives a note-on message. If that channel
has a Synful Orchestra Program assigned to it then in response to the note-on message a Voice is allocated for
that note on that Channel. If the user plays many notes simultaneously, all on the same Channel, then many
Voices are allocated for that Channel. When a Voice is allocated to a Channel it plays a note according to the
Program that is currently assigned to that Channel. Since only one Program can be assigned to a Channel at
any given time, this means that all Voices assigned to a Channel refer to the same Instrument. For example, if
the user plays the chord C-E-G on MIDI Channel 2, and if a Cello Program has been assigned to Channel 2,
then 3 voices will be allocated to Channel 2, and the user will here C-E-G played by the three cello Voices. The
number of simultaneous Synful Orchestra Voices is limited by the computer power of the user's machine. See
System Requirements for further details.

• Synthesizer -- A Synful Orchestra Synthesizer has 16 MIDI Channels. Each MIDI Channel can have a different
Program assigned to it. More than one Synthesizer can be inserted in a project. In addition to the control
parameters associated with each Program, there are a number of control parameters associated with each
Synthesizer (see Control Parameters in a Synthesizer).

• Bank -- Each Synthesizer has a Bank of Programs. This Bank is the collection of Programs that can be
assigned to Channels of the Synthesizer. When a Synthesizer is first inserted in a project it has the default Bank
of Programs shipped with Synful Orchestra. The user can then copy and modify these Programs to create new
Programs in the Bank (see Creating, Copying, and Deleting Programs, Saving and Loading Projects and
Presets in Sonar, and Saving and Loading Projects, Presets, Banks, and Programs in Cubase).

• Project -- The host program (for example Sonar or Cubase) operates on Project files. When a Project is saved
or loaded the entire state of each Synthesizer in the Project is saved or loaded in additional to all MIDI
sequence information. This includes all Programs in the Synthesizer Banks, Program assignments to Channels,
Synthesizer parameters, etc. (see Saving and Loading Projects and Presets in Sonar, and Saving and Loading
Projects, Presets, Banks, and Programs in Cubase.

• Preset -- This means different things depending on the host Program. In Sonar saving or loading a Preset
saves the state of a Synthesizer -- including all Programs in the Synthesizer Banks, Program assignments to
Channels, Synthesizer parameters, etc (see Saving and Loading Projects and Presets in Sonar). In Cubase
saving or loading a Preset saves or loads the state of a single Program (see Saving and Loading Projects,
Presets, Banks, and Programs in Cubase).

5
The Synful Orchestra Control Panel
There are a number of innovative and useful controls on the Synful Orchestra Control Panel. However, even if the user
never touches the Control Panel the benefits of Synful Orchestra in terms of realism and musical expressivity will be
great. The Synful Orchestra Control Panel is the same for both Vst and DXi versions. Here is what the Synful Orchestra
Control Panel looks like:

Accessing the Synful Orchestra Control Panel in Sonar

This tutorial demonstrates how to access the Synful Orchestra Control Panel once a Synful Orchestra Synthesizer has
been inserted into a Sonar Project (see Tutorial - Setting Up Synful Orchestra in Sonar) (tutorials available in online help
only) .

Tutorial - Opening Control Panel in Sonar (tutorials available in online help only)

Accessing the Synful Orchestra Control Panel in Cubase

This tutorial demonstrates how to access the Synful Orchestra Control Panel once a Synful Orchestra Synthesizer has
been inserted into a Cubase Project (see Tutorial - Setting up Synful Orchestra in Cubase) (tutorials available in online
help only) .

Tutorial - Opening Control Panel in Cubase (tutorials available in online help only)

For other host programs consult the documentation for that host program to understand how to open a Virtual Synthesizer
control panel.

6
 The Synful Orchestra Control Panel

Overview of the Control Panel

The Control Panel represents a single Synful Orchestra Synthesizer. There can be more than one Synful Orchestra
Synthesizer inserted in a Project, each with its own Control Panel. At the top left of the Control Panel is the Channel Grid.
Here the user can assign Programs to any of the 16 MIDI Channels of the Synthesizer. Each MIDI Channel is represented
by a rectangle of the Channel Grid. For more details see Assigning Programs to Channels.

Just below the Channel Grid are two controls: the tune orchestra slider and the Delay for Expression switch. These
controls apply to the Synthesizer as a whole. They apply to all MIDI channels of the Synthesizer regardless of what
Programs are assigned to the Channels. For more details see Control Parameters in a Synthesizer.

Just below the tune orchestra slider is the Program Select box. In the Control Panel picture above the currently selected
Program is "flute". Clicking on the downward triangle next to the word "flute" brings up a pop-up list from which the user
can select any Program in the Synthesizer Bank to make it become the currently selected Program.

To the right of the Program Select box is the Synful Pitch Wheel switch. This determines whether the currently selected
Program is in normal Pitch Wheel mode or the special Synful Pitch Wheel mode. Pitch Wheel mode can be set separately
for each Program. For more details see Synful Pitch Wheel.

Below the Program Select box and Synful Pitch Wheel switch are eight sliders. These are the Program Control
Parameters. The positions of these sliders and the setting of the Synful Pitch Wheel switch depend on the currently
selected Program. Each Program has its own set of Control Parameters and its own Synful Pitch Wheel setting. When the
currently selected Program is changed the Program Control Parameter sliders jump to the current settings for that
program. The Synful Pitch Wheel changes to the setting for the newly selected Program. For details on each of these
parameters see Control Parameters in a Program.

7
Assigning Programs to Channels
Programs can be assigned to Channels in three basic ways:

1. Using the Synful Orchestra Control Panel

2. Using the MIDI track settings of the host program

3. Sending MIDI program changes to the Channel

Of these methods the second and third are perhaps the most useful with the third being the most flexible since program
changes can be scheduled at any time during a MIDI sequence.

Using the Synful Orchestra Control Panel

The Channel Grid is found at the upper left of the Synful Orchestra Control Panel. The sixteen numbered boxes in the grid
represent the sixteen MIDI channels of the Synthesizer. The name in each box corresponds to the Program assigned to
that Channel. Clicking on the downward triangle in any channel box pops up the Program Select list. Any currently
available program can be selected. Its name will then appear in the channel box and the selected Program will be
assigned to the MIDI Channel corresponding to that box. A single Program can be assigned to multiple Channels. The
Channel Grid settings are saved and loaded when the Project is saved or loaded. The Channel Grid settings are also
saved and loaded when a Preset is saved or loaded in Sonar (see Saving and Loading Projects and Presets in Sonar) or
when a Bank is saved or loaded in Cubase (see Saving and Loading Projects, Presets, Banks, and Programs in Cubase).

Using the MIDI Track Settings of The Host Program

In each host program there is a different way to assign an initial Program to the MIDI Channel associated with each MIDI
Track. See Tutorial - Setting Up Synful Orchestra in Sonar or Tutorial - Setting up Synful Orchestra in Cubase (tutorials
available in online help only) or consult the documentation for the host program. Note that this only sets the initial
Program. The initial program is assigned to the channel when the user hits the start or play button on the host program
transport control. Any MIDI program changes embedded in a MIDI sequence or arriving from a MIDI controller will
override this initial setting. The initial Program setting in the host program overrides the Channel assignment in the Synful
Orchestra Control Panel. For example, if the Control Panel setting is "violin" and the track setting is "flute" then as soon as
the user hits the host's start/play button the Control Panel setting will be updated to "flute" and the sound for that channel
will be flute.

Sending MIDI Program Changes to the Channel

A MIDI program change message can be sent from most MIDI controllers. Keyboards often have buttons dedicated to
sending program changes. If a MIDI sequence is recorded live from a MIDI controller any program changes coming from
the controller will be recorded with the sequence. When the sequence is played back those program changes will be sent
to Synful Orchestra. Most host programs provide a means to insert a program change in an already recorded MIDI
sequence using editing commands. Consult the host program documentation for this operation.

Determining Program Numbers for Synful Orchestra Programs

The program numbers associated with Synful Orchestra Programs can be determined from the Program Select pop-up list
in the Synful Orchestra Control Panel. To see the Program Select pop-up list click on the downward triangle in any
channel box of the Channel Grid or on the downward triangle in the Control Panel's Program Select box. The MIDI
program number is found in parenthesis immediately after the program name in the pop-up list.

MIDI Program Numbering: 1-128 or 0-127

ATTENTION: This part can be confusing. It's not your fault, it's that manufacturers of hardware and software don't agree
on how program numbers should be numbered. Most synthesizers including Synful Orchestra number their MIDI
Programs from 1 to 128. For each MIDI Bank there are 128 programs. For example, in this numbering a General Midi flute
is Program 74.

When these synthesizers (hardware or software) output the Program number to a MIDI cable (or virtual software cable)
they subtract 1 from the number. So flute becomes Program 73 as it travels down the cable. When the MIDI data from a
MIDI cable is recorded in a sequencer it is usually recorded in this form -- e.g. flute is recorded as 73 not 74. If you then
examine the recorded MIDI track you will see the number 73 in a Program change for flute.

8
 Assigning Programs to Channels

When you examine a sequence with the Sonar or Cubase event list editor, if the track has been setup correctly you will
see the word "flute" next to the program change. If the track is not setup correctly you may only see numerical data. In this
case, in the recorded data, you will see 73 for flute not 74. If you edit the numerical data you must use this format
(subtract 1 from the 1-128 numbering so it becomes 0-127 numbering). Whenever you see numeric program change
information in Sonar or Cubase it is in the 0-127 format. However, most of the DXi plugin synthesizers including Synful
Orchestra (for example the Edirol VSC synthesizer) show the 1-128 format in their Control Panels.

Most of the time you won't need to deal with this confusion because the actual names "flute", "violin", etc. will be used by
all programs.

9
Control Parameters in a Synthesizer
There are two controls that apply to an entire Synthesizer. They affect all MIDI channels and all Programs assigned to
those MIDI channels.

tune orchestra -- this slider is found just below the Channel Grid in the Synful Orchestra Control Panel. The value of the
slider is displayed in Hertz (Hz) or vibrations per second and gives the frequency of A above middle C. Standard tuning is
A=440 Hz so this is the Synful Orchestra default. Many professional orchestras tune slightly higher than A 440 Hz -- for
example, A 445 Hz -- to achieve a more "brilliant" sound. The user can adjust the tune orchestra slider to achieve
desired brilliance or to match other live instruments or recordings. The tune orchestra value is separate for each
Synthesizer and is saved and loaded with the Project.

delay for expression -- this is an on-off switch. It displays red when on and gray when off. Delay for expression is a
special feature of Synful Orchestra that allows for added expressivity for recorded midi sequences. See Delay for
Expression for complete details.

10
Control Parameters in a Program
The Program control parameters are adjusted by sliders and switches on the Synful Orchestra Control Panel. The
positions of the sliders and switches reflect the values of the currently selected program. The currently selected program
is displayed and can be modified in the Program Select box.

Program Select Box

Clicking on the downward triangle in the Program Select box brings up a pop-up list from which the user can select any
Program in the Synthesizer Bank. This becomes the currently selected Program and the sliders and switch immediately
jump to positions reflecting the values of control parameters of the newly selected Program. At the bottom of the Program
Select box is a Copy button and a Delete button. These two buttons allow the user to create new Programs and delete
programs (see Creating, Copying, and Deleting Programs).

Details of Individual Program Control Parameters

All control parameters except for the Synful pitch wheel, and pitch wheel range parameters are relative trim values.
This means, the sliders make the value bigger or smaller than the original default Program associated with the Synful
Orchestra Instrument. Generally the values being controlled in the Instrument are determined in a complicated way from
pitch, velocity, volume, note articulation, etc. The relative trim control parameters simply influence this complex behavior
in one direction or another.

• Synful pitch wheel -- To the right of the Program Select Box on the Synful Control Panel is the Synful Pitch
Wheel switch. This is an on-off switch that displays red when on and gray when off. This determines whether
the currently selected Program is in normal Pitch Wheel mode or the special Synful Pitch Wheel mode. Synful
Pitch Wheel mode is essential for creating realistic pitch slides and portamento for string and wind instruments
(see Synful Pitch Wheel for details).

• pitch wheel range -- This determines how far the pitch wheel bends the pitch when the wheel is all the way up
or down. This applies to both normal Pitch Wheel mode and Synful Pitch Wheel mode. The value displayed is in
units of half-steps. The default value is the maximum 12.0 half-steps. With this setting the pitch is bent up one
octave when the Pitch Wheel is all the way up and down one octave when the Pitch Wheel is all the way down.
The center detent position of the Pitch Wheel is always zero pitch bend regardless of pitch wheel range.

• harmonic tilt -- Part of Synful's RPM technology is the additive synthesis of harmonics (see RPM -
Reconstructive Phrase Modeling). The amplitude or loudness of the individual harmonics of a note are
constantly changing with time in a complex manner dependent on Instrument, MIDI Volume, Velocity and other
factors. The harmonic tilt slider allows the user to adjust the harmonics so that higher frequency or lower
frequency harmonics are emphasized. The value displayed is in dB units and determines the slope that will be
applied to the harmonics across frequency. With harmonic tilt at zero no slope is applied so the user hears the
harmonics of the original Synful Orchestra Instrument. With the value adjusted to a positive value -- for
example, 20 dB -- the user hears the highest frequency harmonics boosted 20 dB relative to the lowest with a
linear ramp determining the level of intermediate harmonics. So a mid-frequency harmonic would be boosted 10
dB relative to the lowest. With the value adjusted to a negative value -- for example, -20 dB -- the user hears the
lowest frequency harmonics boosted 20 dB relative to the highest frequency. harmonic tilt functions as a kind
of EQ or treble-bass control for a Program.

• release trim -- This determines the release time or how quickly a note dies away when a note-off occurs (or a
key is released). The release time of the original Synful Orchestra Instrument is complicated and varies for
different notes, different harmonics, different Instruments, etc. The release trim slider allows the user to
influence the release time. The value displayed is in arbitrary units -6 to 6. A zero value results in the release
time of the original Synful Orchestra instrument. A negative value speeds up the release time and a positive
value slows down the release time.

• sustain noise trim -- Sounds in Synful Orchestra are made up of pure tone harmonics and noises. There are
two kinds of noise: transient noise which occurs during an attack or a note transition; and sustain noise which
occurs during the sustain part of a note. The sustain noise trim slider controls the relative loudness of the
sustain noise. The displayed value is in units of dB relative to the original Synful Orchestra instrument. Sustain
noise, is an important component of bowed string and flute sounds and control of the sustain noise level can
have a strong affect on the character of the instrument. Other instruments make little or no use of sustain noise
and for these the sustain noise trim slider may have little or no affect. When sustain noise trim is at zero the
level of the sustain noise is that of the original Synful Orchestra Instrument.

11
Synful Orchestra Users Guide

• gain -- when the user changes MIDI velocity or MIDI volume not only do Synful Orchestra Instruments get
louder and softer, but their tone color or timbre changes in complex ways similar to that of a real instrument.
Sometimes however, the user wants to adjust the loudness or gain of an Instrument without changing the
timbre. This may be important for balancing instruments or changing the overall levels in recordings. The gain
slider allows the user to accomplish this. The gain slider controls the output gain of the instrument without
affecting timbre or tone color. The displayed value is in dB units relative to the original Synful Orchestra
Instrument value.

• transient gain -- as mentioned above for sustain noise trim, Synful Orchestra combines pure tone harmonics
with two kinds of noise: transient noise and sustain noise. Transient noise occurs during note attacks and
transitions -- the chiff of a flute, the scratch of a bow, etc. The transient gain slider allows the user to adjust the
overall level of transient noise for an instrument. The displayed value is in dB units relative to the original Synful
Orchestra Instrument transient noise levels.

• harmonic parity -- The harmonic parity slider allows the user to adjust the relative balance of odd and even
harmonics. Positive values of harmonic parity boost the odd harmonics, creating a more clarinet like sound.
Negative values of harmonic parity boost the even harmonics creating a more "even harmonic" sound. The
displayed value is in dB units relative to the original Synful Orchestra Instrument level.

• tune instrument -- The tune instrument slider tunes the individual Program relative to the orchestra tuning
applied to the whole Instrument. Interesting section sounds can be made by creating several Programs based
on the same Instrument playing the same melody but with slightly different tunings (see Creating, Copying, and
Deleting Programs). The displayed value is in Hz (vibrations per sec) relative to the orchestra tuning
frequency.

Listening to Results While Adjusting Program Control

Parameters
The currently selected program is not necessarily the program one is currently listening to. For example, assume that the
user wants to adjust control parameters for the clarinet Program and wants to simultaneously listen to the results of the
adjustments by playing live on a MIDI keyboard. The user must assure the following:

1. The MIDI keyboard is driving a MIDI track in the Project (see documentation for the host program); and

2. A Synful Orchestra Synthesizer is associated with that MIDI track in the Project (see Inserting a Synthesizer into
a Project); and

3. The output MIDI channel of the MIDI track is assigned to a particular Synful Orchestra MIDI Channel. Let's say
the output MIDI channel is assigned to channel 2 of the Synful Orchestra MIDI Synthesizer (see Tutorial -
Setting Up Synful Orchestra in Sonar or Tutorial - Setting up Synful Orchestra in Cubase) (tutorials available in
online help only) ; and

4. The clarinet Program is assigned to channel 2 of the Synful Orchestra MIDI Channel (see Assigning Programs
to Channels); and

5. The currently selected Program in the Synthesizer Control Panel is "clarinet".

When all of these conditions have been met then when the user plays on the MIDI keyboard he/she will here the clarinet
Program and any changes to the Control Panel slider and switch adjustments..

12
Creating, Copying, and Deleting Programs
At the bottom of the Program Select Box in the Synful Orchestra Control Panel are two buttons: the COPY button and the
DELETE button. All new programs in Synful Orchestra begin as a copy of an existing Program. To create a copy of a
Program first select that Program in the Program Select Box then click the COPY button. This creates a new program with
a new name given by "new_oldprogramname". For example, if you select the "violin" program and click COPY a new
Program is created called "new_violin". The new Program appears at the end of the Program Select pop-up list. The new
Program name can be changed by selecting the new Program so that its name appears in the Program Select Box and
then clicking on the name and editing it.

Whenever a Program is copied the new Program refers to the same Instrument as the old Program. There is no way to
change the Instrument that a Program refers to.

When a program is created by copying, it is given a new MIDI Program Number automatically. The number is between 1
and 128.This MIDI Program Number can be used to send Program changes to a Channel to assign the new Program to
that Channel (see Assigning Programs to Channels).

To delete an existing Program, first select it in the Program Select Box and then click DELETE. The Program is deleted
and the first Program in the Program Select pop-up-list becomes the currently selected Program. The original Synful
Orchestra Programs -- flute, oboe, clarinet, etc. -- cannot be deleted. Only Programs created by the user can be deleted.

Uses of Multiple Programs for the Same Instrument

The purpose of creating a new Program is to adjust control parameters differently from the original program. For example,
you may create a new violin Program and edit the transient noise level of the new program so that the bow scratch on
attack is louder than the original. Then in a sequence you might insert Program changes to change from the original violin
to the new violin for certain phrases. Here are some interesting uses of new Programs.

• Create a copy of a Program and then tune the Program slightly differently. Then create two MIDI tracks with the
same MIDI data. Have one track use the original Program and the other track use the new Program. The
detuning creates the impression of a small section playing the melody. This technique can be used with more
than two Programs and tunings. In addition to detuning other parameters can be changed to give the illusion of
multiple instruments.

• Create a new program and adjust the gain of the new Program differently from the original. Then create two
MIDI tracks with the same MIDI data. Have one track use the original Program and the other track use the new
Program. Adjust the velocity of the new track down or up to compensate for the change of gain applied to the
Program. The change in velocity will cause Synful Orchestra to select different phrase fragments from the RPM
Phrase Database (see RPM - Reconstructive Phrase Modeling). This helps to make the two tracks sound like
they are being played by different musicians. This technique can be used in combination with the previous
technique.

13
Saving and Loading Projects, Presets, Banks, and
Programs in Cubase
Saving and Loading a Cubase Bank
In Cubase saving or loading a Bank saves the state of a Synthesizer -- including all Programs in the Synthesizer Bank,
Program assignments to Channels, Synthesizer parameters, etc. Saving a Bank in Cubase creates a special .fxb file. This
file can then be loaded into any Synful Orchestra Synthesizer.

To save a Cubase Bank, open the Synful Orchestra Control Panel. Left click on the small floppy disk icon to the right of
the Presets text box. This text box is found at the top of the Control Panel and will say "Synful Orchestra" if no Presets
have been saved or loaded. A pop-up list of save-load options appears. Select "Save Bank". A dialog box appears
prompting for the name of an .fxb file. Follow the instructions in the dialog box.

To load a Cubase Bank, left click on the floppy disk icon and select Load Bank from the pop-up list. A file select dialog box
opens. Browse to the desired .fxb file and select it.

Saving and Loading a Cubase Instrument

In Cubase the term "Instrument" means "Program" as we define it in Basic Concepts. In Cubase you can save or load an
individual Synful Orchestra Program (or Cubase "Instrument") in a separate .fxp file. This saves only the currently
selected Program.

To save a Synful Orchestra Program (or Cubase "Instrument"), open the Synful Orchestra Control Panel. Left click on the
small floppy disk icon to the right of the Presets text box. This text box is found at the top of the Control Panel and will say
"Synful Orchestra" if no Presets have been saved or loaded. A pop-up list of save-load options appears. Select "Save
Instrument". A dialog box appears prompting for the name of an .fxp file. Follow the instructions in the dialog box.

To load a Synful Orchestra Program (or Cubase "Instrument"), left click on the floppy disk icon and select Load Instrument
from the pop-up list. A file select dialog box opens. Browse to the desired .fxp and select it. Loading a Synful Orchestra
Program overwrites the currently selected Program with the contents of the .fxp file. Only the currently selected Program
is overwritten. No other parts of the Synthesizer are changed. The name of the currently selected program is also
overwritten with the Program name stored in the .fxp file (this is not the file name but the name given to the Program when
it was created).

Saving and Loading a Cubase Preset

In Cubase, saving or loading a Preset is the same as saving or loading an individual Synful Orchestra Program (or
Cubase "Instrument"). However, the Program is not saved or loaded to/from a separate .fxp file. The Program Name is
added to the presets list.

To save a Preset open the Synful Orchestra Control Panel. Left click on the small floppy disk icon to the right of the
Presets text box. This text box is found at the top of the Control Panel and will say "Synful Orchestra" if no Presets have
been saved or loaded. A pop-up list of save-load options appears. Select "Store Preset". A dialog box appears prompting
for the name of a preset. Type in the preset name -- it may be new or not. Click OK. If the preset name already exists you
will be prompted to overwrite the existing preset.

To load a Preset, left click on the floppy disk icon. At the bottom of the pop-up Preset list is a list of previously stored
Presets. Select one of them. The currently selected Program is overwritten by the Preset. No other parts of the
Synthesizer are changed. The name of the currently selected program is also overwritten with the Program name stored
in the Preset (this is not the preset name but the name given to the Program when it was created).

A Cubase Preset can be deleted by first selecting it and then clicking on the floppy disk icon and selecting "Delete
Preset".

Saving and Loading a Cubase Project

When a Project is saved or loaded in Cubase the entire state of each Synthesizer in the Project is saved or loaded in
additional to all MIDI sequence information. This includes all Programs in the Synthesizer Banks, Program assignments to
Channels, Synthesizer parameters, etc.

14
Saving and Loading Projects and Presets in Sonar
Saving and Loading a Sonar Preset
In Sonar saving or loading a Preset saves the state of a Synthesizer -- including all Programs in the Synthesizer Bank,
Program assignments to Channels, Synthesizer parameters, etc. To save the Synthesizer state to a new preset in Sonar
left click in the text box next to the word "Presets:" at the top of the Synful Orchestra Control Panel. Type the name of the
new preset. Then left click the floppy disk icon to the right of the text box.

To select a previously saved preset, left click on the downward triangle to the right of the Presets text box. A list of
previously saved presets appears. Select the desired preset. When a new preset is selected the state of the Synthesizer
is overwritten by the contents of the preset. This include all Programs in the Synthesizer Bank, Program assignments to
Channels, Synthesizer parameters, etc.

To save the current Synthesizer state to an existing preset you must first select the existing preset as described above,
then modify the state of the Synthesizer, then left click the floppy disk icon.

There are no separate preset files directly accessible to the user in Sonar. All access to individual presets is through the
pop-list described above.

Saving and Loading a Sonar Project

When a Project is saved or loaded in Sonar the entire state of each Synthesizer in the Project is saved or loaded in
addition to all MIDI sequence information. This includes all Programs in the Synthesizer Banks, Program assignments to
Channels, Synthesizer parameters, etc.

15
Delay for Expression
Just below the Channel Grid in the Synful Orchestra Control Panel is the Delay for Expression switch. It shows red
when Delay for Expression is on and gray when it is off. The State of Delay for Expression applies to the entire
Synthesizer.

What is Delay for Expression?

When Delay for Expression is on, a one second delay is inserted at the MIDI inputs of the Synful Orchestra Synthesizer.
This delay allows Synful Orchestra to examine the incoming MIDI data and make more sophisticated and expressive
synthesis choices.

When Should Delay for Expression Be Used?

Delay for Expression should be used when playing MIDI sequences with Synful Orchestra. If you are playing live then
turn Delay for Expression off.

Why is Delay for Expression Important?

As described in RPM - Reconstructive Phrase Modeling, Synful's RPM technology splices fragments of phrases together
to form larger phrases. In doing so, Synful Orchestra accounts for coarticulation effects: the affect of the end of a note on
the beginning of the next, and the affect of the beginning of the next note on the end of the previous note. Of course when
a user is playing live in real-time from a MIDI keyboard or other MIDI controller it is difficult to modify the end of a note in
preparation for the next note because by the time the next note arrives it must be acted on immediately to avoid
noticeable performance delay or "latency". However, when MIDI sequences are being played it is possible to make these
kinds of modifications. This is where Delay for Expression comes in. When Delay for Expression is on, a one second
delay is inserted at the MIDI inputs of the Synful Orchestra Synthesizer. This delay allows an RPM Synthesizer such as
Synful Orchestra to examine what new notes will occur in the near future and adjust the ends of previous notes
accordingly. Even while playing live with Delay for Expression off, Synful Orchestra makes very good guesses about
how to connect notes -- much better than traditional samplers for example. However Delay for Expression allows more
sequence information to be used in making synthesis choices and can result in more graceful and natural phrasing.

Using Delay For Expression While Overdubbing, or With Other

Synthesizers, or With Time Code
If Delay for Expression is on and a one second delay applied to the tracks that use the Synful Orchestra Synthesizer,
synchronization with other non-Synful Orchestra tracks or other Synful Orchestra Synthesizers that have Delay for
Expression off will be lost: The Synful Orchestra Synthesizer tracks will be delayed one second relative to the other
tracks. The best way to compensate for this is to mix the delayed (Synful Orchestra) and non-delayed (non-Synful
Orchestra) tracks to different audio busses. Then add a one second audio-delay effect to the output of the non-delayed
tracks (see host program documentation for how to insert audio delay effects).

Of course, all of this is rather cumbersome. The user should first check to see if there is any advantage to using Delay for
Expression for the particular material being synthesized. Just listen to the tracks with Delay for Expression on and off
and see if there's a noticeable difference. Often the result with Delay for Expression off is excellent. In terms of work
flow, a good way to proceed is to leave Delay for Expression off until the final output mix. All of the process of
composing and overdubbing tracks can be done with Delay for Expression off so that the time delay is not an issue.

Hope for the Future! Currently the VST and DXi plugin standards do not provide a way for plugin synthesizers to directly
interrogate the future content of MIDI sequences while they are being played. Until Synful Orchestra there has never been
a need for this kind of sophistication. In the future it can be hoped that this feature will be added to sequencers and then
the Delay for Expression switch will no longer be needed and the benefits will be completely transparent to the user.

NOTE: In general one cannot compensate for the Delay for Expression delay by sliding tracks in a project window
because while the track is offset in time the tempo track which applies to the entire project is not offset in time, therefore
the offset tracks will have the wrong tempo for one second whenever there is a tempo change.

16
Synful Pitch Wheel
Portamento in Real String and Wind Playing
An important part of the expressive control exercised by a wind or string player involves controlling precisely how pitch
changes from note to note and, in particular, how pitch changes during the transition from one note to the next. For
example, when a violinist plays two notes of different pitches in succession she may choose to change the pitch in an
abrupt manner or she may slide from the first pitch to the second by sliding her finger along the fingerboard in a
continuous manner. This is called portamento. If the violinist slides from note to note on the same string without changing
the bow then the portamento is very smooth with no discernable articulation of the second note. However, the violinist
may also change bow direction at some point during the slide, the violinist may change the finger that depresses the string
during the slide, or the violinist may change which string is bowed during the slide. In these later cases there can be an
abrupt step in pitch and a pitch slide. There can also be an audible articulation with transient noise components marking
the beginning of the second note.

For example, in a string portamento transition between two notes C and G, there may be an initial slide from say C to D,
then a step from D to F#, and then a final slide from F# to G. This shape, consisting of slide-step-slide, is typical of many
string portamenti. Controlling the rates and amounts of the slides, the size of the pitch step, and the character of the
articulation when the pitch step occurs is central to expressive string playing. Wind instruments sometimes employ similar
expressive control over portamento although not to the same extent as strings.

The Problem with MIDI Pitch-Wheel and MIDI Portamento

Standard MIDI synthesizers provide two controls that support pitch-slides: MIDI Pitch-Wheel and Midi Portamento
Control. Suppose the performer wants to generate a slide-step-slide portamento transition as described above using the
standard pitch-wheel. The performer can effectively perform the initial pitch-slide that occurs at the end of the first note.
However, when the second note is struck the pitch jumps to the keyboard pitch plus the current value of the pitch wheel. If
the performer quickly releases the pitch-wheel after striking the second note an undesirable quick slide back to the target
pitch occurs. Alternatively, if the performer releases the pitch-wheel just prior to striking the second note there is an
equally undesirable bend back to the first pitch before jumping abruptly to the second pitch. No matter how quickly and
precisely the pitch-wheel is controlled the desired slide-step-slide curve is impossible to achieve.

The MIDI portamento control also does not support the generation of slide-step-slide pitch curves. The pitch shapes are
deficient in two ways: first, the pitch slide does not begin until the second note is played on the keyboard; second, the
pitch slides continuously from the first note pitch to the second note pitch – there is no step. Both MIDI portamento control
and standard MIDI pitch-wheel curves are unacceptable.

The Synful Pitch Wheel Solution

Synful Orchestra introduces a special new Synful Pitch Wheel mode to solve the problems just described. The Synful
Pitch Wheel mode can be turned on or off separately for each Program. Use the Synful Pitch Wheel switch found to the
right of the Program Select box in the Synful Orchestra Control Panel. When the Synful Pitch Wheel switch is off (gray)
the pitch wheel behaves like a standard MIDI pitch-wheel. When the Synful Pitch Wheel switch is on (red) Synful Pitch
Wheel mode is entered for the program. The description of the special Synful Pitch Wheel mode sounds complex when
described in words, but the actual behavior of the Synful Pitch Wheel is intuitive and natural. The user may choose to turn
on Synful Pitch Wheel mode and start playing with it from a keyboard before reading the following description.

The special Synful Pitch Wheel mode is "context sensitive". When a first note is struck and then the pitch-wheel is
displaced the pitch of the first note is “bent” in the standard manner corresponding to the position of the pitch-wheel.
However, when a second note is struck, if there is little or no intervening time between the release of the first note and the
strike of the second note then the response to the pitch-wheel during the second note is disabled. As a result, if the pitch-
wheel is smoothly displaced in the direction of the pitch of the second note but prior to the strike of the second note, then
the pitch slides in the direction of the second note. Then when the second note is struck the pitch steps in the direction of
the second note.

If the pitch-wheel is released just prior to the strike of the second note then the pitch steps to exactly the pitch of the
second note when the second note is struck. In this case a slide-step curve is generated. If the pitch-wheel is not
released prior to the strike of the second note then the pitch steps part way to the pitch of the second note and then
begins a slide up to the final second note pitch after the second note is struck. This is the slide-step-slide curve discussed
above.

If the user bends the pitch-wheel while no keys are being held, and then plays a key, the note will be immediately bent as
in standard pitch-wheel mode. The user can then gradually release the pitch wheel to create a normal attack with slide
pitch bend effect.

17
Synful Orchestra Users Guide

Synful Pitch Wheel behaves naturally and intuitively whether playing single lines or chords and polyphony. However, there
is one special case the user should be aware of when playing polyphony. If the user plays a chord and then bends the
pitch all notes of the chord will be bent. Then if the user changes one note of the chord while not releasing the pitch-
wheel, the other notes of the chord will be cut off. For this kind of polyphonic playing it may be better to turn Synful Pitch
Wheel mode off.

18
Tips for Good Phrasing
The Synful RPM technology used in Synful Orchestra (see RPM - Reconstructive Phrase Modeling) is very sensitive to
MIDI controls -- Pitch, Volume, Velocity, Modulation, Pitch-Wheel as well as separation between notes, and duration of
notes. Different phrase fragments are selected from the RPM database depending on these controls. In addition to
different phrase fragments the timbre, nature of vibrato, loudness of noise elements, and other factors are also dependent
on these controls.

If you are unsatisfied with the results of a synthesized phrase it is generally possible to change it by changing these
controls. The most natural way to achieve good phrasing is by playing live in real-time. However, it is also quite possible
to achieve good phrasing by editing controls manually.

Here are some Synful Orchestra phrasing pointers:

• Overlapped notes result in slurred phrasing unless the velocity is very high.

• If notes are overlapped too much it is assumed they are a chord not a slurred monophonic phrase.

• The mod wheel generally controls the amount of vibrato but other factors including the nature of the selected
phrase fragment also affect vibrato so the mod wheel is not completely deterministic.

• Highly articulated attacks require detached playing -- space between notes. High velocity with no space
between notes will result in tongued or bowed notes.

• Synful Orchestra will automatically create very quick portamento and crescendo/diminuendo effects especially if
Delay for Expression is on. However, larger portamento effects require explicit use of the Synful Pitch Wheel
mode (see Synful Pitch Wheel) and larger crescendo/diminuendo require use of the Volume pedal.

• Many synthesizers have moved towards a piano model with little or no use of Volume pedal. However, Synful
Orchestra benefits from expressive use of the Volume pedal.

• Use of Delay for Expression in a last final mix is recommended (see Delay for Expression)

• If undesirable attacks occur (e.g. too noisy, not noise enough, etc) trimming Velocity and or Volume will
generally these qualities.

19
RPM - Reconstructive Phrase Modeling
Real instruments have many ways of moving from note to note: slurs with varying amounts of portamento, lightly tongued
or bowed note transitions, fast runs, detached hard attacks, etc. These note transitions are the connective tissue of
musical expression. Synful Orchestra models these transitions. Synful Orchestra models the way notes are sustained, the
graceful onset of vibrato, breath sounds, the sound of the bow on the string, the change of tone color as a note becomes
louder or softer.

Synful’s innovative Reconstructive Phrase Modeling (RPM) technology is the core technology used in Synful Orchestra. It
is the result of many years of research, several patents, and a lifetime of experimentation, design, and frustration with
older synthesis technologies. The user does not need to understand Synful RPM in order to use Synful Orchestra. Synful
Orchestra is natural and easy to use. Just select the program and play. All the realism and expressive power of Synful
Orchestra is available to the user through normal MIDI operation. The complexity and sophistication of RPM is mainly on
the inside. This section is provided for those more technically inclined users who are curious to understand what lies at
the heart of Synful's technology.

The following picture gives an overview of Synful RPM. We discuss this picture in more detail below.

20
 RPM - Reconstructive Phrase Modeling

RPM Phrase Database

The RPM Phrase Database contains musical phrases for each instrument. These are not recordings of isolated notes but
complete musical passages that represent all kinds of articulation and phrasing. -- detached, slurred, portamento, sharp
attacks, soft attacks, etc. These are not recordings of isolated notes but musical passages that represent the many ways
each instrument can move from one note to the next. The user does not have direct access to the RPM Phrase Database.

21
Synful Orchestra Users Guide

Searching and Splicing

When a Synful RPM Synthesizer such as Synful Orchestra receives MIDI input, either from a MIDI controller or a MIDI
sequencer, it looks at the pitch, velocity, amount of separation or overlap between notes, note duration, volume, pitch,
and mod wheels to determine what kind of phrase is being played. Synful Orchestra searches the RPM Phrase Database
for fragments that can be spliced together to form this phrase. These fragments represent transitions between notes, slurs
with portamento, lightly tongued transitions, aggressive fast bowing, rapid runs, long sustain regions with graceful vibrato,
and noise elements like flute chiffs and bow scratches. Synful Orchestra stretches and shifts these fragments in time and
pitch so that they combine to form the final output.

For example, suppose the RPM Synthesizer receives MIDI input consisting of a loud low G of 3/4 second duration
followed by a loud low A of 1/8 second duration with no separation between the notes and silence before the first note and
after the second note. The RPM Synthesizer interprets this is a loud slur from G to A with an accentuated short second
note. The RPM Synthesizer searches the RPM Phrase Database for examples of loud low slurs. Suppose the RPM
Synthesizer finds a low G# to B slur in the RPM Phrase Database where the G# is 1 second long and the B 1/3 second
long. The RPM Synthesizer adjusts the note lengths of the database example and shifts the pitches to fit the desired G
to A slurred output.

Coarticulation in RPM -- the Key to Natural Phrasing

In the example described above the G# to B slur found in the RPM Phrase Database is much more than an example of
two notes one following the other. It is an example of a single "musical gesture". The timbre, envelope, and pitch contour
of the end of the G# is affected by the fact that it is leading up to a new note. The articulation, pitch contour, and timbre of
the B note is affected by the fact that it is connected to the end of another note. For example, the end of the first G#
exhibits a crescendo and a slight rising portamento that indicates it is leading to a new higher pitched note. The beginning
of the B note has a slight transient articulation that is perfectly matched to the end of the G#. This note connectedness,
where adjacent notes affect each other is called "coarticulation". This is a term taken from speech synthesis where it is
well known that the pronunciation of a syllable is affected by surrounding syllables.

Coarticulation effects are important in expressive instruments such as strings and winds. Percussion instruments including
piano are less likely to exhibit coarticulation effects simply because there is not much one can do to the sound once a
note is struck. Modelling coarticulation effects is essential for natural sounding expressive synthesis.

Synful RPM Additive Synthesis

A single note in Synful Orchestra may be built from three or more rapidly spliced phrase fragments. Splicing ordinary PCM
sampled sounds in this way would create unacceptable warbles and clicks. Synful Orchestra uses a patented form of
additive synthesis in which sounds are generated from combinations of pure sine waves and noise elements. This gives
Synful Orchestra the ability to rapidly stretch, shift, and splice phrase fragments while preserving perfect phrase
continuity.

22
Tips on Audio Drivers and Low Latency
If you are not performing live with Synful Orchestra and are not sensitive to latency -- the time from hitting a key on a MIDI
controller till when the sound comes out -- then just about any audio hardware and audio driver will function correctly for
you (although some will have better sound quality than others). By low latency we mean that the sound comes out in less
than 20-30 milliseconds from the time the key is pressed.

If you do intend to perform live then you need to PAY ATTENTION to your audio hardware and drivers. Interfacing to low
latency audio drivers and hardware is primarily the responsibility of the host software program -- for example, Sonar or
Cubase. Please consult the documentation for these programs. This section provides some tips that we at Synful have
learned that may help you have better success.

What is an Audio Device Driver?

The audio device driver is a piece of software written by the audio hardware manufacturer that allows other programs like
Cubase and Sonar to talk to the audio hardware. There can be more than one driver installed on a computer. For
example, I am currently typing on an IBM Thinkpad R40. There are two device drivers installed on this laptop: an Analog
Devices SoundMax audio driver that came with the Thinkpad when it was purchased; and a Tascam US-122 driver that
came on a CD-ROM with the Tascam US-122 USB digital audio interface I purchased and installed several months ago.

Often there will be a choice of several types of device driver for a single piece of audio hardware. These correspond to
different device driver standards that have come into being for Windows machines over the last many years.

What are Some Types of Audio Device Drivers for Windows

Machines?
• MME or Multimedia Driver -- this is the old style Windows audio driver. You will not be able to achieve low
latency with this type of driver. Latency may be 1/2 second or more.

• DirectX Driver -- you may be able to achieve low latency with this type of driver but it will probably not be
reliable. That means you may hear random clicks and pops as the sound plays. The problem will be worse the
more programs that simultaneously run on your machine.

• ASIO Driver -- This is a driver standard developed by Steinberg (manufacturers of Cubase) that supports
reliable low latency. Many hardware manufacturers support this standard.

• WDM (Windows Driver Model) -- This is a more recent driver standard from Microsoft intended to remedy the
problems of MME and DirectX and provide reliable low latency. Most manufacturers now support WDM but you
should check your hardware manufacturer to make sure.

If you intend to play live or real-time low latency music you should use an audio device that supports ASIO or WDM.
Sonar makes good use of WDM but may not support ASIO. Cubase makes good use of ASIO but may not support WDM.

What Happens When a Driver Doesn't Work

If the driver is too slow you will generally hear clicks and pops in the audio output. These may occur very frequently like a
kind of buzz, or randomly, or regularly -- for example every two seconds. The lower the latency the more likely you will
here clicks and pops.

How Do I Adjust for the Lowest Latency Without Getting Clicks

and Pops
This can be done in the host program -- for example, Sonar or Cubase

23
Synful Orchestra Users Guide

Adjusting Latency in Sonar

Under Options select Audio. The Audio dialog box appears. Select the General Tab. If you have not already done so click
the Wave Profiler button. This will test your hardware. There are two controls that affect latency: Buffer Size; and Buffers
in Playback Queue. A very low latency setting is 2 Buffers in Playback Queue and Buffer Size around 11 msec or less.
With the WDM driver I have gotten good results with this setting on my TASCAM US-122. ADI SoundMax has sometimes
required 20 msec buffers. Although a synthesizer should work without any input driver (which is used for recording
sound) I have found that when I disable the input driver nothing works. See Sonar Documentation for complete details.

Adjusting Latency in Cubase

Under Devices select Device Setup .... The Device Setup dialog box appears. Select VST Multitrack. In the ASIO Driver
pull down box you will see a selection of drivers. ASIO Multimedia is the slow MME driver -- not good for real-time live
playing. ASIO DirectX Full Duplex is the DirectX driver. This can work for live playing but may not be reliable. For my
Tascam US-122 hardware I have two drivers: an ASIO US-122 16 bit and an ASIO US-122 24 bit. Either of these work
very well for low latency. Clicking on Control Panel brings up a Tascam dialog box that lets me fine tune the buffer size: a
buffer size of 256 or 512 samples corresponds to about 5.5 or 11 milliseconds. These both work well with my hardware
under Cubase. After changing latency in this dialog and hitting OK the sound is garbled until I click Apply. A different
hardware device will undoubtedly have a different Control Panel dialog. Clicking Expert in the device setup dialog box
brings up another set of controls that should affect latency and reliability but these controls have not had much affect in
my system.

24
Index

25
. DXi................................................................ 3, 8, 11, 24
.fxb .............................................................................. 21
.fxp .............................................................................. 21
A expressive control................................................... 1, 26
Accessing the Synful Orchestra Control Panel in
Cubase ..................................................................... 8
Accessing the Synful Orchestra Control Panel in Sonar
................................................................................. 8
Activating ...................................................................... 3
Activation ...................................................................... 3
activation code .............................................................. 3
Activation dialog............................................................ 3
Additive Synthesis................................................. 15, 30
AMD Athlon 64.............................................................. 2
articulation....................................................... 15, 26, 30
Assigning Programs to Channels............................ 8, 11
attack .................................................. 15, 19, 26, 29, 30
audio-delay ................................................................. 24
B harmonics ................................................................... 15
Bank.................................................. 6, 8, 11, 15, 21, 23
Bank file .................................................................. 6, 21
Bank of Program ........................................................... 6
bow scratches ....................................................... 19, 30
C Installing ....................................................................... 3
Channel assignment ................................................... 11
Channel Grid............................................... 8, 11, 14, 24
chord ................................................................. 6, 26, 29
Coarticulation ........................................................ 24, 30
connective tissue ........................................................ 30
Control Panel .............................................. 8, 11, 15, 21
control parameters ........................................................ 6
Control Parameters in a Synthesizer ............................ 8
Copy.................................................................. 6, 15, 19
CPU speed.................................................................... 2
Cubase...................................................... 3, 6, 8, 11, 21
Cubase Bank .............................................................. 21
Cubase Instrument...................................................... 21
Cubase Preset ............................................................ 21
Cubase Project ....................................................... 8, 21
currently selected Program ......................................... 15
D MIDI Pitch-Wheel........................................................ 26
delay for expression.................................... 8, 14, 24, 29
Delete.............................................................. 15, 19, 21
Delete Preset .............................................................. 21
demo movie tutorials..................................................... 1
detach ................................................................... 29, 30
detuning ...................................................................... 19
E
even harmonics .......................................................... 15
F
final mix ...................................................................... 29
flute chiffs ................................................................... 30
fragment ................................................... 19, 24, 29, 30
G
gain....................................................................... 15, 19
gain slider ................................................................... 15
General Midi ............................................................... 11
Good Phrasing............................................................ 29
H
hard disk space required .............................................. 2
harmonic parity ........................................................... 15
harmonic tilt ................................................................ 15
high velocity................................................................ 29
host program .......................................... 6, 8, 11, 15, 24
I
initial Program............................................................. 11
Installing Synful Orchestra............................................ 3
Instrument............................. 1, 6, 14, 15, 19, 21, 26, 30
L
latency ........................................................................ 24
load a Preset .................................................... 6, 21, 23
Load Bank .................................................................. 21
Load Instrument.......................................................... 21
Loading....................................................................... 21
Loading a Synful Orchestra Program ......................... 21
M
MIDI Bank................................................................... 11
MIDI Channel................................................ 6, 8, 11, 15
MIDI controller ................................................ 11, 24, 30
MIDI controls .............................................................. 29
MIDI keyboard ...................................................... 15, 24
MIDI Portamento ........................................................ 26
Midi Portamento Control............................................. 26
MIDI program........................................................ 11, 19
MIDI Program Number ......................................... 11, 19
MIDI Program Numbering..................................... 11, 19
MIDI sequence ........................................... 6, 11, 21, 23
26
 Index

MIDI track.............................................................. 11, 15 polyphonic .................................................................. 26

MIDI velocity ............................................................... 15 polyphony ................................................................... 26
MIDI volume................................................................ 15 pop-up Preset list........................................................ 21
mod wheel................................................................... 29 Portamento ............................................... 15, 26, 29, 30
Modulation .................................................................. 29 Preset ......................................................... 6, 11, 21, 23
monophonic ................................................................ 29 Presets ....................................................................... 21
Multiple Programs for the Same Instrument ............... 19 presets list .................................................................. 21
musical expression ..................................................... 30 Presets text box.................................................... 21, 23
musical expressivity ...................................................... 8 previously stored Presets ........................................... 21
musical gesture........................................................... 30 Program................ 3, 6, 8, 11, 14, 15, 19, 21, 23, 26, 30
Program assignments................................................. 21
N
Program assignments to Channels ............................ 23
Natural Phrasing ......................................................... 30
Program changes ................................................. 11, 19
new Program........................................................... 6, 19
Program Control Parameters.................................. 8, 15
noise elements............................................................ 30
Program Numbers ...................................................... 11
noises.............................................................. 15, 29, 30
Program Select Box.............................. 8, 11, 15, 19, 26
normal Pitch Wheel mode....................................... 8, 15
Program Select list ..................................................... 11
note transition ............................................................. 30
Program Select pop-up list ................................... 11, 19
note-off........................................................................ 15
Project .................................. 6, 8, 11, 14, 15, 21, 23, 24
O Project files ................................................................... 6
odd harmonics ............................................................ 15 pure tone harmonics................................................... 15
Opening Control Panel in Cubase ................................ 8
R
Opening Control Panel in Sonar ................................... 8
realism .................................................................... 8, 30
orchestra tuning .......................................................... 15
real-time............................................................ 2, 24, 29
original Synful Orchestra Programs ............................ 19
Reconstructive Phrase Modeling................................ 15
Other Synthesizers ................................................. 6, 24
reinstall ......................................................................... 3
Overdubbing ............................................................... 24
release time ................................................................ 15
overlap .................................................................. 29, 30
release trim................................................................. 15
Overview of the Control Panel ...................................... 8
RPM................................................ 1, 15, 19, 24, 29, 30
P RPM Additive Synthesis ......................................... 1, 30
PCM ............................................................................ 30 RPM Phrase Database......................................... 19, 30
PCM sampled sounds................................................. 30 RPM Synthesizer........................................................ 30
Pentium......................................................................... 2
S
Pentium IV .................................................................... 2
sampled sounds ......................................................... 30
performance delay ...................................................... 24
sampler................................................................... 1, 24
phrase continuity......................................................... 30
Save Bank .................................................................. 21
Phrase Database ........................................................ 19
Save Instrument ......................................................... 21
phrase fragment.......................................................... 19
save-load options ....................................................... 21
phrasing ...................................................................... 30
Saving......................................................................... 21
phrasing pointers ........................................................ 29
Saving and Loading a Cubase Bank .......................... 21
pitch ...................................................... 8, 15, 26, 29, 30
Saving and Loading a Cubase Instrument ................. 21
pitch step..................................................................... 26
Saving and Loading a Cubase Preset........................ 21
Pitch Wheel....................................................... 8, 15, 26
Saving and Loading a Cubase Project ....................... 21
Pitch Wheel mode................................................... 8, 15
Saving and Loading a Sonar Preset........................... 23
pitch wheel range........................................................ 15
Saving and Loading a Sonar Project.......................... 23
pitch-slide.................................................................... 26
Saving and Loading Projects and Presets in Sonar ... 23
Pitch-Wheel........................................................... 26, 29
Searching ................................................................... 30
playing live ...................................................... 15, 24, 29
selected phrase fragment ........................................... 29

27
Synful Orchestra Users Guide

separation ............................................................. 29, 30 Synful RPM Synthesizer....................................... 24, 30

shift ............................................................................. 30 Synful_orchestra_setup.exe ......................................... 3
sine waves .................................................................. 30 Synthesizer..... 1, 6, 8, 11, 14, 15, 21, 23, 24, 26, 29, 30
slide-step..................................................................... 26 Synthesizer Bank.................................... 6, 8, 15, 21, 23
slide-step-slide ............................................................ 26 Synthesizer parameters................................................ 6
slide-step-slide portamento......................................... 26
T
slur ........................................................................ 29, 30
timbre.............................................................. 15, 29, 30
slurred phrasing .......................................................... 29
Time Code .................................................................. 24
Sonar ............................................................ 6, 8, 11, 23
tongued................................................................. 29, 30
splice..................................................................... 24, 30
traditional sampler ...................................................... 24
Splicing ....................................................................... 30
transient gain .............................................................. 15
SSE2............................................................................. 2
transient noise ................................................ 15, 19, 26
standard pitch-wheel................................................... 26
transition ......................................................... 15, 26, 30
Store Preset ................................................................ 21
transitions between notes........................................... 30
Streaming SIMD Extensions 2 ...................................... 2
Try Before You Buy ...................................................... 3
stretch ......................................................................... 30
tune instrument........................................................... 15
sustain................................................................... 15, 30
tune orchestra......................................................... 8, 14
sustain noise ............................................................... 15
tutorial....................................................................... 1, 8
sustain noise trim ........................................................ 15
Synful Orchestra Control Panel8, 11, 14, 15, 19, 21, 23, U
24, 26 uninstall ........................................................................ 3
Synful Orchestra DXi .................................................... 3
Synful Orchestra Folder ................................................ 3 V
Synful Orchestra Instrument ....................................... 15 Velocity ..................................................... 15, 19, 29, 30

Synful Orchestra Software ............................................ 3 vibrato................................................................... 29, 30

Synful Orchestra synthesizer .................. 6, 8, 15, 21, 24 Voice......................................................................... 2, 6

Synful Orchestra Vst ..................................................... 3 Volume ........................................................... 15, 29, 30

Synful Pitch Wheel............................................ 8, 15, 26 VST......................................................................... 3, 24

Synful Pitch Wheel mode.................................. 8, 15, 26 Vstplugins ..................................................................... 3

Synful Pitch Wheel switch................................. 8, 15, 26 Vstplugins Folder.......................................................... 3

28