*SimSynth is copyright(c) 1999 by David Billen http://ellisdee.onestop.net, all rights reserved. This is a beta release which is in no way intended for distribution of any kind.
*Choose a link below...
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#Overview
&ENV/RIFF/MIDI
*Change any setting and click "TEST", (or the little keyboard), to hear the preset. If "Loop" is on, most parameter changes are realtime, and you do not have to click test. Other parameters are not realtime, and cause the preset to start over.
*Right click any knob for detailed setting.
*See the ENV/RIFF/MIDI link for information on editing envelopes and Riffs.
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#Keyboard
*STANDARD: S = Quick Save, L = Load Preset, [SPACE] = Test/Sync
*ENVS: A = Amp env, F = Filter env, O = Osc env, R = Riff, H = Help
*RIFF EDIT: C = Clear Bar, P = Copy Previous Bar, U = transpose Up, D = transpose Down, < = shift left, > = shift right
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#Topics
&1.x presets
&Timing
*Select a topic link below...
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#1.x presets
&Osc changes
&LFO changes
&SVF changes
&Env changes
&Other changes
*SimSynth 2.0 can load SimSynth 1.x version presets. It builds most of them nearly the same, but not completely. See the links for details on each section.
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#Osc changes
*.WAV oscillators have been scrapped. 1.x presets that used these are not supported under the new SimSynth.
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#LFO changes
*The ability to get high speed LFO's by specifying a rate in the negative range has been discarded. Also, +1, +2, and file osc's are no longer available for LFO.
*Finally, the rate value has changed so that it can be specified exactly to produce output which syncs with other audio apps.
*SimSynth converts the LFO's as well as possible.
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#SVF changes
*SimSynth 2.0 adds features to the SVF, but imports 1.x files perfectly. Use the "1.x style" switch in order for preamp to respond the same.
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#Env changes
*SimSynth 1.x had exponential envelopes. SimSynth 2.0 uses linear. When you load a SimSynth 1.x preset, envelope decays are converted to three stages in order to reshape them to sound more like the older ones. Attacks are not converted, (and usually sound better linear anyway).
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#Other changes
*The EFX use different algorithms in 2.0 and do not sound exactly the same. PAN and ECHO are not converted accurately. BOOST AMP is converted into a GAIN of 150%. OPTIMIZE is no longer supported, (causing some presets to become very quiet). X2 no longer applied to the EFX.
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#Timing
&Tempo
&Clocks
*SimSynth can produce audio that has LFO's, Envelopes, EFX delay/mod rate, and riffs all in sync with a specified TEMPO. You can EXPORT a wave and use it in sync with other audio apps.
*See the CLOCKS link for an example of how to specify timing.
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#Clocks
&Tempo
&LFO Rate
*All times are specified in clocks. There are 500 clocks per quarter note beat as specified by the TEMPO knob. If the TEMPO is set to 120, then one clock = one millisecond.
*Output from SimSynth will synchronize with other audio apps.
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#Params
&OSC
&LFO
&SVF
&FX
&ENV/RIFF/MIDI
&OUTPUT
&Other...
*Select a group from the links below for details on specific parameters.
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#Other...
&Base Frq
&Tempo
&Gain
&Limit
× 2
*Select a link below...
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#Base Frq
&Frq/Fine
*This is the base frequency to which the oscillator frequencies are added. This setting is not used for riffs.
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#Tempo
&Timing
*Tempo in musical terms, (BPM's). See "Timing".
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#Gain
*Final gain for SimSynth output. IMPORTANT: This knob does NOT control the mixer level on your system. Normally, you want this setting to be as high as possible without causing clipping. (The clip light next to the knob flashes when you get clipping).
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#Limit
*A high limiter. This is not to be confused with a low-pass, which reduces all high frequencies in a signal. The limiter limits the amplitude of high frequencies, reducing loud ones, but allowing quiet ones to pass through unaltered. It is useful for cleaning up a signal, (i.e. removing pops). It also removes the masking effect that high frequencies can have at peak points, and makes the output sound more analog.
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#times 2
*Causes all timing to be twice as slow, and all frequencies to be twice as deep. This is prior to EFX proccessing, (i.e. EFX are not changed by it). "times 2" is only useful on slow computers.
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#OSC
&Adj
&Frq/Fine
&Mix
&ENV/LFO/OSC
&Shape
&Switches
*Select from the links below.
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#Frq/Fine
*Frq specifies the offset frequency of the oscillator in semitones. Fine also offsets the frequency, but is a more detailed setting. It is specified in cents. A cent is .01 semitones.
*Frq and fine also affect the pitch of .WAV and noise oscillators.
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#Mix
*Used to adjust the amplitude of an oscillator relative to the other oscillators. If only one oscillator is used, MIX has no affect. If an oscillator is modulating another oscillator, MIX also has no affect.
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#ENV/LFO/OSC
*These all adjust the amount of modulation of the oscillator by a percentage, where 100% is double the frequency, -100% half, etc. ENV adjust the amount for the OSC envelope, (or amp envelope if it is off). OSC 1 can be modulated by OSC 2, and OSC 2 can be modulated by OSC 3. OSC 3 can not be modulated by another oscillator.
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#Switches
*+1 adds an octave to the oscillator. +2 adds a second octave. WARM adds a second frequency which is detuned (flat).
*Drift (all) pertains to all oscillators. It causes the oscillators not to resync when every note in a riff is played. This makes the sound mushy, and usually worse, but sometimes it is an appropriate sound especially for realistic brass presets.
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#SVF
&Preamp/Limit
&Cut/Emph
&Env/Lfo
&Out
&LP/BP/HP
&X2/Post/1.x style
*Select from the links below...
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#Preamp/Limit
&LIMIT
*PREAMP boosts the output from the oscillators before feeding it to the filter. Use small amounts to get an overdriven Moog sound. Use larger amounts for overdrive distortion effects.
*LIMIT is a high limiter. It is exactly like the LIMIT knob in the main section.
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#Cut/Emph
*CUT is the filter cutoff level, and EMPH is emphasis, (sometimes called resonance and also "Q"). They are both more pronounced when the X2 switch is on.
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#Env/Lfo
*ENV controls the amount that the filter envelope controls the cutoff level, (the amp envelope is used if the filter envelope is off). LFO controls the amount that the LFO affects the cutoff level.
*Both are added together along with the cutoff level knob value, so it is easy to "top out" or "bottom out" if you don't pay careful attention to all the settings.
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#Out
&LP/BP/HP
*Controls the final output level of the filters. This is in addition to the mixer knobs (see link). It's normally best to have the output level as high as possible without clipping. (When clipping occurs, the red clip LED flashes). Note that resonance (the EMPH knob) amplies the signal, and you may need to turn down this knob and compensate with the final GAIN knob in order to get a clean sound.
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#LP/BP/HP
&Out
*A SVF filter produces low pass, band pass, and high pass output all at the same time. These three knobs control the output levels (LP = low pass, BP = band pass, HP = high pass). The overall levels of all three are also affected by the "OUT" Knob, (see link).
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#X2/Post/1.x style
&Preamp/Limit
*X2 make the filter hard (steeper). It also causes resonance to be much stronger.
*Post adds a little more low pass filtering after the regular filtering.
*1.x style gives the filter a different character which is compatible with SimSynth 1.x. It also causes PREAMP to respond like in SimSynth 1.x versions.
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#FX
&DELAY/REFEED
&BEND/RATE
&FX Mixing
&Banding
&Ping Pong
&Bounce
&Notch
*SimSynth features programmable effects. There are actually two independent effect processers: A delay and a frequency modulator.
*Select a link below for details.
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#DELAY/REFEED
&Clocks
&Ping Pong
*DELAY specifies the delay before the signal repeats in clocks.
*REFEED Specifies the amount that the processed signal is fed back into the mix.
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#BEND/RATE
&Clocks
&Bounce
*BEND specifies the amount that the frequency of the processed signal is modulated up and down.
*RATE specifies the rate at which the frequency is modulated in clocks per cycle. Rate also controls BOUNCE rate and FMOD.
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#FX Mixing
&MIX
&SEP
*Select a link below:
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#MIX
*Wet is the amount of processed signal that is mixed to produce the final output of the EFX. Turning mix all the way down produces only "dry" (unprocessed) output, (you may as well turn off the EFX). All the way up produces only "wet" (processed) output.
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#SEP
&Ping Pong
&Bounce
#MIX
*SEP is the amount of stereo separation between the wet and dry outputs. At 0% the output is a mono mix of both. At 100% Wet is sent exclusively out one channel and dry the other.
*SEP also works with the Ping Pong and Bounce switches.
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#Ping Pong
&DELAY/REFEED
*Ping Pong causes the dry mix to be sent to both channels, and the wet mix to pan from one channel to the other at a speed determined by the DELAY knob.
*SEP only applies to the wet mix when Ping Pong is on. The wet mix pans only as far as SEP specifies.
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#Bounce
&BEND/RATE
*Bounce causes the wet and dry mix to pan (180 degrees out of phase) at a speed determined by the RATE knob. The SEP knob still controls the amount of separation at the furthest points.
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#Banding
&BAND/RATE
&Notch
*The wet mix can be band filtered. BAND controls the amount. FRQ controls the band filter frequency. Q controls the band width, (higher settings are tighter).
*FMOD controls the amount that the frequenct is modulated up and down. The modulation rate is the RATE value times 8.
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#Notch
&Banding
*Reverses "BAND" and makes it a notch instead.
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#LFO
&LFO Rate
&LFO Fine
&Adj
&LFO Env
&Shape
&LFO Ramp
*Select a parameter from the links below.
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#LFO Rate
&Clocks
&LFO Fine
*This is the amount of time that it takes the LFO to complete one cycle, (or change to a new random noise value).
*The time is specified in CLOCKS. It is added to the FINE value.
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#LFO Fine
&Clocks
&Lfo Rate
*This value plus the LFO Rate value is the amount of time that it takes the LFO to complete one cycle, (or change to a new random noise value).
*The time is specified in CLOCKS. It is added to the RATE value.
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#Adj
&Adj TRI
&Adj SAW
&Adj PUL
*ADJ (adjust) controls the shape of an LFO or OSC wave form. It's affect varies according to which type of wave form is selected.
*It has no affect on noise or file wave forms.
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#Adj TRI
*50% is a normal triangle.
*Adjusting towards 100% shapes the wave gradually into a sine. 100% is a perfect sine wave.
*Adjusting towards 1% shapes the wave gradually into something that is exactly not a sine.
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#Adj SAW
*ADJ over sawtooth wave forms works really stupid, and may get changed in a later version. Any setting less than 50% reverses the saw. All other value are a normal sawtooth.
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#Adj PUL
*For a pulse wave, ADJ is pulse width.
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#LFO Env
*The ENV setting controls the envelopes affect on the LFO rate. The LFO uses the OSC envelope, (or the AMP envelope if the OSC envelope is off).
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#Shape
&Shape TRI
&Shape SAW
&Shape PUL
&Shape NOISE
&Shape SINE
*The Shape buttons, (TRI,SAW,PUL,NOISE,FILE), control the shape of a wave form for oscillators and LFO's.
*(The LFO section does not have NOISE or FILE buttons).
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#Shape TRI
&Adj
*Selects a triangular wave form. It can be ADJusted into a sine. (See ADJ link).
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#Shape SAW
&Adj
*Selects a sawtooth wave form. It's slope can be reversed. (See ADJ link).
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#Shape PUL
&Adj
*Selects a pulse wave. It's width can be ADJusted. (See ADJ link).
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#Shape NOISE
&LFO Ramp
&Warm
*Selects noise, or random values to use as a wave form.
*For oscillators only, the WARM parameter toggles white or pink noise.
*For LFO, the LFO Ramp parameter selects between sample-and-hold or ramp.
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#Shape SINE
*Select a sine wave as the oscillator shape. When SINE is the wave shape, you can click the "Edit..." button to access a harmoic synthesizer. This lets you customize the oscillator by specifying levels for a mix of up to 16 sine waves.
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#LFO Ramp
&Shape NOISE
*Only used when NOISE is selected as the wave shape. When ramp is off, "sample and hold" is used, which means that the LFO level becomes a new random value every cycle. (A value is "sampled" and then "held" for the duration).
*When ramp is on, the LFO moves from the its current level to the next random level over the duration of one cycle.
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#OUTPUT
&Test
&Loop
&Options
&Export
*The OUTPUT section is used to specify what to do with the audio data that SimSynth generates.
*Select a parameter from the links below for details.
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#Test
&Loop
*If Loop is not selected, press this button to audition changes to the preset.
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#Loop
&Test
*Loop causes the current preset to play over and over. Also, most parameter changes can be heard in realtime when Loop is selected.
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#Options
*Brings up a dialog that lets you select which wave device to use.
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#Export
*Brings up a dialog that lets you write the audio to a file. There are options so that you can add extra time to the end of a sound, (for example to let an echo finish), or to repeat the sound a number of times, (for example to play several iterations of a riff).
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#ENV/RIFF/MIDI
&Envelopes
&Riffs
&MIDI
*The ENV window is used for editing envelopes and also riffs. Choose a link below:
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#Envelopes
&View
&Grid
&Fit
&Snap
&Clocks
*Left click and drag an envelope point to move it. Click elsewhere on the envelope to create a new point. Drag a point on top of another and release in order to remove it.
*Envelope positions are specified in clocks. Note: You must turn an envelope on in order to activate it.
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#Grid
&Snap
&Clocks
*The GRID knob changes the grid size. You can see the grid lines in the envelope window. The "SNAP" button aligns all envelope points to the current grid. Since the grid positions are specified in clocks, this allows you to sync an envelope musically.
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#View
&Fit
*The VIEW knob changes the view size. This can be used to zoom into the attack of an envelope, or to set the window to an exact length, (in clocks), and then FIT the envelope to that length.
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#Fit
&View
*Resizes (and scales) the selected envelope to exactly fit within the VIEW.
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#Snap
&Grid
*Move all points on the selected envelope to align with the GRID.
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#Riffs
&Accents
&Notes
&Slides
&Tracking
&Bars
*SimSynth allows you to create small musical "riffs". These are useful for exporting and including in other audio apps such as FruityLoops(tm), or for simply testing a preset.
*In general, left clicking things in the riff window turns them on, right clicking turns them off.
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#Accents
*Accent causes the note to sound with the filter cutoff level and amp level boosted by amounts which can be set by the red sliders at the right of the window.
*Left click an accent above the desired note to turn it on. Right click to turn it off.
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#Notes
*Left click to turn on a note at the desired position. Left click and drag up and down to change it's offset. Right click to turn it off. You can also drag a note left or right to a new position.
*Note values are NOT offset from the main BASE FRQ when using riffs.
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#Slides
*Left click a slide position once to turn it yellow and cause the note at that position to proceed to the next note without retriggering the envelopes, (gating). Left click again to turn it green and also cause the frequency to "glide" to the next note.
*Right click to turn off slide.
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#Tracking
*You can change whether or not things track the riff by right or left clicking the orange tracking selections. They are all on by default. Turning off an envelope causes that envelope to not retrigger on each note. Turning of an oscillator causes that oscillator to just play at the BASE FRQ rather than following the riff.
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#Bars
*Click a bar number 1-8 to select which of 8 bars you wish to edit.
*The highest numbered bar which has notes in it determines the length of the riff.
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#MIDI
&Recording
&MIDI Switches
&Controllers
*In the MIDI window, click switches to toggle them on and off. Left click "spinners", (things that have the little up/down arrow next to them), and drag up and down to change them, (like a knob). Clicking a mod target rotates through the available options. All settings are saved with the current preset.
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#Recording
&Making a Riff
*Press RECORD to record a MIDI sequence. Recording actually begins with the first NOTE ON that you play. If the "Click" switch next to the RECORD button is selected, a quarter note click is audible while recording.
*Press the STOP button when finished recording. Press the PLAY button to play it back in a loop. Use the EXPORT dialog to write the recording to a .WAV file.
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#Making a Riff
*You can convert a recorded MIDI sequence to a RIFF, only if it was recorded while the "Riff Mode" switch was active. Press the "Make Riff" button, and the current riff is overwritten with the recorded MIDI sequence.
*You can drag notes left and right in the riff editor to correct minor timing errors.
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#MIDI Switches
&Riff mode
&Bender
&Velo Filter
&Velo Amp
&Retrigger
*MIDI is active when the MIDI window is "ON". Click switches to toggle them on and off. Left click "spinners", (things that have the little up/down arrow next to them), and drag up and down to change them, (like a knob).
*Select a switch for details.
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#Riff mode
&Recording
*Causes all MIDI messages other than NOTE ON messages to be ignored. Only MIDI sequences that have been recorded with this switch active can be converted into riffs.
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#Bender
*Sets the amount in semitones that the MIDI pitch wheel bends the sound.
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#Velo Filter
*Causes NOTE ON velocity to control the SVF filter cutoff level.
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#Velo Amp
*Causes NOTE ON velocity to control the amp level.
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#Retrigger
*When set to off, pressing a key while sustaining another only causes the pitch of the sustaining note to change. When set to on, the new note is "retriggered".
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#Controllers
*You can customize SimSynth to interact with up to 8 MIDI controllers. These can be the same controller, (for example - MOD WHEEL could control 4 different things). For each controller you can select the MIDI controller number, the amount to control the knob, and the knob that is affected. Controllers only add to the knob setting. If you need more range, turn down the actual knob level.
