## Spectrum Domain Nodes

## 1 Brikwall Filter

A spectral brickwall filter.

Low Freq: the components below this parameter are filtered out.

High Freq: the components above this parameter are filtered out.

Bandpass/Reject Switch: when in reject mode the brickwall filter filters out the frequencies inside the two frequency parameters.

Low Freq: the components below this parameter are filtered out.

High Freq: the components above this parameter are filtered out.

Bandpass/Reject Switch: when in reject mode the brickwall filter filters out the frequencies inside the two frequency parameters.

## 2 Spectrum Runner

A spectral delay with feedback

This node has three “spectral LFOs” to modulate the amplitude, the delay and the feedback of the spectral components

The edit window shows three oscilloscopes, one for each spectral LFO A little circular icon on the bottom right of the oscilloscopes open the parameter window

Amplitude Parameters"

Min" sets the minimum amplitude (the minimum LFO value)

Max" sets the maximum amplitude (the maximum LFO value)

Cycles: how many cycles of the spectral LFO are generated in the spectrum space

Shift: when this parameter is not equal to 0 the LFO scrolls in the spectrum space, generating dynamic variation in the components

Shape: the waveform of the LFO- Sine, Square, Triangle, Ramp Up, Ramp Down, Pulse

Delay Parameters-

Same as the Amplitude Parameters, except Min and Max which are expressed in seconds

Feedback Parameters"

Same as the Amplitude Parameters

This node has three “spectral LFOs” to modulate the amplitude, the delay and the feedback of the spectral components

The edit window shows three oscilloscopes, one for each spectral LFO A little circular icon on the bottom right of the oscilloscopes open the parameter window

Amplitude Parameters"

Min" sets the minimum amplitude (the minimum LFO value)

Max" sets the maximum amplitude (the maximum LFO value)

Cycles: how many cycles of the spectral LFO are generated in the spectrum space

Shift: when this parameter is not equal to 0 the LFO scrolls in the spectrum space, generating dynamic variation in the components

Shape: the waveform of the LFO- Sine, Square, Triangle, Ramp Up, Ramp Down, Pulse

Delay Parameters-

Same as the Amplitude Parameters, except Min and Max which are expressed in seconds

Feedback Parameters"

Same as the Amplitude Parameters

## 3 Grip

This node samples and holds spectral components of the incoming signal, based on their amplitude

Amp Center: This is the center of the held spectral components amplitude range; all components whose amplitude falls in this range are held

Amp Range: The amplitude range width

You can edit graphically the two parameters above by tapping the small circular icon between the two knobs

Amp Decay: Amplitude decay for the held components" it ranges from 0 (shortest) to 1 (longest)

Sample & Hold: the percentage of components held (when they are included in the Amp Range)

Phase Hold- this switch freezes the components phase‘ the result is a drone resonance, whose frequency depends on the sample rate

Phase Mult- multiplies the freezed phases value

Amp Center: This is the center of the held spectral components amplitude range; all components whose amplitude falls in this range are held

Amp Range: The amplitude range width

You can edit graphically the two parameters above by tapping the small circular icon between the two knobs

Amp Decay: Amplitude decay for the held components" it ranges from 0 (shortest) to 1 (longest)

Sample & Hold: the percentage of components held (when they are included in the Amp Range)

Phase Hold- this switch freezes the components phase‘ the result is a drone resonance, whose frequency depends on the sample rate

Phase Mult- multiplies the freezed phases value

## 4 Blur

A (noisy) “spectral reverb” The duration of the spectral components are prolonged (blurred)

Amount: length of the blurring When this parameter is 1 the spectrum is frozen

Blur Min Freq: the minimum frequency to be blurred

Blur Max Freq: the maximum frequency to be blurred

Unblurred: the amplitude of the non-blurred components (those outside the Min-Max range above)

In/Out: when toggled the blurred components are those outside the Min-Max range

Stereo Flip' Blurs the entire spectrum; the components inside the Min-Max range are on the left channel, those outside are on the right channel The behaviour is reversed if the In/Out switch is on

Amount: length of the blurring When this parameter is 1 the spectrum is frozen

Blur Min Freq: the minimum frequency to be blurred

Blur Max Freq: the maximum frequency to be blurred

Unblurred: the amplitude of the non-blurred components (those outside the Min-Max range above)

In/Out: when toggled the blurred components are those outside the Min-Max range

Stereo Flip' Blurs the entire spectrum; the components inside the Min-Max range are on the left channel, those outside are on the right channel The behaviour is reversed if the In/Out switch is on

## 5 Degrader

A spectral decimator

Reduction: a division factor for the spectral components lf, for instance, the components are 512 and the Reduction parameter is 4, the components become 512/4 = 128

Rounding: generally the amplitude of a single component goes from O to number-of-components (i e if we have 512 components, the amplitude of a single component can range from 0 to 512) The rounding factor sets the value of a single step in amplitude If it is 0 you have all possible values, if it is 1 you only have integer values, if it is 2 you only have even values, if it is 3 you only have multiple of 3 and so on

Min Freq: minimum frequency affected

Max Freq: maximum frequency affected

Gain: sets the gain of the decimated signal

Reduction: a division factor for the spectral components lf, for instance, the components are 512 and the Reduction parameter is 4, the components become 512/4 = 128

Rounding: generally the amplitude of a single component goes from O to number-of-components (i e if we have 512 components, the amplitude of a single component can range from 0 to 512) The rounding factor sets the value of a single step in amplitude If it is 0 you have all possible values, if it is 1 you only have integer values, if it is 2 you only have even values, if it is 3 you only have multiple of 3 and so on

Min Freq: minimum frequency affected

Max Freq: maximum frequency affected

Gain: sets the gain of the decimated signal

## 6 Flutter

Flutter is a sort of animated brickwall Two spectral sinusoidal LFOs define the frequency boundaries The spectral components which are inside or outside (depending on the Spectral Balance) these boundaries are suppressed

Upper Freq Limit and Lower Freq Limit: the effect takes place only inside these limits

LFO 1 Bands: in how many cycles the first LFO covers the signal spectrum

LFO 1 Freq- at what the rate the first LFO slides along the signal spectrum

LFO 2 Bands: in how many cycles the second LFO covers the signal spectrum

LFO 2 Freq- at what the rate the second LFO slides along the signal spectrum

Spectral Balance: when this parameter is O the spectral components which are inside these boundaries are suppressed; when it is 1 the spectral components which are outside these boundaries are suppressed.

Residual Gain: this is the gain of the frequencies not processed, i.e. the frequencies not included in the band between the Upper Freq Limit and Lower Freq Limit.

Upper Freq Limit and Lower Freq Limit: the effect takes place only inside these limits

LFO 1 Bands: in how many cycles the first LFO covers the signal spectrum

LFO 1 Freq- at what the rate the first LFO slides along the signal spectrum

LFO 2 Bands: in how many cycles the second LFO covers the signal spectrum

LFO 2 Freq- at what the rate the second LFO slides along the signal spectrum

Spectral Balance: when this parameter is O the spectral components which are inside these boundaries are suppressed; when it is 1 the spectral components which are outside these boundaries are suppressed.

Residual Gain: this is the gain of the frequencies not processed, i.e. the frequencies not included in the band between the Upper Freq Limit and Lower Freq Limit.

## The monophonic Synthesizer

You can use the internal monophonic synth as a source by choosing it in the Input Selection Window.

The synth contains two band limited oscillators (1 and 2), a complex oscillator (3), a ladder filter (4), an envelope generator (5) and a sub- bass oscillator.

Tap on one of the six icons to open the relative edit window. Inside an edit window you can navigate to the other windows using 6 little icons on the top.

Each component of the synth, apart from the envelope generator, can be switched on and oh‘ by tapping the “power” icon in the upper left of each edit window.

The synth contains two band limited oscillators (1 and 2), a complex oscillator (3), a ladder filter (4), an envelope generator (5) and a sub- bass oscillator.

Tap on one of the six icons to open the relative edit window. Inside an edit window you can navigate to the other windows using 6 little icons on the top.

Each component of the synth, apart from the envelope generator, can be switched on and oh‘ by tapping the “power” icon in the upper left of each edit window.

## 1 & 2 Band Limited Oscillator

The band limiter oscillators have a generator capable of morphing between the four classic waveforms: sawtooth, square, triangle and sine. They also contain a noise modulator.

Waveform: use this parameter to morph between the different waveforms.

Tap on the small icons above the fader to precisely select one of the four waveforms.

Harmonics: this parameter sets the quantity of harmonics of the waveform i e its brilliance

Amp: the amplitude of the oscillator

Duty Cycle: ratio between the first and the second half cycle in the square and triangular waveforms

Detune: pitch transposition in semitones

Freq Shift: adds or subtracts a fixed amount of hertz to the pitch

Ladder Send: the amount of signal sent to the Ladder Filter

Glide: pitch portamento between notes in milliseconds

Rand Freq Fact: multiplication factor for the frequencyfthe random modulator

Rand Mod Depth" depth of the random modulation

Waveform: use this parameter to morph between the different waveforms.

Tap on the small icons above the fader to precisely select one of the four waveforms.

Harmonics: this parameter sets the quantity of harmonics of the waveform i e its brilliance

Amp: the amplitude of the oscillator

Duty Cycle: ratio between the first and the second half cycle in the square and triangular waveforms

Detune: pitch transposition in semitones

Freq Shift: adds or subtracts a fixed amount of hertz to the pitch

Ladder Send: the amount of signal sent to the Ladder Filter

Glide: pitch portamento between notes in milliseconds

Rand Freq Fact: multiplication factor for the frequencyfthe random modulator

Rand Mod Depth" depth of the random modulation

## 3 Complex Oscillator

The complex oscillator uses a new synthesis technique we called “Split Synthesis”: it is based on diﬁerent processing of the positive and negative parts of the waveform.

Overtones: this parameter emphasizes the overtones of the oscillator using a frequency shifter Negative numbers are not “undertones” but overtones obtained using negative frequency shifting (try it to hear the difference)

Overtones Divisor: the frequency shifting set with the first parameter is divided by this one This creates undertones and/or inharmonic components

Amp: the amplitude of the oscillator

Simple $hifting- this is an additional frequency shifting which increases the overtones frequency shifting above, creating beatings and inharmonicities

Recirculation: a delay line with feedback is included in this oscillator The

Recirculation parameter sets the number of delay repetitions per cycle

Recirculation Feedback" this is the feedback parameter for the delay line If

it is set to O, the recirculation has no effect Values above 1 generates heavy

distortion

Ladder Send: the amount of signal sent to the Ladder Filter

Simple/Complex Mix- there are two split synthesis modules in cascade' the output of the first is the “simple” one, the second is “complex” With this parameter you can mix the two outputs

Complex Overtones: with this parameter you can shift the frequency of the second module If the Simple/Complex Mix parameter above is 0, this parameter has no effect

Complex Shifting: this is an additional frequency shifting which increases the Complex Overtones frequency shifting above, creating beatings and inharmonicities

Overtones Divisor: the frequency shifting set with the first parameter is divided by this one This creates undertones and/or inharmonic components

Amp: the amplitude of the oscillator

Simple $hifting- this is an additional frequency shifting which increases the overtones frequency shifting above, creating beatings and inharmonicities

Recirculation: a delay line with feedback is included in this oscillator The

Recirculation parameter sets the number of delay repetitions per cycle

Recirculation Feedback" this is the feedback parameter for the delay line If

it is set to O, the recirculation has no effect Values above 1 generates heavy

distortion

Ladder Send: the amount of signal sent to the Ladder Filter

Simple/Complex Mix- there are two split synthesis modules in cascade' the output of the first is the “simple” one, the second is “complex” With this parameter you can mix the two outputs

Complex Overtones: with this parameter you can shift the frequency of the second module If the Simple/Complex Mix parameter above is 0, this parameter has no effect

Complex Shifting: this is an additional frequency shifting which increases the Complex Overtones frequency shifting above, creating beatings and inharmonicities

## 4 Ladder Filter

A high quality anti-aliased analog emulated Ladder filter Cutoff Ratio: the cut-off frequency as a ratio of the note frequency; f i if the note frequency is 220 Hz and the Cutoff Ratio is 3, the actual cut-off frequency will be 660 Hz (22Ox3)

Fleson: resonance factor When it is 1 or more the filter resonates by itself, even with no signal in input

Env Sens: envelope sensitivity‘ the amount of cut-off frequency influenced by the envelope For example, if the Cutoff Ratio is 3 and the Env Sens is 2, the actual cut-off ratio goes from 3 to 5 and back to 3 following the amplitude

envelope shape

Fleson: resonance factor When it is 1 or more the filter resonates by itself, even with no signal in input

Env Sens: envelope sensitivity‘ the amount of cut-off frequency influenced by the envelope For example, if the Cutoff Ratio is 3 and the Env Sens is 2, the actual cut-off ratio goes from 3 to 5 and back to 3 following the amplitude

envelope shape

## 5 Sub Bass Oscillator

A sinusoidal oscillator which can be used to reinforce the fundamental of the sound, or to add a sub-bass component one or two octaves below the

fundamental frequency.

Amp: the amplitude of the oscillator. 0/-12/-24 Switch: the transposition of the oscillator frequency in semitones

(no transposition, 1 octave below, 2 octaves below).

Glide: pitch portamento between notes in milliseconds.

fundamental frequency.

Amp: the amplitude of the oscillator. 0/-12/-24 Switch: the transposition of the oscillator frequency in semitones

(no transposition, 1 octave below, 2 octaves below).

Glide: pitch portamento between notes in milliseconds.

## 6 Envelope Generator

The classic ADSR envelope.

Vel Sens: velocity sensitivity; the diﬁerence in dB between the softest (velocity 1) and the loudest (velocity 127) note.

Attack: first envelope segment, this is the time it takes the note amplitude to go from 0 to 1

Decay: second envelope segment, this is the time it takes the note amplitude to go from 1 to the Sustain level (see below)

Sustain‘ amplitude of the note alter the attack and release segments This segment lasts as long as the note is held

Release: last envelope segment, this is the time it takes the note amplitude to go from 1 to 0 when the note is released

Cunle: exponential factor for the ADSR segments When the value is > 1 the ADSR segments are not straight lines but exponential cun/es

Vel Sens: velocity sensitivity; the diﬁerence in dB between the softest (velocity 1) and the loudest (velocity 127) note.

Attack: first envelope segment, this is the time it takes the note amplitude to go from 0 to 1

Decay: second envelope segment, this is the time it takes the note amplitude to go from 1 to the Sustain level (see below)

Sustain‘ amplitude of the note alter the attack and release segments This segment lasts as long as the note is held

Release: last envelope segment, this is the time it takes the note amplitude to go from 1 to 0 when the note is released

Cunle: exponential factor for the ADSR segments When the value is > 1 the ADSR segments are not straight lines but exponential cun/es