Bazille User Guide

bazilleModular PD & FM Synthesizer

user guideversion 1.0

u-he Heckmann Audio GmbH BERLIN

Introduction 4..............................................................................Installation 4.............................................................................Resources 4

..................................................................Background Story 5.....................................................................Synth Overview 6...................................................................GUI Components 7.................................................................GUI global options 9

...................................................................The Control Bar 10......................................................................Multicore / HQ 11

........................................................................Oscilloscope 11.....................................................................Patch Browser 12

Oscillators 14.....................................................................................Pitch 15

..........................................................................Phase / FM 16..................................................................Phase Distortion 17

..............................................................Fractal Resonance 18................................................................................Outputs 18

LFOs 19

Filters 21...............................................................................Controls 21................................................................................Outputs 22

Envelopes 23

Outputs 24

Processors 25................................................................................Inverter 25...............................................................................Rectifier 25

.....................................................................Sample & Hold 25...................................................................Lag Generators 25

.............................................................................Quantizer 25

MIDI & More 26...................................................................................Noise 26

..........................................................MIDI Control Sources 26!

.....................................................Internal Control Sources 27............................................................................CV Inputs 27

Multiplex 28

Modulation Sequencer 30..........................................................Speed and Triggering 30

......................................................................Snapshot Dial 31...............................................................Snapshot Patterns 32

Tweaks & FX 33.............................................................................Overview 33

....................................................................................Voice 34........................................................................Tune Control 35

....................................................................................Glide 36..............................................................Stack Voice Tuning 36

..........................................................................Microtuning 36...........................................................Mapping Generators 37

..................................................................Envelope Extras 39......................................................................Filters 3 and 4 40

................................................................Ramp Generators 40

Effects 41...........................................................................FX Control 41

.............................................................................Distortion 41.................................................................................Phaser 43

...................................................................................Delay 44......................................................................Spring Reverb 45

Tips & Tricks 46...................................................................Oscillator Tricks 46

...................................................Mapping Generator Tricks 46..................................................................Processor Tricks 46

....................................................................Multiplex Tricks 46........................................................Mod Sequencer Tricks 46

Glossary 47

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IntroductionTo follow this user guide, it helps if you already know a thing or two about the types of synthesis it is based on (FM, PD, subtractive). If you have any questions specifically about Bazille or would like to discuss anything else u-he, feel free to post a message in our user forum at KVR!

InstallationGo to the Bazille webpage, grab the installer for your system and unzip the compressed file. Open the Bazille(nnnn) folder and start the installer application...The only demo restriction is a crackling that appears at irregular intervals after about two minutes of use the demo is otherwise fully functional. This noise disappears after you have entered a serial number. For more information, please refer to the ReadMe file included with the installer.

ResourcesFile locationsMac

Patches MacHD/Library/Audio/Presets/u-he/Bazille/ Preferences ~/Library/Application Support/u-he/com.u-he.Bazille... (*.* files)

WindowsPatches ...\VstPlugins\Bazille.data\Presets\Bazille\Preferences ...\VstPlugins\Bazille.data\Support\ (*.txt files) (locations depend on paths chosen during installation)

Note: Patch locations can be opened in system windows by right-clicking in Bazilles browser and selecting reveal in Explorer / Finder from the context menu.

INTRODUCTION

TOC INTRO OSC LFO FILT ENV PROC MIDI+ SEQ TWEAK FX TRICKS GLOSS! 4

u-he online For downloads, news articles and support, go to the u-he website For lively discussions about u-he products, go to the u-he forum For friendship and informal news updates, go to our facebook page For u-he presets (payware and free), go to u-he patch library For video tutorials and more, go to our youtube channel

u-he team Urs Heckmann (code, concept, strategy, discipline) Sascha Eversmeier (more code, but slightly different) Howard Scarr (documentation, sound design, grump) Rob Clifton-Harvey (metal support, everything else) Sebastian Greger (GUI, graphics, sunshine) Michael Dhr (quality, quantity, integrity, beer) Jan Storm (xx)

u-he thanks Thomas Helzle for GUI concept and 3D rendering Clemens Heppner for Diva code and formalities ;-) Beta-testers and everyone who contributed presets Brian Rzycki for maintaining PatchLib

Background Story[musings about Bazille by Urs Heckmann, early 2013]

Several years ago I started working on a new synthesizer. The idea was to build a virtual modular system very much like the first synth I ever played in 1986: a hilariously out of tune Roland System 100M. I totally loved that thing! It stood in a room in my grammar school, and I spent hours and hours patching it up...

Many years later, I put together a little modular system using Eurorack parts. An inspiring but quite expensive hobby, and I found it quite difficult to make music. As a software user, Im used to being able to save my work, Im used to having multiple instances and Im used to playing chords all of which is impossible with a hardware modular system. On the other hand, hardware does have that tactile thing, the real hands-on experience. Plugging cables and twisting knobs is very rewarding , especially compared to pushing a mouse!

However, I always kept the idea of a software modular system in the back of my mind. Recently, some other ideas nicely aligned with that concept, and the Berlin Modular project experienced a massive boost. Of course the name Berlin Modular is reminiscent of the Berlin School of electronic music, the bands and artists I listened to when I was a teenager. Those guys inspired me to make electronic music my hobby, and they ultimately inspired me to develop synthesizers.

The idea behind Berlin Modular is easily explained: Imagine you have a system mounted in a rack with a couple of oscillators, a couple of filters and envelopes. Now imagine you have three or four of these systems with different types of modules. Thats the basic concept: Similar systems based on different modules. They are already nicely put together and ready to make some noise!

A couple of years ago I demonstrated a prototype of what I thought would become the very first rack within Berlin Modular. I called it "Bazille", which is German for bacterium and should be pronounced something like Batzilla. Bazille turned out to be quite a crazy fellow! It combines FM synthesis with Phase Distortion synthesis, all with the flexibility of modular patching...

INTRODUCTION


Synth OverviewNew instances of Bazille should look something like this (if not, click on the SYNTH tab at the top left). The arrangement of modules was designed to minimize the lengths of patch cords required for two independent layers of 2 oscillators filter output.

the SYNTH window

Please take a few moments to familiarize yourself with the names and positions of each panel:The upper central area is dominated by the Oscilloscope, above which is the Data Display, and below which are the Output and main Filter panels.Either side of the oscilloscope are four audio Oscillators, flanked by the two LFOs (low frequency oscillators). Beneath each LFO is an unlabeled panel containing a selection of signal Processors:

1 x sample & hold (left panel only) 1 x quantizer (right panel only) 4 x lag processors (in pairs, with shared attack and release times) 2 x inverters, 2 x rectifiers

Below the oscillators and processors are the four Envelope Generators.At the bottom left is a panel called MIDI & MORE containing several modulation sources (wheels, velocity etc.) plus two noise outputs. There is also a pair of CV (control voltage) inputs anything you connect to CV1 or CV2 can modulate the LFOs, envelopes, mapping generators and extra filters: Although most the patching in Bazille is done with virtual cables, some parameters have a fixed set of modulation sources available in drop-down menus. See Selectors on the next page.The MULTIPLEX panel In the centre of the lower area contains four identical Multiplex units. Unlike the simple multiples found in analogue modular systems, they can be used as mixers, ring modulators (RM), amplitude modulators (AM), and much more. Owners of Bazilles little cousin ACE should be in familiar territory here.Finally, at the bottom right is the MODULATION SEQUENCER. The controls on the left let you select, morph between or even automatically step through 8 different sequences.

INTRODUCTION


GUI ComponentsThis section is an introduction to the basic components of Bazilles GUI.

Knobs and slidersThere are two types of knob: unipolar and bipolar. Unipolar knobs let you set positive values only, while bipolar knobs also allow negative values, often within a range of -100 to +100.

The image above shows the oscillator tuning controls. Note that the Tune knob is unipolar, while the Modify knob is bipolar. By the way: all envelope sliders are unipolar, while those in the modulation sequencer are bipolar.

Coarse control: Click+hold with the left mouse button, then drag up or down. Fine control: For 0.01 steps, hold down one of the SHIFT keys before moving the knob. Mouse wheel: If your mouse includes a scroll wheel, you can make course adjustments by

hovering over a knob or slider and rolling the wheel. For fine tuning, hold down SHIFT.

Reset to default value: Double-clicking a knob reverts to a useful default, often 0.00. MidiLearn: Right-click any control (knob, slider...) and select MidiLearn from the context

menu. Moving any control on a connected hardware MIDI controller will create a link, after which you can remote control that particular parameter using your hardware.To remove the link again, right-click and select MidiUnLearn. Note: Accidental MIDI learn is the number one cause of false bug reports, so if you notice that knob values are being reset for no apparent reason, try MidiUnLearn before contacting us - thanks!

SelectorsAll orange-on-black text fields are selectors that open drop-down menus containing a list of options. Some of the selectors also serve as labels for the accompanying knob. Click on a selector to open the list, or roll your mouse wheel to scroll through the options.

Sockets and cablesBazilles modules are connected together (patched) using virtual cables. The sockets are colour-coded: all inputs are grey , all outputs are red .To make a connection, drag and drop between output and input sockets (either direction should work). Outputs will happily accommodate several cables, while inputs will accept just one the previous connection is simply replaced.

You cant usually connect two inputs together, but theres one exception: dragging a cable from an unused input to another thats already in use creates a daisy-chain. Try it!

INTRODUCTION


Heres what you can do by clicking on the sockets:

move inputs drag+drop the cable from the current input to another one. move outputs right-click on an output (a broad straight line appears) and drag it to a

different output. Note that multiple cables can only be moved together.

remove cables either double-click the input (destination) end of the cable, or drag & drop it away from the socket.

change cable colour single-click on the input end of the cable. Take care not to double-click, as this will remove the cable.

change cable weight right-click on any input socket, then select from the following options (4 thicknesses, 4 transparency levels):

thickslimlinehair

solidsee thrux-rayghosted

MidiLearnMidiUnLearn

Unlike the other features here, cable weight is actually a global option, so it is likely to appear elsewhere in future versions of Bazille.

Parameter lockingRight-click on any knob, slider or selector lets you select Lock. A locked parameter can still be adjusted (remember this!), but doesnt change whenever you switch presets. To unlock again, right-click and untick Locked.

While the current implementation of parameter locking is quite useful for retaining e.g. Microtuning or Fine tuning across presets, it is not really suitable for e.g. individual sequencer values or oscillator settings etc..

INTRODUCTION


GUI global optionsBazille can be expanded or contracted to suit your personal preference / eyesight / monitor size. To open the GUI size menu, right-click anywhere in the background e.g. on the faux wooden end cheeks (which of course add some extra warmth to the Bazille sound):

cute 610 x 360tiny 813 x 480small 915 x 540normal 1220 x 720large 1830 x 1080huge 2440 x 1440cinematic 3050 x 1800

Text AntialiasingGamma

Temporarily switching the GUI size to larger than your screen area can be useful if you need the best possible comfort and precision while editing complex maps (see Mapping Generators).

Text Anti-aliasing toggles visible softening of labels and values.

Gamma lets you adjust the brightness to suit your eyes / monitor etc.:

brighterbrightneutraldarkdarker

Note: Cable weight is also a GUI global option see the previous page.

INTRODUCTION


The Control BarAlong the top is a bar containing page switches, the data display plus a few global elements:

Page switches

To the left are three large buttons, which select one of the following pages:

....................SYNTH patching, access to all the most commonly used panels and parameters........TWEAKS & FX filters 3 / 4, maps, extra envelope settings, global settings, effects...

................PATCHES the preset browser / librarian

Data display

The central Data Display serves several purposes: First, it shows the name of the current patch: Clicking on the triangles to the left and right steps through patches. Second, clicking on the patch name opens a selectable list of all patches in the current directory.Third, the data display shows the current parameter and its value while you are editing the patch. This is particularly useful if you want to set a very precise value. After about 2 seconds, the display reverts to showing the patch name again.

Undo / redoTo the right is a pair of buttons for Bazilles undo and redo functions, which features a practically unlimited number of steps.

Caution: the undo/redo buffer is cleared as soon as you load a patch.

SaveSee Save in the preset browser section.

MIDITo the left of this label is an indicator which lights whenever MIDI data is being received.

OutputThe main volume control and signal / overload indicator (turns red if you overload the output).

The u-he badgeClicking on the u-he badge at the top right opens a popup menu containing direct links to this user guide, to our homepage, to our support forum as well as to various social networks:

visit u-he.comuser guidesupport forumu-he on Twitteru-he on Facebooku-he on YouTube

INTRODUCTION


Multicore / HQTo the left of the oscilloscope are two switches:Multicore causes voices to be distributed across multiple cores, which usually allows more voices to be played simultaneously without overloading the CPU.This works well on recent processors such as the Intel i5 and i7, but please note that performance can even be reduced if your CPU is older. Also, there may be some unpredictable interaction with multi-threaded hosts (though we havent had any problems so far). Note: Switching Multicore on isnt an adequate substitute for freezing tracks.HQ switches various algorithms over to higher quality versions, at the expense of more CPU.Note: Theres no particular reason why these two elements were put inside the oscilloscope panel except that there wasnt really enough room in the control bar where they actually belong.

The Multicore and HQ switches are in the oscilloscope panel

OscilloscopeOscilloscopes were always, and still are, very useful tools for synth sound design. Thats why theres one in Bazille. You can check and adjust waveforms, monitor the effects of audio-rate modulation or filtering, view envelope shapes etc.. Or just watch it purely for the entertainment value!The oscilloscope shows a mono sum of the output, before any effects. The display is synchronized to MIDI notes as well as zero-crossings, and is also updated whenever a longer scan is completed.As synchronization is automatic, Bazilles oscilloscope only requires two controls: The Frequency knob adjusts horizontal resolution, and Scale adjusts vertical resolution.Note: Perfect synchronization is not always possible try playing a different note!

eco, fast, glow, fire, wind

Right-clicking in the oscilloscope window lets you switch the drawing mode: glow, fire and wind add different fade-out effects at the cost of some extra CPU. These modes are also a bit more sluggish than eco or fast.Tip: If you need to keep CPU-usage down to a minimum, stick to eco (economy) mode.

INTRODUCTION


Patch BrowserBazille programs are called patches, a term borrowed by the audio and modular synth world from the 19th century telephone exchange, in which calls were manually connected (patched) using large socket matrices disconcertingly dubbed selectorboards (why not patchboards?).

LoadTo browse through the available patches in Bazille, click on the PATCHES tab at the top left of Bazilles window. Most of the GUI is replaced by a simple set of panes...

the folders and files areas, showing both context menus (via right-click)

Folders are listed in the left pane, with patches to the right. If Local is closed (as in the above image), click on it to open the list of folders and patches. After having loaded a patch by clicking on one of the names, you can use your computers cursor keys to step through all the others. Note: The User folder is only available in Mac OSX.You can also step through patches directly from the SYNTH or TWEAKS & FX pages by clicking on the triangles either side of the data display. Finally, you can load any patch in the current folder by clicking on the data display.

SaveOf course you will want to save your creations...In the browser (see Load above), make sure that the folder in which you want to store your patch has already been selected. Then click on the Save button to the right of the data display. A small window opens in which you can give your patch a name and enter any details (patch description, playing tips etc.) you would like to appear in the Patch Information.

RefreshWhenever you need to refresh the list (always necessary after folders or patches have been added or moved using Explorer / Finder), right-click in the folder list and select the first entry from the menu. Note that clicking on any folder name will also refresh the list.

Create new folderDoes exactly that creates a new folder.

INTRODUCTION


Reveal in Finder / ExplorerBazilles browser is used mainly for loading patches, and is otherwise fairly limited. Selecting the reveal function opens a system window for the current folder, so you can use the regular OS file functions instead. Right-click and select Reveal in Finder (Mac) or Reveal in Explorer (Win).

Favourite or Junk?Right-clicking on a patch in the browser will open a context menu in which you can classify patches as Favourite or Junk. Junked files will disappear immediately, but can be made visible again by selecting show Junk from the same context menu.

Selection, drag & dropFiles can be moved from one folder to another via drag & drop. Use the SHIFT etc. keys on your computer keyboard to highlight the files you want to move, then click and drag them from the files area onto a different folder. To deselect, either click on a patch or choose deselect from the context menu. See also Reveal in Finder / Explorer above.

The MIDI Programs folderLocal also contains a special folder called MIDI Programs, which is initially empty. If you put a bunch of patches (up to 128) in there, they will all be loaded into memory (for performance reasons) when the very first instance of Bazille starts. Important: Changes only take affect after you have restarted the host software unlike regular patches, MIDI Program patches cannot be added, removed or renamed on the fly.Individual patches in MIDI Programs are selected via MIDI Program Change messages. As they are accessed in alphabetical order, it is a good idea to put a number at the beginning of each name e.g. 000 rest-of-name to 127 rest-of-name or similar.Banks: The MIDI Programs folder can contain up to 127 sub-folders of 128 patches each, and these are switchable via MIDI Bank Select messages 1-127 (the MIDI Programs root folder is bank 0). The bank select message is CC#0. Send a Bank Select message first, then a Program Change message.

INTRODUCTION


OscillatorsBazille is highly unusual for a modular synth. Although the filters are traditional analogue models, the oscillators are unashamedly digital: They combine the two technologies that made digital synthesis affordable (and analogue synths suddenly unfashionable) in the 1980s FM (frequency modulation, more correctly phase modulation) and PD (phase distortion).Also included is another unusual process we call Fractalize (fractal resonance), which can create very cutting sounds from tame waveforms, with a similar result to the classic sync effect.

5 different types of modulation, one for each of the 5 sections

Bazilles main oscillators are very powerful signal generators that can even be used as LFOs (as the frequency range starts at zero Hertz). It can take a good while to get comfortable with them, but thats the price were prepared to pay for such flexibility right?The oscillator panel has five distinct sections, each with a modulation input. The next few pages deal with these sections separately: lets start with PITCH...

OSCILLATORS


PitchTogether, the knobs labeled Tune and Modify control the oscillators basic pitch. Both have mode selectors that make the oscillators suitable for a wide variety of functions e.g. as FM operators, undertone generators or even as host-sychronized LFOs.

TuneA value between 0.00 and 24.00 the selector dertermines how this value is interpreted. The first 3 modes are for generating regular notes, as they automatically switch key follow on:Semitone........ maximum 24 semitones above standard pitch.Overtone ........ the first 24 harmonics in the overtone series. Note that octaves are not evenly

spaced, they are at precisely 1.00, 3.00, 7.00 and 15.00.Undertone ...... the first 24 undertones (often called subharmonics). Again, octaves arent evenly

spaced but are at -1.00, -3.00, -7.00 and -15.00. For details about the undertone series, go here: http://en.wikipedia.org/wiki/undertone_series.

In the last two modes, the oscillator frequency isnt affected by which MIDI notes you play, as key follow is disabled. Tip: Whenever you need an LFO with plenty of modulation options, use one of the main oscillators in Hertz or Clocked mode instead of a regular LFO:

Hertz .............. 0 to 24Hz (can be greatly extended via multiply see modify below).Clocked.......... sync-to-host division factor. 1.00 mean a whole note, 4.00 a quarter note etc..

For technical reasons the synchronization isnt 100% perfect, so you might have to retrigger the notes every now and again.

ModifyA value between -50.00 and 50.00. Again, the selector specifies how this is interpreted. The Modify knob can affect oscillator tuning in one of four ways:Cents ............. detune by +/- 100 cents (each integer step is actually 2 cents).5 Hz ............... detune by +/- 5 Hertz (tuning is independant of the MIDI note).Beats ............. similar to 5 Hz, but host-synced e.g. +4.00 = one extra cycle per quarter note.Multiply........... multiply or divide by a constant (e.g. -8.00 will divide the frequency by 8).

Note that all values between -1.00 and -0.01 are interpreted as 1.00.

Tune modulation (unlabeled)The amount of pitch modulation from a signal connected to the socket. The range of the tune modulation knob is selectable, with the following options:

Cents ............. +/- 50 x 2 cents i.e. plus or minus a semitone5 Semi ........... +/- 5 semitones50 Semi ......... +/- 50 semitones

OSCILLATORS


Phase / FM

Bazilles oscillators are capable of all kinds of FM sounds by plugging an audio-frequency source into the phase modulation input. FM synthesis is a bit of a misnomer, as this technology was actually based on phase modulation (see Wiki articles about FM synthesis and Yamaha DX7).

PhaseThe righthand knob adjusts the basic phase position i.e. where in its cycle the waveform will start whenever a note is played. The range is usually 720 i.e. 2 cycles, but this is reduced to 360 when different waves are combined (the pitch drops an octave). The value of Phase is irrelevant when the mode is set to Free, as in the above image.

The oscillators in most analogue synths are free running i.e. the phase is never reset. Because the oscillators in digital synths arent computed until a note is played (otherwise the CPU would be busy computing inaudible sounds), the initial phase needs to be defined:

random................ Resets the oscillator to a random phase each time a note is played.gate .................... Resets to the value of Phase each time a note is played so that all notes will

start with the same phase (if Phase isnt being modulated).catch................... Each oscillator gets its phase from where the most recently processed voice

left off for a better free running effect despite voice rotation (round robin).

Phase modulation (with mode selector)The bipolar knob on the left adjusts the amount of phase modulation from a signal connected to the socket. Connect another audio-rate oscillator here for classic FM sounds (both should be sine waves), or connect the same oscilator for operator feedback. Remember that Bazille is truly modular you should also try connecting LFOs, ramps, noise etc. here.

The mode selector has 7 options. The first 3 are for regular phase modulation:PM fine ............... for subtle phase modulationPM medium ........ for typical FM uses, including self-modulation (operator feedback)PM course .......... for maximum phase modulation

The next two options offer linear frequency modulation, with two different ranges:lin 100Hz ............ linear FM, 0 to 100Hzlin 1kHz .............. linear FM, 0 to 1,000Hz

The last two options offer relative frequency modulation, also with two different ranges: rel fine................. relative FM, -12 to +7 semitonesrel course............ relative FM, +24 semitones backwards, through 0Hz (at -20), to +31

The very last option, rel course is especially interesting, as it gives us through-zero FM. There is an example of through-zero FM in the Tips & Tricks section. xx really?

OSCILLATORS


Phase Distortion

Like FM, Phase Distortion (PD) is another method of skewing sine waves developed during the 1980s. If youre interested in studying technical details, you could start by reading these articles:

http://en.wikipedia.org/wiki/Phase_distortion_synthesishttp://en.wikipedia.org/wiki/Casio_CZ_synthesizers

Whenever you start a fresh instance of Bazille, the initialize patch is automatically loaded. In this patch, oscillator 1 is already connected to one of the outputs so you can at least hear a sound. Oscillator 1s PD knob is set to maximum, resulting in a bright sawtooth-like wave. Try turning this all the way down for a sine wave, then modulate the phase distortion amount by connecting e.g. envelope 2 to the socket and turning the amount up.

PDThe PD knob controls the basic amount of phase distortion.

PD modulation (unlabeled knob)The bipolar knob on the left adjusts the modulation depth from a signal connected to the socket.

Wave selectors (upper 2 selectors)The selectors below the PD knob specify a pair of non-linear phase functions, which alternate (see the two examples below).The first 5 modes (Saw, Square, Impulse, 2pulse, Halfsaw) are fairly simple and need no explanation.In the three Res modes, multiple sine waves are packed into one of 3 differently-shaped windows. The number of cycles in the window is controlled by the PD parameter.

Here are just two of the many possible waveform combinations:

Saw + Square Impulse + Res 2

Shape (lower selector)Sets the basic oscillator waveform before phase distortion:

Cosine............ for regular phase distortion i.e. the above waves.TapMap(n) ..... one of the two mapping generators. Note that Setting this option doesnt prevent

the map from being used as a modulation source at the same time.

OSCILLATORS


Fractal Resonance

Fractal resonance is similar to Res (see Wave Selectors above), but acts on the composite wave. Multiple cycles of the waveform are packed into another wave (specified by the selector) which serves as a window. Watch the effect of fractal resonance in Bazilles oscilloscope. For example, here is a square wave packed into a triangular window:

FractalizeThe righthand knob controls the number of cycles (of the original wave) in the window. The selector to the right specifies the shape of the window. Off, Saw, Tri or Max roughly correspond to none, Res1, Res2 and Res3 respectively (see the previous page).

Fractalize modulation (unlabeled)The bipolar knob on the left sets the modulation depth of a signal connected to the socket.

OutputsThere are two signal outputs at the bottom of the oscillator. The upper one is always at full volume, while the lower one can be attenuated and modulated...

VolumeThe righthand Volume knob controls the nominal level of the lower output, before modulation...

Volume modulation (unlabeled)The bipolar knob controls the modulation depth of a signal connected to the socket.

OSCILLATORS


LFOsAt the top left and top right of Bazilles window are two dedicated low frequency oscillators.The LFOs have 3 parallel outputs along the bottom. Note that LFO 1 is also responsible for vibrato.

RateA value between -5.00 and 5.00 the selector specifies how this value is interpreted. The first 3 options are absolute times measured in seconds (0.1, 1 or 10), all the others are synchronized to host tempo. The five options with dot in the name are dotted (50% is added to the cycle length), and those with trip in the name are triplet times (3 cycles occupy the space of 2).

0.1s to 10s ..... absolute times: 1/10th, 1 or 10 seconds at Rate = 0.00.1/64 to 8/1...... synchronized to host tempoTo set up a vibrato rate of 5Hz, for instance, use 1s mode with Rate at 2.50. Or 0.1s with the Rate set to -1.00. Its not worth thinking about a conversion formula here just use your ears!

Rate ModThe depth of rate modulation from a source chosen in the selector.

WaveThis knob affects the basic LFO waveforms in the following ways:triangle ........... from falling saw though triangle to rising sawpulse .............. pulse width from 1% through 50% to 99% (approximate values) random........... smoothness controlFor more LFO waveforms, try modulating the LFOs amplitude from the same LFO. Or use one of the main oscillators in Hertz or Clocked mode.

LFOs


PhaseThis adjusts the phase position at which the waveform will start whenever a note is played. The options in the selector are:sync ............... no restart LFOs for all voices remain in phase unless modulated apartgate................ restarts to the value of Phase whenever a new note is playedsingle ............. similar to sync, but restarts whenever a non-legato note is playedrandom........... restarts at a random phase whenever a new note is played

DelayFades the LFO in from zero, with ramp times ranging from immediately to about 20 seconds.

Amp ModThis knob adjusts the amount of LFO level modulation from a source specified in the selector. That higher values result in lower LFO output may be counter-intuitive, but remember that you are controlling the degree of attenuation here. Whatever the modulation source, you will always get maximum output from the LFO when Amp Mod is set to minimum.

Outputs (Triangle, Pulse, Random)All three LFO output sockets can be used in parallel. Note that the Wave knob (see above) affects all waveforms at the same time.

LFOs


FiltersBazilles filters have several properties normally associated with analogue hardware. For instance, they can be overdriven without getting too harsh. Also, close to where self-oscillation starts (about 50 to 55), there are surprising opportunities for weird and wonderful sound design.

Four filters (the controls for filters 3 and 4 are in the TWEAKS & FX page)

The cascade filter architecture lets you access several filter types in parallel, like in some hardware synths. In Bazille, however, all filter types are resonant and can even self-oscillate.Note: All controls for filters 3 and 4 are in the TWEAKS & FX page.

ControlsGain / inputs

Filter input level (negative values) as well as overdrive amount (positive values). Like the main OUTs, each filter has two audio inputs. Note: Bazilles filters have not been tamed!

CutoffFilter 1: Cutoff frequency is measured in semitones from 0.00 to 150.00 for a total range of about 12 octaves. The modulation range is also +/-150 semitones.

Filter 2: Instead of a simple positive-only cutoff, filter 2 has a bipolar control with 3 modes:

Cutoff......... like filter 1 except that you can set cutoff below zero (to be modulated upwards).Offset......... follows filter 1 (including any modulation), but shifted either negatively or positively.

This means that filter 2 cutoff can be directly modulated by up to four sources: two within filter 2 and two adopted from filter 1.

Spread....... like offset, but also affects Filter 1 cutoff in the opposite direction.

FILTERS


Cutoff modulation (unlabeled)Each of Bazilles filters includes a pair of general-purpose cutoff modulation controls. A typical use would be to patch an envelope to one and an LFO to the other, but remember that you can patch audio-rate sources: Try everything, experiment!

Key FollowKey follow causes the cutoff to track MIDI notes, to a variable degree. Key follow pivots around the note E3: this note remains unaffected, whatever the value of Key Follow.

ResonanceThe resonance range is 0.00 to 100.00. Although self-oscillation can start around 50.00, the actual amount of resonance depends on the Gain setting (see gain above), so quite a generous range was necessary.

Resonance modulation (unlabeled)Resonance can be modulated by connecting a signal to the socket. The Resonance knob then becomes a (unipolar) modulation depth control.

OutputsFilters 1 and 2 have six outputs each, all of which can be used at the same time:

LP24 24dB per octave (4-pole) lowpassLP12 12dB per octave (2-pole) lowpassLP6 6dB per octave (1-pole) lowpass

LP18 18dB per octave (3-pole) lowpassBP6 6dB per octave (1-pole) bandpassHP12 12dB per octave (2-pole) highpass, with low shelf via Gain

Filters 3 and 4 are only slightly simpler than the other two. Here are the differences: They only have LP18, BP6 and HP12 outputs, resonance cant be modulated, and the cutoff modulation sources are limited to what you see in the MIDI & MORE panel minus noise, plus LFOs and envelopes. Also, everything except the sockets are in the TWEAKS & FX page go here.

Tip: If you want to modulate filter 3 or 4 cutoff from something thats not available in the list (e.g. the modulation sequencer), just patch the signal you want into one of the CV sockets, and select that CV as modulator.

FILTERS


EnvelopesBazille has 4 identical envelope generators that can not only be selected as amp envelope in the output modules, but also patched to any parameter with an input socket (e.g. filter cutoff).

To reduce clutter in the SYNTH page, the envelope parameters we thought might be adjusted less often while sculpting a sound towards perfection (!) can all be found in the TWEAKS & FX page.

A D S RBazilles envelopes are based on the familiar ADSR type, i.e. they use the standard parameters Attack time, Decay time, Sustain level and Release time. Of course we added a few interesting extras under the hood...

Rate ModOverall speed modulation. For instance, if you select KeyFollow as the modulation source and set a negative value (as in the above image), the envelopes of higher notes will be shorter which is typical of plucked acoustic instruments.

Tip: An envelope can even modulate its own rate you can use such recursive modulation to create unusual envelope shapes.

Fall/RiseThis knob causes the normally flat sustain to either fall (negative) or rise (positive). Values closer to the centre mean a slower rate. Note: Theres a parameter in the TWEAKS & FX page called F/R Range which limits how far the sustain will fall or rise.

Amp ModThe amount that the envelopes output is modulated by a source chosen in the selector.

VelocityThis knob scales the envelope level via MIDI velocity, so low velocities result in lower levels.

ENVELOPES


OutputsAt the end of the synthesis chain theres always an amplifier unit otherwise you wouldn't hear anything! In analogue synthesizers this is often a VCA (Voltage Controlled Amplifier). The output VCAs in polyphonic synths usually have dedicated envelopes, while Bazille offers you a choice.Even modular synths should be stereo, so Bazille gives you two channels with pan controls:

the Output panels

Parallel inputsEach output channel has two signal inputs, which are simply summed together.

VolumeA level control with envelope selector. Choose any of the envelope generators (Env 1 to Env 4) or Gate (a simple maximum sustain envelope with short attack and release).

Note that the ultimate volume control is actually the Output knob in the upper bar!

PanStereo pan position, or pan modulation depth if a source other than none is selected.

OUTPUTS


ProcessorsThe panels below each LFO contain various signal processors which will accept control signals as well as audio signals (see xx for a few practical examples):

Processor panels, with Sample & Hold on the left, Quantizer on the right

InverterSimply inverts the input signal.

RectifierFull wave rectification: all negative values become positive.

Sample & HoldEach time the Trigger signal passes through zero in the positive direction, a sample is taken of the input signal, and this voltage is held until the next trigger arrives. Of course you should immediately patch noise to the input, an LFO to the trigger, and the output to either oscillator pitch modulation or filter cutoff!

Lag GeneratorsSimilar to Glide, but these can be used for any signal. The attack (A) and release (R) knobs give you independent control over positive and negative transitions. To familiarize yourself with these controls, try processing a square wave LFO thats connected to oscillator pitch modulation. Then try using a lag generator as a primitive lowpass filter!

Note: Each panel actually contains two lag generators, with shared attack and release times.

QuantizerSignals are forced to discrete voltages so the input signal is transformed into equally-spaced steps. The central knob controls the number of those steps.

PROCESSORS


MIDI & MoreAt the bottom left of the SYNTH page is a panel containing nothing but sockets:

noise outputs CV inputs

MIDI control sources internal control sources

NoiseTwo differently coloured noise sources: White is a full-range random audio signal suitable for bright percussion or steam sounds etc.. Pink contains more low frequencies, and is probably the better choice for wind/wave effects or low-frequency grunge.Tip: An absolute classic patch: Noise Sample & Hold (triggered by LFO) pitch or cutoff.

MIDI Control SourcesThe left half of the panel contains the following MIDI data outputs:

Press / Gate / Velo / PitchW / ModW / Breath / XpressAs well as generating MIDI note messages (which include Gate and Velocity), most MIDI key-boards also have a pitchbender (PitchW) and a general-purpose modulation control (ModW). These two are usually implemented as a pair of wheels, but some have joysticks, touch ribbons etc. instead. More fully-featured MIDI keyboards also send aftertouch i.e. channel pressure or poly-pressure (Press), breath control (Breath) or expression pedal (Xpress) data.

Note: You will also find these control sources in the menus for modulating LFOs, envelopes and filter 2/3 parameters (some of the names are bit longer in those lists).

KeyF 1 / KeyF 2Two multi-purpose Key Follow modulation sources i.e. MIDI note number with pitchbend and glide. Bazille has two of them because you can set a glide rate offset for all even-numbered modules, and this is included in KeyF 2. For more details, see Glide.

Note: Bazilles pivot note for Key Follow is fixed at E3 (MIDI note 64). Below E3, KeyF 1 and KeyF 2 send negative values, above E3 they send positive values.

MIDI & MORE


Internal Control SourcesThe other control sources in the MIDI & MORE panel are internally generated:

RandomA random value for each played note.

+5VA constant voltage. You can use +5V to create DC offsets (can affect distortion characteristics of filters), or to push parameters beyond their normal ranges (where possible) etc..

StackVA modulation source derived from the stack voice number. This is identical with +5V when Stack is set to 1. It is +5 and -5 when Stack is set to 2, and +5 / 0 / -5 when Stack is set to 3. The simplicity ends with Stack settings of 4 and above, although the limits will always be +5 and -5.

AltFlips (alternates) between +5V and -5V for each successive note.

Map 1 / Map 2See Mapping Generators in the TWEAKS & FX page.

Ramp 1 / Ramp 2Additional simple envelopes / LFOs. See Ramp Generators in the TWEAKS & FX page.

CV InputsAlthough control-rate modulation targets (LFO and envelope rates / levels, pan) would normally only accept control-rate sources, Bazille includes a pair of inputs that inject any signal you like into the modulation source dropdown menus.

The CV inputs are particularly useful for pre-processed (e.g. added, multiplied, lagged etc.) control-rate sources, but patching audio-rate signals into a CV can also lead to interesting results. Please keep in mind that the CV path is updated much more slowly than audio-rate!

MIDI & MORE


MultiplexThe little multiple modules you will find in most analogue modular systems are simple mix/split devices, often just four sockets bridged together. As most modular synths have a very limited number of inputs and outputs per module, multiples are very important without them it would be difficult to modulate more than one parameter at a time from e.g. an envelope generator, or plug more than one or two audio signals into a filter.As Bazilles output sockets can accommodate several cables, the humble multiple underwent a serious redesign at u-he, emerging as something so flexible that we called it the MULTIPLEX.

Here are a few examples of what you can do with a multiplex:

Simple mixing

The most obvious use of a multiplex is to mix up to four input signals. The multiplex acts as a regular 4-input multiple with as many outputs as you like.

Ring modulation (RM)

A classic audio effect traditionally used for bell-like sounds. In the above example, the signal connected to input 1 is being ring modulated (multiplied) with the signal connected to the mod (modulation) input. Swapping the input and mod cables will make no audible difference.

Whenever a cable is connected to the mod input, the lefthand knob crossfades from the dry sum of inputs 1 and 2 to the RM signal. In our example, the lefthand knob is at maximum, meaning that the output (red cable) carries the ring modulated signal only. The value of the righthand knob is irrelevant here, as inputs 3 and 4 are not being used.

Because RM is actually multiplication, the multiplex can be used to scale control signals. For instance, if you connect an LFO to input 1 and velocity to the Mod socket, you will get LFO level times velocity the harder you play a note, the more LFO signal will appear at the output.

MULTIPLEX


Amplitude modulation (AM)

Another classic synthesizer effect like RM simply use inputs 3 and 4 instead of 1 and 2. In addition to the RM sidebands, the AM output also contains the original signal (but amplitude- modulated, of course). The knob on the right crossfades from the original to the amplitude modulated signal.

RM can be written as y = a x mod, and AM as y = a x (1 + mod). In Bazilles multiplex, however, AM is actually y = a x (1 - mod). There's a good reason for that minus...

Again (like in RM), the level of one signal can be controlled by another, but in this case control is inverted the minus symbol in y = a x (1 - mod). If we took the previous example but used input 3 instead of 1, the harder you played a note, the less LFO would appear at the output.

Crossfading

simple crossfade using a unipolar modulation source

The RM and AM features can be used at the same time. In the above example, the mod signal (green) controls the mix between inputs 1 and 3. If e.g. the modulation wheel is connected to the Mod input, it would crossfade smoothly between inputs 1 and 3, with complete separation at the extreme values.

crossfade using a bipolar modulation source (example)

Using bipolar modulation signals for crossfading is a bit more tricky. For instance, to get 100% separation at extreme values using a bipolar source such as an LFO, try the following: Set the lefthand knob to 50.00, and bridge inputs 1 and 2 (as in the above image) to double the level!

MULTIPLEX


Modulation SequencerAt the bottom right of Bazilles window is a large panel containing a dial and 16 sliders. This is very different from a standard step sequencer. 1) it is polyphonic each played note will trigger its own instance of the sequence. 2) it was primarily conceived as a cyclic modulation source, and doesnt trigger envelopes directly (see how to trigger envelopes).

the control sequencer, with two of the outputs (taps) in use

Speed and Triggeringxx

Divide / Timexx

Syncxx

free ............ xxsync........... xxgate ........... xx

MODULATION SEQUENCER


Snapshot DialThe large dial to the left is responsible for several related functions: Firstly, single-clicking on the outer rim will select one of the 8 snapshots for editing using the 16 sliders. Double-clicking on the outer rim also moves the snapshot pointer to that same position.

xx

Context menusLeft-click in xx AutoSelect is xxCopy/pasteInterpolate xx

RotateThis knob controls the amount of rotation modulation from a source connected to the socket.

If nothing is connected to the socket, the dial will automatically move clockwise (positive values) or anticlockwise (negative values), with the knob controlling the speed relative to host tempo: At 1.00 it moves 1 segment per 1/1 bar (so a full rotation would last for 8 bars), at 0.25 it will move one snapshot every 4 bars.



Snapshot PatternsTo the right of the dial are 16 sliders used for editing the 8 patterns.

xx

How to trigger envelopesFirst, you will need to set the envelopes Trigger mode to one of the two ModSeq (modulation sequencer) options. Having done that to envelope 2, look at this example:

xxxx



Tweaks & FXOverviewThis page combines TWEAKS (all parameters that wouldnt fit comfortably into the SYNTH panel) with effects (FX): It would have been impractical to try and squeeze all of Bazilles components into a single window, so we tried to strike a reasonable compromise. We think this is it:

the TWEAKS & FX page

Everything in the upper row has to do with voice allocation and/or tuning, with the oscilloscope, Multicore and HQ switches retained from the SYNTH page in the middle.In the second row down are two mapping generators surrounding a tool selection block.The third row contains the extra envelope parameters, filters 2 and 3, and two ramp generators.The bottom row contains four effects panels, with the effect configuration switches to the left.

TWEAKS & FX


VoiceThe top lefthand panel contains five options that affect how each voice is created:

Modepoly............ polyphonicmono ......... monophonic, each new note retriggers the envelopeslegato ........ like Mono, but doesnt retrigger until a space is left between consecutive notesduo ............ duophonic, oscillators 1 and 3 are lowest Priority, 2 and 4 are highest prioritypoly2.......... like Poly, but voices in their release stages are stolen before new ones

PriorityNote: This parameter only applies to Mono and Legato modes it is otherwise ignored.last ............ plays the most recent note (typical of digitally controlled synths)lowest ........ plays the lowest note (most classic USA mono-synths)highest....... plays the highest note (EMS, most classic Japanese mono-synths)

Max. VoicesSets the maximum number (2-16) of voices before note-stealing occurs. Mainly used to guard against audio glitches while playing CPU-intensive patches.

Note that in practise, the maximum number of playable voices is less when the amp envelopes have longer release times, and/or if you are stacking multiple voices...

StackSets the number of unison voices (see Stack voice tuning). Note that higher values will not only seriously reduce maximum polyphony, but will also eat your CPU for breakfast!

DriftWhile Drift is switched on, individual voices are slightly detuned, resulting in a less static sound.

TWEAKS & FX


Tune ControlThe next panel specifies pitchbend ranges, vibrato depth and global pitch:

PB up / downMost MIDI keyboards include a performance control called a pitch bender (often a centre-sprung wheel) which is used for bending the overall pitch up and down. Bazilles PB up and down selectors specify the up and down ranges independently, from 0 to 24 semitones.

In the MIDI & MORE panel as well as in the modulation source menus for LFOs, envelopes and mapping generators, this control is called PitchW (the W stands for wheel).

Vibrato (LFO 1)Adjusts the amount that LFO pitch modulates all 4 oscillators. For typical performed vibrato, set the LFO1 amp modulation source to ModWhl, and turn its depth up to maximum.

Transpose / FineThe Transpose selector shifts the overall pitch in semitone steps with a range of +/- 24, and the Fine knob adjusts it within a range of +/- 1 semitone. Note that neither Transpose nor Fine work in realtime i.e. during a note, but only when the next voice is played.

TWEAKS & FX


GlideThis small panel controls portamento the slurring of pitch / cutoff between consecutive notes:

Amount / Offset 2 & 4Amount sets the basic speed of the Glide for all oscillators and filters (in fact anything that uses key follow). Offset 2 & 4 is added to even-numbered oscillators and filters only, as well as to the modulation source Key2 (KeyFollow2). This means you can set up two different glide amounts, depending on which modules you choose. Here are a few examples:To make the glide a bit faster for oscillator 2 than for oscillator 1, turn Amount up to e.g. 30, then turn Offset 2 & 4 down to e.g. -15.To make the glide only apply to filter cutoff, patch oscillators 1 and 3 into filter 2, turn glide Amount down to zero, adjust Offset 2 & 4 to e.g. 35 and set Key Follow in filter 2 to 100.

Modetime ........... the glide always takes the same time, whatever the distance between notes

............rate the glide is proportionally longer when the notes are further apart, and shorter when they are closer together

Range Glide strength, a u-he speciality. Lower values shift the start of each glide closer to the target note, which can result in highly unusual or subtle intonation effects.

Stack Voice TuningSets the pitch of each stacked voice, within a range of +/- 2 octaves. For fine tuning, hold down the SHIFT key before adjusting the knob. See Stack.

MicrotuningBazille supports the widely-used TUN format. With a bit of searching, you can find hundreds of tables online, most of them free. Put all your .tun files into the following folder:

Windows ...\Bazille.data\Tunefiles (specifically for Bazille)Mac OSX MacHD/Library/Application Support/u-he/Tunefiles/ (global for all u-he plugins)

Clicking on the long selector opens a floating browser containing your .TUN files (you might have to refresh the list via right-click first). After selecting a microtuning file, remember to switch it on.

TWEAKS & FX


Mapping GeneratorsBazilles two mapping generators are lists that can hold up to 128 values. They can be used either for processing modulation sources, or as oscillator waveforms (via the TapMap option).

mapping generators can be any size between 2 and 128 steps, and be driven from any modulation source

ModeThe lefthand Mode selector specifies the basic functionality:Key ..................... the 128 MIDI notes, acts like a freely programmable key followMap Smooth ....... modulator values interpolated for smooth transitionsMap Quantise ..... modulator values, stepped for more immediate transitionsAlternate ............. consecutive notes step through the mapxx can we rename the latter increment and spell Quantize with a z?Note that the two map modes are not active until you have defined a modulation source

SourceThe other selector specifies a modulator (LFO, envelope, whatever) to be processed in either of the two Map modes. Note: In Key or Alternate mode, this setting is ignored.

TWEAKS & FX


context menuRight-click in the map generators edit window to select one of the following functions:copy/paste ................... for transferring maps, especially between patchesshapes ......................... a bunch of preset shapes ramp, triangle, sine, cosine, root, quadricalt-draw / cmd-draw ..... drawing mode erase, scale, shift, warp, fine xxselection....................... xx deselect, invert, shift left, shift right, select every 2nd / 3rd / 4threverse ........................ xxinvert ............................ xxrandomize .................... add a random offset (+/-) to existing valuessoften ........................... reduce jumpsnormalize ..................... maximize the largest value, then scale all others accordingly straighten..................... draw a straight line between the first and last valuesreset............................. zero all valuesquantize 424 .............. quantize existing values to different grids. Set to 12 for semitones2128........................... sets the number of values used in the map

At present there is only one drawing option in the Mapping Generators editor: Cmd+click (Mac) or ctrl+click (PC) resets values to zero. Mapping generators are so useful that future versions of Bazille may include more drawing options, e.g. for straight lines and curves.

xx ALL THE ABOVE WILL CHANGE - leave this section for later

xx

TWEAKS & FX


Envelope ExtrasThese four little panels contain a few extra envelope parameters:

SnappyThis switch makes the decay and release phases more extreme (less linear), which is especially noticeable if those envelope stages are already quite short:

envelope decays without Snappy (L), with Snappy (R)

F/R RangeSee also Fall/Rise. This parameter limits how far the sustain phase can fall towards zero or rise towards maximum. F/R Range sets a percentage of the difference between the Sustain value and zero or maximum, like in these examples:

Fall/Rise F/R Range Sustain Level after F/R

negative values50% 80 40

negative values25% 80 60

positive values50% 80 90

positive values25% 80 85

In the above table, the level of the envelope after F/R is either half way (50%) or a quarter way (25%) between the value of Sustain (set to 80 here) and maximum (100) or minimum (0).

TWEAKS & FX


TriggerEnvelopes can be triggered by MIDI notes, by the LFOs, or by parts of the modulation sequencer:

Gate ................... triggered by MIDI notesLoop ................... like Gate, but also restarts immediately after releaseLFO1/2 ............... triggered by LFO1 or LFO2ModSeq1/2 ......... triggered by the sequencer. ModSeq1 is the leftmost used tap, ModSeq2 is the

next used tap to its right. For details about this, go to how to trigger envelopes in the sequencer chapter.

Filters 3 and 4Although the panels for filters 3 and 4 look a bit different from those in the SYNTH page, the parameter set is almost the same:

Note: In filters 3 and 4 the amount of resonance cant be modulated, the cutoff modulation sources are selected instead of patched, and they only have LP18, BP6 and HP12 outputs (see Filters). If you would like to modulate filter 3 or 4 cutoff from something not immediately available (e.g. the sequencer), patch that signal into one of the CV sockets, and select the CV as modulator.

Ramp GeneratorsIf you find that four envelopes and two LFOs aren't quite enough, you should take a look at the ramp generators, which can fulfill either of those roles (and more):

Up / Hold / Down / RestThe ramp is not a simple AR (attack-release) envelope, but a linear attack-hold-decay (AHD) type with an off time. Its closest relative is probably the trapezoid used in the classic EMS Synthi A and VCS3.

Up is the attack time, after which the signal stays at maximum for a period set by Hold, followed by is the release time Down.

Rest is the time before the ramp repeats: If Rest is set to maximum, the ramp is a one-shot envelope, it will never repeat.

Clock Mode sets the Ramp values either to seconds, or to host-sync factors (1/4 or 4/4).

TWEAKS & FX


EffectsThe lower 20% of the TWEAKS & FX page accomodates 4 global effect panels, plus 4 switches that enable/disable and reorder the effects:

FX Controlxx xxxxxxxxxxxx not finished yet - leave for later

DistortionBazilles Distortion effect creates traditional tube as well as transistor-type saturation. It can mimic a complete guitar amp and speaker cabinet...

the Distortion panel

The basic signal flow is as follows:

input amp pre tilt filter distortion post tilt filter post filters output amp

InputSets the gain in decibels at the input, and therefore how hard the input amp is driven.

OutputSets the gain at the output, and therefore how hard the output amp is driven. Note that there is a final soft-clipping stage that can create some extra distortion when turned up too high.

EFFECTS


TypeTube Class A........... Simulates a complete tube preamp. Class-A means a single vacuum tube

with DC bias that creates odd and even harmonics. Due to the asymmetry of the curve, class-A distortion sounds relatively warm.

Tube Class AB ........ Simulates a preamp with a pair of tubes in a push-pull configuration, resulting in symmetrical distortion without any even harmonics.

.........Tube 2 Stages Simulates a preamp with two class-A stages in series. Like simple class A, this also creates odd and even harmonics, but the results are richer and more dynamic. This mode applies internal filtering and feedback for more sonic complexity. Note: High gain settings should give you extra bass.

.................Hard Clip Simply chops the top and bottom off the waveform......................Rectify Full-wave rectification the negative half-wave becomes positive, and DC

is removed from the resulting waveform..................Foldback Foldback distortion is similar to soft-clipping, but increasing the gain doesnt

slam the signal against the ceiling. Listen out for strange intermodulation effects in this mode!

Pre TiltA low and high shelving combination EQ is applied to the input, and Pre Tilt makes the distortion frequency-dependent (at zero, the response remains flat). Negative values tend to strengthen the bass and weaken the treble, while positive values have the opposite effect.

Post TiltBalances the tone after the distortion (e.g. to compensate for Pre Tilt).

Center FreqCombined low and high shelf cutoff frequency control.

Post Filter......Dual-Band Shelf A simple corrective EQ: a low shelf at 100Hz and a high shelf at 10kHz.......Guitar Cab 4x12 Emulates the frequency response of a popular vintage speaker cabinet,

producing its typical mid-range focused sound. Includes the peaks/troughs caused by resonance within the cabinet, plus close-mic effects.

Low and HighIn Dual-Band Shelf mode, they control the gains of the shelving filters. In Guitar Cab 4x12 mode they set the amount of cabinet resonance i.e. bass response and speaker 'edge'.

EFFECTS


PhaserAn emulation of two classic phaser units, xx

the Phaser unit, with switchable type

TypeStoned or Flanged. The latter is much more resonant, and is particularly dramatic when applied to bright sounds.

Feedback Controls the amount of resonance.

StereoThis is a bipolar stereo width control. With the Stoned type, the maximum stereo width is at 25.00 (either positive or negative), and is especially obvious if you turn Feedback up.

WetBalance between the unprocessed and processed signal.

SyncSynchronizes the Phasers LFO to song tempo. See Rate below.

RateControls the modulation speed. If Sync is switched on, the value is measured in beats (quarter notes) so the rate actually gets slower as values increase. Example: For one cycle every 3 bars in 4/4 time, set Rate to 12.00 (3 times 4).

PhaseA static phase offset between 0 and 360, which can also influence the stereo effect.

EFFECTS


DelayA host-synchronized stereo delay with tape wow and filtered feedback:

Left / Center / RightDelay times relative to host tempo, sperate for each stereo channel. Precise integer values are semiquavers (16ths).

Center defines the overall Feedback time. This is unusual, it means that you can set a repeat rate without actually hearing that particular tap simply turn Center Vol down to zero.

WowEmulates slow tape wobble, ranging from subtle / spacey to almost seasick!

Center Vol / Side VolLevel controls for the center tap and for the left / right taps (together).

HP / LP These are seperate cutoff controls for the highpass and lowpass filters within the feedback path. For the damping effects typical of tape delays, increase HP and decrease LP.

FeedbackThe amount of regeneration within the delay circuit. 100.00 will give you an infinite loop if HP is set to minimum and LP to maximum well worth trying out!

DryThe level of the unprocessed signal.

EFFECTS


Spring ReverbAnd finally... spring reverb! This is a highly unusual effect to be modeled in a synthesizer. The idea was to offer a kind of reverb that was (oddly) suitable for Bazille sounds, something that could add a special sheen not available in other synths. Bazilles spring reverb emulates a typical dual spring system, with junctions near the middle. So here it is, complete with Shake effect:

Note that spring reverberation sounds very different from standard room or hall-type reverb effects. The distinct delay patterns result directly from the spring lengths and their nominal delay times (34ms & 41ms here). Also, springs create frequency-dependent dispersion, as high frequencies travel for a longer time than lower ones.

ToneA simple tilt-type tone control, from dark to bright. You should try extreme values here, although real spring reverb is normally quite flat but with few high frequencies.

DecayControls the amount of natural damping occuring at both ends of the springs as well as at the junction in the middle. Of course minimum Decay means maximum damping.

MixThe dry / wet control blends between the untreated signal and the processed signal.

DriveTransducers are non-linear devices, so they can be overdriven. Drive simulates the inherent non-linearities of real spring reverb units.

TensionHow tightly the springs are mounted in the reverb tank. Looser springs oscillate at lower frequencies, the sound is less dense and dispersed. Conversely, tighter springs oscillate at higher frequencies, the sound is more dense and dispersed.

WidthStereo separation between the two springs physical differences between them become more apparent. When Width is set to maximum, the two spring systems are hard-panned to the left and right channels. The most faithful, 'true' spring reverb sound is monaural (0% width).

ShakeSimulates the thunder effect of knocking the unit (the springs to hit the sides of the metal tank).

EFFECTS


Tips & TricksOscillator Tricks* classic DX-type FM* fractalize* x* x

Mapping Generator Tricks* key mode mapping gen -> only 12 values xx*

Processor Tricks* x* x* x

Multiplex Tricks* x* x* x

Mod Sequencer Tricks* x* x* x

TIPS & TRICKS


GlossaryA

ACE (u-he product) A wireless modular synthesizer related to Bazille, but simpler

ADSR Traditional envelope generator with 4 stages: Attack, Decay, Sustain, Release

aftertouch The most common term for either channel pressure or key pressure from a MIDI keyboard. The latter is polyphonic, but rarely implemented in MIDI keyboards

amplitude The level of a signal

analogue (of a synthesizer) Popular term for non-digital

attack (ADSR) Usually the first stage of an envelope, where the level rises from zero to maximum. In Zebra2s envelopes, the attack stage can be preceded by a delay, or a non-zero initial level can be set

attenuate To reduce the amplitude

Bbandpass (BP filter) Allows frequencies close to the cutoff point to pass through while attenuating higher and lower frequencies

bandreject (BR filter) Allows all frequencies to pass through except those which are close to the cutoff point. Often called a notch filter

bipolar (modulator) Can output both positive and negative values, for instance pitchbend or LFO. See also unipolar

BPM Beats Per Minute = standard representation of song tempo

Cchannel pressure see aftertouch

cent Hundredth of a semitone

cutoff (of a filter) The frequency that defines where (within the audio spectrum) the input signal will start to be attenuated or boosted. See resonance

Ddecay (ADSR)

DC Direct current = a static offset (or very low frequency content) within a signal

default Setting or value assigned as a sensible starting point. Double-clicking on Zebra2 knobs will set appropriate defaults

Diva (u-he product) A virtual analogue synth with mix-and match components

duophonic (synthesizer) Can play only two notes at the same time, defined by the lowest and highest notes received

GLOSSARY


Eenvelope generator (modulator) Contour generator for levels, tone etc.

Ffilter-FM Audio rate frequency modulation of filter cutoff

Filterscape (u-he product) A dual-filter plugin suite, with complex modulation

FM Frequency modulation (also the related phase modulation)

frequency Speed of a cyclic system (in cycles per second = Hertz). Can be translated into e.g. the absolute pitch of an oscillator or the BPM of a song

FX Abbreviation for effects

Gglide Smooth pitch transition between consecutive notes

global (parameter) In Bazille: patch-wide parameter, not per-voice

Hhighpass (filter) Allows frequencies above the cutoff point to pass while removing lower ones

harmonic series xx

Iinitialize In Bazille: A very simple patch suitable as a template for new creations

instantiate To create an object (e.g. an LFO) from its class (e.g. the LFO parameters)

Jjunk In Bazille: A patch marked as unwanted but not yet deleted

Kkey follow (modulator) In Bazille: MIDI note including Glide

key pressure see aftertouch

Llag processor Device used for smoothing control signals (e.g. glide is lagged pitch)

legato No space between consecutive notes, not retriggered

LFO Low Frequency Oscillator (usually remains below the audible range)

lowpass (filter) Allows frequencies below a cutoff point to pass while removing higher ones

GLOSSARY


Mmode (of a system) A particular way of working, selected from multiple options

MIDI-learn Assigning MIDI controllers to parameters by sending controller data

Mixtur-Trautonium Oscar Salas instrument (1948), generates undertones (external link)

mod-wheel Modulation wheel, the multi-purpose left-hand controller on a MIDI keyboard

modulation Controlling a parameter (from a modulator)

modulator Any control source used for modulation

module Patchable unit within a modular synthesizer

monophonic Able to deliver only one voice / signal at a time

More Feedback Machine (MFM2, u-he product) 4-way matrix delay plugin

Nnn xx

Ooperator feedback Xx

oscillator Cyclic signal generator

overload (of a filter) Distortion effect produced when the input level is too high

PQparameter Variable factor within a system

paraphonic Polyphonic oscillators, but monophonic filters / envelopes

per-voice Non-global, instantiated for each note

phase A position within a cycle (of OSC or LFO)

phase distortion xx

phase modulation the more correct term for DX-type FM

Podolski (u-he product) A simple freeware VA synth featuring Zebras arpeggiator

polarity (of a signal) Normal (+) or inverted (-)

polyphonic Able to deliver more than one voice at the same time

portamento Glide

Rrelease (ADSR)

rolloff filter slope

GLOSSARY


Rumblence:Zoyd (u-he product) Early freeware semimodular synthesizer, Urs first!

Runciter (u-he product) the distorting filter effects unit in Uhbik

SSatin (u-he product) Magnetic tape effects plugin

scale (verb to scale) Multiply, as opposed to add/subtract

signal Any time-variant value, but usually audio-rate

sustain (ADSR)

Tthreshold A value (e.g. of filter cutoff) above or below which an action commences

Triple Cheese (u-he product) Comb-filter based freeware synthesizer

TyrellN6 (u-he product) Virtual analogue freeware synthesizer

UUhbik (u-he product) A bundle of high-quality effect plugins

unipolar (of a modulator) Only outputs positive values (see bipolar)

VVA Virtual analogue digital emulation of classic subtractive synthesis

velocity (modulator) How fast a key is struck

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XYZZebraCM (u-he product) Non-modular magware synthesizer based on Zebra(1)

Zoyd see Rumblence:Zoyd

The End

GLOSSARY


Bazille User Guide

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