NOTES The Digitone Notebook : Reference & Guide 151 Synth Sound Design 8 Digitone FM Algorithms ALGO 3 Algorithm 3 has A as a modulator (with feedback) for all other 3 operators which act as carriers (no envelopes applied to outputs). Operator B2 & C drive output X. Default patch settings sound is flute like. ALGO 4 Algorithm 4 has C and B1 as carriers (no envelopes applied). Operator A modulates C which in turn is modulated by B1 which is modulated by B2. B2 has the feedback function applied. Default patch settings sound is flute like. 4 X Y B2 A B1 C Operator B2 (Modulator) + Feedback Operator A (Modulator) Operator B1 (Modulator & Carrier) Operator C (Carrier) Carrier Audio Out Carrier Audio Out 3 X Y B2 A C B1 Operator B2 (Carrier to X) Operator A (Modulator) + Feedback Operator B1 (Carrier to Y) Operator C (Carrier) Carrier Audio Out Carrier Audio Out
Digitone FM Algorithms ALGO 5 Algorithm 5 has C and A as carriers (no envelopes applied to output). B1 and B2 are modulators with B1 having feedback applied. Operator A also modulates C. Default patch settings sound is flute like. ALGO 6 Algorithm 6 has C and B1 as carriers (no envelopes applied to outputs). Operator A modulates C and B2 modulates B1. Operator A has the feedback function applied. Default patch settings sound is flute like. 6 X Y A B2 C B1 Operator B2 (Modulator) Operator A (Modulator) + Feedback Operator B1 (Carrier) Operator C (Carrier) Carrier Audio Out Carrier Audio Out 5 X Y B2 A B1 C 152 The Digitone Notebook : Reference & Guide 8 Synth Sound Design Operator B2 (Modulator) Operator A (Modulator & Carrier) Operator B1 (Modulator) + Feedback Operator C (Carrier) Carrier Audio Out Carrier Audio Out NOTES
NOTES The Digitone Notebook : Reference & Guide 153 Synth Sound Design 8 Digitone FM Algorithms ALGO 7 Algorithm 7 has all operators contributing as carriers with C and B1 having no envelope applied to the outputs. Operators A and B2 do utilise the envelopes on the carrier outputs and also act as modulators to C and B1 respectively. Operator A also has feedback function applied.Default patch settings sound is organ like. ALGO 8 Algorithm 4 has C and B2 as carriers (no envelopes applied from C) to the X output. Operator A modulates Operator C. B1 is stand alone with feedback function applied and providing a carrier output at Y. Default patch settings sound is like a dulled flute. X Y A B2 C B1 Operator B2 (Carrier & Modulator) Operator A (Carrier & Modulator) + Feedback Operator B1 (Carrier) Operator C (Carrier) Carrier Audio Out Carrier Audio Out 8 X Y B1 A C B2 Operator B2 (Carrier) Operator A (Modulator) Operator B1 (Carrier) + Feedback Operator C (Carrier) Carrier Audio Out Carrier Audio Out 7
8.5 Algorithms and Ratios Frequency ratios determine how each of the operator functions in terms of frequency and its scaling impact on each other. Frequency ratios are essentially multipliers of the principle frequency and operate numerically relative to frequency and should be considered with respect to pitch tuning from an audio output perspective. Operator A Operator C Operator A & C each have a dedicated ratio control. This operates by multiplying the principle frequency of the pitch input of the operator. Higher ratio values will give a higher pitch. The ratio is directly applied and referenced to the frequency and therefore is mainly integers. The ratio offset is applied to the ratio and is not relative to any multiples or frequencies. This is similar to detune providing a more subtle variation. Use offset to change and shape the timbre alone to get a feel for its effect. Changing ratios then give a more dramatic pitch and modulation impact. A Ratio OFFSET A A RATIO X Input (Note Pitch) 0.25 16 Higher Pitch -1 to 0.999 C Ratio OFFSET C C RATIO X Input (Note Pitch) 0.25 16 0.25 , 0.50, 0.75, 1.00, 2.00, 3.00, 4.00, 5.00, 6.00, 7.00, 8.00, 9.00, 10.00, 11.00, 12.00, 13.00, 14.00, 15.00, 16.00 Higher Pitch -1 to 0.999 154 The Digitone Notebook : Reference & Guide 8 Synth Sound Design NOTES 0.25 , 0.50, 0.75, 1.00, 1.25, 1.50, 1.75, 2.00, 2.25, 2.50, 2.75, 3.00, 3.25, 3.50, 3.75, 4.00, 4.25, 4.50, 4.75, 5.00, 5.50, 6.00, 6.50, 7.00, 7.50, 8.00, 8.50, 9.00, 9.50, 10.00, 11.00, 12.00, 13.00, 14.00, 15.00, 16.00
The Digitone Notebook : Reference & Guide 155 Synth Sound Design 8 Operator B Operator B group has a common ratio control for both B1 and B2. This operates by multiplying the principle frequency of the pitch input of the operator. The ratio operates on a cyclic basis: • Range 0.25 to 16 will be applied to the B2 Operator. B1 will have a ratio of 0.25 applied. • As the ratio control steps over maximum of 16, then it restarts at 0.25 for B2 and the ratio for B1 will increase one increment to 0.5 • Further incrementing another full cycle for B2 over 0.25 to 16 range will iterate B1 one unit forward also i.e. to 0.75 etc until 16 is also reached for B1. Use offset to change and shape the timbre alone to get a feel for its effect. Offset has a dedicated parameter for each of the B1 and B2 Operators. Single B Operator Ratio Control Each full cycle of B2 Operator, iterates B1 Operator ratio one increment B2 Ratio OFFSET B1 Ratio OFFSET B2 B2 B1 B1 X X B RATIO Input (Note Pitch) Input (Note Pitch) 0.25 16 0.25 16 Higher Pitch -1 to 0.999 -1 to 0.999 0.25 0.50 0.75 1.00 2:00 3:00 4:00 5:00 6:00 7:00 8:00 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 B2 Operator B1 Operator
156 The Digitone Notebook : Reference & Guide 8 Synth Sound Design 8.6 Detune NOTES The detune parameter is similar to the ratios in that it affects the pitch however is more aimed at offsetting the ratio in a subtle way to add movement. Only operators A and B2 are affected by the detune parameter. DTUN Parameter A B2 DTUN (F) 0 64 127 Detune Offset Subtle / Light detune Heavy / aggressive detune A RATIO B RATIO
NOTES The Digitone Notebook : Reference & Guide 157 Synth Sound Design 8 8.7 Feedback Feedback is applied as self modulation. While the FDBK parameter can affect the amount (0-127), the assignment of the feedback function is made through the defined algorithm usually with operators A and B. The feedback operator assigned with feedback is indicated by the square in its corner. X Y B A B C Feedback option assigned in the algorithm
158 The Digitone Notebook : Reference & Guide 8 Synth Sound Design 8.8 Harmonics NOTES While Digitone is essentially an FM Synth a hint of additive synthesis helps to simplify and supplement Digitone’s workflow. The default starting point of operators is a sine wave which can be a little boring on its own. The HARM harmonics parameter adds partials to the base sine wave and effectively creates new wave-shapes generating audio with transitioning timbres and sounds. HARM Parameter Adding partials is like building up and combining more and more sine waves. The HAM control adds partials for operator A, B1 - Controlled by the positive values of the HARM parameter. The negative values of the HARM parameter controls the partials applied to operator C. 0.00 SINE WAVE 6.50 SAW WAVE 19.00 SQUARE WAVE 26.00 HYBRID WAVE C A B1 HARM (E) -26 0 +26 Positive HARM values affect the operators A and B1 Negative HARM values affect the operators A and B1
NOTES The Digitone Notebook : Reference & Guide 159 Synth Sound Design 8 Getting to know the sound of waves To become familiar with the sounds and timbres portrayed by different waveforms the illustrations below to serve as a quick guide. These are generic examples only and the real application of the Digitone synth engine and any additional parameters will be unique to the device. AMPLITUDE TIME SINE WAVE Pure Tone, No Harmonics, Whistle, Sub Bass. Silky and Smooth, Few Harmonics, Wind instruments, Wood, Mellow. Highly harmonic, church organ and flutes, brass instruments. Hollow, Odd Harmonics, Clarinet and Wind instruments. Stutter, Glitchy, Variable, Unpredictable, mix of waves and harmonics. Hollow, Odd Harmonics, Nasal, chorus like when modulated. AMPLITUDE TIME TRIANGLE WAVE AMPLITUDE TIME SQUARE WAVE AMPLITUDE TIME SAMPLE & HOLD WAVE AMPLITUDE TIME SAW TOOTH WAVE AMPLITUDE TIME PULSE WAVE
160 The Digitone Notebook : Reference & Guide 8 Synth Sound Design 8.9 Operator Envelopes NOTES The envelopes shape the modulation level of operators to avoid harsh harmonics and to control the amount the modulator affects a carrier. Envelopes always shape a signal’s level over time. Think about a kick drum which has a large initial transient (attack) followed by a slower fade out signal as the sound decays. Envelopes are not only important in getting the ‘right’ sound in Digitone but also to ensure the sounds are usable in a musical context. Operator Envelope Configuration A B SYN2 SYN2 Operator Envelope Level A Operator Group A Carrier Carrier Modulator Envelope / Level Carrier SYN2 SYN2 Operator Envelope Level B1 & B2 Operator Group B
NOTES The Digitone Notebook : Reference & Guide 161 Synth Sound Design 8 Envelope Types and Settings Traditional synth envelopes are ADSR (Attack, Decay, Sustain and Release) or AD (Attack Decay). Digitone uses either ADE (Attack, Decay, End) or ASDE (Attack, Sustain, Decay, End) which are expanded versions of the AD envelope. Parameters and types shown below. ATTACK (time) DECAY (time) SUSTAIN (level) RELEASE (time) Trigger On Trigger Off A or B DELAY (time) xDEL ATTACK (time) ATK DECAY (time) DEC END (level) END Trigger On ATTACK (time) A or B DELAY (time) xDEL ATK DECAY (time) DEC END (level) END SUSTAIN (level) LEV Trigger On Trigger Off Traditional ADSR (used in the filter and amp envelopes) and AD Envelopes. Digitone ADE Envelope (Triggered) - ATRG or BTRG = On Digitone ASDE Envelope (Gated) - ATRG or BTRG = Off Trigger would typically be a note on and off state Level LEV Level LEV
162 The Digitone Notebook : Reference & Guide Envelope Reset Both envelopes have the option to configure a retrigger reset of the envelope to on or off. This allows the envelope to restart from the initial stage (start of delay or attack if delay is 0) when a new trigger condition is recognised. The relevant parameters are ARST and BRST found on SYN2 Page 2. Also the PHRT phase reset can be configured which sets which operator wave phase is restarted too. C A B1 B2 8 Synth Sound Design NOTES Trigger On Trigger On Trigger On Trigger On Retrigger activated during envelope cycle. With reset (ARST/BRST) off, this will restart the envelope from its current position i.e. no reset. Retrigger activated during envelope cycle. With reset (ARST/BRST) on, this will restart the envelope from its original start position i.e. reset. OFF - No reset for any operator. ALL - Reset all operators phase C - Resets only C Operator. A+B - Resets A, B1 and B2 Operators. A+B2 - Resets A and B2 Operators. Envelope Reset. ARST / BRST = Off Envelope Reset. ARST / BRST = On Phase Reset (Operator wave phase) - PHRT
NOTES The Digitone Notebook : Reference & Guide 163 Synth Sound Design 8 8.10 X-Y Mix X and Y are the carrier outputs from the defined algorithm that then are passed to the overdrive and onwards through the sound shaping functions and effects. Each of the X-Y outputs are generated by separate operators. The audio passed to the output can either be driven with the operator envelope or without. This is explained in the algorithm section. Mix Parameter The outputs cross fade to allow a mix of timbres between the algorithm individual operator outputs. The mix is not affecting overall volume level. The dual output can be particularly useful for example with percussion, creating a sharper transient part along with a longer tail. HARM (H) -64 0 +64 Mix controls the balance between the outputs, crossfading between each one. X Y
164 The Digitone Notebook : Reference & Guide 8 Synth Sound Design NOTES ▌SETTING UP A SYNTH FROM SCRATCH - WORKFLOW EXAMPLE 1. Press [T1], [T2], [T3], or [T4] for the track to configure. 2. If required reset and clear the existing sound. Press [SETTINGS] for GLOBAL SETTINGS > SOUNDS > CLEAR TRACK SOUND. 3. Press [SYN1] for Page 1 & 2. Start with the SYN1 Page Settings:- • Adjust the MIX which cross fades between X and Y carriers. Its a good practice to work on each one independently i.e. X then move to Y. Iterate between the two and mix accordingly. • Select the ALGO Algorithm 1-8, Turn (A). SYN1 Page 2 may need level LEV adjusting to hear the operators. Feedback FDK is (G). • Adjust the RATIO, Turn (B), (C), (D). This will adjust pitch and tuning. Also the DTUN Detuning (F) and on page 2, the ratio OFFSET (A), (B), (C), (D). 4. Press [SYN2] to set the Page 1 & 2 Modulation settings. • On Page 2 select the type of envelope trigger or gate using ATRG (B) and BTRG (F). Also the reset behaviour ARST (C), BRST (G). • On Page 1, iterate the settings for each of the envelopes. These set the ATK (A), DEC (B), End (C), and also the level of the modulator to the carrier. Level also sets the sustain phase if ATRG is off. 5. Following a single step by step process doesn't get the job done when working on sound design. Iterate through all steps to get the sound to what you want. 6. Save the sound to the sound pool (or +Drive). • Open the sound manager. Press [GLOBAL SETTINGS] > SOUND MANAGER. • Select the Sound Pool or +Drive in the ‘left’ search menu. • Select a spare free slot in the list. • In the ‘right’ operations menu, highlight the EXPORT TO HERE option and press [YES] • Name the sound if desired and add search tags. Press [YES] to save or [NO] to cancel.
NOTES The Digitone Notebook : Reference & Guide 165 Synth Sound Design 8 8.11 Digitone Sound Design Tips Sound design, on any synth is an iterative process and cannot simply follow a step by step, singular process. It’s about construction, shaping, tweaking and developing a sound over time. Here are some tips to help guide. • Iterate across parameters. Keep working between and across parameters to tweak and tune to take the direction you want. A single workflow is difficult to achieve a complete solution and may often even be a random journey. • Ears are more important than eyes. Listen to how each parameter affects the sound. Shape to the ear and get to a sound you want. • No rules, no limits. Try anything. Give priority to the output sound over theory or process. Very few people can establish exact parameter settings needed and trial and error is a normal part of sound design. • Start with X or Y carrier and work on ‘one side’ of the FM Engine first. When this gets to a place near to what you want move to the other side. Then mix the two at the latter stages. • Deconstruct factory patches and see how it’s done by others. • Sounds may sound dull and lifeless when concentrating on the core sound. The real variety and interest may only be unlocked when modulation such as LFO’s are added as well as effects. Sometimes it’s good to start big and work backwards - removing elements. • Digitone has parameter randomisation. Use it. Press page + yes, i.e. [SYN1] + [YES]. See what happy accidents can be created by randomising pages of parameters. • Remember you can restore last saved page parameters using page + no, i.e. [SYN1] + [NO]. • Saving sounds iteratively to the sound pool during the process allows revisiting various ‘versions’ of the sound and taking it in another direction of sound design. • Good sound management is worth the effort. Use relevant names for sounds and add tags for filtering in future and making it easy to categories in the library as it develops.
166 The Digitone Notebook : Reference & Guide NOTES
Filters are not always found in FM synthesis but nevertheless are a welcome feature in Digitone bringing subtractive familiarity into the sound design. The Filter [FLTR] page contains two filters, a multi-mode filter which is preceded by a base-width filter. The multi-mode filter has a discrete envelope. Filters are important components in Digitone (and synthesis in general) sound design shaping and carving out frequency content from the sound. The multimode filter page contains the typical filter parameters such as cut off and resonance as well as an ADSR Envelope which drives the filter cut off and which operates in both positive and negative configurations. The Amp [AMP] page contains several elements also important to the sound, Firstly an envelope to shape the triggered sound, a pan for left and right balance and output level. This level is the sounds volume and not track volume. The overdrive function which sits between the FM engine and filters is also set up in the AMP page. Finally the send effect settings are found in the AMP page. These effects mean the sound can send an amount of its signal through the chorus, delay and reverb effect. Effects are covered elsewhere in this guide. The parameters of these functions can also be copied to other tracks too. As with all the pages the parameters are adjusted using the data entry rotary controls (A) - (H) within the context of each page parameter. Filter and Amp 9 The Digitone Notebook : Reference & Guide 167
168 The Digitone Notebook : Reference & Guide 9 Filter and Amp 9.1 Digitone Filters The use of filters is a core feature of subtractive synthesis, enabling oscillator sounds to be carved (filtered) to develop and design a sound. While filters are less frequent in FM models, Digitone has embraced this functionality to add more unique character and help keep its sound design more familiar and simple. Digitone has 2 filters that operate after the synth engine and overdrive stage. The first filter is a base-width model while the second in series is the multimode filter with a dedicated envelope. The output feeds into the amp stage where send effects can also be added. What is a Filter? A filter in synthesis is a function that can reduce (attenuate) or remove the frequency content within the audio range of a sound. A filter allows certain frequencies to pass through. Normal human hearing spans a range of 20Hz to 20kHz and filters therefore operate by removing content at various points across the frequency range. High Pass Filter - Example ATTENUATION FREQUENCY Cut Off Frequency Point at which the filter starts to affect the audio frequencies. Resonance A boost at the point of cutoff adds resonance to affect the sound. Typically 20Hz to 20kHz range Gain reduction at the frequency defined. Stop Band Transition Band 4-Pole 2-Pole Pass Band NOTES Overdrive Multimode Filter Base - Width Filter ADSR Synth Engine Filter Envelope Output ADSR Amp Envelope AMP AMP AMP AMP FLTR FLTR FLTR AMP Pan AMP
Filter and Amp 9 The Digitone Notebook : Reference & Guide 169 NOTES Filter Definitions. Practical explanations of general filter terminology. Cutoff Frequency. The frequency point at which the filter starts to attenuate the audio signal. Typically in the range of 20Hz to 20kHz represented by a range of 0-127 in Digitone and identified as FREQ. Resonance. The gain can be boosted at the point of cutoff creating a resonant frequency. This is called resonance and termed RESO in Digitone with a range of 0-127. HPF - High Pass Filter A filter which allows higher frequencies, above the cutoff frequency, to pass through and be audible. This is the pass band. Frequencies below the cutoff are attenuated. TYPE is the option in Digitone. LPF - Low Pass Filter. A filter which allows lower frequencies, below the cutoff frequency, to pass through and be audible. This is the pass band. Frequencies above the cutoff are attenuated. TYPE is the option in Digitone. Multi-Mode Filter. A filter than can be set up into multiple configurations. For example this can be high pass, low pass, band pass etc. TYPE is the option in Digitone. Filter Poles. The word ‘pole’ is a term normally used to describe the roll off slope of the filter. This is the slope of how the filter attenuates the audio after the cutoff point. A 2-Pole filter rolls off at 12dB/Octave (shallower and gentle) while a 4-Pole filter rolls off at 24dB/Octave (steeper, more aggressive). Digitone also has a 1-Pole (6dB/Oct) base-width filter also which has a very shallow slope.
170 The Digitone Notebook : Reference & Guide 9 Filter and Amp Digitone has two filters. The first in the chain is a base-width filter. This is similar to a band pass or back to back HPF and LPF types. The second in line is a multi-mode filter with a LPF (2-Pole and 4 Pole options) and a HPF (2-Pole). The multi-mode filter also has an envelope function. Option to set TYPE to OFF is available to take the multi-mode filter out of the chain. NOTES ATTENUATION FREQUENCY BASE - WIDTH FILTER Gentle roll off of back to back low pass and high pass filters. The base (0-127) and the width (0-127) parameters set its frequency range. The base-width filter is the first in line of the two filters found on FLTR Page 2. Base Cutoff Cutoff Cutoff Width Resonance Resonance Resonance 0 0 0 0 0 0 0 0 127 127 127 127 127 127 127 127 ATTENUATION FREQUENCY HIGH PASS FILTER - HP Gentle 2-Pole 12dB/Oct roll off. The resonance range (0-127) sets amplitude gain and the cutoff (0-127) parameter is set to frequency. The multi-mode filter is found on FLTR Page 1. HP is set with TYPE. ATTENUATION FREQUENCY LOW PASS FILTER - P2 Gentle 2-Pole 12dB/Oct roll off. The resonance range (0-127) sets amplitude gain and the cutoff (0-127) parameter is set to frequency. The multi-mode filter is found on FLTR Page 1. P2 is set with TYPE. ATTENUATION FREQUENCY LOW PASS FILTER - P4 More aggressive 4-Pole 24dB/Oct roll off. The resonance range (0-127) sets amplitude gain and the cutoff (0-127) parameter is set to frequency. The multi-mode filter is found on FLTR Page 1. P4 is set with TYPE. Base = 0 and Width = 127 : No filter applied Base = 0 and Width < 127 : Low Pass Filter Base > 0 and Width = 127 : High Pass Filter Base > 0 and Width < 127 : Base-Width Filter
Filter and Amp 9 9.2 Filter Page Parameters The filter parameters including the envelope are available in the [FLTR] Page. Also consider the Trig page LEN setting and alignment of sample length when using envelope times. The Digitone Notebook : Reference & Guide 171 ATK The attack time phase of the multi-mode filter’s ADSR envelope. 0-127 FREQ The multi-mode filter cutoff frequency. When mode is off will show a dotted line. 0-127 FLTR Page 1 DEC The decay time phase of the multi-mode filter’s ADSR envelope. 0-126, Inf RESO The resonance gain boost at the cutoff frequency point. When off will show dotted line 0-127 SUS The level of the sustain phase of the multi-mode filter’s ADSR envelope. 0-127 TYPE Sets the low pass (2 and 4 pole) and high pass filter mode of the multi-mode filter. Off, P2, HP, P4 REL The release time phase of the multi-mode filter’s ADSR envelope. 0-126, inf ENV Depth of envelope applied from the filter envelope (bipolar). -64 to +63 A E B F C G D H The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [FLTR] key. Press [FLTR] + [NO] to reset parameter page to last saved state. Press [FLTR] + [YES] to randomise the parameters. [FLTR] + [REC] to copy, [FLTR] + [STOP] to paste and [FLTR] + [PLAY] to clear page.
The base-width filter parameters are available in the [FLTR] Page 2. 172 The Digitone Notebook : Reference & Guide 9 Filter and Amp BASE Sets the ‘base’ lower cutoff frequency for the filter. 0-127 FILTER DELAY Sets the delay time from the trigger to the start of the filter envelope attack phase. Also to quick access from filter page 1, Press [FUNC] + Turn (A). 0-127 FLTR Page 2 WIDTH Sets the ‘width’ upper cutoff frequency determining the range for the filter. 0-127 A E B F C G D H The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [FLTR] key. Press [FLTR] + [NO] to reset parameter page to last saved state. Press [FLTR] + [YES] to randomise the parameters. [FLTR] + [REC] to copy, [FLTR] + [STOP] to paste and [FLTR] + [PLAY] to clear page.
Filter and Amp 9 The Digitone Notebook : Reference & Guide 173 9.3 Amplitude The sound has been generated through the FM engine and shaped in terms of its frequencies with the filters. The Amplitude, or AMP section as its known, shapes the overall volume and output. The core elements of the AMP section are the amplitude envelope, pan control and the sound volume. NOTES -64 0 +64 127 0 PAN controls the balance between the left and right audio output. VOL Controls the sound output volume (this is not track volume which is independent). PAN (G) VOL (H) Left Right ADSR Amp Envelope From Filters AMP AMP Pan
174 The Digitone Notebook : Reference & Guide 9 Filter and Amp 9.4 Amp Page Parameters The amplitude parameters including the envelope, pan and volume are available in the [AMP] along with the overdrive distortion. These are on the AMP Page 1 while effects sends appear on page 1. ATK Attack time of the amplitude envelope. 0 - 127 DRV Overdrive / distortion amount. Positioned after synth engine and before filter stage. 0 - 127.0 PAN Balances the output signal between left or right. Centre 0. L64 - R63 DEC Decay time of the amplitude envelope. 0 - 127 SUS Sustain level of the amplitude envelope. 0 - 127 REL Release time of the amplitude envelope. 0 - 126, Inf VOL Level of sound. This is not the same as the track level. 0 - 127 A E B F C G D H The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [AMP] key. Press [AMP] + [NO] to reset parameter page to last saved state. Press [AMP] + [YES] to randomise the parameters. [AMP] + [REC] to copy, [AMP] + [STOP] to paste and [AMP] + [PLAY] to clear page.
The Digitone Notebook : Reference & Guide 175 Filter and Amp 9 Effect Sends The amplitude parameters including the envelope, pan and volume are available in the [AMP] along with the overdrive distortion. These are on the AMP Page 2. CHR Amount of send signal to the chorus effect. Off, 0.01 - 127.0 REV Amount of send signal to the reverb effect. Off, 0.01 - 127.0 DEL Amount of send signal to the delay effect. Off, 0.01 - 127.0 AENR Amp envelope retrig behaviour. On resets envelopes at each consecutive trigger On, Off A E B F C G D H The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [AMP] key. Press [AMP] + [NO] to reset parameter page to last saved state. Press [AMP] + [YES] to randomise the parameters. [AMP] + [REC] to copy, [AMP] + [STOP] to paste and [AMP] + [PLAY] to clear page.
176 The Digitone Notebook : Reference & Guide 9 Filter and Amp 9.5 Filter And Amp Envelopes Envelopes are used by both the multi-mode filter and the amp. These are traditional ADSR (Attack, Decay, Sustain, Release) envelopes. The filter envelope is a bipolar ADSR and includes a pre-attack delay. +63 0 -64 ADSR ENVELOPE (FILTER) ENV NOTES DECAY (time) SUSTAIN (level) Trigger On Trigger Off ATTACK (time) DELAY (time) RELEASE (time)
The Digitone Notebook : Reference & Guide 177 Filter and Amp 9 The AMP envelope is an ADSR type and also has a configurable re-trigger option using the AENR parameter switch located on AMP Page 2. +127 0 ADSR ENVELOPE (AMP) ATTACK (time) DECAY (time) SUSTAIN (level) RELEASE (time) Trigger On Trigger Off Trigger On Trigger On Trigger On Trigger On Trigger On Trigger On Retrigger activated during envelope cycle from consecutive triggers. With reset (AENR) on, this will restart the envelope from its original starting position. Envelope Reset. AENR = On (Default Setting) Reset will not activate during envelope cycle from consecutive triggers. With reset (AENR) off, this will allow the envelope to continue through its cycle. Polyphony voice settings may affect how the retrigger sounds (i.e. if it steals a voice). The reset is more profound when only one voice is used. Some envelope reset settings may cause audible ‘clicks’ due to the operator phase position at the note trigger. Consider SYN2 page 2 PHRT to help here. Envelope Reset. AENR = Off NOTES
178 The Digitone Notebook : Reference & Guide NOTES
Digitone has two Low Frequency Oscillators or LFO’s for audio and also one for MIDI. These generate wave-shapes that operate at a slow frequency. Unlike audio oscillators which generates sound in the 20Hz to 20kHz range, an LFO generates waves below the 20Hz level. They do not generate audible sound in this frequency range as they serve a very different purpose. LFO’s generate waves to modulate parameters to bring movement and variation into a sound. Imagine manually adjusting the stereo pan control by turning it to vary the sound placement as an effect. Now imagine controlling this with an LFO. Simple usage of LFO’s can make a massive difference to the interest in a sound, building complex modulation patches can offer a lot of sound design power and creative options. Creating movement in sound is a common approach to synthesis sound design. It occurs naturally in many acoustic and classical instruments, for example the vibrato on a guitar. The Digitone LFO’s have a number of configurable options as well as a large number of destinations in the synth, filter and amp stages all available to be modulated. Each LFO parameter set is available in the parameter pages. LFO Page 1 refers to LFO1 and Page 2 for LFO2. Do not underestimate the use and application of LFO’s, not only do they bring life and interest to a sound but they can also be very much a part of creating a sound’s timbre and tone. LFO’s 10 The Digitone Notebook : Reference & Guide 179
180 The Digitone Notebook : Reference & Guide 10.1 LFO Page Parameters The low frequency oscillator parameters for LFO1 are available in the [LFO] Page 1. The two LFO’s host identical parameter sets with the page layouts identical from OS rel 1.32 onwards. LFO 1 - Page 1 DEST Destination options for LFO1. The parameter to be modulated Various MULT Multiplier of LFO1 SPD parameter (on page 1) by a fixed or variable BPM factor. 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, 1K, 2K (incl BPM) WAVE Selects the shape for LFO1 from one of seven options. Triangle, Sine, Square, Saw, Exponential, Ramp, Random. FADE Fades In (negative value) or fades out (positive value) LFO1 -64 to 63 SPD LFO1 speed. Synced with BPM or defined speed. Also option to reverse speed (negative value). -64 to +63 SPH Start point of LFO1. This is the phase start when triggered. 0-127 MODE Trigger behaviour of LFO1 when a note is triggered. FRE, TRG, HLD, ONE, HLF DEP Sets the amount of modulation applied for LFO1. This can be inverted or normal. -64 to +63 A E B F C G D H 10 LFO’s The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [LFO] key. Press [LFO] + [NO] to reset parameter page to last saved state. Press [LFO] + [YES] to randomise the parameters. [LFO] + [REC] to copy, [LFO] + [STOP] to paste and [LFO] + [PLAY] to clear page.
The Digitone Notebook : Reference & Guide 181 The low frequency oscillator parameters for LFO2 are available in the [LFO] Page 2. The two LFO’s host identical parameter sets with the page layouts identical from OS rel 1.32 onwards. LFO 2 - Page 2 DEST Destination options for LFO2. The parameter to be modulated Various MULT Multiplier of LFO2 SPD parameter (on page 1) by a fixed or variable BPM factor. 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, 1K, 2K (incl BPM) WAVE Selects the shape for LFO2 from one of seven options. Triangle, Sine, Square, Saw, Exponential, Ramp, Random. FADE Fades In (negative value) or fades out (positive value) LFO2 -64 to 63 SPD LFO2 speed. Synced with BPM or defined speed. Also option to reverse speed (negative value). -64 to +63 SPH Start point of LFO2. This is the phase start when triggered. 0-127 MODE Trigger behaviour of LFO2 when a note is triggered. FRE, TRG, HLD, ONE, HLF DEP Sets the amount of modulation applied for LFO2. This can be inverted or normal. -64 to +63 A E B F C G D H LFO’s10 The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [LFO] key. Press [LFO] + [NO] to reset parameter page to last saved state. Press [LFO] + [YES] to randomise the parameters. [LFO] + [REC] to copy, [LFO] + [STOP] to paste and [LFO] + [PLAY] to clear page.
10.2 LFO Wave Parameter Overview The WAV Wave options consists of 7 different types. Various configurable parameters along with the wave shape can be selected for the two LFO’s. 182 The Digitone Notebook : Reference & Guide LFO Functions 10 LFO’s NOTES Fade in / out - FADE A fade in (-) or a fade out (+) can be applied LFO1 Page 1 / LFO2 Page 2 Speed - SPD LFO speed at nominal values or synced to BPM tempo using [FUNC] + Turn (A). LFO1 Page 1 / LFO2 Page 2 Multiplier - MULT LFO speed multiplier of SPD. LFO1 Page 1 / LFO2 Page 2 Wave Shape - WAVE Sine is illustrated but 7 shape options are available for selection. LFO1 Page 1 / LFO2 Page 2 Trigger Mode - MODE Sets the note trigger behaviour of the LFO. LFO1 Page 1 / LFO2 Page 2 Destination Parameter - DEST Function / parameter which will be modulated by the LFO. LFO1 Page 1 / LFO2 Page 2 Destinations are available for the Synth, Filter and Amp stages. Start Point - SPH Phase start point. LFO1 Page 1 / LFO2 Page 2 Depth - DEP Depth / Polarity LFO1 Page 1 LFO2 Page 2 +128 -128 X
NOTES The Digitone Notebook : Reference & Guide 183 LFO’s10 ▌SELECTING AN LFO MODULATION DESTINATION 1. Press [T1], [T2], [T3], or [T4] for the track to configure. 2. Press [LFO] to open a page of the LFO parameter settings. Page 1 represents the LFO1 parameters. Double tap [LFO] to access LFO2 parameters on Page 2. 3. Turn (D) on the page for the LFO selected, to scroll through the destination locations available. If a sound is playing the LFO effect will be previewed in the sound when scrolling 4. When highlighting the desired destination press [YES] to confirm selection. 5. The parameter selected will display inverse in the destination list and the parameter name will be shown in the DEST parameter box. ▌SETTING UP A BASIC LFO 1. Press [T1], [T2], [T3], or [T4] for the track to configure. 2. Press [LFO] to open page of the LFO parameter settings and set the destination using data entry (D). 3. Turn (E) to select a desired wave shape from the 7 available. 4. Turn (A) to adjust the LFO Speed. Also a speed multiplier is available and can be adjusted with respect to SPF by turning (B). The multiplier may need to be adjusted down at the outset as the defaults are often too fast. 5. Turn (H) to adjust the depth and amount of effect that the LFO applies to the destination parameter. 6. Iterate these settings to achieve the desired results
184 The Digitone Notebook : Reference & Guide 10 LFO’s NOTES ▌SETTING UP ADVANCED LFO FUNCTIONS 1. Press [T1], [T2], [T3], or [T4] for the track to configure. 2. Press [LFO] to open page of the LFO parameter settings and set the destination using data entry (D). 3. Turn (E) to select a desired wave shape from the 7 available. 4. Turn (A) to adjust the LFO Speed. Also a speed multiplier is available and can be adjusted with respect to SPF by turning (B). The multiplier may need to be adjusted down at the outset as the defaults are often too fast. 5. Turn (H) to adjust the depth and amount of effect that the LFO applies to the destination parameter.. 6. Turn (C) to apply a fade in or out of the LFO. The control is bi-polar ranging between -64 and + 63. Positive values create a fade out and negative values create a fade in. 7. The SPH wave cycle start point can be adjusted. Turn (F) to adjust the start point of the wave phase. 8. The MODE sets the behaviours of how the trigger of a wave cycle is handled. Turn (G) to set the mode. FADE Turn (B) or (F) to set the fade in or out settings. LFO1 Page 1 / LFO2 Page 2 Fade In Fade Out -64 -40 -25 20 40 63 0
10.3 LFO Wave Shapes The WAVE parameter option consists of 7 different types of shape. A wave shape can be selected for each of the two LFO’s. AMPLITUDE TIME SINE WAVE (SIN) AMPLITUDE TIME TRIANGLE WAVE (TRI) AMPLITUDE TIME SQUARE WAVE (SQR) AMPLITUDE TIME RANDOM (RND) AMPLITUDE TIME SAW TOOTH WAVE (SAW) AMPLITUDE TIME EXPONENTIAL (EXP) AMPLITUDE TIME RAMP (RMP) NOTES The Digitone Notebook : Reference & Guide 185 Wave Options LFO’s10
Page Parameter LFO Destination (Audio Tracks) Meta None Off SYN1 P1 ALGO FM Engine algorithm SYN1 P1 Ratio C Operator C Ratio SYN1 P1 Ratio A Operator A Ratio SYN1 P1 Ratio B Operator B Ratio SYN1 P1 HARM Harmonics SYN1 P1 DTUN Detune SYN1 P1 FDBK Operator Feedback SYN1 P1 MIX X-Y Mix SYN2 P1 ATK Envelope A Attack Stage SYN2 P1 DEC Envelope A Decay Stage SYN2 P1 END Envelope A End SYN2 P1 LEV Envelope A Level SYN2 P1 ATK Envelope B Attack Stage SYN2 P1 DEC Envelope B Decay Stage SYN2 P1 END Envelope B End SYN2 P1 LEV Envelope B Level SYN2 P2 ADEL Envelope A Start Delay SYN2 P2 BDEL Envelope B Start Delay SYN Pitch Pitch Operators All SYN Pitch Pitch Operators A & B2 SYN2 P1 RATIO All Operators Ratio SYN2 P1 LEV Envelope A & B Level SYN2 P1 ATK Envelope A & B Attack Stage SYN2 P1 DEC Envelope A & B Decay Stage SYN2 P1 END Envelope A & B End SYN2 P2 ADEL / BDEL Envelope A & B Start Delay SYN1 P2 RATIO OFFSET C Operator C Ratio Offset SYN1 P2 RATIO OFFSET A Operator A Ratio Offset SYN1 P2 RATIO OFFSET B1 Operator B1 Ratio Offset SYN1 P2 RATIO OFFSET B2 Operator B2 Ratio Offset 186 The Digitone Notebook : Reference & Guide NOTES Destination Options (Audio Tracks) 10 LFO’s 10.4 LFO Destinations (Audio Tracks) The destination list for the synth, filter and amp stages for audio tracks is covered in these tables.
NOTES The Digitone Notebook : Reference & Guide 187 LFO’s10 Page Parameter LFO Destination (Audio Tracks) FLTR P1 FREQ Cut off Frequency Multi-Mode Filter FLTR P1 RESO Filter Resonance Multi-Mode Filter FLTR P1 ENV Envelope Depth Multi-Mode Filter FLTR P1 ATK Attack Time - Envelope Multi-Mode Filter FLTR P1 DEC Decay Time - Envelope Multi-Mode Filter FLTR P1 SUS Sustain Level - Envelope Multi-Mode Filter FLTR P1 REL Release Time - Envelope Multi-Mode Filter FLTR P2 BASE Filter base frequency point FLTR P2 WIDTH Filter width frequency range AMP P1 ATK Attack Time - Envelope AMP P1 DEC Decay Time - Envelope AMP P1 SUS Sustain Level - Envelope AMP P1 REL Release Time - Envelope AMP P1 DRV Overdrive Amount AMP P1 PAN Pan Value AMP P1 VOL Volume Level AMP P2 REV Reverb Send AMP P2 DEL Delay Send AMP P2 CHR Chorus Send Destination Options (Audio Tracks)
188 The Digitone Notebook : Reference & Guide NOTES 10 LFO’s 10.5 LFO Speed Model Two parameters are available for setting the LFO speed. These are the SPD Speed parameters which sets the core LFO speed and the MULT parameter which applies a multiplier to SPD. Speed - SPD LFO speed at nominal values or synced to BPM tempo using [FUNC] + Turn (A). -64 to +63 Range Negative values reverse the wave directions LFO1 Page 1 / LFO2 Page 2 Multiplier - MULT LFO speed multiplier of SPD. LFO1 Page 1 / LFO2 Page 2 Frequency. This can be incremental values synced to BPM or nominal values. X BPM 1 2 4 8 16 32 64 128 256 512 1K 2K Nominal Values 1 2 4 8 16 32 64 128 256 512 1K 2K LFO Speed in whole note values, generated from SPD & MULT parameter settings MULT Value SPD Value 1 2 4 8 16 32 64 128 256 512 1K 2K 1 128 64 32 16 8 4 2 1 1/2 1/4 1/8 1/16 2 64 32 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 4 32 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64 8 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 32 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 1/512 64 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 1/512 1/1024
NOTES The Digitone Notebook : Reference & Guide 189 AMPLITUDE TIME FREE RUNNING (FRE) LFO runs freely and continuously and ignores any trig start / stop events. AMPLITUDE TIME TRIGGERED (TRG) The LFO restarts from its start position when a note event is triggered. Trigger Trigger Trigger Trigger Trigger Trigger AMPLITUDE TIME HOLD (HLD) LFO runs freely in the background. The current value in the cycle is held when a note is triggered until the next note is triggered where it will switch to hold the cycle position at the new trigger. AMPLITUDE TIME ONE CYCLE (ONE) LFO runs from the start when triggered and runs for one cycle only. AMPLITUDE TIME HALF CYCLE (HLF) LFO runs from the start when triggered and runs for only half of one cycle or half way through the wave. Trigger Trigger Trigger LFO’s10 10.6 LFO Mode Modes set the LFO behaviour when triggered by a note.
190 The Digitone Notebook : Reference & Guide 10 LFO’s 10.7 MIDI LFO An LFO also exists for MIDI tracks which can be used for modulation of SYN1 and FLTR parameters. This is available in MIDI Mode accessed by pressing [MIDI]. MULT Multiplier of LFO1 SPD parameter (on page 1) by a fixed or variable BPM factor. FADE Fades In (negative value) or fades out (positive value) LFO1 -64 to 63 SPH Start point of LFO1. This is the phase start when triggered. 0-127 MODE Trigger behaviour of LFO when a note is triggered. DEST Destination options for LFO The parameter to be modulated Various WAVE Selects the shape for LFO from one of seven options. Triangle, Sine, Square, Saw, Exponential, Ramp, Random. SPD LFO speed. Synced with BPM or defined speed. Also options to reverse speed with negative value. -64 to +63 DEP Sets the amount of modulation applied for LFO2. This can be inverted or normal. -64 to +63 A E B F C G D H The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [LFO] key. Press [LFO] + [NO] to reset parameter page to last saved state. Press [LFO] + [YES] to randomise the parameters. [LFO] + [REC] to copy, [LFO] + [STOP] to paste and [LFO] + [PLAY] to clear page.
NOTES The Digitone Notebook : Reference & Guide 191 LFO’s10 10.8 LFO Destinations (MIDI Tracks) The destination list for the synth and filter stages for MIDI destinations is covered in these tables. Page Parameter LFO Destination (MIDI Tracks) Meta None Off SYN1 or SYN2 PB Pitch Bend SYN1 or SYN2 AT Aftertouch SYN1 or SYN2 MW Mod Wheel SYN1 or SYN2 BC Breath Control FLTR VAL1 CC1 Value FLTR VAL2 CC2 Value FLTR VAL3 CC3 Value FLTR VAL4 CC4 Value FLTR VAL5 CC5 Value FLTR VAL6 CC6 Value FLTR VAL7 CC7 Value FLTR VAL8 CC8 Value Destination Options (MIDI Tracks)
192 The Digitone Notebook : Reference & Guide NOTES
Digitone has three send effects which are chorus, delay and reverb. These are set at pattern level meaning that the effects are common for all sounds across that pattern. Effects are saved with the pattern. In addition the master output contains a master overdrive function which introduces distortion into the main master audio output. This is distinct from the overdrive found between the FM engine and filters and located on the AMP page. The actual effect settings are self contained on the secondary pages accessed for chorus, delay and reverb by using [FUNC] + [SYN2], [FLTR], and [AMP] respectively. The master page is accessed with [FUNC] + [LFO]. The effects also provide a send to other effects. So the chorus can be fed to the delay and reverb, delay to the reverb as well as outputting the return back to the audio channel. The effects can be a key part of sound design and help to develop a more expansive and interesting sound. Modulating effect send parameters can also add interest as well as developing happy accidents using the effect page parameter randomisation. Remember holding the page and pressing [NO] will automatically revert to previously saved states and avoid retracing steps when experimenting with effect setups. In these cases use [FUNC] + Page + [YES] to randomise the page parameters and [FUNC] + Page + [NO] to restore previous state. Effects 11 The Digitone Notebook : Reference & Guide 193
194 The Digitone Notebook : Reference & Guide 11 Effects 11.1 Effects Overview The three effects chorus, delay, reverb, operate as send effects with additional send functionality between the effects themselves. The sounds send amount is controlled from page 2 of main AMP page. The audio inputs controlled from the master page also allows the external audio in to be sent to the effects. The main effect controls are found under the secondary options of pages for the SYN2, FLTR and AMP functions. It is important to note that the effect settings are saved with the pattern not the individual sound. NOTES Delay Delay Delay Chorus Delay Chorus Reverb Reverb Delay Chorus Reverb AMP AMP AMP Master Master Master Reverb Delay Chorus Effects Sends Audio Output Audio Input
Effects11 11.2 Chorus Page & Parameters The main chorus parameters are available in the [FUNC] + [SYN2] Page. Chorus can provide width and thicken a sound, adding movement and interest. VOL control adjusts the effect mix output level. The Digitone Notebook : Reference & Guide 195 DPTH Depth of modulation applied from its LFO to the chorus. 0-127 SPD Modulation speed for the chorus effect from its LFO. 0-127 DEL Send amount of chorus (wet) to direct through the delay effect. 0-127 HPF High pass filter. Applied at the input to the chorus to help shape the pre-effect sound. 0-127 REV Send amount of chorus (wet) to direct through the reverb effect. 0-127 WDTH Chorus stereo width amount. 0-127 A E B F C G D H The current value of each parameter is displayed when the control is adjusted or all parameter setting will be displayed when adjusting its parameter. Press [FUNC] + [SYN2] + [NO] to reset parameter page to last saved state. Press [FUNC] + [SYN2] + [YES] to randomise the parameters. + VOL Mix volume level for the chorus output audio signal. 0-127
196 The Digitone Notebook : Reference & Guide 11 Effects Delay Chorus Delay Chorus Chorus Reverb AMP CHR Master CHR Reverb Delay Chorus Effects Engine Effect Send LFO Modulation (option) Audio Input Audio Output External audio send is mono NOTES DEL REV REV LFO Chorus Input Effect Stereo Output L R Filter Chorus SPD DPTH VOL WDTH
Effects11 The Digitone Notebook : Reference & Guide 197 NOTES 11.3 Using the Chorus Effect Chorus operates as send / return with the send amount for the sound set in the AMP Page. The external audio input can also be sent through the chorus. The main parameter settings are in the CHORUS page and are saved as part of the pattern and not with the sound. ▌SETTING A PATTERN SEND LEVEL - CHORUS 1. Select amp page 2, Press [AMP], [AMP]. 2. Adjust the data entry control (E) to set the send level of the sound to the effect. This sets the amount of the sound audio that is routed into the chorus effect. 3. The chorus return feeds the affected sound back to the audio path. ▌ACCESSING THE CHORUS EFFECT SETTINGS 1. The effect is a common effect meaning settings are common but send level is adjustable per track. 2. Select [FUNC] + [SYN2] to open the CHORUS effect page. The key illuminates blue instead of red when selecting the primary synth page. 3. Adjust the data entry controls (A) … (D) to set the chorus parameter settings. ▌SENDING THE CHORUS EFFECT INTO THE DELAY 1. The chorus has the option to also feed wet signal into the delay effect. 2. Select [FUNC] + [SYN2] to open the chorus effect page. The key illuminates blue instead of red. 3. Adjust the DEL data entry control (F) to adjust the amount to feed into the reverb. Range is 0-127.
198 The Digitone Notebook : Reference & Guide 11 Effects ▌SENDING THE CHORUS EFFECT INTO THE REVERB 1. The chorus has the option to also feed wet signal into the reverb effect. 2. Select [FUNC] + [SYN2] to open the chorus effect page. The key illuminates blue instead of red. 3. Adjust the REV data entry control (G) to adjust the amount to feed into the reverb. Range is 0-127. ▌SENDING EXTERNAL AUDIO IN THROUGH THE CHORUS EFFECT 1. Select [FUNC] + [LFO] to open the master page. The key illuminates blue instead of red. 2. Adjust the CHR data entry control (E) to adjust the send amount of the incoming audio (converted to mono) to feed into the chorus. The available range is 0-127. NOTES
Effects11 The Digitone Notebook : Reference & Guide 199 11.4 Delay Page & Parameters The main delay parameters are available in the [FUNC] + [FLTR] Page. Delay can provide depth and can create more time based elements to a sound. VOL control adjusts the effect mix output level. TIME Delay time relative to the tempo BPM measured in 128th Notes. [FUNC] + Turn (A) for step changes. 1-128 X Ping-pong delay option to alternate across stereo width. On, Off LPF Low pass filter to shape the frequency. Sets the LPF cutoff frequency of the delay. 0-127 HPF High pass filter to shape the frequency. Sets the HPF cutoff of the delay. 0-127 WID Delay stereo width amount. -64 to 630 REV Send amount of delay (wet) to direct through the reverb effect. 0-127 FDBK Amount of delay fed-back in to create a more sustained effect. Higher values more ‘infinite’ sustained delay. 0-198 VOL Mix volume level for the delay output audio signal. 0-127 A E B F C G D H The current value of each parameter is displayed when the control is adjusted or all parameter setting will be displayed when adjusting its parameter. Press [FUNC] + [FLTR] + [NO] to reset parameter page to last saved state. Press [FUNC] + [FLTR] + [YES] to randomise the parameters. +
200 The Digitone Notebook : Reference & Guide 11 Effects Delay Delay Delay Chorus Delay Reverb AMP DEL Master DEL Reverb Delay Chorus Effects Engine X - Ping Pong On Signal alternates left / right. WID controls panning Off Signal is positioned manually, WID sets stereo field. WID - Width Delay pan width across the stereo field. Effect Send LFO Modulation (option) Audio Input Audio Output External audio send is mono DEL REV REV LFO NOTES Delay Input Effect Stereo L R Filter Delay TIME WDTH FDBK X Output VOL