Patch page
The Patch page of Absynth 6 lets you assemble the components that will generate the preset’s sound.
The Patch page of Absynth 6 lets you assemble the components that will generate the preset’s sound.
To open the Patch page, click the Patch button at the top of the Absynth 6 window:
The modules represent the individual components in the Patch page. There are different types of modules: For example, the Oscillator modules are sound sources, while the Modulator, Filter, and Waveshaper modules process existing sounds. The semi-modular design of Absynth 6 allows you to choose the arrangement of some of the modules, while other modules have a fixed place in the signal flow.
Patch basics
The patch is structured into four channels: The signals start on three distinct Oscillator channels, then they are combined on the Main channel.
Oscillator channels
Absynth 6 provides three so-called Oscillator channels labeled Channel A, Channel B, and Channel C, and laid out vertically in the top part of the Patch page:
Each channel can contain up to three modules. The signal flows from top to bottom:
The first module at the top is always a source module (sometimes globally referred to as Oscillator). Labeled A, B, and C, the source modules are the only sound sources in Absynth 6 and provide the sonic foundation for every preset. If you deactivate a source module, its entire channel turns off. Three categories of source modules are available: Oscillators, Samplers, and the Audio Input.
The two modules below are insert modules. Labeled 1 and 2, they process the sound coming from the previous module. Three categories of insert modules are available: Filters, Modulators, and the Waveshaper.
Elsewhere in the Absynth interface, the modules of the Oscillator channels are referred to using their channel letter and their position within the channel. For example:
Oscil A would refer to the source module on channel A,
Filter B1 would refer to the Filter used as first insert module on channel B,
WS C2 would refer to the Waveshaper used as second insert module on channel C.
Channel levels
At the bottom of the Oscillator channels, the three Volume sliders let you adjust the level of the respective channels:
Surround panning the channels
Located in the lower left corner of the Patch page, the Surround Pan switch lets you to activate or deactivate the Surround Pan mode.
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In Surround Pan mode you can freely position the sound of each Oscillator channel in the surround field using the Pan X-Y control right of the Volume slider, at the bottom of the channel:
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Main channel
The signals from the three Oscillator channels are mixed into the Main channel, which is arranged horizontally at the bottom of the Patch page. In the Main channel, the signal flows from left to right through three modules:
The first two modules on the left are insert modules. Labeled M1 and M2 (for “Main 1” and “Main 2”), they process the sound coming from the three Oscillator channels above. You can use the same insert modules as in the Oscillator channels: Filters, Modulators, and the Waveshaper.
The last module on the right is an effect module. Labeled FX, it is at the end of the module chain and its output signal leaves Absynth 6. You can choose from a set of advanced effects and adjust their most important parameters directly from the module. The detailed configuration of the effects takes place in the dedicated Effect page.
Monophonic and Polyphonic modes
The insert modules of the Main channel have two operating modes:
In Monophonic mode, the signals from the three Oscillator channels are mixed beforehand and the module processes the mix.
In Polyphonic mode, the module processes the signal from each Oscillator channel separately.
You can switch between both modes from the modules’ Edit menu.
Note
If the first insert module is set to Monophonic mode, the second insert module cannot operate in Polyphonic mode, since the first module has already summed the three Oscillator signals beforehand.
The difference between the two modes can be heard particularly clearly in the Waveshaper module: In Polyphonic mode every voice has its own, independent Waveshaper. The distortion affects every voice separately. In Monophonic mode, a single Waveshaper processes the different voices, which means that many of the played notes will interact. You can try out the effect by inserting a Waveshaper module into the Main channel. Play a couple of sounds while switching between both modes: You will notice that the Monophonic mode reacts with a significantly stronger distortion as you begin to play multiple notes. This is because the signals of the different voices are assembled before the Waveshaper input, which results in a higher input gauge. In Polyphonic mode, by contrast, the voices are distributed among multiple Waveshapers and produce lower signal levels.
Tip
For low level input signals, the Waveshaper in Monophonic mode works like a compressor and lends itself well to compressing and warming up the input signal.
Working with modules
The various modules available in the Patch page share a common layout and a set of generic features and workflows:
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Connector dot: Clicking the dot activates or deactivates the module. The audio signal path is depicted by wires connecting the dots of the active modules. Inactive modules are grayed out and their dots are bypassed. On an Oscillator channel, deactivating the source module deactivates the entire channel. On a deactivated Oscillator channel, activating any module reactivates the entire channel.
Note
When a module is inactive, you can click anywhere in the module to activate it.
Module label: Identifies the module. The letter A, B, or C indicates the source module of the corresponding Oscillator channel, 1 and 2 indicate the first and second insert modules of an Oscillator channel, M1 and M2 indicate the first and second insert modules of the Main channel, and FX indicates the effect module at the end of the module chain.
Type selector: Shows the module type. Clicking the type name opens a menu from which you can switch the module to another type. You can also click the left/right arrows to switch to the previous or next type. The entries available in the Type menu vary with the role of the module (source, insert, or effect module).
Panel tabs: Clicking either tab shows the corresponding panel of parameters below.
The available panels depend on the type of module (Oscillator, Filter, Modulator or Waveshaper) as well as on the specific mode for each module type. You will find a complete list of available panels in the module-specific sections.
Edit menu (downward arrow): Provides editing functions like copy/paste commands and Mutation shortcuts. The exact menu entries vary with the module’s role (source or insert) and channel (Oscillator channel or Main channel).
Note
The effect module has no Edit menu.
Parameter panel: A module can have up to three panels organizing the module parameters. Each panel can be called by clicking the corresponding tab at the top right. In most modules the left part of the Main panel visually illustrates the module type or function.
Waveform selector
Waveforms are used in many parts of Absynth. Each time, the Waveform selector lets you choose the desired waveform.
In the Patch page, the Waveform selector is available in the following modules:
Source modules: all the Oscillators.
Insert modules: the two Modulators (Frequency Shifter and Ring Modulator), the Waveshaper, and the Filter modules providing a feedback loop (LPF Feedback, Allpass Feedback, and Supercomb).
Note
The Waveform selector is also available in the LFO page and in the LFO controls of the Envelope page.
To open the Waveform selector in a module, click the waveform name under the visual representation in the module parameters:
The Waveform selector contains a list of all available waveforms:
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In the list, the names between brackets indicate user-created waveforms.
To load a waveform, click its entry in the list.
The new waveform becomes immediately active and you can hear its effect on the sound when you press a key on your MIDI keyboard. The Waveform selector stays open so that you can test multiple waveforms.
When you are done, click anywhere outside the Waveform selector to close it.
Above the list of waveforms, the following buttons are available:
Simple: Shows the list of simple waveforms. In this category, next to the standard forms like Sine, Triangle, Saw, orSquare, you also find instrumental and atonal waveforms.
Morph: Shows the list of Morph waveforms. A Morph waveform contains in fact two waveforms, which you can seamlessly blend (“morph”) with one another.
New: Creates a new user waveform based on the waveform currently selected in the list. Absynth automatically switches to the Wave page with this new waveform loaded, so that you can further edit it.
Edit: This button is available only if a user waveform is selected in the list. Clicking Edit switches to the Wave page with the selected user waveform loaded, so that you can modify it.
Source modules
The source modules can be inserted at the top of the channels A–C in the Patch page. The source modules are the only sound sources in Absynth. All other modules only modify the sounds produced by the source modules.
The source modules can use different types of synthesis, which are grouped into three categories:
Oscillators are based on monocyclic waveforms played repeatedly to create a musical tone. The following types of Oscillators are available: Single Oscillator, Double Oscillator, FM Oscillator, Ringmod Oscillator, Fractalize Oscillator, and Sync Granular Oscillator.
Samplers can play an audio recording in various ways. The following types of Samplers are available: Sample Engine and Granular Engine.
The Audio Input module does not generate any audio by itself but instead receives external audio and pass it on to the next modules.
You can choose the type of a source module by using the Type selector at the top of the module:
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Edit menu for source modules
The Edit menu of a source module contains the following entries:
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Copy Source Module: Copies the settings of the source module to the clipboard.
Copy Channel: Copies to the clipboard the settings of all the active modules in that channel.
Paste Source Module: Pastes into the source module the settings stored in the clipboard (using the command Copy Source Module).
Paste Source Module and Envelopes: Pastes into the source module the settings stored in the clipboard (using the command Copy Source Module). Any envelopes linked to the copied source module are also inserted.
Paste Channel: Pastes into the current channel the settings stored in the clipboard.
Mutate: Mutates this particular module.
Retry Mutate: Retries a mutation of the module. This entry is available only if you have already triggered a mutation in this session.
The Mutate and Retry Mutate commands use the mutation settings defined in the Mutator section of the Browser page.
Uni panel (Unisono)
The Uni panel (Unisono) is available for all the Oscillators except the Sync Granular Oscillator. The panel lets you quickly “stack” voices to produce fuller, stronger sounds.
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The Uni panel contains the following parameters:
Voices: Sets the number of voices produced by each note played. The highest value is 8.
Detune: Adjusts the amount of detuning (in semitones) between the original voice and the additional voices. This parameter is available only if the Voices value is larger than 1, in other words, if there are some additional voices to detune. Even-numbered additional voices are transposed downwards, odd-numbered voices upwards.
Random: Adjusts the amount of additional, random detuning (upwards and downwards) in semitones. The random detuning of the voices occurs with every note in the sequence. Subtly put to work, with a low Voices value, Random can produce the effect of a sloppy or imprecise intonation (for example, in order to imitate a string instrument without tension or to give atonal percussion sounds some natural variation). You can get some unpredictable and exciting results by playing around with different selections of notes.
Single Oscillator
The Single Oscillator is the simplest source module. It includes only one oscillator.
The Main panel contains the parameters for the main oscillator:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Phase Inverter button (phase symbol): Above the waveform name, the Phase Inverter button lets you reverse the phase of the signal generated by the oscillator.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Phase Sync switch: Setting the switch to Synced will reset the phase of the oscillator with every incoming MIDI note. When the Phase Sync switch is set to Fr Free, the oscillator will not be reset. When only one oscillator is active and you have set a single voice in the Uni panel, the mode Free has almost no effect. When you have a higher Unisono number of voices or multiple active oscillators, every note leads to an audible change in the sound.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Uni panel is common to most Oscillators and is described in Uni panel (Unisono).
Double Oscillator
The Double Oscillator contains two oscillators: the Main oscillator and the Mod oscillator (for “modulation”). The signals of the two oscillators are mixed.
The Main panel contains the same parameters as the Single Oscillator with an additional Balance control:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Phase Inverter button (phase symbol): Above the waveform name, the Phase Inverter button lets you reverse the phase of the signal generated by the oscillator.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Balance control: Adjusts the balance between the Main and Mod oscillators in the output signal.
Phase Sync switch: Setting the switch to Synced will reset the phase of the oscillator with every incoming MIDI note. When the Phase Sync switch is set to Fr Free, the oscillator will not be reset. When only one oscillator is active and you have set a single voice in the Uni panel, the mode Free has almost no effect. When you have a higher Unisono number of voices or multiple active oscillators, every note leads to an audible change in the sound.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Mod panel contains the following parameters:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Uni panel is common to most Oscillators and is described in Uni panel (Unisono).
Note
A Double Oscillator uses less CPU resources than two Single Oscillators.
FM Oscillator
Frequency modulation was discovered in the late 1960’s by John Chowning and achieved great popularity in the 1980’s through Yamaha’s DX7 synthesizer. Much has already been written about FM synthesis so we will not go into detail here.
In the FM Oscillator, the Mod oscillator modulates the frequency of the Main oscillator.
The Main panel contains the same parameters as the Single Oscillator with an additional FM Index control:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Phase Inverter button (phase symbol): Above the waveform name, the Phase Inverter button lets you reverse the phase of the signal generated by the oscillator.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
FM Index: Determines the depth of the frequency modulation.
Phase Sync switch: Setting the switch to Synced will reset the phase of the oscillator with every incoming MIDI note. When the Phase Sync switch is set to Fr Free, the oscillator will not be reset. When only one oscillator is active and you have set a single voice in the Uni panel, the mode Free has almost no effect. When you have a higher Unisono number of voices or multiple active oscillators, every note leads to an audible change in the sound.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Mod panel contains the following parameters:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Uni panel is common to most Oscillators and is described in Uni panel (Unisono).
Ringmod Oscillator
In the Ringmod Oscillator, the signals from the Main and Mod oscillators are multiplied with one another.
The Main panel contains the same parameters as the Single Oscillator with an additional Balance control:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Phase Inverter button (phase symbol): Above the waveform name, the Phase Inverter button lets you reverse the phase of the signal generated by the oscillator.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Balance control: Adjusts the balance between the Main and Mod oscillators in the output signal.
Phase Sync switch: Setting the switch to Synced will reset the phase of the oscillator with every incoming MIDI note. When the Phase Sync switch is set to Fr Free, the oscillator will not be reset. When only one oscillator is active and you have set a single voice in the Uni panel, the mode Free has almost no effect. When you have a higher Unisono number of voices or multiple active oscillators, every note leads to an audible change in the sound.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Mod panel contains the following parameters:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Uni panel is common to most Oscillators and is described in Uni panel (Unisono).
Fractalize Oscillator
Experienced Absynth users will recognize the Fractalize Oscillator as a real time version of the Fractalize function available in the Transform menu of the Wave page. In the Fractalize Oscillator, the selected waveform is copied to itself so that smaller elements of the waveform become similar to the image of the whole. You can use the Fractalize Oscillator to add overtones to a plain waveform.
The Main panel contains the same parameters as the Single Oscillator:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Phase Inverter button (phase symbol): Above the waveform name, the Phase Inverter button lets you reverse the phase of the signal generated by the oscillator.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Phase Sync switch: Setting the switch to Synced will reset the phase of the oscillator with every incoming MIDI note. When the Phase Sync switch is set to Fr Free, the oscillator will not be reset. When only one oscillator is active and you have set a single voice in the Uni panel, the mode Free has almost no effect. When you have a higher Unisono number of voices or multiple active oscillators, every note leads to an audible change in the sound.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Mod panel contains the following parameters:
Iterations: Selects the number of similar repetitions that you want of the same sound, and how much you want to deviate from the original waveform. The value range is between 2 and 7. Higher values lead to more complex, lighter-sounding sounds (and heavier CPU loads).
Amount: Adjusts the mixing relationship between the original waveform and its copies.
Warp: Defines the shift of the copied area relative to the original waveform: 0 corresponds to a position before the waveform, 1 to a position after the waveform. With a value of 0.5, the area is in the center of the waveform. Modulating this parameter with an LFO or an envelope can produce interesting movements inside the sound.
Note
The function Fractalize of the Wave page gives you an idea of what happens. Load a simple waveform (such as a sine) into the Wave page. Check under the Wave view: so far nothing has happened. Choose the entry Fractalize from the Transform menu. Set Iterations to 2 and Displacement to 9. Slowly increase the Displacement value up to 25. You see how the waveform distends. Change the Iterations value: The higher the value, the more dislocated the waveform becomes.
In the Fractalize Oscillator the Uni panel is slightly different than in other Oscillators: It has no Voices parameter. Instead, the number of voices is set by the Iterations parameter of the Mod panel.
Tip
The Fractalize Oscillator works particularly well with waveforms containing few, yet strong harmonics: You will see new overtones emerge around the basic harmonics. By choosing the right waveform you can achieve interesting, formant-style effects. With harmonically dense waveforms (for example, the Saw from the factory waveforms) the effect is not as striking.
Sync Granular Oscillator
The Sync Granular Oscillator is similar to the Granular Engine module: It divides a waveform into very small parts (the so-called “grains”) and then brings these parts back together. The difference between both modules is the input material used: In the Granular Engine the grains are taken from a sample, whereas the Sync Granular Oscillator uses a waveform. In the Sync Granular Oscillator, you can use a factory waveform or one of your own waveforms, tear it apart, and then put it back together in a new way.
Before putting the grains back together (this is known as resynthesis), you can influence the grain “cloud”: You can change the frequency of the grains, change the density of the cloud by adjusting how individual grains overlap, and modify the diffusion in the grain cloud.
These options allow you to create very effective sounds and, for example, convincingly simulate the blowing sound of a wind instrument such as a pipe or flute.
The Main panel contains the same parameters as the Single Oscillator with an additional Balance control:
Waveform selector: Selects the waveform used by the oscillator. You will find more information in Waveform selector.
Phase Inverter button (phase symbol): Above the waveform name, the Phase Inverter button lets you reverse the phase of the signal generated by the oscillator.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Balance control: Adjusts the mix between the original waveform and the waveform produced by resynthesis. At 0 (knob at full left) only the original waveform can be heard, at 1 (knob at full right) only the resynthesized waveform.
Phase Sync switch: Setting the switch to Synced will reset the phase of the oscillator with every incoming MIDI note. When the Phase Sync switch is set to Fr Free, the oscillator will not be reset. When only one oscillator is active and you have set a single voice in the Uni panel, the mode Free has almost no effect. When you have a higher Unisono number of voices or multiple active oscillators, every note leads to an audible change in the sound.
Phase control: Sets the phase of the oscillator. This control is available only when the Phase Sync switch is set to Synced. The effect of the Phase control is only audible if a second oscillator is active. This parameter is useful when using integer values for frequency ratios between carrier and modulator, as it is the case in FM.
The Mod panel contains the following parameters:
Density control: Adjusts the density of the grain cloud by setting how individual grains overlap. The values range from 3 to 8. Small values give a raw sound, higher value a more polished sound.
Diffusion control: Adjusts the diffusion, that is, the accidental scattering of the grain cloud.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). You will find more information in Frequency menu and control.
Sample Engine
Two source modules are sample-based: Sample Engine and Granular Engine. These modules allow you to use Absynth as a sampler, playing back previously uploaded sound data in the WAV, AIFF, MP3, OGG, or FLAC format.
The basic control is the same in both modules, so the following instructions for the Sample Engine also apply to the Granular Engine.
Note
In contrast to conventional sampling instruments, Absynth lacks the usual functions such as key mapping, velocity layering or AKAI import. Unlike the conventional samplers, Absynth’s emphasis is not on the realistic reproduction of sampled instruments, but rather on the creative possibilities that sample-based synthesis provides.
You can load a sample in all three source modules of the patch; in a single preset you can use up to three different samples.
To load a sample into the Sample Engine, do the following:
Select Sample Engine from the Type menu of the source module.
The Sample selector on the Main panel reads (No Sample).
Click this (No Sample) label.
A dialog appears that lets you select a sample file on your hard drive.
Choose a sample file and click Open.
The sample is now loaded and the Sample selector shows its name and a visual illustration of the sample.
Absynth can read audio data in AIFF, WAV, or FLAC format (stereo or mono) ranging from 16 to 32 bit and any sampling rate, and in MP3 or OGG format (stereo or mono) at any sample rate.
The Main panel contains the following parameters:
Sample selector: Shows the name and a visual illustration of the loaded sample. You can click the sample name to open a dialog that lets you select another sample on your hard drive.
Mono/Stereo switch: Stereo samples can be played in stereo or mono. If you have loaded a stereo sample, you can use the Mono/Stereo switch to switch between mono and stereo playback. If your sample cannot be switched to stereo, then it is a mono sample.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). The sample will play at its original speed when the MIDI Note C3 is played. Lower notes produce a slower, lower sound, while higher notes sound higher and faster. You will find more information in Frequency menu and control.
Start control: Defines the starting point of the playback in the sample relative to the overall sample length.
The Loop panel contains the following control:
Loop Mode selector: Selects from three loop modes. If Off is selected, the sample is played once (good for percussion sounds). If Loop All is selected, the entire sample is played in loop (this works best if you edit the loop beforehand to create a seamless loop). If Loop Edit is selected, you can adjust the start point and end point of the loop by dragging the left or right border of the highlighted region in the loop display, or you can move the entire loop on the timeline by clicking anywhere in the highlighted region and dragging your mouse horizontally.
Granular Engine
Like the Sample Engine, the Granular Engine uses a sample as basis for generating sound. However, this module divides the sample into many small grains, each containing a tiny fragment of the sound. In this way you can control the sample's pitch and duration independently of each other. In the Granular Engine module, the duration of the sample remains the same over the entire keyboard, while the notes determine the pitch.
On the Main panel, you find the same parameters as in Sample mode. For more details, please refer to the section 5.4.9, “Sample Mode”, above.
The Main panel contains the same parameters as in the Sample Engine with an additional Time % control:
Sample selector: Shows the name and a visual illustration of the loaded sample. You can click the sample name to open a dialog that lets you select another sample on your hard drive.
Mono/Stereo switch: Stereo samples can be played in stereo or mono. If you have loaded a stereo sample, you can use the Mono/Stereo switch to switch between mono and stereo playback. If your sample cannot be switched to stereo, then it is a mono sample.
Frequency menu and Frequency control: These controls let you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship with the played note (Ratio), as a fixed frequency (Hz), or as a fixed MIDI note number (Note). The sample will play at its original speed when the MIDI Note C3 is played. Lower notes produce a slower, lower sound, while higher notes sound higher and faster. You will find more information in Frequency menu and control.
Time %: Determines the playback speed of the sample. 50 % corresponds to half of the original speed, while 200 % doubles the speed of your sound. If you set Time % to zero, the sample for that length of time will “freeze.” When you have frozen a sample, you can use the Start control to specifiy when exactly it should freeze.
Start control: Defines the starting point of the playback in the sample relative to the overall sample length.
The Grain panel contains the following parameters:
Density: Determines the number of grains played simultaneously. You can set a value between 1 and 32. Lower values produce a thinner sound, while higher values produce a dense granular cloud. High Density values can also generate high CPU loads.
Grain Size ms: Determines the length of the grains measured in milliseconds. Smaller values are good for percussive sounds, whereas higher values work well for pad-like sounds or string instruments. Small values tend to conceal the character of the sample and produce typical granular artifacts in the form of noise. The maximum grain size is 500 milliseconds.
Time Jitter: Defines the randomness of the grains’ playback speed. Zero means no randomness during grain playback, whereas 100 means that the grains are played completely at random, within the time window defined by the Grain Size ms parameter.
Freq Jitter: Changes the pitch of individual grains randomly. Zero means no randomness, whereas 100 results in completely random pitches.
Amp Jitter: Changes the amplitude (“loudness”) of the individual grains randomly. A value of zero means no randomness, whereas 100 results in completely random amplitude levels.
Audio In
The Audio In source module does not produce signal itself, but rather transmits incoming audio signals to its output. That makes it possible for any audio signal to work with the other modules in real time. Absynth 6 can thus be used as an effect and work with live audio signals from elsewhere. You can also load Absynth 6 as an effect plug-in in your DAW and let it process any audio track(s).
The Main panel is the only panel in the Audio In module. It contains the following parameters:
Mono/Stereo switch: Selects between mono and stereo signals. If you set it to mono, a single Input menu is available. If you set it to stereo, a second Input menu appears.
Level control: Adjusts the level of the input signal. At the default value of 0 dB, the signal passes through the input stage unchanged.
Input menu: Chooses any of the six available audio inputs. If Absynth 6 is running as standalone application, you can configure the inputs in the Audio and MIDI Settings dialog.
External audio signals run through Absynth 6’s signal path like internally created signals do, thus they are also influenced by Absynth 6’’s envelopes. This means that you do not hear audio signals from external sources unless Absynth 6 has received MIDI notes and used them to trigger the envelopes.
Filter module
The Filter module provides a number of filters to work with. You can work on the frequency spectrum of a sound by, for example, emphasize the high frequencies while reducing the lower frequencies.
General Functioning
The Filter modules can be inserted in any Module Slot of the Patch Window, except the first Slot in each Channel A-C (these are reserved for Oscillator modules) and the last Slot in the Master Channel (reserved for the Effect module).
To activate a Filter module, do the following:
Click on the extended left margin on a Filter, Modulator or Waveshaper Module Slot to activate it.
Choose one of the filter types from the Type menu (the first and biggest group in the menu).
Filter's panels and tabs
Like all other modules, a Filter module can have up to three panels organizing the various module parameters. Each panel can be called by clicking its tab at the top right of the module.
The available panels depend on the type of filter. You will find a complete list of the available panels in the module-specific sections below. But we can already give two basic rules for these panels:
All filter types but the Cloud provide a Main panel as first panel, which contains the main parameters of the filter.
Some filter types have an additional FB panel controlling their feedback loop.
Feedback loop and Feedback panel
Some Filter modules provide a feedback loop. This feedback loop allows you to send a portion of the filter's output back to its own input… without forgetting to further process the signal on the way!
For all of these filter types, the feedback loop settings are located on the Feedback panel (labeled FB), next to the Main panel:
! Worth to note is that the feedback loop is built inside the resonance loop of the Filters. Therefore, the amount of signal sent in the feedback loop is also affected by the Resonance parameter found on the Main panel of each Filter (except for the Supercomb, where it is called Feedback control).
The Feedback panel contains a Feedback Mode menu selecting the feedback mode. If Normal is selected, the feedback loop is deactivated. The three other modes available in the Feedback Mode menu are described below.
Waveshape Feedback mode
When this mode is selected in the upper Feedback Mode menu of the Feedback panel, the signal in the feedback loop is processed by a mini-Waveshaper. Hence, the parameters in the lower part the Feedback panel are very similar to those of the Waveshaper module.
The few differences are listed here:
A Phase Inverter appears next to the Waveform Selector.
The In dB and Out dB controls from the Waveshaper module are here replaced with an Amount control, which defines the proportion of signal processed by the Waveshaper.
The rest is exactly the same as in the Waveshaper.
Freqshift Feedback mode
When this mode is selected in the upper Feedback Mode menu of the Feedback panel, the signal in the feedback loop is processed by a mini-Freqshifter. Hence, the parameters in the lower part the Feedback panel are very similar to those of its big brother, the Modulator in Freq Shift mode.
The only difference is that the Feedback control from the Freq Shift Modulator module was replaced with a Mix control, which defines the proportion of signal processed by the Freq Shifter. The rest is the same as in the Freq Shift Modulator.
Ringmod Feedback mode
When this mode is selected in the upper Feedback Mode menu of the Feedback panel, the signal in the feedback loop is processed by a mini Ringmod Modulator module. Hence, the parameters in the lower part the Feedback panel are very similar to those of its big brother.
The only difference is that the Balance control from the Ringmod Modulator was replaced with a Mix control that defines the proportion of signal processed by the Ringmod Modulator. The rest is equivalent to the Ringmod Modulator.
Lowpass
The lowpass filters weaken the signal above an adjustable cutoff frequency. The slope gradient of the signal attenuation is given in dB per octave. A value of -12 dB/octave means that the filter dampens the signal by 12 dB more at one octave higher. Other values for slope gradient are -6 dB and -24 dB.
The slope gradient can also be referred to as the n-pole (this is the most usual case with synthesizers and other electronic sound generators). Most of the time, n stands for an even number between 2 and 8. This data can be easily translated into the dB/octave schema if you remember that every filter pole corresponds to a steepness of -6 dB/octave. So a 1-pole filter has a gradient of -6 dB/octave, a 2-pole filter dampens the signal by -12 dB/octave, and so on.
As a consequence, the lowpass filter LPF 2 Pole and LPF -12dB have for example the same slope gradient. The same applies to the LPF 4 Pole and LPF -24dB. Yet they sound different because of their different internal constructions: The first three filters in the list below have a softer, rounder character, whereas the filters in the second group sound rougher and more aggressive.
The following lowpass filters are available in the Type menu:
LPF 2 Pole: 2-pole lowpass filter with resonance control and analog design.
LPF 4 Pole: 4-pole lowpass filter with resonance control and analog design.
LPF 8 Pole: 8-pole lowpass filter with resonance control and analog design.
LPF -6dB: 1-pole lowpass filter with resonance control.
LPF -12dB: 2-pole lowpass filter with resonance control.
LPF -24dB: 4-pole lowpass filter with resonance control.
Main Panel
All lowpass filters in ABSYNTH 5 contain the following parameters on their Main panel:
Frequency control and Frequency menu: The Frequency control allows you to set the cutoff frequency in semitones (Trans) or in Hertz (Hz), upon the selection in the nearby Frequency menu.
Resonance control: Sets the resonance at the cutoff frequency.
Damping control: Allows you to balance out the volume level. If the signal level at the filter output seems too weak, increase this value.
Feedback Panel
Furthermore, the filter types LPF 2 Pole, LPF 4 Pole and LPF 8 Pole are equipped with a feedback loop. Its function and parameters are detailed at section 5.5.3 “Feedback Loop and Feedback Panel” above.
Highpass
Highpass filters permit all frequencies above a cutoff frequency and suppress the frequencies below it. Their remaining functions are identical to those described for the lowpass filters in the section 5.5.4, “Lowpass”, above.
The following highpass filters are available in the Type menu:
HPF -6dB: 1-pole highpass filter.
HPF -12dB: 2-pole highpass filter with resonance control.
Main Panel
The highpass filters in ABSYNTH 5 contain the following parameters on their Main panel:
Frequency control and Frequency menu: The Frequency control allows you to set the cutoff frequency in semitones (Trans) or in Hertz (Hz), upon the selection in the nearby Frequency menu.
Resonance control (HPF -12dB only): Sets the resonance at the cutoff frequency.
Allpass
Allpass filters allow all frequencies to pass through the output with similar strength, but modify the phase of the signal. Allpass filters are useful for creative filtering as they can easily produce phasing or resonating effects. With allpass filters, the number of poles define the number of peaks in the frequency spectrum of the filtered signal. With high resonance values, an 8-pole allpass filter can sound very similar to a bell.
The following allpass filters are available in the Type menu:
Allpass 2: 2-pole allpass filter.
Allpass 4: 4-pole allpass filter.
Allpass 8: 8-pole allpass filter.
Main Panel
Every allpass variant shares the following two parameters on the Main panel:
Frequency control and Frequency menu: The Frequency control allows you to set the cutoff frequency in semitones (Trans) or in Hertz (Hz), upon the selection in the nearby Frequency menu.
Resonance control: Sets the resonance.
Feedback Panel
Furthermore, the allpass filters are equipped with a feedback loop. Its function and parameters are detailed at section 5.5.3, “Feedback Loop and Feedback Panel”, above.
Bandpass
Bandpass filters combine a highpass and a lowpass filter: they dampen all frequencies that lie outside a particular frequency range defined by two cutoff frequencies (or by a middle frequency and a bandwidth). This means that this particular frequency range is allowed to pass through, whilst lower and higher frequencies outside the range are suppressed.
Main Panel
The Bandpass filter BPF has the following parameters:
Frequency control and Frequency menu: The Frequency control allows you to set the middle frequency in semitones (Trans) or in Hertz (Hz), upon the selection in the nearby Frequency menu.
Q control: Sets the bandwidth of the filter around the middle frequency. Its values go from 0 to 1000 Hz.
Damping control: Allows you to balance out any level fluctuations introduced by the filter (in dB).
Notch
Notch is a band rejection filter with resonance. Band Reject filters work in the opposite fashion as bandpass filters: they only weaken frequencies within a particular frequency range, defined by two cutoff frequencies on both sides (or by a middle frequency and a bandwidth). Higher and lower frequencies can pass through unhindered.
Main Panel
The Notch Filter has the following parameters:
Frequency control and Frequency menu: The Frequency control allows you to set the middle frequency in semitones (Trans) or in Hertz (Hz), upon the selection in the nearby Frequency menu.
Resonance control: This control (labeled Res) allows you to adjust the resonance of the filter.
B-width control: Sets the bandwidth of the filter around the middle frequency. Its values is measured in octaves.
Comb
Comb filters change the sound by delaying the signal by a few milliseconds and then mixing the delayed signal with the original. As a result, the level of certain frequencies may be raised or attenuated in the filtered signal.
Tip
Effects such as the phaser and the flanger use this phenomenon. By modulating the Comb's parameters, you can quickly produce a nice flanging effect.
Main Panel
The Comb Filter has the following parameters:
Frequency control and Frequency menu: The Frequency control allows you to set the cutoff frequency in semitones (Trans) or in Hertz (Hz), upon the selection in the nearby Frequency menu.
Feedback control: Sets the amplification factor for the delayed signal. Higher values induce steeper frequency peaks/cancellations.
Damping control: Allows you to balance out any level fluctuations introduced by the filter (in dB).
Supercomb
The Supercomb filter is a new Filter type introduced in ABSYNTH 5. Basically, it is a Comb Filter equipped with a feedback loop and a tonal control borrowing characteristics from the Resonators and Pipe Effects. For more info on the basic functioning of the Comb filter, please refer to the previous section 5.5.9, “Comb.”
In order to control the additional capabilities of the Supercomb filter compared to those of the Comb filter, the Supercomb provides you with three panels:
The Main panel is the same as the Comb's Main panel.
The Feedback panel contains the parameters related to the feedback loop.
The Tone panel holds parameters controlling the tone of the filter.
Main Panel
The Supercomb's Main panel offers the same parameters as the usual Comb filter—again, please refer to the previous section 5.5.9, “Comb”, where they are described.
Feedback Panel
The function and parameters of the Feedback panel are detailed at section 5.5.3, “Feedback Loop and Feedback Panel”, above.
Tone Panel
The Supercomb's Tone panel contains following parameters:
Tone Mode menu: selects from a set of resonance modes. The higher the feedback is turned up, the more pronounced the effect is. The Tone mode changes the color of the decay.
Tone control: This controls affects the sound differently according to the mode selected in the Tone Mode menu above. It is not available for the mode Raw.
HP control: Low frequency damping. Low frequencies decay faster as this control is turned up.
LP control: High frequency damping. High frequencies decay faster as this is turned down. This control is useful for a more natural resonance.
Position control: Controls the ratio of the delay taps (see 5.5.9, “Comb”, above). This control changes the color of the comb filter.
Tip
Don't hesitate to play with these controls to understand how they affect the sound. In particular, modulate the Position parameter to get nice effects!
Cloud
The Cloud filter is the little brother of the Aetherizer effect, a granular delay with multiple feedback and tone controls. It inherits the most important parameters of the Aetherizer.
The Cloud filter does not have the usual panels to be found in other filter types. Instead, it presents the three following panels:
The Grain panel holds parameters controlling the grain cloud.
The Tone panel allows you to activate a filter and to adjust its parameters.
The Mix panel allows you to adjust the mix between the dry and processed signals and the level of the output signal.
Grain Panel
On the Grain panel, you find the following parameters:
Transpose control: Sets the global transposition of the grains.
Rate control: Defines the number of grains created during one second.
Delay control: Adjusts the pre-delay involved in the grain creation.
These parameters are equipped with individual Random controls that allow you to randomly deviate from the setting defined for the corresponding parameter.
Tone Panel
On the Tone panel, you find the following parameters:
Filter switch: Activates/deactivates the Cloud's internal filter.
Frequency control (Hz): Defines the cutoff frequency of the internal filter.
Resonance control (Q): Adjusts the resonance of the internal filter.
Filter Quantize menu: Activates/deactivates the quantization of the filter, and allows you to select the quantization mode. The quantization distributes the possible cutoff frequency over the predefined scales available in the menu.
Quantize Tranpose control: Adjusts the base pitch of the scale on which the cutoff frequencies are quantized. This parameter appears for all quantization modes except Vowel (and None of course). For Vowel, the parameter Vowel Mix allows you to morph between various vowels.
The Frequency, Resonance, Quantize Transpose and Vowel Mix controls also have their own dedicated Random controls that allow you to randomly deviate from the setting defined for the corresponding parameter.
Mix Panel
On the Mix panel, you find the following parameters:
Balance control: Adjusts the mix between the dry and the wet signals at the filter's output.
Gain control: Defines the make-up gain applied to the filter's output.
One more time, for more info on all these parameters, see Aetherizer
Modulator Module
The Modulator module uses its own built-in oscillator in order to change and modulate the incoming signal.
General Function
The Modulator modules can be inserted as the same places as the Filter modules: in any Module Slot of the Patch Window, except the first Slot in each Channel A-C (these are reserved for Oscillator modules) and the last Slot in the Master Channel (reserved for the Effect module).
To activate an Modulator module, do the following:
Click on the extended left margin on a Filter, Modulator or Waveshaper Module Slot to activate it.
Choose the Freq Shift or the Ringmod modulation type from the Type menu (at the very bottom).
As with some of the oscillators in the Oscillator module, the Modulator modules use the Waveform Selector to select or produce a Waveform.
The Modulator modules only have one panel: the Main panel.
We describe below the two operating modes Freq Shift and Ringmod.
! The oscillator of the Modulator module never produces an audible signal on its own—what you hear is the result of its interaction with the input signal.
Ring Modulation
The function Ringmod produces ring modulation and is very similar to the Ringmod mode of the Oscillator module. The amplitudes of the incoming signal and of the signal produced by the Modulator oscillator are multiplied with one another.
The Main panel of the Modulator module in Ringmod mode contains the same parameters as the Mod panel of the Oscillator module in Ringmod mode, that means the following elements:
Waveform Selector: A click on the Waveform Selector opens the Waveform Selection dialog where you can select the Waveform for the oscillator.
Frequency menu and Frequency control: Enables you to enter the oscillator's frequency as a transposition of the played note (Trans), as a relationship (Ratio) with the played note, as a fixed Frequency (Hz) or via a fixed MIDI note (Note).
Balance control: Controls the balance between the incoming original signal and the modulated signal.
Frequency Shift
In Frequency Shift mode, the Modulator module produces a frequency shift via a feedback loop. From a functional point of view, the frequency shift resembles the ring modulation, and it can also bring similar sonic results. From a technical point of view, though, there is the following difference: While the Ring Modulator produces frequency sums as well as frequency differences, the Frequency Shifter limits itself either to frequency sums or differences. Practically, this means that the Freq Shift mode produces subtler, better to control effects than the Ringmod mode.
The Main panel of the Frequency Shift mode contains the following parameters:
Direction switch: If this button is on “+”, it produces frequency sums. If the button is on “-”, the module produces frequency differences.
Waveform Selector: A click on the Waveform Selector opens the Waveform Selection dialog where you can select the Waveform for the oscillator.
Frequency menu and Frequency control: Enables you to enter the oscillator's frequency as a transposition of the played note (Trans), as a relationship (Ratio) with the played note, as a fixed Frequency (Hz) or via a fixed MIDI note (Note).
Feedback control: Adjusts the amount of feedback.
You will find more in-depth explanations about the Waveform Selector and the Frequency menu/control in the section 5.3, “Common Features in Many Modules”, above.
% A light detuning between the input signal and the modulator signal combined with a moderate Feedback value can induce a nice phasing effect. Very low frequency settings (e.g., 1 Hz) can lead to similar effects.
Because there is no interference between sum and difference frequencies, the Freq Shift frequently sounds cleaner than the Ringmod in situations involving complex input signals (e.g. samples or saw tooth Waveforms).
! Frequency shifting is not the same as pitch shifting. In pitch shifting, the Pitch Shifter multiplies the frequencies contained in a signal by a known factor: as a result, harmonic relations between the frequencies remain. A frequency shifter, by contrast, attaches a known value to the frequencies contained within the input signal, thus altering the harmonic relations it may contain.
Waveshaper Module
The Waveshaper module uses a Waveform to shape an input signal. This idea is used in guitar amplifiers and distortion effects. Waveshaping reacts to the amplitude of the input signal: the sound changes depending on the volume envelope of the oscillator or any other form of oscillator-volume control. Additionally, waveshaping emphasizes phasing and detuning effects in the signal.
You can always use the Waveshaper module when you want to enrich a signal with harmonics. Its action ranges from subtle density to cutting distortion. The waveshaper reacts to changes in the amplitude. The level of distortion changes with every fluctuation of the input signal so the effect sounds very energetic.
General Function
The Waveshaper modules can be inserted as the same places as the Filter and Modulator modules: in any Module Slot of the Patch Window, except the first Slot in each Channel A-C (reserved for Oscillator modules) and the last Slot in the Master Channel (reserved for the Effect module).
To activate an Waveshaper module, do the following:
Click on the extended left margin on a Filter, Modulator or Waveshaper Module Slot to activate it.
Choose the Waveshaper entry from the Type menu (near the bottom).
As with some of the oscillators in the Oscillator and Modulator modules, the Waveshaper modules use the Waveform Selector to select or produce a Waveform.
The Waveshaper modules only have one panel: the Main panel.
Main Panel
Main panel of the Waveshaper
The Main panel of the Waveshaper contains following parameters:
Waveform Selector: A click on the Waveform Selector opens the Waveform Selection dialog where you can select the Waveform for the oscillator. This Waveform will define the character of the distortion.
% Create a new Waveform for the wave shaping and work on it in the Spectrum page of the Wave Window in order to make yourself more comfortable with the effect of the Waveshaper.
In dB control: Defines the input level of the Waveshaper in decibels. Increasing this value usually strengthens the distortion. This strengthening is not linear, however, and depends on the selected Waveform and the Phase control value—experiment with different settings to get the sound you want.
Out dB control: Defines the output level of the Waveshaper in decibels. Here you can reduce the level of a signal when the Waveshaper makes it very loud.
Phase control: Sets the phase of the Waveform. This parameter has an extreme effect on the sound especially when working with complex Waveforms. Indeed, these react very sensitively to any manipulation of the Phase.
Effect modules
The effect modules can be inserted in the third and rightmost position in the Main channel at the bottom of the Patch page. This makes them the last processing in the signal path of Absynth. The effect modules host the effects configured in the Effect page.
You can switch between the available effect modules by using the Type selector at the top of the modules:
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The Main panel of the effect modules shows the most important parameters of the respective effects. These parameters vary with each effect, you can find their description in Effect page. You can click the effect thumbnail in the left part of the Main panel to jump directly to that effect in the Effect page.
The Mix panel of the effect modules contains two knobs: Dry and Wet. These knobs let you adjust the balance between the unprocessed signal (Dry) and the processed signal (Wet). They correspond to the Dry and Wet knobs in the Input Mix section of the Effect page.