15 November 2016
User Manual
Overview •
•
Configuraꢀon and Preset management secꢀon:
Configuraꢀon and Preset management secꢀon
•
And the Signal processing secꢀon consisꢀng of the all remaining controls.
3
Signal FlOw •
Signal Flow
In general, the Repeater processing path may be described as two independent paths; leſt and right channel. Each path has an independent
delay line and addiꢀonal (idenꢀcal for each channel) processing blocks, which enrich the overall capabiliꢀes. This chapter focuses on the
descripꢀon of the processing path and its components or the individual processing blocks and the parameters that control them.
LEFT CHANNEL FLOW
OUT VOLUME
INPUT GAIN
OUT R
OUT L
DRY IN
WET IN
IN L
IN
OUT
IN L
OUT L
IN
OUT
X
OUT L
X
IN
OUT
IN
OUT
+
+
CLIPPER
PHASE INV
PHASE INV
FILTER
FILTER
IN
PANNING
PANNING
MIX
MIX
CLIPPER
IN
OUT R
OUT L
DRY IN
WET IN
OUT
X
IN R
OUT R
IN
OUT
OUT
IN
OUT L
IN R
OUT
X
STEREO DELAY LOOP
RIGHT CHANNEL FLOW
Schemaꢀc diagram of the enꢀre processing path
Each processing block refers to the speciꢁc GUI secꢀon. The order in which the blocks are described in this chapter reflects the order in
which the signal is processed by these blocks.
4
Signal FlOw • PrOceSSing blOckS beFOre the Feedback lOOP
Processing blocks before the feedback loop
Preliminary amplifier and audio clipper
Before the signal is fed to the feedback delay loop it is processed by the audio clipper block which results in the signal saturaꢀon which
intensity depends on the gain controlled by the INPUT parameter and the ingoing signal’s amplitude.
INPUT
COLOR L
LEFT
CHANNEL
FLOW
COLOR
IN L
X
IN
OUT
CLIPPER
CLIPPER
IN
IN R
X
OUT
RIGHT
CHANNEL
FLOW
COLOR
COLOR R
Pre-amplificaꢀon and clipping blocks of the leſt and right channel
5
Signal FlOw • Preliminary amPliFier and audiO cliPPer
The parameters that control this secꢀon are as follows:
•
INPUT – Controls the input signal gain from -12 up to +12 [dB].
Input parameter
•
COLOR L, COLOR R – The parameters that control the tone characterisꢀcs of the leſt and right channel audio clipper:
Leſt and right channel Color parameter
6
Signal FlOw • delay line with Feedback lOOP
Delay line with feedback loop
The Clipper’s output signal is fed to the delay line with feedback loop;
X
FEEDBK L
PING PONG
DELAY L
SPREAD
LEFT
CHANNEL
FLOW
DELAY TIME
-
IN L
IN
OUT
IN
+
DELAY LINE
DELAY TIME
+
IN R
IN
OUT
+
RIGHT
CHANNEL
FLOW
DELAY LINE
DELAY R
X
FEEDBK R
Schemaꢀc diagram of Repeater delay line
Its operaꢀon is controlled by the following GUI secꢀon:
7
Signal FlOw • delay line with Feedback lOOP
Repeater delay line parameter control secꢀon
Delay line ꢀmes
DELAY L and DELAY R control (independently) the line delay ꢀmes of the leſt and right channel from 0.1 up to 1000 [ms] (while tempo syn-
chronizaꢀon is disabled).
Delay L and Delay R parameters
8
Signal FlOw • delay line with Feedback lOOP
Delay ꢀmes may also be adjusted precisely by dragging the up-down mouse pointer above the digits represenꢀng the consecuꢀve delay
decimal posiꢀon on the adjacent display:
Display with the current delay ꢀme for the leſt and right channel
Tap
TAP is used to set the delay ꢀme “using ears” by clicking TAP rhythmically. The plug-in measures the ꢀme between the consecuꢀve clicks,
averages it and sets it as a new delay ꢀme.
Tap buꢁon
9
Signal FlOw • delay line with Feedback lOOP
This funcꢀon is available only for the tempo synchronizaꢀon being disabled
Synchronizing the delay line with the hosꢀng applicaꢀon tempo
SYNC. MODE acꢀvates/deacꢀvates the synchronizaꢀon of the delay ꢀmes with the hosꢀng applicaꢀon tempo.
Sync. mode parameter
This parameter takes one of the two values:
•
•
NONE - Synchronizaꢀon with the hosꢀng applicaꢀon tempo is deacꢀvated (default value) and the delay ꢀmes are set in milliseconds.
HOST – Synchronizaꢀon with the hosꢀng applicaꢀon tempo is acꢀve. In this mode the delays are set as note values (tempo-depend-
ent units). It should be menꢀoned that when this mode is acꢀve the display showing the delay values looks slightly different:
10
Signal FlOw • delay line with Feedback lOOP
Delay in the tempo synchronizaꢀon mode
DELAY L and DELAY R parameters allow to select one of the following duraꢀon values for the delay ꢀme: 1/1, 1/2, 1/4, 1/8, 1/16,
1/32, 1/64 - for the leſt or right channel respecꢀvely.
Together with the Note Value we can select one of the three available Modifiers by clicking adequate area on the display (above).
•
•
•
Full – Delay ꢀme equals the duraꢀon of the selected Note Value exactly.
Triplet - Delay ꢀme equal to 2/3 of the duraꢀon of the selected Note Value.
Doꢁed- Delay ꢀme equal to 3/2 of the duraꢀon of the selected Note Value.
Keep in mind due to internal buffer’s limitaꢀon maximum delay ꢀme can’t exceed 10 seconds.
Switching between SYNC MODES convert:
•
•
From note duraꢀon to delay ꢀme [ms] when you switch from Host to None.
From delay ꢀme [ms] to note duraꢀon when you switch from None to Host In this case plug-in tries to esꢀmate the closest note
(for a given tempo) value corresponding to the given delay ꢀme since it can’t be a precise value.
11
Signal FlOw • delay line with Feedback lOOP
Spread
SPREAD is a leſt and right channel line delay ꢀme modiꢁer. When this funcꢀon is acꢀve a phase offset occurs between both delay lines,
which makes an impression that the stereo scene is wider. The funcꢀon operates with two intensity levels and is controlled with the
SPREAD switch:
Spread parameter
It takes the following values:
•
•
•
OFF – Funcꢀon inacꢀve.
A – Funcꢀon acꢀve with the lower intensity/smaller phase offset.
B – Funcꢀon acꢀve with the higher intensity/larger phase offset.
Feedback
Feedback value of the leſt and right channel delay lines is controlled with FEEDBACK L and FEEDBACK R, respecꢀvely.
Feedback L and Feedback R parameters
12
Signal FlOw • delay line with Feedback lOOP
Analog mode
In this mode, the feedback loop works in analog-like fashion, which results in the sound becoming dimmer with each pass through the loop.
Analog toggle buꢂon enables / disables this mode:
Analog buꢁon
Ping-Pong
By default leſt and right channel delay line feedback loops are separated and operate independently (PING-PONG is inacꢀve). When the
PING-PONG is acꢀve the feedback loops of both stereo channels are connected crosswise; the leſt channel loop connects with the right
channel summing node and vice versa:
PING PONG DISABLED
PING PONG ENABLED
IN L
IN L
+
+
+
+
DELAY LINE
DELAY LINE
DELAY LINE
IN R
IN R
DELAY LINE
Feedback loops – Independent / separated (to the leſt) and connected in the Ping-Ping mode (to the right)
13
Signal FlOw • PrOceSSing blOckS aFter the Feedback lOOP
The effect is switch on/off with the toggle PING-PONG buꢂon:
Ping-Pong buꢁon
Processing blocks aſter the feedback loop
This chapter describes the operaꢀon and control of the blocks processing the signal outgoing from the feedback loop delay line.
Phase inverter
The signal from the feedback loop is fed to the Phase inverter. This block allows the signal phase be reversed (signal mirror reflecꢀon
relaꢀve to the ꢀme axis).
Phase invert buꢁons
The PHASE INVERT toggle buꢂons acꢀvate the Phase inverter for: leſt channel - upper buꢂon or right channel - lower buꢂon.
14
Signal FlOw • PrOceSSing blOckS aFter the Feedback lOOP
Dual filter
The signal from the Phase inverter is sent to the Dual filter. This module consists of two passive ꢁlters, Low pass and High pass which
operate in the cascade. They allow to remove the harmonic content outside the band speciꢁed by the cut-off frequencies of these ꢁlters:
HPF
LPF
Dual filter frequency response
The Repeater path includes two Dual filters, one for each stereo channel, which are controlled from the following GUI secꢀon:
Filter cut-off frequencies for both stereo channels
15
Signal FlOw • PrOceSSing blOckS aFter the Feedback lOOP
The parameters available here are as follows:
•
•
•
•
HPF L – Leſt channel High pass ꢁlter cut-off frequency. Operaꢀng range from 40 up to 1000 [Hz]
LPF L – Leſt channel Low pass ꢁlter cut-off frequency. Operaꢀng range from 1 up to 22 [kHz]
HPF R – Right channel High pass ꢁlter cut-off frequency. Operaꢀng range from 40 up to 1000 [Hz]
LPF R – Right channel Low pass ꢁlter cut-off frequency. Operaꢀng range from 1 up to 22 [kHz]
Stereo mixer
The Stereo mixer is the subsequent block in the processing path. It has two funcꢀons:
Firstly, it provides independent panning of each stereo channel which actually implies that the Repeater may be considered as a delay
effect with two independent processing paths rather than an effect with the stereo processing path with the independently controlled
parameters of both (leſt and right) channels.
Secondly, it is able to mix the processed (Wet) signal with the unprocessed (Dry) signal independently for both stereo channels.
MIX L
PAN L
MIX
PAN
IN
DRY L
WET L
OUT R
OUT L
DRY IN
WET IN
OUT
OUT L
+
+
PANNING
MIX
MIX
PANNING
OUT L
OUT R
WET R
DRY R
IN
OUT L
DRY IN
WET IN
MIX
OUT
PAN
PAN L
MIX L
Signal flow through the Stereo mixer module
16
Signal FlOw • PrOceSSing blOckS aFter the Feedback lOOP
The Stereo mixer block is controlled from the following GUI secꢀon:
Stereo mixer secꢀon
The following parameters are available:
•
•
PAN L, PAN R – Re-panning the signal of the leſt and right channel, respecꢀvely.
MIX L, MIX R – Mixing together dry and wet signal for the leſt and right channel, respecꢀvely.
17
Signal FlOw • delay line mOdelS
Master secꢀon
The Master secꢀon is the last Repeater processing path’s component:
Master secꢀon
Its parameter, OUTPUT VOLUME, is used to control the output signal gain from –inf up to +12 [dB], and the VU-meter shown below (OUT-
PUT METER) indicates the current level of this signal.
Delay line models
The previous chapters focused on specifying and describing the processing modules, which are the components of the Repeater; explain-
ing their roles in this effect and their interconnecꢀons.
As already said at the beginning, the basic feature of the Repeater is its ability to emulate the tone characterisꢀcs of the whole variety of
18
Signal FlOw • delay line mOdelS
delay devices by selecꢀng the line Model to be emulated by the plug-in. However, in spite of appearances, it does not mean that the set of
available parameters or interface change. It does not mean that the set of available processing blocks and/or their interconnecꢀons change
either. The Repeater delay line Model affects only its tone characterisꢀcs and the lowest level of the processing path (processing blocks’
implementaꢀon to be precise).
The Model is changed by clicking the DELAY MODEL control:
Delay model parameter
From the dialogue box we can select one of the several dozen of available items:
•
•
Casseꢁe Tape - A model of an early 80’s Japanese casseꢂe tape deck. Not too loꢁ or hiꢁ, I’d call this one “mid-ꢁ”!
Coopy Cube - An early 70’s delay originally made from a garden hose! Great for short delays to add depth, use it at 15ms with the
Spread opꢀon
19
Signal FlOw • delay line mOdelS
•
•
Digital 42 - One of the most famous modern digital delays, this one has a uniquely ‘early digital’ tone with a touch of graininess and a
slight scoop. Sounds great on guitars and vocals.
Digital 42 x2 - The double opꢀon on the digital 42, it halves the sample rate for an extremely unique loꢁ tone that is great on vocals,
guitars, and drums.
•
•
•
•
•
Digital Delay - A hi resoluꢀon digital delay. Use RePeater’s ꢁlters and color to customize the tone.
DM-2 - An early bucket brigade analog delay with a warm and rich tone. Amazing on guitars and synths.
Mellow Delay - A smooth, subdued delay that is based on several vintage analog topologies.
Memory Guy - Lush analog delay with fat vintage tone.
Mirky Delay - Based on early bucket brigade analog delays, it is dark and thick. Great as a special effect delay or thickener when used
with the Spread control.
•
•
•
New Radio - Delay tone with FM radio style ‘scooped’ hiꢁ tone. Try it on vocals.
Old Radio - Delay tone with AM radio style grainy loꢁ tone
Pitchy Delays - Delays with slight pitch modulaꢀons for extremely spaꢀal and deep effects. Sounds great when both delay lines are
set to the same ꢀme creaꢀng a chorusing mono effect. These can also be used with ꢀght delays with Spread A or B for widening and
thickening effects.
•
•
•
•
•
•
•
•
•
Plexy Echo - Based on an old 70s tape delay unit. It’s fat tone sounds great on vocals guitars and even drums.
Space Delay - Based on the famous magneꢀc tape delay with warm and griꢂy tone. A classic on guitars.
Tape Delay Ancient - An extremely old 1940’s style tape delay tone.
Tape Delay Classic - Early 60’s style tape delay.
Tape Delay Modern - Hiꢁ tape delay with warm and lush tone.
Tape Delay Vintage - 70’s style tape tone, slightly grainy but warm.
Telephone 1 - Loꢁ telephone tone, great for special effects or used as an insert on vocal or even full mix
Telephone 2 - Another loꢁ telephone tone with slightly different frequency and distorꢀon tone
TelRay - The analog delay classic made original from a tuna can. Beauꢀfully loꢁ with a rich tone that is perfect for guitars.
20
Signal FlOw • StereO link
The individual delay line Models directly affect such plug-in operaꢀon aspects as:
•
Implementaꢀon of the delay line alone - thus affecꢀng its tone characterisꢀcs which is connected with the signal degradaꢀon, possible
detune or saturaꢀon.
•
•
•
Feedback loop aꢁenuaꢀon frequency response
Dual filter calibraꢀon
Feedback loop response
Stereo link
The Repeater processing paths and blocks are idenꢀcal for leſt and right channel. Owing to that, the sets of parameters controlling each of
them are also idenꢀcal. The GUI controls are located so that it is easier to see which parameters control the leſt or right channel path. So
the upper row contains the controls for the leſt channel and the boꢂom row – for the right channel:
The upper row controls the leſt channel parameters and the boꢁom row – the right channel.
21
Signal FlOw • StereO link
It is possible to link up the up-down parameters in pairs so that the given parameter value is idenꢀcal for both channels. You can do it with
the LINK LEDs located in the middle of the interface:
Link LEDs row to join the controls in pairs (leſt - right channel)
When the connecꢀon is enabled (LED is on) the controls are interconnected and any change of the value of one of these controls
automaꢀcally changes the value of other control.
Ctrl
Cmd
Win (
+ Link ), Mac (
+ Link ) - Links / Delinks all stereo control pairs.
22
PRESET MANAGEMENT • PRESET STORAGE • BROWSING PRESETS
Preset Management
Preset Storage
Presets, both those from the Factory content, and User ones, are stored as ꢁles in proper locaꢀons on a disc. Each ꢀme the plug-in
instance is loaded to the project, these locaꢀons are scanned and presets found there are consolidated into one linear structure (list)
in the Preset Browser.
Browsing Presets
Presets Configuraꢀon and Management secꢀon enables quick navigaꢀon and browsing the presets structure:
Presets Configuraꢀon and Management Secꢀon
•
•
•
•
PRESET NAME – Displays the name of the currently loaded preset.
PREV / NEXT – Buꢂons that allow for linear browsing of presets list (depending on currently set ꢁlters – see secꢀons below).
Ctrl
Cmd
INIT – Win (
RELOAD – Win (
+ PREV ), Mac (
+ PREV ) – Restores iniꢀal seꢃngs of plug-in parameters.
Ctrl
Cmd
+ NEXT ), Mac (
+ NEXT ) – Reloads a current preset.
23
PRESET MANAGEMENT • BROWSING PRESETS
Ctrl
Cmd
•
•
SAVE – Win (
the exisꢀng one (see secꢀons below).
BROWSE – Expands the Preset Browser panel at the boꢂom of GUI secꢀon.
+ BROWSE ), Mac (
+ BROWSE ) – Saves current parameters as a new preset or allows for overwriꢀng of
The Preset Browser looks as follows:
Preset Browser
One can see three main secꢀons:
•
•
•
Content – Sources from which presets can be read.
Filters – Conꢁguraꢀon of presets Filters (non-acꢀve by default).
Results – List of presets from resources that meet criteria set by Filters.
24
PRESET MANAGEMENT • BROWSING PRESETS
Resources
In this secꢀon you can choose a resource/resources in which you want to browse presets. There are two resources to choose from:
•
•
Factory – Delivered together with the plug-in, cannot be modiꢁed (read-only).
User – Created by the user during using the plug-in and can be freely modiꢁed, shared with other users etc.
Choosing any of them will cause narrowing the results to the presets from one resource.
Preset Filters
The plug-in enables classiꢁcaꢀon of presets with the use of Categories and Tags system, whose aim is to facilitate the process of browsing
the content by ꢁltering.
Preset Browser Categories Filters
25
PRESET MANAGEMENT • BROWSING PRESETS
Categories and Tags
Each preset is described by a few common Categories. Within each of them there may be one or more Tags from a parꢀcular set.
CATEGORY NAME
TAGS
A single category in a filter with a descripꢀon of its elements
Presets from Factory resource were described by Categories and Tags during the stage of its creaꢀon. Categories and Tags are chosen
in such a way so as to describe the content in the best possible way, taking into account the plug-in purpose.
Ediꢀng of Categories and Tags in case of Factory content is not possible – it is blocked. User presets may be described only with
Categories and Tags from factory content or, alternaꢀvely, the users may deꢁne their addiꢀonal Tags in order to describe their own pre-
sets.
Results
This is a list of presets from chosen resources that meet the ꢁltering criteria. The basic funcꢀon of this secꢀon is browsing and loading
presets (in Browsing Mode – by default).
26
PRESET MANAGEMENT • BROWSING PRESETS
Results Secꢀon in Preset Browser
Click any name to choose and load the preset.
Double-click the name to enter preset name edit mode.
Presets Filtering
Filters secꢀon columns represent parꢀcular Categories – Category filters, while rows in each of these columns represent Tags available
within each Category.
Preset Browser Categories Filters
Filtering results have a form of a cascade (columns), from leſt to right. This means that all presets available in the selected resources are
ꢁltered as to presence of Tags from the ꢁrst Category (ꢁrst column from the leſt), next a set of presets being a result of ꢁltering by the ꢁrst
Category is ꢁltered by the Category represented by the second column etc., unꢀl it is ꢁltered with the last acꢀve Category Filter.
Possible only in the Edit Mode
27
PRESET MANAGEMENT • BROWSING PRESETS
Presets Filtering with the use of Categories Tags
The result of a cascade ꢁltering process (presets that meet the criteria of each ꢁlter) is listed below, in the Results secꢀon.
Basic Acꢀons on Filters
Tag buꢂons in Filters work in toggle mode. Click to acꢀvate/deacꢀvate Tag (Grey color means that the Tag in inacꢀve, teal blue means that
the Tag is acꢀve). If at least one Tag in a column (Category) is acꢀve, then the Filter also becomes acꢀve.
For example, if the ꢁrst column represents Category 1 Category with a set of the following Tags: {Tag 1-1, Tag 1-2, Tag 1-3}, clicking
the Tag 1-1 Tag will acꢀvate the Category Filter Category 1 and narrow down a list of presets to the items in case of which the Tag 1-1
Tag appeared in the Category 1 Category.
Enabling Tag 1-1 tag in Category 1 Category
28
PRESET MANAGEMENT • BROWSING PRESETS
If you click the Tag 1-1 item again, you will deacꢀvate the Filter, so all presets from the content will be displayed again.
Reordering Categories
To the right of the Category Filter header there are buꢂons with arrow icons:
Filter reordering
They enable moving the Category to the leſt or right in a cascade. Clicking the right arrow replaces the current Category with the Category
on the right. Clicking the leſt arrow replaces the current Category with the Category on the leſt.
Presets Filtering with the Use of Categories Tags
Clicking the leſt arrow for the Category located on the far leſt does not change anything. The same is true for the Category located far to
the right and right arrow (as the column has no predecessor/successor with which it could be replaced).
Presets Ediꢀng – Edit Mode
An acꢀve Edit Mode in Preset Browser changes its funcꢀon (enables the change of presets names, ediꢀon of Categories or Tags, deleꢀon
of presets as well as their export or import. One should bear in mind, however, that these operaꢀons are not allowed in case of Factory
presets, but only for the User presets.
Edit Mode can be acꢀvated with a buꢂon located in the boꢂom leſt-hand corner (click again to deacꢀvate):
29
PRESET MANAGEMENT • BROWSING PRESETS
Edit mode buꢁon
In this mode Preset Browser slightly changes its appearance (not only funcꢀon):
Preset Browser in Edit mode
1. The Filters secꢀon changes into the Edit Tags secꢀon, whose appearance is almost idenꢀcal, but the funcꢀon is different. The secꢀon
is used not as a ꢁlter, but as an editor of Categories and Tags of chosen presets.
2. The role of the Results secꢀon is to choose presets for ediꢀon (ediꢀon is possible only for user presets).
3. At the boꢂom of the screen there are Delete, Export and Import buꢂons used respecꢀvely to delete or export selected User presets
as well as to import a set of presets to the User resources.
4. The choice of the resource in the Content secꢀon does not work, as ediꢀon is possible only for user presets.
30
PRESET MANAGEMENT • PRESETS EDITING – EDIT MODE
Selecꢀon of Presets for Ediꢀng
You can edit both single preset and a set of presets. Using the funcꢀonality of the Results secꢀon, you can choose a preset or a set of pre-
sets in the following way:
•
Click the preset – Choose the preset from the list,
Ctrl
Cmd
•
Win (
+ Click the preset ), Mac (
+ Click the preset )– Add another preset to an already chosen preset
or a set of presets,
Shift
Shift
•
+ Click the preset – Select a part of a list of presets from the last chosen preset to the item clicked together with
key.
Tags Ediꢀon
Change of Tags status in Presets
Tag buꢂons work in toggle mode, similarly as in case of ꢁltering. Clicking them you can respecꢀvely set Tag or erase them from chosen
presets.
Filters’ tags
Choosing a greater number of presets, in which the tags were already deꢁned, enables their re-ediꢀon. Consequently; in case when
a speciꢁc Tag appeared in all selected presets, it will be marked with an intensive teal blue color.
When a speciꢁc Tag is set only in a part of chosen presets, then it is codiꢁed with a pale teal blue. The Tag that does not appear in any
of the presets is marked with grey colour:
31
PRESET MANAGEMENT • BROWSING PRESETS - EDIT MODE
Noꢀficaꢀon about Tags Status in Chosen Presets
The change of the Tag status for one or more chosen presets sets or erases this Tag in all these presets. The status change is signalized with
an Asterisk located to the leſt of the Tag buꢂons .
Noꢀficaꢀon about Changes in Tags Status in Chosen Presets
Elements/Tag buꢂons highlighted with pale teal blue colour (meaning different values of a parꢀcular Tag buꢁons for the highlighted pre-
sets) work in a three-state system; erasing the Tag (grey colour), seꢃng of the Tag (intensive teal blue colour) or no changes (pale teal blue)
for all selected items.
Changes introduced during ediꢀon do not have to be conꢁrmed, they are signalized by asterisks located by Tag changed for parꢀcular presets
32
PRESET MANAGEMENT • PRESETS EDITING – EDIT MODE
Presets Names Ediꢀng
Double-click the name of a preset to enter name ediꢀng mode.
Deleꢀng Presets
Selecꢀon of one or more presets acꢀvates Delete buꢂon at the boꢂom leſt corner. It can be used to delete the selected presets.
Presets Export and Import
The use of Import or Export buꢂons at the boꢂom part of the Preset Browser enables a proper import of presets package (exported
before) or export to the presets package
the presets selected in the Results secꢀon.
Export and Importare possible only for presets from User resources.
33
PRESET MANAGEMENT • PRESETS EDITING – EDIT MODE
Saving the current seꢂngs as Preset
Ctrl
Cmd
To save plug-in parameters seꢃngs as a user preset use the -Win (
+ BROWSE ), Mac (
+ BROWSE ) in Configuraꢀon
and Presets Browsing secꢀon. This acꢀon automaꢀcally opens the Preset Browser with an acꢀve Edit Mode.
Saving the Seꢂngs as Preset
Addiꢀonally, at the boꢂom there will be a textbox into which you should enter a name of a newly created preset, and then conꢁrm it by
clicking Save or cancel by clicking Cancel.
As the Preset Browser is in the Edit Mode before conꢁrmaꢀon of the newly created seꢃng as preset, we can straightaway categorize
a parꢀcular seꢃng, using funcꢀonality of the Edit tags secꢀon, even just before saving it as Preset.
34
PRESET MANAGEMENT • SAVING THE CURRENT SETTINGS AS PRESET
Configuraꢀon
Parameter seꢂngs
Right-click any plug-in parameter to open the context menu
Closed Context Menu
It allows for:
•
•
•
Checking the name and current value of a parameter,
Checking if the parameter is aꢂributed to MIDI CC controller, and if it is – to which number,
Linking the parameter to MIDI CC controller.
Clicking the arrow in any area of the menu expands it and displays all available opꢀons.
Next right-click on the parameter or leſt-click outside the menu area closes it automaꢀcally.
35
CONFIGURATION • PARAMETER SETTINGS
MIDI Learn
MIDI Learn funcꢀon enables a quick assignment of physical controllers (from MIDI controller) to plug-in parameters. The assignment can
be divided into a few steps:
1. Right-click the parameter which you want to aꢂribute to physical MIDI controller in order to expand the context menu.
2. Click arrow at the boꢂom in order to expand the context menu.
Expanded Context Menu
3. Click the Learn buꢂon to put the plug-in into a pending state unꢀl you move any MIDI CC controller.
4. Click OK to save the change or click the Cancel buꢂon to restore the previous seꢃng.
36
CONFIGURATION • PARAMETER SETTINGS
MIDI Unlink
You can also delete MIDI CC code aꢂributed to plug-in parameter from the context menu:
5. Open the context menu, right-clicking the parameter aꢂributed to a parꢀcular MIDI CC
6. Expand the menu, using the arrow at the boꢂom
7. Click the Clear buꢂon
8. Conꢁ rm with OK buꢂon
Plug-in’s current seꢂngs
Current seꢂngs are relevant to a speciꢁc instance of a plug. They are iniꢀalized with the Default seꢂngs, when the plug-in is loaded (see
the next chapter):
At the boꢂom of UI there is a status bar that enables the change of Current seꢂngs.
Current Seꢂngs in a Status Bar
From leſt to right there are:
•
•
The seꢃng of Current processing path quality for the Offline mode and the Real-ꢀme mode
Saving/Loading the MIDI CC Map
37
CONFIGURATION • PLUG-IN’S CURRENT SETTINGS
Processing Path Quality
Clicking the item expands the menu that allows to select the Current quality of generated sound for Real-ꢀme or Offline modes.
In a case of Repeater the quality seꢃng doesn’t affect the delay loop, but audio clipper only.
ProcessingPathQualitySeꢂngs
We can choose from four available grades for each mode.
Saving/Loading the MIDI CC Map
This item enables to save current parameters of MIDI CC codes as MIDI Map in a ꢁle or to load them.
Saving/Loading the MIDI CC Map
38
CONFIGURATION • PLUG-IN’S DEFAULT SETTINGS
Plug-in’s default seꢂngs
The Opꢀons panel allows us to change the Default seꢂngs of the plug-in. Every ꢀme the plug-in is loaded in the host
applicaꢀon (new instance is created) a Default seꢂngs are used for iniꢀalizaꢀon of the Current seꢂngs.
Default seꢂngs are stored within a conꢁguraꢀon ꢁle of the plug-in. This ꢁle is updated at the moment of unloading any of acꢀve plug-in
instances from the host applicaꢀon.
Use the Opꢀons buꢂon on GUI to open the panel:
Opꢀons buꢁon
39
CONFIGURATION • PLUG-IN’S CURRENT SETTINGS
The Opꢀons panel operates as an accordion where you can click a speciꢁc secꢀon to expand it:
Opꢀons Panel
There are three secꢀons:
•
•
•
Processing Quality - Default Processing Path Quality
Presets - Presets loading seꢃngs
MIDI - Default MIDI CC Map
Default Processing Path Quality
Processing Quality Choice Secꢀon
In this secꢀon you can conꢁgure a default quality of the processing path for the Real-ꢀme mode and the Offline mode.
40
CONFIGURATION • PLUG-IN’S CURRENT SETTINGS
Default MIDI CC Map
Default MIDI Map Choice Secꢀon
This secꢀon allows for seꢃng of a path to a ꢁle with a default MIDI Map that was prepared before. Clicking MIDI CC Map check box
acꢀvates load of MIDI Map and the possibility of poinꢀng it (Browse buꢂon).
41
CONTENTS
Overview .......................................................................................................................2
Signal Flow ....................................................................................................................4
Processing blocks before the feedback loop...................................................5
Preliminary amplifier and audio clipper............................................................5
delay line with feedback loop ............................................................................7
Delay line ꢀmes ...............................................................................................8
tap .................................................................................................................9
Synchronizing the delay line with the hosꢀng applicaꢀon tempo .10
Feedback............................................................................................................12
analog mode...............................................................................................13
Ping-Pong ....................................................................................................13
Processing blocks aſter the feedback loop......................................................14
Phase inverter...................................................................................................14
Dual filter...........................................................................................................15
Stereo mixer......................................................................................................16
Master secꢀon..................................................................................................18
delay line models...................................................................................................18
Stereo link................................................................................................................21
Preset management....................................................................................................23
Preset Storage ........................................................................................................23
browsing Presets ...................................................................................................23
Resources...........................................................................................................25
Preset Filters.....................................................................................................25
Categories and Tags...................................................................................26
Results ................................................................................................................26
Presets Filtering................................................................................................27
Basic Acꢀons on Filters ............................................................................28
reordering categories..............................................................................29
Presets Ediꢀng – Edit Mode................................................................................29
Selecꢀon of Presets for Ediꢀng ....................................................................31
Tags Ediꢀon ......................................................................................................31
Change of Tags status in Presets............................................................31
Presets Names Ediꢀng....................................................................................33
Deleꢀng Presets...............................................................................................33
Presets Export and Import.............................................................................33
Saving the current seꢁngs as Preset................................................................34
Configuraꢀon................................................................................................................35
Parameter seꢁngs.................................................................................................35
MIDI Learn.........................................................................................................36
MIDI Unlink.......................................................................................................37
Plug-in’s current seꢁngs......................................................................................37
Processing Path Quality..................................................................................38
Saving/Loading the MIDI CC Map...............................................................38
Plug-in’s default seꢃngs ......................................................................................39
Default Processing Path Quality...................................................................40
Default MIDI CC Map.....................................................................................41
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