to the Bass Pedals manual

Transcription

Bass Pedals Manual v1.2 (18/09/2012)
Introduction
Thank you for choosing Bass Pedals, our virtual analogue bass synthesizer optimized for
Native Instruments’ Kontakt 4 / 5 sampler. Bass Pedals is a powerful instrument capable of
creating a wide range of huge analogue sounding synth bass tones. We hope you have fun
exploring Bass Pedals capabilities, and enjoy creating new sounds with it as much as we
have enjoyed developing the instrument itself.
This manual is specifically written for the Kontakt 4 / 5 version of Bass Pedals which makes
extensive use of Kontakt's advanced script programming and GUI integration.
Bass Pedals the Story
Bass Pedals is inspired by the sought-after Moog Taurus Mk1 bass synthesizer from the mid
seventies. The original Moog Taurus was a basic, but unique and powerful sounding
monophonic analogue bass synthesizer with 2 VCO's (sawtooth waveforms), a typical (great
sounding) Moog 24db Low pass filter with basic envelope controls, a VCA and 13 large
pedals which were intended to be played by the feet.
To fully capture the enormous and highly praised ‘Taurus sound’ we heavily multi-sampled an
original Taurus MK1’s raw oscillator waveforms as well as 40 heavily multi-sampled preset
patches, the latter being designed using the Taurus’s synthesis parameters.
All waveforms and preset patches have been carefully recorded with 3 x round robin sample
variations to help capture the imperfections and quirkiness of the original instrument.
All samples were recorded through an API pre-amp and high end converters. Some patches
have been further processed through an Empirical Labs Fatso and Pultec Style analogue EQ.
Installation
Bass Pedals and its accompanying library of waveforms/multi-samples is 4.5GB in size when
un-zipped.
If you have purchased Bass Pedals directly from www.wavealchemy.co.uk you will receive
the download as two separate RAR files. Download these to a suitable location on your
machine and use an archive manager such as WinRAR to unpack.
To unpack the RAR files on a PC select BOTH files at the same time, right click and choose
"extract here". The extraction process will unpack the instrument and its library of waveforms
into one root folder on your machine called WA_Bass_Pedals.
For MAC users download unrarx here: www.unrarx.sourceforge.net, select both files, drag
and drop them onto the unrarx window to unpack the instrument.
Note: You must have the full version of Kontakt version 4.2.2 or higher (including Kontakt 5)
for Bass Pedals to work, if you are using an earlier version of Kontakt please download the
latest version from Native Instruments website.
1
Contact Details
If you experience any problems downloading, unpacking or installing Bass Pedals after
purchasing from www.wavealchemy.co.uk please email support at [email protected]
If you experience any problems downloading, unpacking or installing Bass Pedals after
purchasing from www.loopmasters.com please email support at [email protected]
Getting Started
Once you have copied the Bass Pedals folder to a suitable place on your computer, load up
your sequencer of choice along with an instance of Native Instruments Kontakt sampler.
Note: You MUST have a full registered version of Native Instruments Kontakt 4 or higher to
use Bass Pedals. This instrument does NOT work with Kontakt player.
To get a good idea of what Bass Pedals is capable of, use Kontakt's browser window to
locate and load some of the included preset patches. The Bass Pedals Kontakt version ships
with;



40 ‘Bass Pedals’ preset patches
28 ‘Taurus’ preset patches
1 Bass Pedals default patch
Initialized Patch
For those who like to dive in and create sounds completely from scratch, we have provided a
default patch in the Bass Pedals 'instruments' folder named 'bass pedals default.nki'
Note: Holding shift whilst moving any of the Bass Pedals knobs allows for finer increment
adjustments
Note: Holding Ctrl whilst clicking on any of the Bass Pedals parameters will move the control
back to its default position
2
Bass Pedals Architecture
Bass Pedals has four different pages which are accessed by clicking the relevant tab at the
bottom of the instrument. You will notice that if you load any of the 'Taurus' presets the
instrument defaults to showing the 'preset page'. Similarly if you load any of the ‘Bass Pedals’
presets the instrument defaults to showing the 'raw page'.
Note: to avoid any confusion the terms "raw page" and "raw mode" are used interchangeably
throughout this manual and are to be understood as the same thing
Preset Page
The Bass Pedals preset mode is powered by the currently loaded Taurus preset which is
selected using Kontakt’s browser window. Once a Taurus preset is loaded it can be modified
further using a dedicated amplifier and filter section.
It is useful to think of the preset page as an initial layer that can be mixed with the Bass
Pedal’s 'raw oscillators' (accessed in the raw page) to create interesting 'hybrid' patches.
Bass Pedals Preset Page
3
Preset Section
The switch under the ‘preset’ header is used to turn the loaded preset sound on / off.
Preset Page Preset On / Off
Beat - Staying true to Moog Taurus terminology 'Beat' is simply another word for fine tune.
This controls frequency/tuning of the loaded preset sound / waveform in finer increments.
Volume - The volume controls the level of the currently loaded preset.
Amplifier Section
The amplifier section on the preset page uses a 4-stage ADSR envelope which is used to
modify the loaded presets amplitude over time.
Preset Page Amplifier Section
Attack - controls how long it takes for the amplitude of the currently loaded preset to increase
from zero to maximum level
Decay - controls how long it takes for the amplitude to decrease from maximum level to the
sustain level
Sustain - sets the amplitude level of the sound when a key is held down on the keyboard
Release - controls how long it takes for the amplitude to decrease from the sustain level (after
a key is released) to zero
4
Filter Section
The filter section contains controls for the filter and its dedicated envelope generator.
Preset Page Filter Section
Cutoff - sets the frequency, below which signals are passed through the Low Pass Filter
(LPF). Signals with frequencies higher than the cut-off frequency are filtered out.
Resonance - increases the amount of emphasis (boost) around the cutoff frequency.
Filter Type - Selects filter on / off mode
Filter Envelope
The preset page filter envelope is used to shape timbre over time by automating the filter
cutoff.
Attack - controls how long it takes for the cutoff of the LPF to increase from zero to maximum
level
Decay - controls how long it takes for the cutoff of the LPF to decrease from maximum level to
zero
Amount - a bi-polar parameter which controls how the preset page filter envelope automates
the cutoff frequency of the LPF. With -POS (positive) settings the LPF is affected by the
envelope in a positive way, resulting in the attack opening the LPF at a rate justified by the
attack setting. With -NEG settings the LPF is affected in a negative way, resulting in the
attack closing the LPF at a rate justified by the attack setting.
5
Preset Page OSC Drift
A unique feature of Bass Pedals is its heavily scripted Oscillator drift function which uses a
random number generator to simulate the wavering and unstable tuning imperfections often
found in vintage analogue synthesizers. Each time a number is generated the pitch of the
oscillator randomly wavers up and down, in increments dependant on the speed and depth
controls.
Preset OSC Drift Section
Preset OSC Drift Speed - This controls the speed of the random numbers used to simulate a
drift in tuning. Moving this slider to the right will increase the speed at which the oscillators
drift in and out of tune. Moving this slider fully to the left turns off the oscillator drift function
Preset OSC Drift Depth - This controls the amount of detuning that occurs when a new
random number is generated to simulate a drifting effect. Moving this slider to the right
increases the range that the oscillator will drift
LFO Section
The Preset page LFO (Low Frequency Oscillator) is hard wired to the preset sound /
waveforms pitch.
Preset Page LFO Section
Shape
Off - self explanatory
Sine - selects a sine wave shape as the LFO modulation source
Saw - selects a saw wave shape as the LFO modulation source
Depth - controls the amount of modulation routed to the selected modulation destinations
Speed - controls the frequency (rate) of the LFO
6
Raw Page / Mode
The raw page gives you access to Bass Pedals "raw oscillators".
Bass Pedals Raw Page
Raw mode boasts two analogue oscillators powered by a detailed set of carefully edited and
looped waveforms recorded from a vintage Moog Taurus Mk1 Bass Pedals synthesizer.
Every key in a three octave range has been sampled for each waveform and each oscillator.
SAW, SAW -1oct (1 octave lower) and saturation modes are available for oscillator A while
SAW, DUAL SAW and a saturation mode are available for oscillator B.
Both oscillator's can be mixed together with an additional analogue sub oscillator (selectable
between Sine, Square and TAURUS waveforms) as well as a white noise source.
7
Oscillator Section
Raw Page Oscillator A and B Section
Oscillator A Wave Select - selects between a SAW wave and a SAW 1oct (1 octave below).
Oscillator A Saturation On / Off Switch - turns on saturation mode for the selected waveform.
When set to ‘On’ the instrument plays a different set of waveforms which have been recorded
through an Empirical Labs FATSO to create a driven / saturated version of the sound.
Oscillator A Beat - Staying true to Moog Taurus terminology 'Beat' is simply another word for
fine tune. This controls frequency/tuning of the selected waveform in finer increments.
Oscillator B Wave Select - selects between a single SAW wave and a Dual SAW wave
Oscillator B Saturation On / Off Switch - turns on saturation mode for Oscillator B’s Sawtooth
waveform. When set to ‘On’ the instrument plays a different set of waveforms which have
been recorded through an Emprical Labs FATSO to create a driven / saturated version of the
sound.
Oscillator B Beat - This controls frequency/tuning of the selected waveform in finer
increments.
Unison Mode Normal - This is the default setting and allows oscillator A and B to be used in
standard operating mode, as you would expect from any analogue synthesizer
Unison Mode Stack A - When selected both SAW and SAW -1oct waveforms (including
saturated waveforms) for Oscillator A are stacked. To hear this effect in solo move the
Oscillator Mix fader to100% A
Unison Mode Stack B - When selected both SAW and DUAL SAW waveforms for Oscillator B
are stacked (including saturated waveforms). To hear this effect in solo move the Oscillator
Mix fader to100% B
8
Unison Mode Super - When selected both Stack A and Stack B modes will play
simultaneously (7 oscillators) giving a huge unison effect. Set the Mix fader to its center
position (Ctrl+click fader) to hear this effect in all of its glory!
Unison Mode Off - Turns unison mode off
Oscillator A/B Mix - This fader controls the mix /level between oscillators A and B
Raw Page Amplifier Section
Bass Pedals amplifier and filter sections affect the output of the combined raw oscillators
(oscillators 1 and 2, sub oscillator and noise generator). The controls for each section are
identical to the preset page amplifier.
Attack - controls how long it takes for the amplitude to increase from zero to maximum level.
Decay - controls how long it takes for the amplitude to decrease from maximum level to the
sustain level.
Sustain - sets the volume level when a key is held down on the keyboard.
Release - controls how long it takes for the amplitude to decrease from sustain level (after a
key is released) to zero.
9
Raw Page Filter Section
The filter section contains controls for the filter and its dedicated envelope generator.
Raw Page Filter Section
Cutoff - sets the frequency, below which signals are passed through the Low Pass Filter
(LPF). Signals with frequencies higher than the cut-off frequency are filtered out.
Resonance - increases the amount of emphasis (boost) around the cutoff frequency.
Filter Type - Selects between Filter On / Off, 24db and -Ladder Filter modes
Amount - a bi-polar parameter which controls how the raw page filter envelope automates the
cutoff frequency of the LPF. With -POS (positive) settings the LPF is affected by the envelope
in a positive way, resulting in the attack opening the LPF at a rate justified by the attack
setting. With -NEG settings the LPF is affected in a negative way, resulting in the attack
closing the LPF at a rate justified by the attack setting.
Filter Envelope
The raw page filter envelope is used to shape timbre over time by automating the filter cutoff.
Attack - controls how long it takes for the cutoff of the LPF to increase from zero to maximum
level
Decay - controls how long it takes for the cutoff of the LPF to decrease from maximum level to
zero
Sustain - controls how the raw LPF cutoff behaves when a key is held down on the keyboard.
With no sustain the envelope jumps to the release phase of the filter envelope.
Release - controls how long it takes for the cutoff of the LPF to decrease from sustain level
(after a key is released) to zero
10
Raw Page OSC Drift
Our uniquely programmed Oscillator Drift function applies randomness to the pitch of the raw
pages Osc A and Osc B waveforms. This is used to simulate the wavering and unstable
tuning imperfections often found in vintage analogue synthesizers.
Raw Page Osc Drift A / B Section
Preset OSC Drift Speed - This controls the speed of the random numbers used to simulate a
drift in tuning. Moving this slider to the right will increase the speed at which the oscillators
drift in and out of tune. Moving this slider fully to the left turns off the oscillator drift function
Preset OSC Drift Depth - This controls the amount of detuning that occurs when a new
random number is generated to simulate a drifting effect. Moving this slider to the right
increases the range that the oscillator will drift .
Sub Osc
The sub oscillator heavily multi-samples a vintage Moog Minimoog (for the sine and square
waves) and a Moog Taurus MK (for the taurus waveform). The sub oscillator is switchable
between Sine, Square and Taurus waveforms and has an independent fine tune 'Beat' and
volume control. The sub oscillators have been recorded at one octave below the main
oscillators.
Raw Page Sub Oscillator Section
Beat - Staying true to Moog Taurus terminology 'Beat' is simply another word for fine tune.
This controls frequency/tuning of the Sub Oscillator waveform in finer increments.
Volume - The volume controls the level of the Sub Oscillator waveform.
11
Noise
A white noise source (sampled from a Moog Minimoog) can be mixed with oscillator's 1 and 2
as well as the sub oscillator.
Raw Page Noise Section
Volume - Controls the amount / volume of white noise sent to the raw page Amplifier and filter
section
Raw Page LFO
The raw page LFO is again hard wired to control pitch, similar to the original Moog Taurus
instrument.
Raw Page LFO section
Shape
Off - self explanatory
Sine - selects a sine wave shape as the LFO modulation source
Saw - selects a saw wave shape as the LFO modulation source
Depth - controls the amount of modulation routed to the selected modulation destinations
Speed - controls the frequency (rate) of the LFO
12
Effects Page
Bass Pedals effects page is powered by Kontakt 4 / 5's comprehensive built in effects which
are combined with specially created reverb IR's (Impulse Responses) taken from our Eventide
DSP-7000 Harmoniser.
Bass Pedals Effects Page
13
Chorus Section
The Chorus module utilizes Kontakts on board chorus effect. Use the on/off switch to
activate/deactivate the Chorus module.
Effects Page Chorus Section
Speed - controls the chorus LFO frequency
Depth - controls how much the total delay time changes over time (in other words the depth
controls the amplitude of the chorus LFO)
Phase - Controls at which point the chorus LFO starts in its wave cycle (start phase)
Amount - controls the amount of chorus applied to the input signal
14
Equalizer Section
The effects page equalizer section features a 3 band parametric EQ. Each band has a
frequency selector, Q and a cut / boost control which can be used to shape the tone / colour
of the sound. Use the On / Off switch to switch the EQ on or Off.
Effects Page EQ Section
Band 1 / 2 / 3 Freq - Used to 'sweep' through and select specific frequencies for cutting or
boosting
Band 1 / 2 / 3 BW - increases / decreases the bandwidth of frequencies affected by the gain
control
Band 1 / 2 / 3 Gain - Boosts or Cuts at the frequency selected by the Freq control
Saturation Section
The effects page saturation section is used to applies a 'warm' saturation effect to the input
signal. Saturation effects are often associated with driving analogue technology including
analogue tape and vintage tube technology.
Effects Page Saturation Section
Amount - Controls the amount of signal fed to the saturation effect
15
Distortion Section
The distortion module applies a distortion effect to the input signal.
Effects Page Distortion Section
Use the on/off switch to activate/deactivate the distortion module. The amount knob controls
the amount of distortion added to the input signal.
Note: Use distortion to 'dirty up' your synth sounds, it is very useful for growling synth bass
and screaming lead sounds.
Reverb Section
The reverb module makes use of Kontakts reverb convolution engine to simulate real spaces
from big halls and tighter rooms to more experimental reverbs. Use the on/off switch to
activate/deactivate the convolution reverb module.
Effects Page Reverb Section
Reverb Type - Chooses the type of reverb algorithm to be used to generate the reverb effect
Pre Delay - controls the 'pre-delay' time of the reverbs first reflection. Longer pre-delay's
produce a 'slap-back' effect often heard in big stadiums or large reverberant spaces
Size - modifies the arrangement of the reverbs 'first reflections' to simulate rooms of varying
sizes
Amount - controls the balance of 'wet' signal verses dry
16
Controls Page
The control page gives you control over the instruments mono mode with selectable note
priorities, portamento, pitch bend range, keyboard velocity and curve response.
Bass Pedals Controls Page
17
Monophonic
The Monophonic section is used to switch change the instruments 'Note priority' to simulate
the behavior of different vintage synthesizers.
Controls Page Monophonic Mode
Using the Note Priority menu you can change the way notes are prioritized when you press
and hold more than one note at a time. Using the different priorities you can easily emulate
the behavior of the classic mono synths of the past.
Note: experimentation is key with note priority
For the purists among us, here is a handy list of old mono synths and the note priority that
they used.
Synthesizer
ARP Odyssey
Korg MS-20
Roland SH09
Note Priority
Low Note
Highest Note
Highest Note
Portamento
The Portamento section creates a smooth 'slide' between two pitchs at a rate justified by the
'portamento time'. Use the on/off switch to activate/deactivate the Portamento mode.
Controls Page Portamento Section
Time - controls the time it takes for the pitch to bend up/down between notes
18
Pitchbend
The Pitch Bend module is used to control the upper and lower limits (range) of Bass Pedals
pitch bend control.
Controls Page Pitchbend Mode
The maximum range can be set to +/- 12 semi tones enabling a pitch bend up or down of one
octave.
Note: use pitch bend to make synth parts more expressive, remember pitch bend can be
automated in your sequencer of choice
Velocity Section
The velocity module is used to control how Bass Pedals responds to keyboard velocity.
Controls Page Velocity Section
19
Bass Pedals Known Limitations
1.
20
When a new waveform is selected for ANY of the oscillators you have to press a key
on the keyboard to hear the newly selected waveform. This is a limitation of Kontakt
and cannot be changed.
Bass Pedals Presets
Patch Name
acid saw
acid square
atomik sub
bass filth
bass thump
big unison
bullish
chubby sub
deep reese
detuners
dirtbag
dirty sine
dread
drugged
dubby
flabby Taurus
flashback
funkee
grom lead
hectic unison
junky funk
low sub
mini funk
moogle
on the brink
optic bass
phatty
res square
round sub
salamander
satans sweep
simple dual
skreamer 2
skreamer
squelch
stalker
swept square
thick square sub
too deep
unstable taurus
21
Key Span
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
Looped
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Taurus Presets
Patch Name
2 octv bass
bass funk
brassik
classic
deep funk
detonate
fatty acid
layered minimoog
lowdown
mashed saw
mini brash 1
mini brash 2
mini buffed
mini tactile
muffle
nasty res
rez lazer
rumble closed
rumble open
soft bass
sub 01
sub 02
subsonic
taurus
thick bass
tone chord
warm dual
warm single
Key Span
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
C1-C4
Looped
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Audio Demo Credits
We would like to thank the following producers for their contribution to the Bass Pedals audio
demos:
Avionik / Kevin Burke - http://www.kevinburke.ca/
Reuven Amiel - [email protected]
22

to the Bass Pedals manual

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