Phoscyon Manual

Phoscyon 1.8.0

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Owner’s manual

Acknowledgement: Sebastian Bachlinski

Gary Brennan

February 10, 2010

Chapter 1

Overview

After loading the plugin in the host application, the Phoscyon Graphic Interface should appear:

Figure 1.1: Graphical user interface

Phoscyon’s interface is split into following parts:

Control module - On the top of the GUI you can see a row of controls. There are responsiblefor work mode of the plug-in, Midi learn and preset management.

Figure 1.2: Control module

1

Chapter 1. Overview

Sound control section - Next row of controls including one switch and 12 knobs. These areresponsible for synthesis control.

Figure 1.3: Sound control section

Arpeggiator - To process incoming notes from sequencer (in External mode), or from internalsequencer (in Internal mode).

Figure 1.4: Arpeggiator section

Distortion - Bundled distortion effect unit you can process the output sound through.

Figure 1.5: Distortion section

2

Chapter 1. Overview 1.1. Work modes

Internal sequencer - Responsible for editing patterns in Int.Seq. mode.

Figure 1.6: Internal sequencer section

1.1 Work modes

The Int.Seq. switch allows you to select one of the sequencer modes.

Figure 1.7: Plug-in modes

Phoscyon works in two modes:

Internal - In the On position Phoscyon uses the internal sequencer, including patterns, whilenotes coming from the host (or using white keys from music keyboard on GUI) are usedto control the order in which patterns play. The next few chapters describe both of thesequencer modes in detail - Internal mode.

External - In the Off position Phoscyon uses notes coming directly from the host program togenerate sound.

3

Chapter 1. Overview 1.2. Midi learn

1.2 Midi learn

This function allows Phoscyon’s sound parameters to be easily mapped to Midi CCs

Figure 1.8: Midi and Preset management section

1. Click the Midi learn button or choose Midi Learn Mode item from Options menu.

Figure 1.9: Midi configuration section

Internal Sequencer

Internal Synchronization

Host Mode

Note Off

Self Reset

Accent Velocity Level I

Oscillator Tuning I

� Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Figure 1.10: Options menu - Midi learn item

The LED above Midi learn button will light up

4

Chapter 1. Overview 1.2. Midi learn

2. In the Midi learn / Preset name edit box, the waiting... message will appear. Inthis mode, plug-in is waiting for any movement of its controls on GUI or any of controlson the external midi controller connected to a host (with an active midi input channeldirected to Phoscyon). The edit box will display the name of currently modified control1.

Figure 1.11: Preset management section

3. Turn off Midi learn mode by clicking the Midi learn button once again or by checkingoff the Midi Learn Mode item from Options menu.

The midi controller will now be controlling the function on Phoscyon. You should make certainthat the proper midi port and midi channel are set in the host application. Just look at Midiact. LED, which lights up if any midi message is coming into Phoscyon.

The midi control settings can be saved to a file (see the chapter 9 [Page 55]).

1.2.1 Midi unlink

To remove connection GUI Control ⇔ Midi CC, You need to use Unlink option:

Figure 1.12: Midi configuration section

1. Turn on Midi learn button or choose Midi Learn Mode item from Options menu.

1If you’d like to make few assignments during one Midi learn cycle, just repeat step 2)

5

Chapter 1. Overview 1.3. Preset management

2. In the Midi learn / Preset name edit box, the waiting... message will appear. Inthis mode, plug-in is waiting for any movement of its controls on GUI or any of controlson the external midi controller connected to a host (with an active midi input channeldirected to Phoscyon). The edit box will display the name of currently modified control.


3. When the connection you would like to be removed be displayed, just press Unlink buttonor Unlink Connection item (which now will be active) in Options menu 2.

4. Uncheck the Midi Learn Mode item or click Midi Learn button to turn off Midilearn mode.

1.3 Preset management

All the sound parameter settings (cutoff, resonance, etc.)


distortion parameters


2You’re allowed to unlink few connections one by one, by repeating steps 2 and 3.

6

Chapter 1. Overview 1.3. Preset management

arpeggiator parameters


and Volume parameter are stored in a Preset.

Figure 1.17: Master volume

The Preset manager tool is provided to simplify the organisation and use of Presets. ThePreset section on GUI is used for navigation through the preset bank. To read more aboutpreset management go to chapter 8 [page 50].

Figure 1.18: Preset section

7

Chapter 2

Play modes

2.1 External Sequencer - mode

Clicking the Int.Seq diode in the Seq box will switch it off:


External mode represents a way of controlling the monophonic synthesiser. In this mode theplug-in acts as a regular sound module. The Midi Note On message triggers the sound, andMidi Note Off ends it. With this mode turned on, we don’t have to use any additional kindof midi messages e.g. Accent, Gate, Side (as it takes place in Internal mode). It causes abit of a difference in the way bass lines are written (a more common way).

In this mode only parameters controlling the sound, distortion effect and the arpeggiator stillwork.

Phoscyon is a monophonic synthesiser, which means that during play (triggered with the MidiNote On), if another note comes (another Midi Note On), the first note stops playing imme-diately and the next one starts to play. Between both notes a Slide is executed with the timeset by the Slide time knob. In other words, the user can only play one note at a time. Theuser can also specify the amount of Slide.

8

Chapter 2. Play modes 2.2. Internal Sequencer - mode

Figure 2.2: Slite time knob

2.1.1 Accent velocity level

Sounds are Accented when their velocity exceed the certain value. Below this threshold value,sounds are played without Accent. You can choose one of available predefined threshold valuesfrom Options menu, in a Accent Velocity Level node:

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

� Low (32)

Mid (64)

High (96)

Figure 2.3: Accent velocity level submenu

This setting is stored within the host application’s project.

2.2 Internal Sequencer - mode

In the Internal mode Phoscyon uses the internal bank of patterns. Pressing Play on the hostsequencer, or Start/Stop on Phoscyon, will start play back of the default internal patterns.

9

Chapter 2. Play modes 2.2. Internal Sequencer - mode

Figure 2.4: Start/Stop button

The LED diode next to Start/Stop button indicates if pattern is playing (it lights up then).

Note: If a pattern is started using the Phoscyon’s Start/stop button and the hostsequencer has not been started then, playback can only be stopped using theStart/Stop button on Phoscyon

2.2.1 Tempo synchronisation

The Int.Sync. switch allows You to select the synchronisation mode of the synthesiser. Forthe Off value it synchronises to the tempo of the host program.


For the On value the synthesiser isn’t synchronised with host program but instead has its owninternal tempo settings (Only in the Pattern write mode, described later).

Figure 2.6: Tempo controlling section

While Phoscyon is internally synchronised, the Tempo display shows current tempo, otherwiseit’s empty.

10

Chapter 2. Play modes 2.3. Internal Pattern Storage

2.3 Internal Pattern Storage

There are two internal Play modes:

Native mode - available when the Host mode LED is turned off:


Host mode - when this LED is turned on.

Each of these modes shares common pattern storage system. The whole bank of patternscomprises of 96 different patterns that can be triggered using GUI or Midi messages (dependingon a Play mode).

2.3.1 Native mode

Phoscyon is in this mode when it is first loaded. This is the default mode. It allows a rangeof patterns (or single pattern) to be selected and for Phoscyon be played continually in cyclethrough these patterns.

These patterns can be selected to play using Music keyboard on GUI.

Figure 2.8: Selecting patterns using music keyboard

8 white keys from Music keyboard select the pattern. The Gate, Accent and Slide buttons(step attributes) are used to select the bank. That covers only 24 first available patterns frominternal memory of Phoscyon (that’s limitation of Native mode). Alternatively there’s possibleto select pattern to play from Midi keyboard using keys C-1 to C-2 to select pattern in bank,and keys D-2, E-2 and G-2 to choose between one of three available banks.

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The currently selected pattern is shown on the Phoscyon interface:

Figure 2.9: Pattern display and navigation section

In format:

[BANK NUMBER]-[PATTERN NUMBER]

Below it is displayed the pattern’s name (in Pattern name text box).

After loading Phoscyon, the pattern corresponding to the C-1 note is chosen. The currentpattern is marked by a blinking LED on one of the white keys from Music keyboard. Thebank is marked by LED on one of the last 3 attribute buttons: Gate, Slide, Accent.

When the Start button is pressed, the LED on the Step number will indicate the currentstep in the pattern.

Figure 2.10: Pattern length and Step number LEDs

To select another pattern whilst playing, select it using the combination of one of the whitekeys and attribute button:

Figure 2.11: Selecting patterns using music keyboard

or select it using the keys on a connected Midi keyboard. The next pattern will start when thecurrent pattern comes to the end of its final step.

Making a patterns’ chain

To select the start pattern, press the appropriate white key on Music keyboard with themouse. To select the last pattern in the range, select another pattern WHILST holding downthe Ctrl key on the keyboard. Phoscyon will now cycle up through the range and repeat. AMidi keyboard can be used to select a range to play. To do this, press the two notes on thekeyboard, which cover the range, at the same time. Phoscyon will now cycle through this range

12


and continually loop.

Whilst playing back in chain mode, selecting a different pattern (either using a Step key on theinterface or key on Midi keyboard) will cause Phoscyon to play that pattern next after comingto the last step in the currently playing pattern. It will then continue to play the new patternuntil stopped.

2.3.2 Host mode

In Host mode, patterns are triggered using a Midi notes only (we have access to full bank ofpatterns stored within Phoscyon’s memory). Each note coming from host program correspondsto one internal pattern. The whole bank of patterns is accessed by the 96 available Midi notes(whole Midi keyboard range without first and last octave).

A Note on causes the corresponding pattern to play. Releasing the key and sending a Noteoff will eventually stop the pattern. It depends on whether the Note off is set in Optionsmenu. In general the Note On message starts the pattern, while Note Off message stops theit.

� Internal Sequencer


� Host Mode

� Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Figure 2.12: Options menu - Note off flag

There’s an another flag, which works in Host mode, namely: Self reset.

When the Self reset flag is set a Note On message (playing the same note) will restart thepattern (the pattern starts playing from the first step). If this attribute is not set then thepattern will not reset when a corresponding Midi On message arrives (when the same note isplayed).

13


� Internal Sequencer


� Host Mode

Note Off

� Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Figure 2.13: Options menu - Self reset flag

Playing any pattern for the first time or playing any pattern other then one preceding it willalways reset said pattern.

This flag is most commonly used together with the Note off flag. With these flags it’s easy tofit a pattern of 5 steps with a pattern of 16 steps. You can do it by switching of both of theattributes (see the figure below).

14


Figure 2.14: Note off clear and Self reset example

Above we can see an example of Self reset and Note off usage.

a) The Midi notes triggering pattern.

b) What happens to the actual sound in four different setting combinations.

It should be noted that in Host mode the Start/Stop button on Phoscyon doesn’t function.Patterns are only played back while a key on a connected Midi keyboard is pressed (and held).

In this mode, currently playing pattern is indicated by display unit:


15

Chapter 2. Play modes 2.4. Midi output

In format:

P.[TONE NAME][- or #][OCTAVE NUMBER]

Below it is displayed the pattern name (in Pattern name text box).

2.4 Midi output

Phoscyon has permanently active Midi output, which allows to control external instrument(virtual or hardware) by Phoscyon’s internal sequencer. It works either in Native or Hostmode. Velocity values of Midi notes sent by Phoscyon are calculated on a basis of Stepattributes (accented or non-accented).

When You set the Phoscyon into External mode, it just passes Midi notes through itselfunchanged. So basically the same notes You redirect into a plug-in You will get on the Midioutput.

2.5 Play modes - Options menu

You can choose play mode for Phoscyon alternatively not only from GUI, but also from optionsmenu:

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Figure 2.16: Options menu

Internal Sequencer - Corresponds to Int.Seq LED.

Internal Synchronization - Corresponds to Int.Sync. LED.

Host Mode - Corresponds to Host Mode LED.

16

Chapter 2. Play modes 2.6. Threshold mode

2.6 Threshold mode

Threshold mode works only in Internal modes. Edit step values button allows you toswitch this mode on/off but only in Internal mode. Threshold mode is active when Editstep values is off. Activation of Threshold mode is indicated by a Threshold led aboveRand.Gate, Rand.Accent and Rand.Slide knobs.

Figure 2.17: Edit step values (button)

Figure 2.18: Step values/threshold

These knobs allow you to set threshold values for each of the attributes: Gate, Accent, Slide.The threshold value for a given attribute of a step means that only attributes with values belowthe threshold value will be included (treated as switched on).

The leftmost position of a given knob’s threshold value is equal to 0, and the rightmost is equalto 127. For attribute values ranging 0-127 it means that if the threshold value is equal to 0then none of the attribute will be included. On the other hand if the threshold value is equal to127 then every (switched on) attribute will be included (no matter the value of the attribute).

Remember that these knobs work as described above only when Threshold mode is on. InInternal sequencer mode, with Threshold mode switched off, these knobs are responsiblefor setting the values of the proper attributes for each edited step (see Step management ina section Internal mode).

Threshold mode can be very useful when the values of certain attributes need to be edited.Changing threshold values across the time (e.g. with event edition in a host program) allows the

17

Chapter 2. Play modes 2.6. Threshold mode

user to control the attribute amount at any given moment. Another very important applicationof this mode is using it with Randomizer (see the chapter ?? [page ??]).

Note: If the threshold value for Gate attribute is equal to 0 then Phoscyon will notgenerate sound because attribute Gate for every step will not be included.

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Chapter 3

Synthesis

3.1 Controls

The block of synthesis controls is placed in the top portion of the Phoscyon GUI. These controlsare described below:


Wave - This switch allows the user to choose between saw or square waveforms.

Tuning - This tunes the instrument continuously in the range of +/- 12 half-tones. (A-440Hzin the middle position).

Slide time - Duration frequency change between two notes (slide/legato) with Slide attributeplaced on the first of them. Left position corresponds to 0ms (legato), middle position toabout 60ms (standard setting), and right position to about 1.5s.

Cut off freq - Filter cut off frequency. This is the frequency filter cut off which is added tothe filter envelope. In other words, this parameter moves the range of effect of the filterenvelope.

Reso link mode - Allows the user to choose the work mode of the Resonance and Sweeptime knobs. If it’s turned on then the Resonance knob controls both resonance as wellas sweep time parameters and Sweep time knob is inactive. If it’s turned off then thecontrol of Resonance and Sweep time is divided respectively between knobs.

Resonance - Controls the filter boost at the cut off frequency. If the Reso link mode switch(placed next to Resonance knob) is turned on, the knob also controls the speed of attackof the accent envelope (Sweep time parameter).

Sweep time - Controls the speed of attack of the accent envelope if Reso link mode isturned off. If Reso link mode is turned on this knob is inactive.

19

Chapter 3. Synthesis 3.1. Controls

Envmod - Envelope modulation. Defines the range in which the filter envelope is affected.The higher the value of Envmod is set, the more gain the amplitude of the envelope has.

Env.Attack - Envelope attack. Defines the time of attack of the filter envelope.

Env.Decay - Defines decay time of the filter envelope. This parameter applies only to noteswithout the Accent attribute.

Acc.Decay - Defines decay time of filter envelope. This parameter applies only to notes withthe Accent attribute.

Accent link mode - Allows the user to choose the work mode of the Env.Accent and Ac-cent vol. knobs. If it is turned on then the Env. Accent knob controls both envelopeaccent as accent volume parameters and the Accent vol. knob is inactive. If it’s turnedoff then the control of Env.Accent and Accent vol. parameters is divided between therespective knobs.

Env.Accent - Controls the accent level of the accent envelope on modification of the envelopefilter (for notes with the Accent attribute). If the Accent link mode switch (placed nextto Env. Accent knob) is turned on the knob also controls the Accent vol. parameter(for notes with the Accent attribute).

Accent vol. - Controls the Accent volume parameter (for notes with the Accent attribute) ifthe Accent link mode is turned off. If the bf Accent link mode is turned on this knobis inactive.

Step length - Defines the time of sound duration. Time of sustain in the range from about0.1 of 16th note to full 16th note.

Aside from the controls listed above there is one more knob belonging to the synthesis block.The Volume controls the volume of the sound the synthesiser produces. If the knob is in theextreme left position, then the synthesiser stops processing. In the middle position volume ofthe sound is on normal level and no overdrive will appear. In the extreme right position theamplitude is up to +6dB.

Figure 3.2: Master volume

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Chapter 3. Synthesis 3.2. Oscillator tuning

3.2 Oscillator tuning

It’s possible to choose one of available tunings to achieve the sound character we desire. To doit just go to Options menu and select one of items from Oscillator Tuning node:

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

� Accurate)

Vintage

Battery Low

Figure 3.3: Accent velocity level submenu

There are three tunings to choose from:

Accurate - Linear tuning across the scale (precise).

Vintage - Slightly de-linearized giving the impression of real vintage gear.

Batter Low - Extremely detuned.

Note: This setting is stored within the host application project

3.3 Filter envelope

The base element of the filter envelope circuit is the envelope generator which generates abase signal with two states: Attack and Decay. The duration of the Attack state is controlledby the Env.Attack parameter. However, the duration of the Decay state is controlled bythe Env.Decay or Acc.Decay parameter depending on the state of the Accent attributein a given step. If Accent is set then Acc.Decay is taken, otherwise Env.Decay is used.The generator is reset at each step not preceded by the Slide attribute. The amplitude of agenerated envelope is always constant.

The signal from the envelope generator follows two paths:

21

Chapter 3. Synthesis 3.3. Filter envelope

1. Depending on the Accent attribute state, the signal goes through the RC lowpass filter.The output amplitude of this filter is controlled by the Env.Accent parameter . Thecut off frequency is controlled by the sweep time parameter (the Resonance or Sweeptime knob depending on Reso link switch position).

Figure 3.4: Envelope generator diagram

2. The amplitude of the signal is controlled by the Envmod parameter and moved by theoffset defined by the Cutoff parameter.

The signals from these two paths are summed up and the resulting signal controls thecut off frequency of the 3-pole lowpass filter. The RC lowpass filter smooths the envelopeand moves frequency of the 3-pole filter up in step with the Accent attribute. In thisway the famous ”wow” is created. It should be mentioned that the output signal of theenvelope generator controls the gain of the input signal amplitude. This makes accentedtones sound louder than unaccented tones. The value of this gain is controlled by theAccent vol. parameter (Env.Accent or Accent vol. knob depending on the Accentlink mode switch position).

22

Chapter 3. Synthesis 3.3. Filter envelope

Figure 3.5: Envelope generation process

Envmod Cutoff Env.Att. Env.Dec. Acc.Dec. Env.Acc. Accent lnk.

a) 0.6 0.0 0.0 0.7 0.2 1.0 On

b) 0.2 0.0 0.2 0.4 0.2 1.0 On

23

Chapter 4

Bass line editing

Every pattern is a single track, with up to 16 steps. Each of these has attributes such Note,Gate, Accent and Slide.

4.1 Attributes of step

Note - defines the pitch that is played within each step.

Gate - decides whether sound in the step is played or not. This only concerns the amplifiersince the oscillator is set to the frequency of the step’s note.

Accent - decides whether a step will become accented meaning that the volume of an accentedstep will be louder than steps which are not. Additionally, during an accented step, thefrequency of the synthesizer’s filter will be pitched.

Slide - when a step has the Slide (portamento) attribute switched on, the pitch of this stepwill be held over to the next step with a simultaneous smooth tone change between eachpitch.

4.2 The pattern editing

The controls used with pattern edition are placed in the down half of the GUI in the sectionlabelled as Pattern control and edit, and also in the bottom keyboard.

Figure 4.1: Pattern edit and Pattern control sections

Note: Most of the controls used with pattern edition implement two functions.When Randomiser mode or Threshold mode is on, some of their con-trols are used with other functionality.

24

Chapter 4. Bass line editing 4.2. The pattern editing

To edit the currently selected pattern, press the Patt write button (it’s not necessary in HostMode, since Pattern write is the only possible mode there).

Figure 4.2: Pattern write button

Phoscyon by default follows the edited pattern with playing one, because of Auto followbutton turned on. Auto follow button works only when the Pattern write mode is active.

Figure 4.3: Auto follow button

With Auto follow button turned off, to choose a pattern to edit we need to navigate throughavailable patterns using the Prev and Next buttons. The playing pattern won’t change butthe edited pattern will be the newly selected one.

25



With Auto follow turned on, currently playing pattern becomes the edited one immediatelyand the switching between patterns using keys Prev and Next is disabled.

Note: When Auto follow mode is on, the edited pattern changes to match thepattern which is playing. Prev and Next buttons don’t work then.

4.2.1 Entering notes

The one octave keyboard allows the user to set Note attributes for the pattern (for one stepat the time).

Figure 4.5: Music keyboard

To be more precise the keyboard sets the base of the note range C3-C4. To cover the entirerange of notes in which the synthesiser operates the user should use Transpose buttons.

Figure 4.6: Octave transpose buttons

These two buttons, labelled as Transpose and placed above the higher C on the keyboard.Allow the user to set note transposition for an edited step in the range of -1 to +2 octaves.With the base note (C3-C4) it is allowed to reach a whole range C2-C6 on the synthesiser.When only the Transpose down attribute is set it indicates a transposition down 1 octave.When only the Transpose up attribute is set it indicates transposition up 1 octave. Whenboth of these attributes are set it indicates a transposition up 2 octaves.

26


4.2.2 Entering step attributes

Gate, Accent, Slide - These three buttons control the states of their corresponding attributes(Gate, Accent and Slide) for an edited step.

Figure 4.7: Gate, Accent, Slide buttons

4.2.3 Entering step values

Aside from their states (switched on/off), Gate, Accent and Slide also have their own valuesthat range 0-127. These values can be set per each step in Internal mode.


Values can be entered when Edit step values button is on:

Figure 4.9: Edit step values (button)

Those values are useful in a Threshold mode (see chapter 2.6, page 17) or during bass linerandomization (see chapter 5, page 33).

27


4.2.4 Navigating trough steps in pattern

Prev.Flatten, Next accept - These two buttons allow you to change position in a patternwith regard to pattern length. Pressing the Next button moves the position to the next stepwhile pressing the Prev button moves position to the previous step.

Figure 4.10: Next and Prev buttons

The number of the step is indicated on the display Step number LEDs. You can also usethose LEDs to choose edited step directly without necessity of going through pattern usingPrev, Next buttons.


28

Chapter 4. Bass line editing 4.3. Editing functions

4.3 Editing functions

Figure 4.12: Pattern edit section

Clear - Resets all attributes of the pattern, meaning the settings will be as follows: Noteequal to C3, Gate, Accent and Slide attributes are switched off and their values areequal to 0. Before clearing the pattern whole its content is copied to the undo buffer.

Copy - Copies all the pattern’s contents. Meaning: the length of pattern, states of its at-tributes and all of the steps’ contents.

Paste - Replaces a pattern’s content with the content from the clipboard (if there is anycontent in the clipboard).

Shift - Nudges the pattern’s content to the right or left depending on the arrow that is pushedon the rocker switch. Pressing once shifts by 1 step. All attributes of the step are shiftedas well.

Transpose - transposes the contents of the pattern up or down by 1 half tone. The notes arewrapped at the ends of the keyboard note range. This means that note C5 changes intoB2 when it’s transposed up and note C2 changes into B4 when it’s transposed down.

To select the destination pattern (for copying), use the Prev and Next buttons (with Autofollow turned off) or leave Patt.Write mode and choose another pattern to edit that way,enter Patt.Write mode.


4.4 Length of pattern

Whilst in Pattern write mode, length of currently selected pattern can be set using thePattern length LED row. First You need to press Patt.Len button on Pattern controlsection.

29

Chapter 4. Bass line editing 4.5. Controlling the tempo

Figure 4.14: Pattern control section

Pattern name edit box will show Set Length message. Then you need to set length by clickingon a LED representing the last step on this row to set pattern’s length (the LEDs representinglength of pattern will be blinking).


4.5 Controlling the tempo

Figure 4.16: Tempo controlling section

When the synthesiser works in the internal clock mode (Int.Clock. LED is on) the adjustmentof internal tempo settings can be done with the tempo controls placed in the mid-left area ofthe GUI (see figure 4.5). The internal tempo parameter has a range of 40 - 300 Bpm (BeatsPer Minute).

The Bpm display is used to adjust the tempo value, by dragging any of decimal places withthe mouse. Dragging digit representing higher value will cause adjusting less precise, if youwant to precisely adjust tempo, just drag position representing lower value.

Tempo value is stored per pattern and can be change only in Patt.Write mode.

4.6 Shuffle

Shuffle is also called Syncopation or Swing, It is added by dragging the Shuffle display whenin Pattern write mode. Shuffle is represented values from 0 to 100 (percentage), when it’s

30

Chapter 4. Bass line editing 4.7. Loading and saving patterns

set to 0, shuffle is turned off and notes are spread equally in pattern. Increasing value causesShuffle effect more audible and pattern more swinging.

Figure 4.17: Shuffle display

Shuffle value is stored per pattern independently.

4.7 Loading and saving patterns

It is possible to save or load a single pattern or a complete bank of patterns.

4.7.1 Saving patterns

1. Before saving, the pattern should be named (click on Pattern name display):


Just click on it and enter the name for the newly created pattern. Pressing enter endsthe editing process.

2. To save pattern just click Next button with CTRL 1 key pressed on keyboard. Themenu should appear:

Save Pattern

Save Pattern Bank

Figure 4.19: Saving pattern

Choose the Save pattern option to show file save dialog. To save all patterns currentlystored in Phoscyon, choose Save pattern bank option.

1On MacOS use Apple key instead of Ctrl key.

31

Chapter 4. Bass line editing 4.7. Loading and saving patterns

4.7.2 Loading patterns

1. To load pattern click Prev button with CTRL key pressed on keyboard. The menushould appear:

Load Pattern

Load Pattern Bank

Figure 4.20: Loading pattern

Choose the Load pattern option to show file dialog. To load whole bank of patterns toPhoscyon’s memory, choose Load pattern bank option.

Following file types are saved and loaded by Phoscyon:

.phptrb - Bank consisting all 96 patterns.

.phptr - Single pattern.

Note: Files saved by Phoscyon are in standard XML format and can be easilyedited within any text editor.

32

Chapter 5

Randomising basslines

5.1 Randomiser

The Randomiser fills internal patterns with random complex content (it works only in In-ternal mode). When the randomiser is switched on the LEDs of the controls effected by itstart to blink. when randomiser is active Threshold mode cannot be turned off (it changesthe use of the Event threshold knobs). Turning on the randomiser is performed by pressingthe Rand.Mode button.

Figure 5.1: Rand.Mode button

Almost all the controls used with randomiser have more than one function. These controls aredouble labelled. The red coloured labels describe the behaviour of the control when used withRandomiser.

Their altered uses are as follows:

33

Chapter 5. Randomising basslines 5.1. Randomiser

Prev.Flatten., Next.Accept. - These buttons allow you to move to the previously drawnsequence or the next drawn sequence.


Randomize notes, Rand.Gate, Rand.Accent, Rand.Slide - The state of these buttonsdefine whether Randomizer will draw corresponding attributes or not. This feature allowsthe user to choose which attributes will change or not. It also allows you to excludechosen attributes from being drawn after reaching their expected settings (leaving themuntouched).

Figure 5.3: Random notes, Gate, Accent, Slide

Eg. When Randomize Notes and Rand.Gate are set while Rand.Accent and Rand.Slideare not, only values of Note and Gate will be drawn while values of Accent and Slidestay unchanged.

Using the values of Gate, Accent and Slide means that the state of the attribute is al-ways set (in all the steps of edited pattern) however its value is drawn from its full range(0-127). Due to the fact that Threshold mode is always set when using Randomiserthe density of these attributes can be easily controlled with the Event threshold Knobs.

34



Notes, Traspose Up/Down - The one octave keyboard allows you to define the drawingpool (set) of notes from which Randomiser will draw note values. Together with theTranspose Up/Down buttons it can define another pool of notes for each of four octaves.The randomiser draws notes from a pool defined by all octave pools.

Figure 5.5: Octave transpose buttons

If only Transpose down is set the Randomiser draws form the 2nd octave. If onlyTraspose up is set it draws form the 4th octave. If both Tranpose Up/Down are setit from the 5th octave and if none are set it from the 3rd octave.

Note: This function is active only when the Randomize notes attribute is set.In any other case the controls stay inactive.

Arp.Chord - With this switch the pool of notes used for drawing can be easily reduced to aset of notes contained in a specified chord. When one of the predefined chords is set, thedrawing pools for all four octaves are initially set to notes contained in that chord. Thenthe pools can be modified. For Custom setting, the drawing pools all need to be set bythe user. The custom drawing pool is remembered even after Rand chord is changed.

35


Figure 5.6: Arp.Chord / Rand.Chord dial

Transpose - With the Transpose rocker switch all notes can be transposed up or down onehalf-tone (the notes are then treated as one chord and transposed together). With thisfeature Randomiser can be easily set to draw notes from specified keys eg. only notesfrom E-Major. Only notes from drawing pools are transposed. The actual values of stepnotes stay unchanged.


Clear - When pressing the Clear button in Randomiser mode the drawing pool is cleared.When the Ctrl key is held while pressing Clear all notes in the edited drawing pool areset.


Prev.Flatten - As it was mentioned above the states of Gate, Accent and Slide attributesare always set when they are drawn. This means that after drawing a pattern and changingone of the Event threshold knobs the pattern will sound different. This is because allstates of attributes are set so only the threshold value for the attribute decides which ofthem will be included or not. Flatten deals with this problem and saves wanted densityof attributes.

This function is activated by pressing the proper button with Ctrl key held. It changesthe states of the attributes depending on the values of the attributes and threshold values.

36


The function operates only on the attributes for which the corresponding Randomiserattributes (Rand.Gate, Rand.Accent and Rand.Slide) are set.


Let’s say we’ve drawn a pattern and after it we’ve set threshold values for Gate andSlide and we want to save their values and make them independent of their thresholdvalues. We want also to leave the Accent attribute dependent on its threshold value.So we make sure that Rand.Accent is not set while Rand.Gate and Rand.Slide areset. Next we use the Flatten function. The resulting states and values of the Accentattribute don’t change, however, states for the Gate and Slide attributes stay activeonly for the steps in which the value of the attribute is lower than its threshold value atthe moment the function was activated. The values of the Gate and Slide attributes forall steps are set equal to 0.

In other words the Flatten function limits (”clips”) the attributes of the steps with valuesexceeding the threshold value.

Next.Accept - Each time you press this button you randomise new bass line or just pattern’sattributes accordingly to the chosen settings. Pressing this button with Ctrl buttonaccepts current state and it’s added to a undo buffer. This makes possible to go back tothis state using Undo button after further randomisations.


37


Undo - Goes back to the latest Accepted randomised state.


38

Chapter 6

Arpeggiator

6.1 Controls

The block of Arpeggiator controls is placed in the centre of the Phoscyon GUI.


Arp.Chord switch is responsible for setting the tone set for the Arpeggiator.

Note: This switch implements two functions. When Randomiser is turned off theswitch is connected to the Arpeggiator. However if Randomizer is turnedon (only in Internal mode) the switch is connected to Randomizer. Whensetting the tone of the Arpeggiator, the user can choose one of the definedchords (Major, M7, Dim, etc) or choose a Custom chord defined by theuser.

Note: The defined tone is not taken into account if the Arpeggiator is turned off.

Arp.Mode - The Off position keeps the Arpeggiator turned off. Positions from Randomto Up-Down allow the user to set the run-time mode of Arpeggiator. It then controlsthe order of the playing notes.

Arp.Shuffle - Decides how much of swing (syncopation) is added to sequence generated byArpeggiator. Changing value is performed by dragging the Arp.Shuffle display. Shuffleis represented values from 0 to 100 (percentage), when it’s set to 0, shuffle is turned offand notes are spread equally in time. Increasing value causes Shuffle effect more audibleand pattern more swinging.

39

Chapter 6. Arpeggiator 6.2. Usage

Note: This control works only when Arpeggiator is turned on, otherwise it’s disabled

Oct.Range - The four buttons allow the user to set the range of the octaves that Arpeggiatorwill play. Initial Arpeggiator notes are transposed in the range of active octaves. Themethod of transition between octaves depends on the Arp.Mode. Numbers of octaves(from -1 to +2) are given relative to the increase or decrease in the octave of the initialnote.

Note: If all the octaves buttons on the Arpeggiator are turned off, and theArpeggiator is turned on, then the synthesiser will play as it’d be octave 0button still turned on.

Arp.Tempo multiplier/ Arp.Repeater - If the horizontal switch (placed under the multi-plier/repeater switch) is in the left position then the multiplier/repeater switch controlsthe value of the Arp.Tempo multiplier which is the tempo multiplication factor. If thementioned switch is in the right position then the multiplier/repeater switch controls thevalue of Arp.Repeater. This value responds to the number of repetitions of every notefrom the defined tone of the Arpeggiator.

Note: Value 1.5 for Arp.Repeater is omitted.

6.2 Usage

The Arpeggiator allows the user to program the sound used by Phoscyon, the range of oc-taves, repetitions, tempo multiplying etc. During operation the Arpeggiator increases noterepetition by the following means. When the value of this counter reaches the value of the Re-peater, the Arpeggiator takes the next defined note and resets the counter. After reachingthe last of the defined notes, the Arpeggiator changes to the next octave defied by the octaverange and sets the first of defined notes again. When the last octave from the defined octaverange is reached the whole cycle repeats.

In External mode the Arpeggiator input notes come directly from the host. When two ormore notes start or end at the same time, the host decides what order in which to sendthe notes to the synthesiser, at the same it decides what order to push the notes into thequeue. Setting such notes with little time distance allows one to deal with these problems.

In Internal mode the Arpeggiator input notes come from the internal sequencer. Withinternal patterns it can be set to only one note per step. If the step has no Gate attributeit corresponds to a sequence of two messages: Note On and Note Off (just like pressingand releasing a piano key). If a step has a Gate attribute it means that only Note Onmessage (pressing and holding key) is sent. The Note Off message will appear when thestep with other note arrives or when a step with no Gate attribute comes along.

When the Arpeggiator is turned on the Accent and Slide attributes work in the same wayas when the Arpeggiator is turned off. The attributes can be used to create complicatedArpeggiator sequences.

The Arpeggiator sequences can be used while playing live as well.

40


6.2.1 Arpeggiator tone

With the Arp.Chord switch the user can choose the Custom tone mode or one of 7 predefinedtones.

Figure 6.2: Arp.Chord / Rand.Chord dial

In the Custom mode the tone is created from incoming notes (from host application).

With the 7 predefined chord types the Arpeggiator works a little different. All tones producedare part the the specified chord. All predefined tones are illustrated in figure below.

Major C,E,G G � � �Minor C,D],G G � 2� �7th C,E,G,A] G � � � 4�m7th C,D],G,A] G � 2� � 2�M7 C,E,G,B G � � � �m7-5 C,D],F],A] G � 4� 4� 2�Dim C,D],F] G � 4� 4�

Notes coming into the Arpeggiator (message Note On) are not queued as in the case of theCustom tone (like regular arpeggio), only the last incoming note is given attention. This note

41


is used as a base note for the chosen (defined) chord. This means that the chosen chord isplayed in relation to this base note. Eg. Major tone with the base note C3 will form a C-Majorchord into 3-rd octave, and the base note E4 will form an E-Major chord into 4-th octave.

If any new note comes in it transports playing sequence immediately.

6.2.2 The range of octaves

Arpeggiator transposes notes from a defined tone in the range from -1 to +2 octaves. Switch-ing to the chosen octave causes this octave to be used during Arpeggiator operation. Arpeg-giator plays only if at least one octave is used. The mode of transition between octavesdepends on the Arp.Mode settings.

Figure 6.3: Arpeggiator’s octave range

The changes in the set of octaves don’t take place until the last note from the defined tone isplayed. The Arpeggiator then resets the note position within the defined tone and changesthe set of octaves.

If the value of the transposed note exceeds the synthesiser range (C2-B5) it is then wrappedat the ends. Transposed notes above B5 are moved to the lower end of range (above C2).Respectively transposed notes below C2 are moved to the upper end of range (below B5).

42


6.2.3 Arpeggiator run-time modes

With the Arp.Mode switch the user can choose from one of 5 run-time modes:

Figure 6.4: Arp.Mode switch

Off - Arpeggiator is off.

Random - Arpeggiator draws octave randomly.

Up - The transitions between notes from defined chord are ”normal” which means that notesare changed in the same order that are specified in the defined chord. After reaching thelast note the first note will be played again and also the octave from the defined set willchange. Octaves from defined sets of octaves are changed increasingly from the lowestone and after reaching the highest one it starts over from the lowest octave again. Eg.for a set of octaves equal to (-1, 0, +2) the octaves will change as follows: -1, 0, +2, -1,0, +2, . . .

Down - The transitions between notes are ”normal” as well. However, octaves from the definedrange are changed decreasingly from the highest and after reaching the lowest it startsfrom the highest octave again. Eg. for a set of octaves equal to (-1, 0, +2) the octaveswill change as follows : +2, 0, -1, +2, 0, -1, . . .

Up-Down - The transitions between notes are also ”normal”. The way of transition betweenoctaves from the defined set changes in cycles: Up, Down, Up, Down, . . . Eg. for set ofoctaves equal to (-1, 0, +2) the octaves will change as follows: -1, 0, +2, 0, -1, 0, +2, 0,. . .

43


6.2.4 Arpeggiator repetitions

Arp.Repeater parameter allows the user to define the number of repetitions of every notefrom a defined chord before Arpeggiator will go to the next note of the chord.

Figure 6.5: Arpeggiator’s tempo multiplier and repeater

6.2.5 Multiplication of tempo

The Arp.Tempo multiplier parameter defines the multiplication factor of the tempo ofArpeggiator. This follows in relation to the tempo of synthesiser, be it the tempo of thehost program in External mode or that of the internal sequencer in Internal mode. thisfeature means that for the multiplication factor equal to x the Arpeggiator will execute x stepsof its internal work during one step

Figure 6.6: Arpeggiator’s tempo multiplier and repeater

44

Chapter 7

Distortion

The distortion effect deforms the sound of the synthesiser and enhances high frequencies, makingthe sound become more expressive while adding to the cut off frequency of the synthesiser’sfilters. With the distortion effect switched off the synthesis of low frequencies is at a low volumelevel because of the poor high frequency content (though using the external equaliser can changethis situation).

To obtain the constant level of amplitude desired from the synthesiser (both on low as well as onhigh frequencies) you can use the distortion effect. This doesn’t mean that with the distortioneffect switched off our synthesiser is useless and the ”acid sound” will get lost in ”the bush” ofother tracks, but to obtain the constant level of amplitude we’ll need to use the compressor.

Hint: One can also use the distortion effect for something it was not exactly created for.Turning Preamp to the left, and Clip and Brightness to the right we’ll get non distortedsound processed through the Diode-clipper. With these settings the signal goes togetherthrough LowPass, BandPass and HighPass filters. When additional events for the Size andDensity parameters are recorded the sound will become similar to phaser effect and manyothers.

7.1 Structure

In the distortion block (see the figure below) the signal from the synthesiser is processed asfollows:

1. The signal is amplified proportional to the Preamp parameter.

2. Depending on Clip parameter settings the signal comes through the diode-clipper.

3. The signal is sent proportionally to three filters: LowPass, BandPass and HighPass whosefrequencies are controlled by Size and Density parameters. The resonance is controlledby the Wetness parameter.

4. Outputs of all the filters are summed up.

5. The filtered signal and signal from the diode-clipper are cross-faded (the Brightnessparameter) and is finally sent to the output of the synthesiser.

45

Chapter 7. Distortion 7.2. Controls

Figure 7.1: Distortion block diagram

7.2 Controls

The block of Distortion controls is placed in the top-right area of the GUI. There are sixknobs which give total control over the dirty sound we all love so much.


Preamp - The level of gain for the Distortion input signal.

Defines the gain of the signal that goes into the Distortion effect. The leftmost positiongives no additional gain while the rightmost position gives +60 dB.

46


Clip - The clip level of the input signal.

Signal coming to the Distortion block can be clipped to define the level of amplitude.The right position of the knob means no clipping (the amplitude is at 0dB). The leftmostposition indicates that the signal is clipped. To get a more distorted sound you can useClip with the Preamp parameter which adds gain to the signal before clipping it.

Size - Controls the middle frequency of the BandPass filter.

Controls the middle frequency of the BandPass filter in the range of 0Hz (left position)to 22050Hz (right position). This parameter also indirectly controls the cut off frequenciesof LowPass and HighPass filters. The cut off frequency of each of them is moved up ordown from the mid frequency of BandPass by roughly the offset amount controlled bythe parameter Density.

Wetness - Controls resonance of the filters.

Controls the boost of the cut off frequency of the LowPass and HighPass filters and thebandwidth of the BandPass filter. The left position means no boost and a wide bandwhile the right position means maximal boost and a tight band.

Brightness - Expressiveness of sound.

Controls the position of the cross-fader used between filtered and non-filtered signal. Theleft position means that all non-filtered signal comes through the cross-fader and thesignal is not filtered (when this is the case the parameters Size, Density and Wetnessdon’t affect the sound). The right position means the exactly opposite situation whilethe mid position means an even mix of the two.

47


Figure 7.3: Distortion diode clipper

Figure 7.4: Distortion’s density parameter

48


Figure 7.5: Distortion’s wetness parameter

7.2.1 Pre/Post Eq Switch

This switch is responsible for choosing the distortion work mode. (diagram above the signalflow in the distortion effect). We can distinguish two blocks in the figure 7.1, Diode clipperwith preamp and Equaliser (containing three filters: BandPass, LowPass, and HighPass).

Figure 7.6: Distortion - Pre/Post Eq switch

• When the switch is set to the Pre position, the signal comes through the Equaliser andnext through the Diode Clipper with preamp.

• When the switch is set to the Post position, then the signal comes through the DiodeClipper and next through the Equaliser.

49

Chapter 8

Preset Management

8.1 Browsing presets

Presets are organised into groups. Storing like this is completely compatible with the nativemethod used by the host application. In the host sequencer, the presets are unfolded fromhierarchical to a linear structure with 128 preset slots. The user can see those presets in thebrowser as being assigned to particular groups (defined by user).


The user interface Preset Management controls are:

Preset name - This displays the name of currently selected preset. It also allows editing ofthe preset name.

Prev/Next - Those buttons are used to navigate through all presets (whole bank), Nextbutton moves to the next slot, and Prev button to the previous one. When the end of agroup of presets is reached, the first slot of the next group will be chosen when the Nextbutton is pressed again. Similar action will be performed if we press the Prev buttonwhen the beginning of a group is reached.

Prev + Ctrl - Prev button pressed with Ctrl 1 key, copies current preset slot to buffer.

Next + Ctrl - Next button pressed with Ctrl key, pastes buffer to current preset slot withpostfix copy added to its name.

Browse - Allows selection of presets using a browser menu.

1On MacOS use Apple key instead of Ctrl key.

50

Chapter 8. Preset Management 8.2. Loading and Saving presets

Preset Group 1 I

Preset Group 2 I

Preset Manager

Load Preset

Save Preset

Load Bank

Save Bank

� Preset 1

Preset 2

Figure 8.2: Browsing presets via context menu

It is worth mentioning that changing any of the presets is not permanent. After removing andreloading the plug-in again, the factory presets will be recalled. However, saving the projectwithin the host application with Phoscyon, and reloading that project will cause a recall of allchanges we have made in this project.

8.2 Loading and Saving presets

There are some additional options that add functionality to preset management. They areplaced in the context menu which is accessible from the Browse button:


When we click this button, the context menu is unfolded:

Preset Group 1 I

Preset Group 2 I

Preset Manager

Load Preset

Save Preset

Load Bank

Save Bank

Figure 8.4: Preset management - under Browse button

In this chapter, we’ll focus on the last 4 items:

Load Preset - Loading preset and overwrite the active slot from the file (.phprs- PhoscyonPreset).

51

Chapter 8. Preset Management 8.3. Preset manager

Save Preset - Saving current preset as a file (.phprs- Phoscyon Preset).

Load Bank - Loading whole bank of presets from file (.phprsb- Phoscyon Bank).

Save Bank - Saving whole bank of presets as a file (.phprsb- Phoscyon Bank).

Note: Internal files written by a Phoscyon are in XML format and can be editedin a text editor.

8.3 Preset manager

As was mentioned earlier, presets in Phoscyon are organised into groups. Presets can be chosenfrom the context menu (under the Browse button). Presets can also be chosen within the hostsequencer (where they appear as a flat structure). Preset manager is a tool, which allows toeasy management of the presets structure. To open it, just click the Browse button.

Figure 8.5: Preset section

From the context menu choose Preset Manager item:

Preset Group 1 I

Preset Group 2 I

Preset Manager

Load Preset

Save Preset

Load Bank

Save Bank

Figure 8.6: Preset manager - Item

The Preset Manager menu will appear.

52

Chapter 8. Preset Management 8.4. Preset storing

Figure 8.7: Preset manager window

This shows the preset structure with the bank name as the root. A preset represents the deepestlevel of the structure.

Each of the items can be renamed by double clicking on the item with the mouse.

The preset structure appears as a standard list of presets within the host application makingit fully compatible with it. As a result, no matter how the structure is represented (either as atree structure or flat), the maximum number of presets is 128. The number of presets in thisstructure cannot be changed. We can only move the presets from one group to another (bydragging) or changing their order in group. The Group order in the bank can also be changedby dragging.

There are two buttons at the bottom of the Preset Manager window.

Add group - Adding the empty group in a bank.

Remove group - This removes a group from a bank – but only when it is empty. It meansthat all preset slots were reallocated among the existing groups.

To exit from the Preset manager press the Cross button in the top right corner.

8.4 Preset storing

Using Next, Prev buttons within Preset Manager we can navigate through the preset bank.Any change made in preset can be stored automatically or on demand:

53

Chapter 8. Preset Management 8.4. Preset storing

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Host Play Detection I

Preset Storing I

� Automatic

On Demand

Figure 8.8: Preset storing flag

Automatic - When any parameter in the current preset is changed, it is automatically stored.This is the default.

On demand - If a parameter is changed, the change is not saved within the preset until theStore button is pressed (Ctrl key + Browse button) 2. Navigating to a new preset willcause changes to be lost unless stored.

Note: In this method of storing presets, Store the preset before saving projectfile in host application if You wish the current values shall be recalled afterreloading the project.

This Preset Storing flag is stored in a configuration file and applies to all newly inserted instancesof the plug-in. Saving the configuration file is performed after closing any instance of the plug-in.

2On MacOS use Apple key instead of Ctrl key

54

Chapter 9

Configuration

9.1 Midi control

Phoscyon has an ability to assign its controls (on GUI) to any Midi Control Change code(MidiCC), This allows control of the plug-in using external software or hardware.

9.1.1 Loading and saving Midi Map

To save a Midi Map (mapping of GUI’s controls with MidiCC), we can use the option from thecontext menu, which is accessible under the Options button:

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Figure 9.1: Options menu

Load Midi CC Map - Loading a Midi Map from file (.phccmap- Phoscyon ControlMap).

55

Chapter 9. Configuration 9.2. Default resources

Save Midi CC Map - Saving a current Midi Map to file (.phccmap- Phoscyon ControlMap).

Note: Midi Map files written by a Phoscyon are XML standardized, it means Youcan re-edit them within any text editor.

9.2 Default resources

There’re included some default patterns and presets with Phoscyon. These are loaded everytime it is started. This can be changed to point to user default patterns and kits.

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Presets I

Patterns I

Midi CC Map I

Figure 9.2: Default resources

The following types of resources can be replaced by user’s ones and those will be loaded everytime new instance of plug-in be loaded:

Presets - Default Phoscyon’s Preset Bank (.phprsb)

Patterns - Default Phoscyon’s Pattern Bank (.phptrb)

Midi CC Map - Default Phoscyon’s Midi CC Map (.phccmap)

9.2.1 Default presets

To set the default bank of presets, use the options from the Presets submenu:

56


. . .

Save Midi CC Map

Default Settings I

Default Resources I

About

. . .

Presets I

Patterns I

Midi CC Map I

� Use Factory Presets

Use Clear Presets

Choose file

Figure 9.3: Default presets

We can choose one of following options:

Use Factory Presets - This is default one after installation of Phoscyon. If You choosethis option, default bank of presets becomes the factory one provided within plug-in byproducer.

Use Clear Presets - After choosing this item from menu, the default bank will contain allpresets consisting of zeroed parameters.

Choose File - It’s possible to set by user his own default bank of presets he previously made,by using this option. Choose File opens a file dialog to browse a location where thebank of presets made by user is saved. When user confirms, the path to that bank isstored in the Phoscyon’s configuration file. And this bank becomes the default one.

. . .

Presets I

Patterns I

Midi CC Map I

Use Factory Presets

Use Clear Presets

� User Defined

[User’s bank file name]

Choose file

Figure 9.4: User’s default presets

When the user’s bank is set as a default preset bank, the menu indicates this fact byshowing the checked User Defined menu item, and one row below the file name of user’spreset bank.

9.2.2 Default Midi CC Map

The option used to set the default Midi CC map.Only two options are available in this submenu:

No Mapping - It is the default one, mean no default Midi CC mapping is available afterloading Phoscyon into the host application.

Choose file - Similarly to selecting default preset resource, this options is used to set thedefault Midi CC Map, which will be loaded every time we load Phoscyon in the hostapplication.

57


. . .

Save Midi CC Map

Default Settings I

Default Resources I

About

. . .

Presets I

Patterns I

Midi CC Map I

� No Mapping

Choose file

Figure 9.5: Default Midi CC Map

When we set the path to Midi CC Map using this options, it’s indicated by showing MidiCC Map file name in this submenu:

. . .

Presets I

Patterns I

Midi CC Map I

No Mapping

� User Defined

[User’s Midi CC Map file name]

Choose file

Figure 9.6: User’s default Midi CC Map

9.2.3 Default Patterns

To set Default patterns bank, choose Patterns item in Default resources submenu:

. . .

Save Midi CC Map

Default Settings I

Default Resources I

About

. . .

Presets I

Patterns I

Midi CC Map I

� Use Factory Bank

Use Clear Bank

Choose file

Figure 9.7: Default Patterns

We can choose one of following options:

Use Factory Bank - This is default one. If You choose this option, default bank of patternsbecomes the factory one provided within plug-in by producer.

Use Clear Patterns - After choosing this item from menu, the default bank consists of emptypatterns.

Choose File - It’s possible to set by user his own default bank of patterns he previously made,by using this option. Choose File opens a file dialog to browse a location where thebank of patterns made by user is saved. When user confirms, the path to that bank isstored in the Phoscyon’s configuration file. And this bank becomes the default one.

58

Chapter 9. Configuration 9.3. Default settings

. . .

Presets I

Patterns I

Midi CC Map I

Use Factory Patterns

Use Clear Patterns

� User Defined

[User’s bank file name]

Choose file

Figure 9.8: User’s default patterns

When the user’s bank is set as a default patterns’ bank, the menu indicates this fact byshowing the checked User Defined menu item, and one row below the file name of user’spreset bank.

9.3 Default settings

Default settings node in Options menu contains all the configuration settings stored withinplug-in’s, and recalled every time the plug-in is loaded:

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I


Preset Storing I

Figure 9.9: Default settings node in Options menu

9.3.1 Host play detection

This solves sync problems with some hosts. It mainly concerns Native mode. The properlywritten host should send a Transport Change code to the plug-in after pressing the Playbutton in the host application.

59

Chapter 9. Configuration 9.3. Default settings

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I

Midi Learn Mode

Unlink Connection

Load Midi CC Map

Save Midi CC Map

Default Settings I

Default Resources I

About

Internal Sequencer


Host Mode

Note Off

Self Reset


Oscillator Tuning I


Preset Storing I

By Transport Change

By The Lowest C Note

Figure 9.10: Host play detection

When the By Tranport Change option is selected, then don’t need to add an extra Miditrack to force the plug-in to start to play. It should start to play automatically. In some casesit doesn’t work. If this happens, choose the By The lowest C Note option. Then, add aMidi track with output set to Phoscyon and place the Midi note (lowest C note) in the Midiclip. As soon as the Midi Note On is sent to the plug-in, Phoscyon will start playing.

60

Contents

Contents

1 Overview 11.1 Work modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31.2 Midi learn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1.2.1 Midi unlink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.3 Preset management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2 Play modes 82.1 External Sequencer - mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2.1.1 Accent velocity level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92.2 Internal Sequencer - mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

2.2.1 Tempo synchronisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102.3 Internal Pattern Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2.3.1 Native mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112.3.2 Host mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

2.4 Midi output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162.5 Play modes - Options menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162.6 Threshold mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3 Synthesis 193.1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193.2 Oscillator tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213.3 Filter envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

4 Bass line editing 244.1 Attributes of step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244.2 The pattern editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

4.2.1 Entering notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264.2.2 Entering step attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . 274.2.3 Entering step values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274.2.4 Navigating trough steps in pattern . . . . . . . . . . . . . . . . . . . . . 28

4.3 Editing functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294.4 Length of pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294.5 Controlling the tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304.6 Shuffle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304.7 Loading and saving patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

4.7.1 Saving patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

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4.7.2 Loading patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

5 Randomising basslines 335.1 Randomiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

6 Arpeggiator 396.1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396.2 Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

6.2.1 Arpeggiator tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416.2.2 The range of octaves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426.2.3 Arpeggiator run-time modes . . . . . . . . . . . . . . . . . . . . . . . . . 436.2.4 Arpeggiator repetitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446.2.5 Multiplication of tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

7 Distortion 457.1 Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457.2 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

7.2.1 Pre/Post Eq Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

8 Preset Management 508.1 Browsing presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508.2 Loading and Saving presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518.3 Preset manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528.4 Preset storing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

9 Configuration 559.1 Midi control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

9.1.1 Loading and saving Midi Map . . . . . . . . . . . . . . . . . . . . . . . . 559.2 Default resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

9.2.1 Default presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569.2.2 Default Midi CC Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579.2.3 Default Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

9.3 Default settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599.3.1 Host play detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

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Phoscyon Manual

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