USER MANUAL

Information in this manual is subject to change without notice and does not represent a commitment on
the part of Applied Acoustics Systems DVM Inc. The software described in this manual is furnished under a
license agreement. The software may be used only in accordance of the terms of this license agreement. It is
against the law to copy this software on any medium except as specifically allowed in the license agreement.
No part of this manual may be copied, photocopied, reproduced, translated, distributed or converted to any
electronic or machine-readable form in whole or in part without prior written approval of Applied Acoustics
Systems DVM Inc.
Copyright c 2004 Applied Acoustics Systems DVM Inc. All rights reserved. Printed in Canada.
Program Copyright c 2004 Applied Acoustics Systems, Inc. All right reserved.
Ultra-Analog is a Trademark of Applied Acoustics Systems DVM Inc. Windows 98, 2000, NT, ME, XP
and DirectX are either trademarks or registered trademarks of Microsoft Corporation. Macintosh, Mac OS,
QuickTime and Audio Units are registered trademarks of Apple Corporation. VST Instruments and ASIO are
trademarks of Steinberg Soft Und Hardware GmbH. RTAS is a registered trademarks of Digidesign. Adobe
and Acrobat are trademarks of Adobe Systems incorporated. Unauthorized copying, renting or lending of
the software is strictly prohibited.
Visit Applied Acoustics Systems DVM Inc. on the World Wide Web at
www.applied-acoustics.com
Contents

1 Introduction 7
1.1 System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.2 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.3 Authorization and Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.4 Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.4.1 Using MIDI Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.4.2 Using MIDI program changes . . . . . . . . . . . . . . . . . . . . . . . . 11
1.4.3 Using Ultra Analog as a Plug-in . . . . . . . . . . . . . . . . . . . . . . . 11
1.5 Getting help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.6 Forum and User Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
1.7 About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

2 Browser and Presets 13

2.1 Playing Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2.2 Editing and Saving Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2.3 Deleting Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
2.4 Documenting Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
2.5 Defining a Default Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
2.6 Locating a Preset in the Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
2.7 MIDI maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
2.8 Exporting and Importing Presets and MIDI maps . . . . . . . . . . . . . . . . . . 15
2.9 Customizing the browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3 Architecture of the Ultra Analog 17

3.1 General Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3.2 Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
3.3 Output Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4 CONTENTS

4 Parameters 20
4.1 General Functioning of the Interface . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.1.1 Tweaking Knobs and Sliders . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.1.2 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.1.3 Drop-down menus and Displays . . . . . . . . . . . . . . . . . . . . . . . 20
4.1.4 Inverting a Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.1.5 Bypassing a Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.1.6 Resetting a Module and Copying Settings . . . . . . . . . . . . . . . . . . 21
4.1.7 Modulation Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.2 The Oscillator Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.2.1 Waveform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.2.2 Pitch and Pitch Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.2.3 Sub Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
4.2.4 Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
4.2.5 The Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
4.3 The Filter Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
4.3.1 Resonant Low-Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 25
4.3.2 Resonant High-Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 26
4.3.3 Band-Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
4.3.4 Notch Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
4.3.5 Formant Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.3.6 Filter Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.3.7 Slave Filter 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.3.8 Series/Parallel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.4 The Amplifier Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
4.5 The Noise Generator Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.6 The LFO Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.6.1 Wave Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.6.2 Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.6.3 Phase and Reset Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
4.6.4 Fade-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
4.7 The Envelope Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
CONTENTS 5

4.7.1 Shape of the Envelope Segments . . . . . . . . . . . . . . . . . . . . . . . 34

4.7.2 Free Run Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4.7.3 Legato Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4.7.4 Loop Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
4.8 The Keyboard Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
4.8.1 Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
4.8.2 Mode and Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
4.8.3 Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
4.9 The Portamento Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
4.10 The Vibrato Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
4.11 The Arpeggiator Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
4.11.1 Arpeggio Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
4.11.2 Rhythmic Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
4.11.3 Rate and Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . 39
4.11.4 Latch mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
4.12 The Output Effect Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
4.12.1 The Clock Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
4.12.2 The Chorus Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
4.12.3 The Delay Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
4.12.4 The Reverb module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
4.12.5 Topology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
4.12.6 The Output Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
4.12.7 The Recorder Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

5 Toolbar 43
5.1 Preset Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5.2 MIDI map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5.3 Polyphony Combo Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5.4 MIDI Channel combo box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5.5 Value Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5.6 CPU meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5.7 MIDI Led . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
5.8 Edit/Compare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
6 CONTENTS

6 Audio and Midi Settings 45

6.1 Audio Device Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
6.2 MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
6.3 Audio Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
6.4 Latency Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

7 Using the Ultra Analog as a Plug-In 49

7.1 Window Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
7.2 Synchronization to the Host Sequencer . . . . . . . . . . . . . . . . . . . . . . . . 49
7.3 Audio and MIDI parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
7.4 Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
7.5 Multiple Instances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
7.6 Saving Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
7.7 MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
7.8 MIDI program change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
7.9 Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

8 Quick references to commands and shortcuts 51

9 Appendix 54

10 License Agreement 55
Introduction 7

1 Introduction

The Ultra Analog is a virtual analog synthesizer. With this product, we have not attempted to emu-
late a specific vintage analog synthesizer but rather to combine into a modern instrument, different
features of legendary vintage synthesizers. The Ultra Analog generates sound by simulating the
different components of the synthesizer through physical modeling. This technology uses the laws
of physics to reproduce how an object or system produces sound. In the case of Ultra Analog,
mathematical equations describing how analog circuits function are solved in real-time. The Ultra
Analog uses no sampling or wavetable, it just calculates the sound as you play in accordance to
the controls it receives. This sound synthesis method ensures unmatched sound quality, realism,
warmth and playing dynamics.
Before discussing the synthesizer in more details, we would like to take this opportunity to
thank you for choosing an Applied Acoustics Systems product. We sincerely hope that this product
will bring you inspiration, pleasure and fulfill your creative needs.

1.1 System requirements

The following computer configuration is necessary to run the Ultra Analog:

Mac OS :
• Mac OSX 10.2 (Jaguar) or later.
• G4 733 MHz Processor
• 256 MB RAM
• 1024 x 768 or higher screen resolution
• MIDI Keyboard (recommended)
• Ethernet Port
• Quicktime 4.0 or later
Windows :
• Windows 98SE/2000/XP
• PIII 800 MHz
• 128 MB RAM
• 1024 x 768 or higher screen resolution
• DirectX or ASIO supported sound card
• MIDI Keyboard (recommended)

Keep in mind that the computational power required by the Ultra Analog depends on the num-
ber of voices of polyphony and the sampling rate used. These computer configurations will enable
you to play the factory presets with a reasonable number of voices. Although it is not absolutely
necessary, it is strongly recommended to play the Ultra Analog with a MIDI keyboard or controller.
8 Introduction

1.2 Installation

Mac OS
Insert the Ultra Analog program disc into your CD ROM drive. Open the CD icon once it
appears on your desktop. Click on the Ultra Analog Install icon and follow the instructions of the
installer.
For download installations simply click on Install icon and follow the instructions of the in-
staller.
Windows
Insert the Ultra Analog program disc into your CD ROM drive. Click on the CD ROM icon on
your desktop. Click on Install icon and follow the instructions of the installer.
For download installations simply click on Install icon and follow the instructions of the in-
staller.

1.3 Authorization and Registration

Upon launching the Ultra Analog for the first time the authorization page will appear. The Ultra
Analog uses a proprietary challenge/response copy protection system which requires you to provide
some information before using the program. You will need:

• A valid email address

• Your product serial number (on the back of your CD or in your confirmation email for down-
loads)
• The challenge key supplied by the registration page

A challenge key is a long string of capital letters and numbers that is generated uniquely for
each machine during the registration process. In other words, for each machine you install this
program on you will receive a different challenge key. If you are a PC user, please note that a new
challenge key will be generated should you change your computer’s hard drive or upgrade your
operating system. Once you have registered you will not have to do so again unless:

• You reformat or upgrade your hard drive (on PC)

• You change or upgrade your operating system (on PC)
• You uninstall the program (Mac and PC)

Authorizing your software will also automatically register you as an AAS customer. This will
entitle you to receive support and download updates when available as well as take advantage of
special upgrade prices offered from time to time to registered AAS users.
1.3 Authorization and Registration 9

If the machine you have installed on is connected to the internet:

Enter your email address and serial number, and click next. The registration system will now
automatically launch your internet browser and connect to the AAS unlock page. The information
you have provided, along with your challenge key will be filled into the online form. Verify that
this information is correct and click next. The next page asks you to provide information about
yourself including your mailing address and phone number. While this part of the registration
process is optional, we recommend this information be provided to ensure our support team is able
to contact you to resolve any future support issues, and notify you of product updates promptly.
This information is kept completely confidential.
You will then receive your response code on-screen. Copy and paste this information into the
registration window, and the process is complete. Your response code will also be sent to you by
email for your records.

If you wish to register your software from another computer:

Enter you email address and serial number into the registration window and click next. You will
then be provided your challenge key. Take note of this information and proceed to your internet
connected computer. Launch your browser and go to the unlock page of the AAS website at:
http://www.applied-acoustics.com/unlock.htm
Enter your email address, serial number, and challenge key, and click next. The next page
asks you to provide information about yourself including your mailing address and phone number.
While this part of the registration process is optional, we recommend this information be provided
to ensure our support team is able to contact you to resolve any future issues, and notify you of
product updates promptly. This information is kept completely confidential.
You will then receive your response code on-screen. Copy this information into the registration
window, and the process is complete. Your response code will also be sent to you by email for your
records.

If you wish to register by fax or over the phone:

Should you not have access to the internet, AAS support representatives are available to assist you
in the registration process Monday to Friday, 9am to 6pm EST. You may contact us by phone at:

• North America Toll-free number: 1-888-441-8277

• Outside North America: 1-514-871-8100
• Fax Number: 1-514-845-1875
• Email: [email protected]
10 Introduction

1.4 Getting started

The Ultra Analog comes with a wide range of factory presets right out of the box which amounts to
a huge range of sounds before you have even turned a single knob. As you would expect, the best
way of coming to grips with the possibilities Ultra Analog offers is simply to go through the presets
one at a time. We recommend that you first start using the Ultra Analog in standalone mode.

Using Ultra Analog in standalone mode

• Windows - Double-click on the Ultra Analog icon located on your desktop or select Ultra
Analog from the Start > All Programs > menu.
• Mac OS - Double-click on the Ultra Analog icon located in the Applications folder.

Before you start exploring the factory presets, take a moment to set up you audio and MIDI
configuration as explained below.

Audio Configuration

This menu allows you to select from the installed audio ports on your computer, by driver type.
If you have ASIO drivers available, these should be selected for optimum performance. Multi-
channel interfaces will have their outputs listed as stereo pairs.

• Windows - Select your sound card port from the list in the Audio Configuration dialog
from the Edit > Preferences > Audio Settings . . . menu.
• Mac OS - Select your audio device from the list in the Audio Settings dialog from the Ultra
Analog > Preferences > Audio Settings . . . menu.

For more detailed information on audio configuration, sampling rate selection and latency ad-
justments, please refer to section 6.4.

MIDI Configuration

• Windows - Select your MIDI port from the list in the MIDI Configuration dialog from the
Edit > Preferences > MIDI Settings . . . menu.
• Mac OS - Select your MIDI port from the list in the MIDI Settings dialog from the Ultra
Analog > Preferences > . . . menu.

For more detailed information on MIDI configuration, MIDI links and MIDI maps, please refer
to section 6.2.
1.5 Getting help 11

Exploring the factory presets

The browser on the left of the Ultra Analog interface is similar to the browser your operating
system generates to display the contents of your hard disk, or your email program uses to organize
your mail and address book. When launching the application for the first time, this “tree view” will
include a destination folder for imported presets as well as different folders containing different
categories of factory presets. To open a folder, click on the “+” symbol which will reveal the
folder content. To load a preset, double-click on a preset icon (blue knob).
The Browser makes it easy to organize presets in whatever manner you choose. To create a
new preset folder, click in the browser to select this region of the interface, and choose New Folder
from the File menu. You can now save new presets in this folder or copy or move existing presets
to this folder by dragging preset icons from one folder to the other or using the Copy and Paste
commands from the Edit menu.

1.4.1 Using MIDI Links

Every parameter on the Ultra Analog interface can be linked to an external MIDI controller. To
assign a MIDI Link, right-click (control-click on Mac) on a control (knob, button or slider) and a
contextual menu will appear. Select Learn MIDILink and move a knob or slider on your MIDI
controller to activate the link. To deactivate the link, right-click on the control and choose the
Forget MIDILink command.

1.4.2 Using MIDI program changes

MIDI program changes have been assigned to a selection of factory presets. The factory library
can therefore be explored using MIDI program changes.

1.4.3 Using Ultra Analog as a Plug-in

The Ultra Analog integrates seamlessly into the industry most popular multi-track recording and
sequencing environments as a virtual instrument plug-in. The Ultra Analog works as any other
plug-in in these environments so we recommend that you refer to your sequencer documentation
in case you have problems running the Ultra Analog as a plug-in.

1.5 Getting help

Applied Acoustics Systems technical support representatives are on hand from Monday to Friday,
9am to 6pm EST. Whether you have a question on Ultra Analog, or need a hand getting it up and
running as a plug-in in your favorite sequencer, we are here to help. Contact us by phone, fax, or
email at:
12 Introduction

• North America Toll Free: 1 888 441 8277

• Worldwide: 1 514 871 8100
• Fax: 1 514 845 1875
• Email: [email protected]

Our online support pages contain downloads of the most recent product updates, and answers
to frequently asked questions on all AAS products. The support pages are located at:
www.applied-acoustics.com/faq.htm

1.6 Forum and User Library

The AAS community site also contains the Ultra Analog user forum, an excellent place to meet
new users and get answers to your questions. The community site also contains an exchange area
where you will find presets for your AAS products created by other users and where you can also
make your own creations available to other users.
http://community.applied-acoustics.com/php/community
http://community.applied-acoustics.com/php/forum

1.7 About this manual

In the next chapter, the use of presets and the browser is described in detail. Chapter 3 describes
the general architecture, signal flow and routing possibilities offered by Ultra Analog. In Chap-
ter 4, the different modules and controls are reviewed in detail. Chapter 6 explains the different
functionalities related to Audio and MIDI and their settings. Finally, the use of Ultra Analog as a
plug-in in different host sequencers is covered.
Throughout this manual, the following conventions are used:

• Bold characters are used to name modules, commands and menu names.
• Italic characters are used to name controls on the interface.
• Windows and Mac OS keyboard shortcuts are written as Windows shortcut/Mac OS shortcut.
Browser and Presets 13

2 Browser and Presets

The Ultra Analog comes with several factory presets covering a

wide range of sounds. This collection of presets lets you play and fa-
miliarize yourself with this synthesizer without having to tweak a single
knob. Soon, however, you will be experimenting and creating your own
sounds that you will need to archive or exchange with other users. All
the operations on presets are conveniently managed with the help of the
Ultra Analog Browser, similar to those found in most email programs,
which uses a hierarchical tree structure and a visually intuitive, drag
and drop approach.

2.1 Playing Presets

All the presets are located in the Ultra Analog root folder. To explore
the different presets available in Ultra Analog, click on the “+” icon to
the left of the Ultra Analog folder, in other words, expand this branch
of the browser tree, in order to reveal the various preset sub-folders
based on different sound categories. Opening the individual sub-folders
reveals a set of presets represented by blue knob icons.

• To load a preset, simply double-click on the preset icon or drag and drop the preset icon from
the browser onto the synthesizer.
• You can also load a preset by right-clicking/control-clicking on a preset icon and choosing
the Open Preset command from the drop-down menu that appears or by clicking on a preset
icon in order to select it and use the Ctrl-O/Apple-O shortcut.
• It is also possible to load presets using MIDI program changes as described in Section 6.2.

It is also possible to change to the next and previous preset in the hierarchy by clicking on the
“+” and “-” sign on the right of the preset name in the left corner of the toolbar at the top of the
Ultra Analog interface, or by using the “+” and “-” keys of the computer keyboard.

2.2 Editing and Saving Presets

As soon as a preset is modified, the preset icon just before the preset name in the toolbar will change
color indicating that saving the preset is necessary in order not to loose the changes. Modifications
to an existing preset are saved using the Save Preset command from the File menu or the Ctrl-
S/Apple-S shortcut. Be careful, however, as using this command will overwrite the original preset.
In order to create a new preset, use the Save Preset As command from the File menu and a window
will appear asking for a name for the new preset. Once the preset is saved using this command, a
new preset icon will appear directly under the Ultra Analog folder.
14 Browser and Presets

Note that after having modified a preset, Ultra Analog will always ask you if you want to save
the changes in order not to loose your work. This behavior is however not always convenient.
To disable this option, select the General command under Preferences of the Edit menu and de-
select the Ask to save preset before opening another option. By default, Ultra Analog will also
ask you if you want to save changes to a modified preset before quitting the application. To disable
this option, de-select the Ask to save preset before quitting option under the same command as
mentioned above.
When editing presets and creating new ones, it is very helpful to go back and forth between
different the different stages of your modifications and adjustments. To move back step by step
through every modification that was applied to a preset, use the Undo command from the Edit
menu or the Ctrl-Z/Apple-Z shortcut. Once the Undo command has been used, it is also possible
to move up again through the modifications by using the Redo command from the Edit menu or
the Ctrl-Y/Apple-Y command. Note that the number of Undo levels is unlimited and that this
command is effective on any control of the interface but not on the different Save commands.
Once a preset has been modified, it is also possible to move back and forth between the current
state of the preset and its original state when it was loaded. This is very helpful in order to hear
again the original preset after having applied many modifications. To hear the original preset,
simply click on the Compare button of the toolbar or the Compare command from the Edit menu.
Once this button has been pressed, the original settings of the preset are loaded. Note that in this
mode, the graphical interface is frozen and it is therefore not possible to modify the preset. To
further modify the preset, click on the Edit button or the Edit command from the Edit menu to
revert to the modified version of the preset and unfreeze the interface.

2.3 Deleting Presets

To delete a preset, first select it by clicking on its icon in the browser and use the Delete command
from the Edit menu or the Del key from the computer keyboard.

2.4 Documenting Preset

It is possible to document a preset or view related information from the Edit Preset Information
window. To launch this window, right-click/control-click on a preset icon and choose the Pre-
set Info command or use the Ctrl-I/Apple-I shortcut. The Preset Info command from the Edit
menu can also be used after selecting a preset. Information on a preset include the author’s name,
copyright notice, date of creation, last modification date and a description text.

2.5 Defining a Default Preset

It is possible to define a default preset that will be loaded automatically when Ultra Analog is
launched. To define a default preset, select a preset by clicking on its icon in the browser and
2.6 Locating a Preset in the Browser 15

launch the Edit Preset Information window as explained in the preceding paragraph and select
the Mark As Default option. To change the default preset, just repeat the operation on a new
preset. If no default preset has been defined, the default values for every module will be loaded
when Ultra Analog is launched.

2.6 Locating a Preset in the Browser

After navigating through presets, it might be difficult to find the current preset icon in the browser.
To rapidly locate the current preset in the browser, use the Locate command from the View menu or
the Ctrl-L/Apple-L shortcut. The Locate command will automatically expand the folder containing
the currently used preset and select the preset.

2.7 MIDI maps

MIDI maps containing information about MIDI links between the MIDI controllers and the Ul-
tra Analog interface can easily be created as will be explained in Section 6.2. MIDI maps are
represented in the browser with a MIDI connector icon. MIDI maps are treated exactly the same
way as presets in the browser and are saved using the Save MIDI Links or Save MIDI Links As
commands from the File menu.

2.8 Exporting and Importing Presets and MIDI maps

The Import and Export commands, found in the File drop down menu, allow one to easily ex-
change presets and MIDI maps with other Ultra Analog users. This feature can also be used to
decrease the number of elements in the browser by archiving older or rarely used ones elsewhere,
on CD-R, or a second hard disk for example. Files containing Ultra Analog presets and MIDI maps
are equivalent in size to short text file, making it easy to send presets to other users via email.
To export a folder, a group of folders, presets or MIDI maps within a folder, select the elements
to export in the browser and use the Export command from the File menu. When the Export
window appears, choose a file name and a destination location on your hard disk. Ultra Analog
export files will be saved with an “axf” extension.
Importing presets and MIDI maps is just as easy. Simply click on the Import command from
the File drop down menu, and select the file to import. A new folder will then appear under the
Imports directory in the browser, containing all of the files contained within the imported package.
These can then be dragged and dropped to a new folder, or remain in the Imports directory.

2.9 Customizing the browser

The Browser structure can be customized in various ways. New folders can be created from the
File drop down menu using the Create New Folder command. One can also move presets, MIDI
16 Browser and Presets

maps and folders from one place in the browser to another by using the Copy and Paste commands
from the Edit drop down menu, or by simply dragging objects from one folder and dropping it into
the folder of your choice. Ultimately, how things are organized, is left entirely up to you.
The browser can also be hidden from the interface which can be convenient in order to save
screen space. To hide the browser, use the Hide Browser command from the View menu. To make
it reappear, use the Show Browser command from the View menu.
Architecture of the Ultra Analog 17

3 Architecture of the Ultra Analog

The Ultra Analog is a very adaptable and versatile two-oscillator synthesizer. The different control
elements of the synthesizer have been grouped into three sections in the graphical user interface
shown in Figure 1.

Figure 1: Graphical user interface of the Ultra Analog Synthesizer.

The main section of the interface, the synthesis section, is related to the main sound generat-
ing and processing modules including two oscillators, a noise source, two multi-mode filters, two
LFOs, four envelope generators and two amplifiers. These modules have been laid out into two
symmetrical rows on the interface following the general internal signal flow of the synthesizer as
will be described below. The column to the left of the main section is the control section which
includes the modules related to performance and the processing of MIDI events. Finally, the top
row of the interface is an output effect stage which includes a multi-effect module, master clock
module as well as a master level and a recorder module.
The individual modules and controls of the user interface will be described in detail in Chap-
ter 4. We will now take a closer look “under the hood” at how the different modules are connected
18 Architecture of the Ultra Analog

together, as well as the multiple signal paths available.

3.1 General Signal Flow

The general signal flow of Ultra Analog is shown in Figure 2 and in a more detailed schematic in
Figure 15 of the Appendix to this manual. The primary sound sources of the synthesizer are two
oscillators and a noise generator. These sources are mixed by a two output pre-filter mixer which
redirects the signal from each oscillator, or a combination of both and the noise source, to two
different multi-mode filter modules in series with an amplifier.

L
Oscillator 1 Filter 1 Amp 1 R

Output Effect Stage

LFO 1
L
LFO 1 Filter Env 1 Amp Env 1
R
Pre Filter Mix

L
Oscillator 2 Filter 2 Amp 2 R

LFO 2

LFO 2 Filter Env 2 Amp Env 2

Noise

Figure 2: General signal flow of the Ultra Analog.

This configuration is very flexible because, depending on the type of mixing applied, it allows
one to treat the sources from each oscillator separately or to combine them. When filters 1 and
2 only receive signal from one oscillator, the source section behaves as a dual oscillator-filter-
amplifier system and left and right information from each source is preserved until the very end
of the signal path. This allows, for example, to position and move sources in the stereo space
independently with the panning control on each of the amplifier modules. On the other hand,
combining the sources at the mixer level will allow one to obtain rich and complex tonal textures.

The signal path between Filter 1 and Filter 2 allows the use of the filter modules in a parallel
or series configuration giving more processing possibilities. Sending signal only through the first
output of the mixer and using this signal route will result in a series configuration while sending
signal to both filters and closing this signal path will result in a parallel configuration.
3.2 Modulation Sources 19

3.2 Modulation Sources

The two rows of the main section of Ultra Analog are equipped with multiple modulation sources il-
lustrated by dotted lines in Figure 2. On each line, one finds a low-frequency oscillator (LFO), used
as a modulation source for its respective oscillator, filter and amplifier module, and two loopable
and velocity-sensitive envelope generators connected to the filter and amplifier module respectively.
In addition to the sources illustrated in Figure 2, the oscillator, filter and amplifier modules can also
receive pitch and velocity modulation signal from the keyboard. Also note that a vibrato module
(see section 4.8) can be considered as an extra pitch modulation source for the oscillators.

3.3 Output Effect

After filtering and panning, the stereo signal from both source lines is sent to the output effect
stage for further processing. A Reverb, Delay and Chorus module are available in this effect
stage allowing for a wide range of processing possibilities. Effect can be applied before or after
mixing of the signal from each line as will be explained in greater detail in Section 4.12.
20 Parameters

4 Parameters

The Ultra Analog is based on two similar module rows each containing an oscillator, a multi-mode
filter, an amplifier, a low-frequency oscillator and two envelope generators. Except for very slight
differences, the modules on each line are identical and so the description of the modules, unless
otherwise stated, is assumed to apply to the modules on each line.

4.1 General Functioning of the Interface

4.1.1 Tweaking Knobs and Sliders

All the knobs and sliders on the interface are selected by clicking on them. Once selected, they can
be controlled in different ways depending on the effect you want to achieve.

• For coarse adjustment click-hold on it and drag the mouse upwards or downwards to move
it clockwise or counter-clockwise.
• For fine adjustment, use the left or down arrow of the computer keyboard to move it counter-
clockwise and the right or up arrow to move it clockwise. The Page Up and Page Down
keys give the same result with slightly faster action.
• To move a control to a given position, place the mouse at this position and Shift-click (Win-
dows) or Option-click (Mac OS). To reach this position slowly, do the same, but use the
middle button of the mouse (Windows only).
• Knobs with a green LED above are moved directly to their center position by clicking on the
LED.

Remember that the keyboard shortcuts only affect the most recently selected control. The value
of the control currently selected is displayed on the toolbar at the top of the Ultra Analog window.
The number displayed on the counter is a value corresponding to the setting of the control currently
selected. For knobs and sliders, the reading is a value between 0 (turned fully to the left) and 127
(turned fully to the right).

4.1.2 Buttons

Buttons are switched on or off by clicking on them. The value appearing in toolbar and corre-
sponding to a button is 1 when the button is on and 0 when it is off.

4.1.3 Drop-down menus and Displays

Clicking on a control represented by a display with a down-pointing triangle on its right, such as the
Shape control of the Oscillator module, reveals a drop-down menu with a set of possible settings
4.1 General Functioning of the Interface 21

for the control. Adjustment of the control is obtained by clicking on a selection or using the up and
down arrows and the Enter key of the computer keyboard.
The other controls represented by a display, such as the Tempo control of the Clock module,
are adjusted by click-holding on them and dragging the mouse upward or downward. Selection of
these controls is possible when the mouse is positioned on the display and a double pointing arrow
appears.

4.1.4 Inverting a Signal

The different modulation signals acting on the Oscillator, Filter and Amp modules can easily be
inverted by clicking on the small button appearing on the upper right of the corresponding gain
knob. The signal is inverted when the button is on (LED on and value of 1).

4.1.5 Bypassing a Module

The different modules of the Ultra Analog can be turned on or off by clicking on the button appear-
ing on their upper right corner. A module is active when the button is in its on position or in other
words when it is lit and has a value of 1. Note that when a module is not activated, calculations
associated with this module are not performed which reduces CPU usage.

4.1.6 Resetting a Module and Copying Settings

The modules of Ultra Analog can be reset to their default value by clicking on the down pointing
triangle appearing in their upper right corner (left of the bypass button) and selecting the Default
Settings command.
It is also possible to adjust the different controls of a module with the settings from a similar
module by clicking on this same down-pointing triangle and selecting the source module from
which the settings should be copied.

4.1.7 Modulation Signals

The modulation signals from the Keyboard, LFO and Env modules are controlled with knobs
labeled Kbd, LFO and Env respectively. These knobs are in fact gain knobs that are used to mul-
tiply the modulation signal by a certain factor. When these knobs are in their leftmost position,
the modulation signals are multiplied by zero which has the effect of turning off the modulation
source. Turning the knobs clockwise increases the gain factor and therefore the influence of the
corresponding modulation source.
22 Parameters

4.2 The Oscillator Module

The Oscillator module offers the features of the most re-

puted analog oscillators. It provides a fine control on the pitch,
standard waveforms, a sub-oscillator, and a hard sync. The
Oscillator module is implemented using precise modeling al-
gorithms rather than wave tables providing alias free sources
with clean pulse width modulation and synchronization.

4.2.1 Waveform

The Shape drop down menu is used to choose the wave form
generated by the oscillator. Wave forms include sine wave,
saw tooth, rectangular and white noise as shown in Figure 3.
Amplitude Amplitude

sinus rectangular

Time Time

Pulse Width

Amplitude Amplitude
saw tooth noise

Time Time

Figure 3: Choice of wave forms provided by the Oscillator module.

When the Shape is set to rectangular, one has additional control on the waveform through the
use of the PW and LFO knob just below. The PW knob is used to adjust the pulse width of the
rectangular wave. In its leftmost position the pulse is very narrow while in its rightmost position the
wave is perfectly square and only the odd harmonics are heard. The pulse width of the rectangular
waveform can be modulated with the signal received from the LFO module. The LFO knob is used
to control the amount of modulation around the value set with the PW knob.

4.2.2 Pitch and Pitch Modulation

The pitch of the Oscillator module can be adjusted using the Octave control, Semi control and the
Detune knob. The Octave control allows one to transpose the pitch by octaves (upper or lower),
the Semi control is used to transpose the pitch by semitones while the Detune knob is used to to
4.2 The Oscillator Module 23

slightly detune the oscillator. When the Detune knob is in its center position, there is no detune
while turning it clockwise or anti-clockwise increases or decreases the pitch respectively.
The pitch of the Oscillators module and can be modulated by the signal from the Keyboard
module and/or the LFO module. The amount of modulation from these sources is adjusted by
using the Kbd and the LFO gain knobs. In order for the oscillator to respond to the keyboard with
an equal tempered scale, the Kbd knob of the Oscillator module must be set to its center position.
In the case of the LFO knob, the center position corresponds to a variation of plus and minus one
octave around the pitch of the oscillator.
The Oscillator module includes a ramp generator which allows one to obtain a pitch variation
when a key is depressed. The Amount knob is used to set the starting pitch of the oscillator while
the Time knob determines the time for the pitch to glide from this starting value to the effective
pitch. When the LED of the inverter button next to the Amount knob is on, the starting pitch will
be below that of the note played and will then rise after the note is played. When the LED of the
inverter button is in its off position, the initial pitch will be higher than the pitch of the note played
and will then fall to the correct pitch. When the Amount knob is in its leftmost position there is no
pitch variation at the beginning of a note.

4.2.3 Sub Oscillator

The Oscillator module is equipped with a sub-oscillator which generates a wave one octave below
the pitch of the oscillator. The shape of the sub-oscillator signal is a square wave when the wave
shape of the Oscillator is set to Rect or Saw and a sine wave when it is set to Sine. The amount of
this sub-oscillator signal in the output signal of the oscillator is adjusted with the Sub knob. When
this knob is fully turned to the left, the sub-oscillator is muted. Note that when the oscillator is
used in its Sync mode (see section 4.2.4 below), the sub-oscillator becomes unavailable and the
Sub knob is then used to fix the frequency Ratio between the synchronization frequency and the
oscillator frequency.

4.2.4 Synchronization

The Oscillator module features a hard synchronization mode which is toggled on or off with the
help of the sync switch. In this mode, the signal from the Oscillator is reset, or in other words
restarted, at each cycle of a synchronization or master clock signal as shown in Figure 4. In this
mode the perceived pitch is the same as that of the synchronization signal while the frequency of
the synced oscillator only affects the harmonic content of the resulting signal.
In sync mode, the frequency of the master clock is determined by the settings of the Octave,
Semi control and Detune controls as well as the pitch signal from the Keyboard module. The
frequency of the signal to be synced is determined with respect to the frequency of the master
clock signal with the help of the Ratio knob. The ratio between these two frequencies can vary
by a factor of 1 to 20 and is increased by turning the Ratio knob clockwise. The frequency of the
24 Parameters

original signal can also be modulated with the the signal coming from the LFO module which is
controlled with the LFO knob located just below the Kbd knob.
Note that the sync mode is only effective when the waveform is set to rectangular or saw tooth
and that in this mode the sub-oscillator is disabled. Also, when the oscillator is in Sync mode,
the Time and Amount knobs, instead of acting on the pitch of the master clock, act on the pitch of
oscillator. In other words, when a note is played, a ramp is generated between a starting value of
the pitch of the oscillator and the value determined by the position of the Ratio knob. The duration
of this ramp is adjusted with the Time knob while the starting pitch is determined by the settings
of the Amount knob. Again, the starting pitch of the ramp can be located above or below the final
pitch depending whether the inverter button next to the Amount knob is in its on or off position.

Amp Oscillator Signal

Time

Osc Periode

Amp
Synchronisation Signal

Sync Periode Time

Amp Synchronized Oscillator Signal

Time

Sync Osc Periode

Figure 4: Synchronization of the oscillator.

4.2.5 The Mixer

The mixer section on the right of the Oscillator module is used to set the amplitude of the signal
and the amount sent to the Filter 1 and Filter 2 modules. The amplitude of the signal is set with
the Level knob while the F1/F2 knob is used to pan the output of the Oscillator module between
the Filter 1 and Filter 2 modules. When the F1/F2 knob is in its center position, an equal amount
of signal will be sent to both filters. When fully turned to the left or right, signal will only be sent
to Filter 1 or Filter 2 respectively.
4.3 The Filter Module 25

4.3 The Filter Module

Ultra Analog is equipped with two multi-mode filters. The fil-

ters are patched in a flexible way in order to allow their use in
parallel, in series or any combination of both. For even more flexi-
bility, the cutoff frequency of the Filter 2 can also be locked to that
of Filter 1.
Each of the multi-mode filters include a resonant low-pass,
band-pass, high-pass, notch and a formant filter which can be se-
lected using the Type drop-down menu. The order of the filters can
be adjusted to 2 (-12 dB/oct for low-pass and high-pass and -6 db/oct for band-pass) or 4 (-24
dB/oct for low-pass and high-pass and -12 db/oct for band-pass) with the help of the Order drop-
down menu. Furthermore, different saturation algorithms selected with the Drive drop-down menu
can be applied to the filters. The resonance frequency of the filters is adjusted with the Cutoff knob
while its resonance is controlled with the Q knob. When the formant filter is used, the Q knob is
used to cycle between the vowels (a, e, i, o, u).
The cutoff frequency and resonance of the filters can be modulated with different modulation
sources. The modulation sources are the Keyboard, the Filter Env and LFO modules which
are each controlled by the Kbd, Env and LFO gain knob respectively. Modulation signals with a
positive value will increase the cutoff frequency and Q-factor of the filters while a negative value
will decrease them. Note that the filter parameters can further be modulated by the velocity signal
from the keyboard through the use of the velocity modulation parameter of the Filter Env modules.
The three gain knobs associated with the cutoff frequency can be adjusted to their center po-
sition by clicking on the green LED located above the knob. In this position, the cutoff frequency
will exactly follow the pitch of the note played on the keyboard in the case of the Kbd modulation,
it will vary exactly one octave higher and lower in the case of the LFO modulation and will vary
one octave higher or lower depending on the position of the inv switch with the Env modulation.
Let’s now have a closer look at the different filter types available.

4.3.1 Resonant Low-Pass Filter

A low-pass filter is used to remove the higher spectral components of the signal while leaving the
lower components unchanged. The frequency at which attenuation begins to take effect is called
the cutoff frequency. In a resonant filter, frequencies located around the cutoff frequency can also
be emphasized by an amount called the quality factor or Q-factor of the filter as illustrated by
Figure 5. The higher the Q-factor, the louder and sharper the response of the filter around the cut-
off frequency. When the Q-factor is set to 1 (Q knob fully turned to the left), there is no emphasis
around the cutoff frequency and the attenuation is -3dB at the cutoff frequency. The attenuation
for frequencies located above the cut-off frequency depends on the order of the filter which is set
by the Order menu, a slope of -12dB/Oct corresponding to a second order filter and a slope of
-24dB/Oct to a fourth order filter.
26 Parameters

Q=10
Amplitude (dB) Q=4
Q=2
0dB Q=1
−3dB

Slope (dB/Oct)

Cutoff Frequency (Hz)

Frequency

Figure 5: Frequency response of the low-pass filter.

4.3.2 Resonant High-Pass Filter

Q=10
Amplitude (dB)
Q=4

0dB
−3dB
Q=2

Q=1
Slope (dB/Oct)

Cutoff Frequency (Hz)

Frequency

Figure 6: Frequency response of the high-pass filter.

The high-pass resonant filter works exactly in the opposite manner as the low-pass resonant
filter by removing the frequency component of a signal located below the cutoff frequency while
leaving those above the cutoff frequency unchanged. Similarly to the low-pass filter, the Q-factor
controls the emphasis of frequencies located around the cut-off frequency.

4.3.3 Band-Pass Filter

The behavior of a band-pass filter is to let the frequencies in a band located around a center fre-
quency and to attenuate the frequencies outside of this band as shown in Figure 7. The bandwidth
of the band-pass filter is set with the Q knob while the center frequency is set with the Cutoff knob.
The Order control sets the order of the filter. This parameter affects the slope of the roll-off on
4.3 The Filter Module 27

Amplitude (dB)

Q=10
0dB Q=4
−3dB
Q=2
Q=1

Center Frequency (Hz)

Frequency

Band Width (Q=1)

Figure 7: Frequency response of the band-pass filter.

both sides of the center frequency. For a second order filter the slope is -6dB/Oct while for a fourth
order filter it is -12dB/Oct.

4.3.4 Notch Filter

Q=10
Amplitude (dB) Q=4
Q=2
Q=1
0dB
−3dB

Center Frequency (Hz)

Frequency

Band Width (Q=1)

Figure 8: Frequency response of the notch filter.

The notch filter, does essentially the opposite of the band-pass filter. It attenuates the frequen-
cies in a band located around the center frequency and leaves those outside of this band unchanged
28 Parameters

as shown in Figure 8. The Cutoff knob is used adjust the center frequency and the Q knob sets the
bandwidth of the notch. Note that the center frequency is totally removed from the spectrum of the
output signal of the filter.

4.3.5 Formant Filter

Amplitude (dB)
Male Voice
Female Voice

F1 F2 F3 Frequency (Hz)

Formant Frequencies

Figure 9: Frequency response of the formant filter.

The formant filter reproduces the filtering effect of the vocal tract in the human voice. By
changing the position of the tongue, the opening of the mouth and opening or closing the nasal
cavities one can change the filter applied to the glottal signal and thus produce the different vowels.
Measurements have shown that this filter can be modeled by three peaking EQ filters corresponding
to the three main cavities of the vocal tract as shown in Figure 9 and also known as formants. By
moving the parameters of these three filters (frequency, amplitude and Q-factor) one can cycle
between all the vowels. The effect of the Cutoff knob on the formant filter is to offset all the
formants by the same factor and it is used to switch between male voice (left position), female
voice (center) and child (right position). The Q knob is used to cycle between vowels. Note that
changing these parameters can be automated by using the different modulation signals.

4.3.6 Filter Drive

As seen in the preceding sections, some filters can boost the signal in some regions of the spectrum.
Theoretically, with a high Q-factor the amplification can reach up to 50dB, but in real life, electronic
components will saturate before this level is reached and saturation will be introduced in the signal.
In other words, the output signal of a circuit can raise linearly up to a certain value but will then
begin to raise more slowly up to a value where the output is clipped to the maximum output value
allowed by the circuit. This effect is typical of the sound signature of vintage circuits and is
implemented in Ultra Analog through the Drive control as shown in Figure 10. There are 6 different
4.3 The Filter Module 29

saturation patterns implemented, the three first being symmetrical, meaning that the saturation is
the same for positive and negative values of the signal while for the three remaining the distortion
pattern applied is not the same for positive and negative values of the signal.
Output
Level
+ Saturation Level (Sym1)
Asym1
+ Saturation Threshold (Sym1) Asym2
Asym3

Input Level

− Saturation Threshold (Asym1)

− Saturation Level (Asym1)

Figure 10: Saturation curves of the resonant filters. For asymmetrical curves, the saturation level
and threshold are different for positive and negative values of the input level.

The distortion algorithms are selected with the Drive drop-down menu and are numbered from
one to three for both symmetrical and asymmetrical saturation. These distortion algorithms range
from very low distortion (clean circuit) to very high distortion.

4.3.7 Slave Filter 2

The Filter 2 module can be enslaved to the Filter 1 module. This can be done by clicking the
Slave toggle switch on the Filter 2 front panel. In this mode, the frequency of the Filter 2 module
follows exactly that of the Filter 1 module. The Cutoff knob on the Filter2 module is then used
to adjust the offset frequency between the Filter 1 and Filter 2 modules. When slaved, the cutoff
frequency of Filter 2 module will follow exactly that of the Filter 1 module including the effects
of the modulation signals from the keyboard, LFO or envelope generator acting on the Filter 1
module. Note that the modulation entries on the Filter 2 module are kept active so do not forget to
disable them (modulation knobs in the left position) in order to have the desired effect.

4.3.8 Series/Parallel

Even if the two filters are patched in parallel, there is an additional signal path used to route the
output of the Filter 1 module into the input of the Filter 2 module. This feature enables one to put
the two filters in series.
The amount of signal from the Filter 1 module injected into the Filter 2 module is adjusted
with the help of the To F2 knob on the Filter 1 module front panel. In order to put the two filters
30 Parameters

in series, this knob must be fully turned to the right and the level of the Amp 1 set to zero as the
output of the first filter is hard wired into the input of the Amp 1 module. In this way, the output
signal will only come out from the second amplifier after going through the two filters.

4.4 The Amplifier Module

After filtering, the signal is routed to an amplifier in order to add an

amplitude envelope and panning effect to the sound. Both the Filter 1
and Filter 2 modules have their own amplifier section, the Amp 1 and
Amp 2 modules, which allows one to keep the signal coming from each
filter totally independent from the other.
The two main controls of the amplifier module are the Level knob
and the Pan knob. The Level knob is used to adjust the overall level of
the amplifier while the Pan knob is used to locate the sound in the stereo
field. The source can be positioned from left to right by turning the Pan knob clockwise and it will
be centered when the knob is in its center position.
The level of the sound is always modulated by the signal from the Amp Env module which
is hard-wired to the Amp module. The level of the sound can also be modulated with the pitch
signal from the Keyboard module, which is very handy when it is necessary to adjust the level
of a sound across the overall range of the keyboard. When the inverter button next to the Kbd
knob is in its off position, turning the Kbd knob clockwise will boost high notes and decrease the
amplitude of low notes. Switching the inverter button to its on position will reverse the effect of
the Kbd knob and boost low notes while decreasing the amplitude of high notes when turning the
knob clockwise. When the Kbd knob is in its leftmost position, the amplitude of notes is the same
across all the keyboard. Note that the middle C key (reference note) will always sound a the same
level regardless of the position of the Kbd knob. The output signal from the LFO module can be
used for adding a tremolo effect to the sound.
The pan value can be modulated by signals from the LFO, the Amp Env and the Keyboard
modules. The modulation signals will move the source relative to the source position determined
by the settings of the Pan knob. Negative values of the modulation signal will move the source to
the left of the source will positive values will move it toward the right. The amplitude of the motion
is determined by the amplitude of the modulation signal multiplied by a gain factor controlled with
the LFO, Kbd and Env knobs. In their leftmost position, the knobs will turn off their respective
modulation source while it will be fully effective when the knob is completely turned to the right.
Using the LFO module as a modulation source will move the signal from left to right at the
frequency of the signal from the LFO module. Using the signal from the Env module as the
modulation source will move the source to one side of the source and bring it back to its original
position. Note that since the sign of the envelope signal is always the same, the source would need
to be positioned completely to the left or to the right (Pan knob in its leftmost or rightmost position)
in order for the source to sweep the entire space. Finally, the pitch signal from the keyboard will
4.5 The Noise Generator Module 31

position notes depending on their pitch, low notes to the left and high notes to the right where the
middle C is the reference note positioned at the location determined by the Pan knob.

4.5 The Noise Generator Module

The Noise module generates white noise and is followed by a -6dB/Oct low-pass
filter used to adjust the frequency content of the noise. The Color knob is used to
vary the cutoff frequency of the built-in low-pass filter. Turning this knob to the right
increases this frequency and therefore increases the high frequency content of the noise
until, in its rightmost position, the filter is fully opened. The F1/F2 knob controls
the amount of noise sent to the Filter 1 and Filter 2 modules. In its center position,
the same signal will be sent to both filters. Moving the knob counter-clockwise or
clockwise will send a greater amount of noise to either the Filter 1 or Filter 2 modules
respectively until when in its leftmost or rightmost position, signal is only sent to one
of the filters. Finally, the Level knob is used to adjust the overall level of the noise signal.

4.6 The LFO Module

The LFO module is used as a modulation source for the Oscil-

lator, Filter and Amplifier modules. On the LFO module, one can
adjust the waveform, the phase of the signal and fade-in behavior.

4.6.1 Wave Shape

The waveform of the LFO is selected with the Shape drop-down

menu. The possible values are Sine for sinus, Tri for triangular, Rect
for rectangular and Rdm1 and Rdm2 for the two random modes. In
the case of the triangular and rectangular waves, the PW knob is used to control the symmetry
of the wave allowing you to go from a pulse to a square wave when a rectangular waveform is
selected and from a saw-tooth to a perfectly triangular wave for the triangular waveform. Note that
the PW knob has no effect on the Sine, Rdm1 and Rdm2 waveforms. When the Shape control is
set to Rdm1, the LFO outputs random values at the rate determined by the Sync control or the Rate
knob. In this case, the output value from the LFO remains constant until a new random value is
introduced. The Rdm2 mode reacts almost like the preceding mode except that the LFO module
outputs a ramp between each random value.

4.6.2 Rate

There are two ways for fixing the rate or frequency of the output of the LFO module. If the Sync
control is in its off position, the rate is set with the Rate knob. When the Sync control in on, the
32 Parameters

frequency of the oscillator is fixed relatively to the frequency (tempo) of the master clock (see
4.12.1) and the value displayed in the Sync control. Sync values range from 1/16 of a quarter note
(a thirty-second note) to 16 quarter notes (4 whole notes) where the duration of the whole note is
determined by the value (in BPM) appearing in the Tempo display of the Clock module. The LFO
module can also be synced to a triplet (t) or a dotted note (d). Note that when the Sync button is
depressed, the Rate knob has no effect.

4.6.3 Phase and Reset Mode

The LFO module behaves in a polyphonic way which means that a low frequency oscillator is
associated with each voice of the polyphony. This allows the LFO module to control notes played
on the keyboard individually. The gate signal received from the keyboard is used to reset the LFO
waveform when a note is played on the keyboard. The specific point in the waveform where the
LFO module will start generating signal is determined by the position of the Phase knob and
whether or not the LFO is in reset mode.
The reset mode is enabled by clicking on the Reset button. In this mode, the phase of the output
signal of the LFO corresponding to a polyphonic voice is fixed and adjusted with the Phase knob.
This means that every time a note is depressed on the keyboard and a gate signal is received from
the Keyboard module, the LFO module will start generating signal for this specific voice starting
at a specific point in the cycle of the waveform. The initial phase of the signal is determined with
the Phase knob which enables one to select values over a full period of the waveform. The value
of the phase lag is increased by turning the knob clockwise and is equal to 0, 180 degrees and 360
degrees when the knob is in its leftmost, center and rightmost positions respectively. This feature
enables, for example, the triggering of filter sweeps or panning effects that always start at the same
point every time a note is played.
When the LFO is not in Reset mode (Reset button off), the phase of the signal is random and
determined within a range fixed by the Phase knob. Turning this knob clockwise will increase the
range to values located at different point of the wave period as explained above. The main interest
of this mode is to keep voices uncorrelated when chords are played. Indeed, the LFO modulation
signals corresponding to the different voices will then start at different points even if all the notes
are triggered at the same time. Note that when the LFO module is not in Reset mode and the
Phase knob is fully turned to the left (phase of 0 degree), the synthesizer behaves as if the LFO
was monophonic and all the voices played were following this single LFO.

4.6.4 Fade-In

One more feature of the LFO module is the possibility to add a fade-in effect to its output signal.
The duration of this fade-in can be adjusted within the range of 0 to 5 seconds and is controlled
by the Fade knob. Turning this knob fully to the left results in a value of 0 which is equivalent to
removing the fade-in effect. The time at which the LFO signal is introduced can even be controlled
by adding a delay to the fade in. This parameter can also be set to values varying between 0 and 5
4.7 The Envelope Module 33

seconds and is adjusted with the Delay knob. Note that this knob is effective even if the Fade value
is adjusted to zero. In this case, the signal from the LFO module will simply be delayed.

Amplitude

Time
Delay
Fade in

Figure 11: Fade in feature of the LFO.

4.7 The Envelope Module

Each row of the Ultra Analog is equipped with two enve-

lope generators, the Filter Env and Amp Env modules which
are used to modulate the Filter and Amp modules. Both en-
velope generators have the same user interface and offer the
same functions. Envelopes are generated through the use of a
standard ADSR (attack, decay, sustain, release) approach in-
cluding velocity modulation and looping capabilities.

Amplitude Exp
Lin
Key Released
S

Time
A D R

Sustain Time

Figure 12: Response curve of an envelope generator. Broken line: exponential, full line: linear.
34 Parameters

The envelope modules generate a four segment envelope: attack, decay, sustain, release. The
attack time is adjusted using the A knob. The attack time can also be modulated with the velocity
signal received from the Keyboard in such a way that that the higher the velocity signal the shorter
the attack time will be, the intensity of this effect being controlled using the V slider on the left
of the A knob. When the slider is in its lower position, the attack is only determined by the value
of the A knob, increasing the value of V will increase the influence of the velocity signal until the
attack time is strictly determined by the inverse of the velocity signal when V reaches its maximum
value. The decay time is set with the D knob. The sustain phase of the envelope generator lasts
from the end of the decay phase until the key is released. When the S knob is fully turned to the
left, the sustain level is zero and there is no sustain phase while fully turned to the right, the sustain
level is at maximum and there is no decay phase. When the key is released, the envelope generator
toggles to the release phase and the envelope signal will decrease from the value at the end of the
sustain phase to zero in a time set by the R knob.
Note that during the sustain phase, the envelope signal can be made to decrease even if a key
is still depressed. The time taken to go from the level set by the S knob to a value of zero is
then determined by the value of the Time knob located to the right of the S knob. When the Time
knob is fully turned to the left, the envelope signal will fall to zero right after the end of the decay
phase when the knob is in it rightmost position, the sustain level will be held as long as the key is
depressed. Finally, the overall level of the envelope can be controlled with the velocity signal from
the keyboard through the V slider located to the left of the S knob and behaves in exactly the same
way as the V slider located near the A knob.

4.7.1 Shape of the Envelope Segments

We have so far determined the shape of the envelope by adjusting the duration of the different
phases as well as their level. The envelope signal can further be modified by adjusting the shape of
the envelope segments which can be set to linear or exponential as shown in Figure 12. The shape
is selected with the Slope drop-down menu.

4.7.2 Free Run Mode

The Free button sets the envelope into free-run mode. This allows one to bypass the sustain phase
of the envelope or in other words, to go directly from the decay phase to the release phase regardless
of the amount of time a key is depressed.

4.7.3 Legato Mode

This mode is used to choose how the envelope generator reacts when a new note is played before
the end of the preceding one. When this occurs, two strategies are possible. The first one consists
in triggering a new envelope, from the attack phase, when the new note is played. The second
consists in applying the current envelope signal of the first note to the second note which produces
4.7 The Envelope Module 35

a legato effect. The default strategy is the first one while the second one will be applied when
the legato button is depressed (green light on). Note that when the Keyboard is in polyphonic
mode and the envelope generator in legato mode, the envelope generator behaves in a monophonic
manner, reacting to a logical OR between all the gates signal from the different notes played on the
keyboard. In other words the envelope generator will only be trigged by the first note played on the
keyboard and then remain in the sustain stage until the last note is released.

4.7.4 Loop Modes

The envelope generator features three loop modes: AD, ADR and Once. These modes allow the
envelope to cycle between several stages of the envelope until the key is released and are selected
from the Loop drop-down menu.

Amplitude AD Mode Key Released

A D Looping through AD R Time

Amplitude ADR Mode Key Released

A D R Looping through ADR R Time

Amplitude
Key Released
Once Mode
S

A D Normal Sustain A R Time

Figure 13: Loop mode of an envelope generator.

In the AD mode, the envelope begins with the attack and decay phases as usual, but rather than
holding the sustain level, it repeats the attack (from the sustain level) and the decay phases until
the note is released. When the note is released the envelope signal returns to zero following the
release phase. The ADR mode is quite similar to the preceding mode and only differs in that the
looping is done by cycling trough the attack, decay and release phases. Finally, in the Once mode,
the envelope is played normally but the envelope generator cycles once more through the attack
and release phase when the key is released.
36 Parameters

4.8 The Keyboard Module

The Keyboard module controls how the synthesizer voices respond

to the events coming from an external MIDI keyboard or from a MIDI
sequencer. The first row of controls (Tuning, Octave, Semi) is used to fix
the pitch of the keyboard, and transpose the overall keyboard by octaves
or semi-tones. The two knobs Stretch and Error on the bottom row, allow
to stretch the octaves and/or add a random error on each note played. The
second line of parameters allows one to select the mode of operation:
unison, polyphonic or monophonic as well as the note priority. The first
two knobs on the third row, Detune and Decay, are used to set the detune amount and the time
delay respectively between each voice of a note when the unison mode is selected.

4.8.1 Tuning

The pitch of A4 (normally 440 Hz) is adjusted, in Hertz, in the Tuning display. The pitch can be
transposed by −3 to +3 octaves and −12 to +12 semi-tones by using the Octave and Semi drop-
down menus. Once the tuning of the keyboard has been determined trough the use of these three
controls, one can slightly alter it with the Stretch and the Error knobs. The Stretch knob sets the
value of a semi-tone, when in the center position, the semi-tone interval corresponds to that of the
equal-tempered scale, turning the knob to the left will shrink the interval while turning it to the right
will increase it. The main effect of the Stretch control is that when it is not in the center position,
an interval of one octave will not sound perfectly in tune and therefore beating will be heard when
playing perfect octaves. The Error knob adds a random error to each note played, the more the
knob is turned clockwise, the larger is the error. This will make all the notes play slightly out of
tune. Note that the sustain pedal (MIDI controller number 64) is always active on the Keyboard
module.

4.8.2 Mode and Priority

The keyboard can be monophonic, allowing to play only one note at a time or polyphonic, allowing
the play chords. This behavior is adjusted with the Mode drop-down menu. The Priority control,
located on the right of the Mode control, sets the behavior of the keyboard when several notes are
depressed at the same time in monophonic mode or when the maximum number of polyphonic
voices has been reached in polyphonic mode. In monophonic mode, the Priority determines which
of the lower, last or higher note has precedence when several notes are played. In polyphonic mode,
this control determines which of the lowest, highest or oldest note is muted in order to replace it
with the newest note played once the maximum of polyphonic voices has been reached. Note
that since this parameter determines the note priority, the stolen note will be the opposite of what
appears in the control display.
4.9 The Portamento Module 37

4.8.3 Unison

The unison mode allows one to stack voices or in other words, play two or four voices for each note
played on the keyboard. This mode creates the impression that several instruments are playing the
same note together adding depth to the sound.
Each voice can be slightly detuned up or down relative to the others by moving the Detune
knob counter-clockwise and clockwise respectively from its center position. Furthermore, voices
can be desynchronized by adding a small time lag between their triggering with the Delay knob.
This delay is nil when the knob is in its leftmost position and increased by turning it clockwise.

4.9 The Portamento Module

The portamento effect is used to make the pitch slide between notes
rather than changing immediately from note to note. The Time knob sets
the amount of time it will take for the pitch to slide over one octave. The
Mode drop-down menu enables one to choose between the constant or
proportional mode. When in constant mode, the time necessary for the
pitch to slide from one note to another will always be the same regardless of the interval between
the notes. When set to proportional, the slide time will be proportional to the width of the interval
between the two notes. When the portamento is on, the slide effect occurs between every note.
Clicking on the Legato button will switch the module into legato mode and the sliding between
two notes will only occur if the second note is played before the first one is released. When a note is
played staccato, or in other words if a key is released before the next one is depressed, there will be
no portamento effect. Note that even though the portamento effect is available when the Keyboard
module is in polyphonic mode, it is mostly dedicated to monophonic playing. In polyphonic mode,
the sames rules will apply to individual voices and the overall result will be less predictable.

4.10 The Vibrato Module

The vibrato effect is equivalent to a periodic low frequency pitch

modulation. This effect is generally obtained by using an LFO to modu-
late the pitch signal of an oscillator. In Ultra Analog, a dedicated module
is provided for this effect. The vibrato module is hard wired and affects
the pitch of both oscillators.
The Rate knob sets the frequency of the vibrato effect from 0.5 Hz to
5 Hz. The Amount knob sets the depth of the effect, or in other words the
amplitude of the frequency variations. In its leftmost position, there is no vibrato and turning the
knob clockwise increases the amount of pitch variation. The Mod gain knob is used to determine
the effect of the keyboard modulation wheel on the depth of the vibrato. When this knob is fully
turned to the left, the modulation wheel has no effect but when it is turned clockwise the depth of
38 Parameters

the vibrato will increase when the modulation wheel is used. The increase is always relative to the
position of the Amount knob and will be greater as the Mod knob is turned clockwise.
The vibrato can be adjusted to not start at the beginning of a note but with a little lag. This
lag is set by the Delay knob. The Fade knob allows you to set the amount of time taken by the
amplitude of the vibrato effect to grow from zero to the amount set by the Amount knob.
The last parameter is used to add liveness to the sound. When several musicians play together,
they do not necessarily start their vibrato exactly at the same time, speed and amplitude. The
Error knob is used to produce this effect by adding an error to the Rate, Amount, Delay and Fade
parameters of the vibrato of each polyphonic voice. The more the Error knob is turned toward
the right, the larger will be the difference between the vibrato effect applied to each voice. When
turned fully to the left there is no added error and all the voices are played with exactly the same
vibrato effect.

4.11 The Arpeggiator Module

The Arpeggiator module allows one to play sequentially all the

notes that are played on the keyboard. In other words, arpeggios are
played rather than chords. The modules allows one to produce a wide
range of arpeggios and rhythmic patterns and to sync the effects to the
tempo of an external sequencer.

4.11.1 Arpeggio Patterns

The arpeggio pattern is set by the combination of the value of the Range,
Span and Order controls. The Range control is used to select the number
of octaves across which the pattern will be repeated. When the range
is set to 0, there is no transposition and only the notes currently depressed will be played. If
set to a value between 1 and 4 (its maximum value), the notes played will be transposed and
played sequentially, over a range of one or more octaves depending on the value of the Range
parameter. The direction of the transposition is set with the Span drop-down menu. This parameter
can be adjusted to low for downwards transposition, to high for upwards transposition or wide for
transposing both upwards and downwards. Finally, the Order control sets the order in which the
notes are played, therefore determining the arpeggio pattern. When set to Forward, the notes are
played from the lowest to the highest. When set to Backward the notes will be played from the
highest to the lowest. In the two last modes, Rock and Roll exclusive and Roch and Roll inclusive,
the note will be played forward from the lowest to the highest and then backward from the highest
down to the lowest. When using the RnR exclusive mode, the highest and the lowest notes will not
be repeated when switching direction but in RnR inclusive mode these notes will be repeated.
4.12 The Output Effect Section 39

4.11.2 Rhythmic Patterns

The rhythmic pattern is shown on the Pattern display. Different rhythmic presets are available
through the utility menu. Notes will be played as the 16-step display is scanned and the corre-
sponding step is selected (green button on). The little arrow on the top of the display is used to fix
looping points from which the rhythmic pattern will start being played again from the beginning.
Note that when a preset pattern is edited and then the Save Preset command from the File menu
is used, the modified pattern will be saved and reloaded when the corresponding preset is later
selected.

4.11.3 Rate and Synchronization

The rate at which the arpeggiator pattern is scanned is set by the Rate knob or can be synced to the
master clock of the Clock module. The Rate knob will only be effective when the Sync control is
set to Off. When the Sync control in on, the rate is fixed relative to the frequency (tempo) of the
master clock (see 4.12.1) and the value displayed in the Sync control. Sync values range from 1/16
of a quarter note (a thirty-second note) to 16 quarter notes (4 whole notes) where the duration of
the whole note is determined by the value (in BPM) appearing in the Tempo display of the Clock
module. This effect can also be synced to a triplet (t) or a dotted note (d).

4.11.4 Latch mode

The Arpeggiator module is toggled in latch mode by clicking the Latch button to the on position.
In this mode, the Arpeggiator will keep playing its pattern while the notes on the keyboard are
depressed until a new chord is played.

4.12 The Output Effect Section

The output effect stage is located at the top row of the Ultra Analog. This effect stage allows
one to add effects to the sound and record performances on the fly as wave or aiff files and as well,
control the tempo LFO and arpeggiator modules.

4.12.1 The Clock Module

This module is used to control the tempo of the different effects of the output section as well as
that of the LFO and Arpeggiator modules. The Source drop down menu is used to determine if
40 Parameters

the sync signal comes from an external source or from the internal clock of the module while the
Tempo display indicates the value of the tempo in BPM (beats per minute). When the Ultra Analog
is used as a plug-in in a host sequencer and the ext source is chosen, the clock signal will be that
sent by the host sequencer while in standalone mode the clock will be the one received on the MIDI
channel selected in the toolbar.
When the int source is chosen, the tempo is determined by the value of Tempo display. The
tempo can also be changed by clicking repeatedly on the Tap pad of the Tempo display which will
update the value of the tempo in the Tempo display.

4.12.2 The Chorus Module

This module implements both a chorus and a flange effect. This stereo module consists of four
variable delay lines in parallel with a cross-feedback matrix between the lines. A wide range of
effects is obtained by modulating the length of the lines and varying the amount of cross-feedback.
The Chorus drop down menu is used to choose between different chorus and flanger algorithms.
The effect can be synchronized to the Clock module with the Sync drop-down menu. Sync values
range from 1/16 of a quarter note (a 32nd note) to 16 quarter notes (4 whole notes) where the
duration of the whole note is determined by the value (in BPM) appearing in the Tempo display of
the Clock module. The effect can also be synced to a triplet (t) or dotted note (d).
The different chorus algorithms can be controlled with the three knobs appearing at the bottom
of the module. The Mix knob is used to adjust the ratio of “dry” and “wet” in the output signal of
the module. When the knob is adjusted in the left position, only the original or “dry” signal is sent
to the output while in the right position only the processed or “wet” signal is sent to the output. In
its center position there will be an equal amount of “dry” and “wet” signal in the output signal. The
Depth knob is used to adjust the amount of variation of length in the delay lines which controls the
amplitude of the effect while the Rate knob is used to fix the frequency of the modulation.

4.12.3 The Delay Module

This module is a standard ping pong delay which is used to generate echo. It is based on two delay
lines each including a low-pass filter. The effect is obtained by feeding back the signal at the end of
each delay line into the input of the other line with an attenuation coefficient. The result is a signal
traveling from one channel to the other, each time attenuated and filtered in the high frequencies
due to the gain factor and the presence of the low-pass filter.
The Delay drop down menu is used to choose between different delay algorithms. The effect
can be synchronized to the Clock module with the Sync drop-down menu. Sync values range from
1/16 of a quarter note (a 32nd note) to 16 quarter notes (4 whole notes) where the duration of
the whole note is determined by the value (in BPM) appearing in the Tempo display of the Clock
module. The effect can also be synced to a triplet (t) or dotted note (d).
4.12 The Output Effect Section 41

The different delay algorithms can be controlled with the three knobs appearing at the bottom
of the module. The Mix knob is used to adjust the ratio of “dry” and “wet” in the output signal of
the module. When the knob is adjusted in the left position, only the original or “dry” signal is sent
to the output while in the right position only the processed or “wet” signal is sent to the output.
In its center position there is in an equal amount of “dry” and “wet” signal in the output signal.
The Depth knob is used to adjust the amount of signal re-injected from the output of a line into the
other one while the Rate knob controls the length of the delay lines and therefore the delay between
echoes.

4.12.4 The Reverb module

The Reverb module is used to recreate the effect of reflections of sound on the walls of a room or
hall. These reflections add space to the sound and make it warmer, deeper, as well as more realistic
since we always listen to instruments in a room and thus with a room effect.
The Reverb drop down menu is used to choose between different reverb algorithms representing
different types of rooms or halls. Each algorithm can be adjusted with the knobs located at the
bottom of the module. The Mix knob is used to set the relative amount of “dry” and “wet” signal
which is related to the proximity of the sound source. The Decay is used to control the reverberation
time of the room. In a real room, the reverberation time is not constant across the whole frequency
range because the walls of the hall are generally more absorbent at high frequencies which results
in a shorter reverberation time for these frequencies. This effect is controlled with the Color knob
which sets the reverberation time of high frequencies relatively to the value of the Decay knob.

4.12.5 Topology

The three effects of the output section can be used in four different configurations as shown in
Figure 14 and where the Chorus, Delay and Reverb modules are labeled A, B, and C respectively.

Figure 14: The four topologies in which the effects can be applied after the Amp module of the
two module rows; A = Chorus module, B = Delay module and C = Reverb module.

In the first two configurations, the left and right channels of both source lines are mixed before
being sent to the output stage. In the first configuration, the Chorus module is first applied, then
the Delay and finally the Reverb module. In the second configuration, the signal is first processed
by the Delay, then by the Chorus and the Reverb module. In the third and fourth configurations, a
different effect is applied after the Amp module at the end of the two module rows, mixing occurs
and the resulting signal is fed to the Reverb module. In the third configuration, the Chorus and
42 Parameters

Delay modules are applied to the first and second row respectively while in the fourth configuration
the order is reversed.
Note that each of the effects can be muted by selecting the Bypass preset in their respective
algorithm selection drop down menu.

4.12.6 The Output Module

This module is used to monitor the level of the left and right channel. The overall level is adjusted
with the Level knob. The best dynamic range is obtained when the level meters are around 0 dB for
loud sounds.

4.12.7 The Recorder Module

This module is used to record the output of the Ultra Analog to a stereo 16-bit wave or aiff file. The
File display, is used to choose the name and location of the destination file and it should always be
used before starting a recording. The Rec and Stop buttons are used to start or stop the recording.
On Windows systems the sampling rate will match that of the Audio Settings of the Preferences
command of the Edit menu. On Mac systems, the specific settings are determined by QuickTime.
Toolbar 43

5 Toolbar

The toolbar at the top of the Ultra Analog interface allows you to monitor important information
related to your current set-up.

5.1 Preset Display

Displays the name of the currently opened preset. The + and − buttons on the right of the preset
name are used to navigate upwards and downwards in the preset hierarchy as found in the browser.
When a preset is modified, the preset icon to the left of the preset name will change color in order
to indicate that saving is necessary in order not to loose the changes that have been applied.

5.2 MIDI map

Displays the name of the currently opened MIDI map. For more information on MIDI maps, please
refer to Section 6.2.

5.3 Polyphony Combo Box

Displays the number of voices of polyphony (2 to 32). The number of voices can be adjusted with
the drop down menu from the combo box.

5.4 MIDI Channel combo box

Displays the current MIDI channel on which Ultra Analog is receiving MIDI information. The
channel can be adjusted with the drop down menu from the combo box.

5.5 Value Display

Displays the value of the currently selected control on the interface. The values range from 0 to
127 for knobs and sliders and 0 or 1 for buttons depending on whether they are in their on or off
position.

5.6 CPU meter

Percentage of the total CPU resources currently used by Ultra Analog.

44 Toolbar

5.7 MIDI Led

The red MIDI LED toggles when a MIDI signal is received by the Ultra Analog. This is very useful
to see if Ultra Analog is receiving MIDI signal from your keyboard or other controllers. If the LED
does not blink when you play your keyboard, check your connections and the transmit/receive
channels you are using or the MIDI settings of Ultra Analog as explained in Section 6.2.

5.8 Edit/Compare

This button is used to toggle between the settings of a currently modified preset and its settings
when it was originally loaded. For more information on this feature, please refer to Section 2.2.
Audio and Midi Settings 45

6 Audio and Midi Settings

This chapter explains how to select the audio and MIDI devices used by Ultra Analog as well as
how to create and edit MIDI links and MIDI maps. When referring to commands that are different
on Windows and Mac OS systems, we will list the commands in the following order: Windows
command/Mac OS command.

6.1 Audio Device Settings

To select the audio device used by Ultra Analog:

• Go to the Edit menu, choose Preferences and then Audio Settings. On Mac OS, the same
command is under the Ultra Analog menu. A list of the audio devices installed on your
computer will appear in the Audio Configuration window.
• Click on the audio device you wish to use and click on the OK button.

6.2 MIDI Settings

Selecting a MIDI Device

To select the MIDI device used by Ultra Analog:

• Go to the Edit menu, choose Preferences and then MIDI Settings. On Mac OS, the same
command is under the Ultra Analog menu. A list of the MIDI devices installed on your
computer will appear in the MIDI Configuration window.
• Select the MIDI device you want to use and click on the OK button.

Creating MIDI Links

Every control on the Ultra Analog interface can be manipulated by an external MIDI controller.
In most cases this is much more convenient than using the mouse, especially if you want to move
many controllers at once. For example, you can map the motion of a knob on the interface to a
real knob on a knob box or to the modulation wheel from your keyboard. As you use the specified
MIDI controllers, you will see the controls move on the Ultra Analog interface just as if you had
used the mouse.
To assign a MIDI link to a controller:

• On the interface, right-click/Control-click on a control (knob, button, or slider), a contextual

menu appears. Select Learn MIDILink.
46 Audio and Midi Settings

• Move a knob or slider on your MIDI controller (this can be a keyboard, a knob box or any
Device that sends MIDI). This will link the control of the Ultra Analog to the MIDI controller
you just moved.

MIDI links can also be created in the MIDI Links window which is launched by choosing the
Edit MIDILinks command from the Edit menu or by right-clicking/Control-click on any control
and choosing the Edit MIDILinks command.

• Click on New to create a new MIDI link.

• The MIDI controller number specified in the Controller textbox is set by default to a value
of 1. This is the MIDI controller number corresponding to the modulation wheel. If you
want to assign a new controller to the knob, specify the number here.
• You can also assign a different MIDI channel to the controller in the Channel textbox. By
default this value will be set to channel 1.

Editing MIDI Links

MIDI links can be edited in the MIDI Links window which lists all the currently available MIDI
links.

• To edit the MIDI link, right-click/Control-click again on the control and choose Edit MIDILinks
to open the MIDI links window. You can also use the Edit MIDILinks command from the
Edit menu.
• Click on the MIDI link you wish to modify and then on the Edit button to launch the EDIT
MIDI Link window.
• Choose the parameter controlled by the current MIDI link from the Parameter drop-down
menu which lists all the parameters of the current module.
• Specify the MIDI controller number and MIDI channel of the physical controller you wish
to link to the parameter in the corresponding textboxes.
• You can also adjust the Minimum Value and Maximum Value of the controller, which
are used to limit the range of MIDI controllers. The Minimum Value field determines the
position on the Ultra Analog control which corresponds to the minimum value sent by the
MIDI controller; the Maximum Value determines the position which corresponds to the
maximum value sent by the MIDI controller. A value of 0 corresponds to the Ultra Analog
control minimum position (left position for a knob) and a value of 1 to the Ultra Analog
control maximum position (right position for a knob).
• Note that the range of a knob can be inverted by setting the value of Maximum Value to a
smaller value than that of Minimum Value. This can be useful, for example, if you want to
control the cutoff and the resonance of a filter with the same knob but you want the resonance
to increase as the cutoff decreases.
6.2 MIDI Settings 47

• Click on the OK button and the link appears in the list of controllers linked to the control.
• Click on the OK button again to confirm the change and to leave the MIDI Links window.
• Note that the Minimum Value and Maximum Value of a MIDI link can also be set by
right/control clicking on the corresponding control and selecting the Set MidiLink Mini-
mum Value or Set MidiLink Maximum Value command. The value corresponding to the
control position will then be saved as the minimum or maximum value of the MIDI link.

Deleting MIDI Links

• To remove a MIDI link, right-click/Control-click again on the control and choose Forget
MIDILinks.
• MIDI links can also be removed from the MIDI Links window by clicking on the MIDI link
to be removed to select it and then by clicking on the Remove button and the OK button to
confirm the change.

Creating a MIDI Map

A set of MIDI links can be saved into a MIDI map by using the Save MIDI Links As from the
File menu. Different MIDI maps corresponding to different MIDI controllers can thereby be saved
for the Ultra Analog. A MIDI map can be loaded by double clicking on the corresponding MIDI
connector icon that appears in the browser when a MIDI map is saved. Furthermore a MIDI map
can be loaded by automatically when an instrument is launched.

• To assign a default MIDI map, right-click/Ctrl-click on the MIDI map icon and choose
the MIDI Link Info command, in the Edit Information Window, and select the Mark As
Default option.

Creating the MIDI Program Change Map

MIDI program changes can be used to switch between presets while playing. To associate a pro-
gram change to a preset:

• Choose the Edit Program Changes from the Edit menu,

• The browser view and the list of presets appears to the left of the Program Changes window
while the program change table appears to the right with the program numbers (from 1 to
128) list and their corresponding presets.
• To associate a preset to a given program change, click on the preset icon in the browser and
drag-and-drop it on the selected line of the program change table.
• To unassign a program change, right-click/Ctrl-click on the preset name to the right of the
Program Changes window and click on unassign.
48 Audio and Midi Settings

6.3 Audio Control Panel

To launch the audio configuration panel, choose Audio Control Panel under Preferences of the
Edit menu on Windows or the Ultra Analog menu on Mac OS systems.
This panel allows you to select the bit depth sample rate (22.05, 44.1, 48, or 96 kHz) and buffer
size, which affects how quickly the Ultra Analog responds to the control information it receives.
The smaller the buffer size, the shorter the latency, and vice versa. Note that the content of the
dialog depends on the driver selected in the Audio Settings menu.
Some sound cards provide their own ASIO control panel, in which case the above information
will differ from card to card. Some sound cards also require that you close all programs before
making changes to the buffer size, sampling rate. If you discover this is the case with your sound
card, please refer to the manufacturer’s documentation for details on configuring it for optimum
performance. Most sound card manufacturers also update their drivers regularly. It is strongly
recommended that you visit your sound card manufacturer’s website regularly to ensure you are
using the most up to date drivers and support software.

6.4 Latency Settings

The latency is the time delay between the moment you send a control signal to your computer (for
example when you hit a key on your MIDI keyboard) and the moment when you hear the effect.
Roughly, the total latency is due to two factors: 1) the time taken by the sound card driver to send
MIDI signals to the Ultra Analog and 2) the time taken by the sound card driver to send back the
sound samples to the card for playback.
To control the amount of latency introduced by the Ultra Analog.

• Launch the Audio Control Panel.

• Adjust the buffer size.
• Choose the sampling frequency and the audio format (16, 24, 32 bits).
• The total latency is equal to the number of samples per buffer divided by the sampling rate.

It is of course desirable to have as little latency as possible. The Ultra Analog will however
require a certain latency to be able to calculate sound samples in a continuous manner. This time
depends on the power of your computer, the preset played, the sampling rate and the number of
voices of polyphony used. Note that it will literally take twice as much CPU power to process
audio at a sampling rate of 96 kHz as it would to process the same data at 48 kHz, simply because
you need to calculate twice as many samples in the same amount of time.
In order to optimize the resources allocated to the calculation of audio by Ultra Analog, it is
possible to decrease the ratio of resources affected to the calculation of graphics for the interface
in favor of audio related calculations. To adjust this ratio, choose the General command under
Preferences in the Edit menu on Windows or Ultra Analog menu on Mac OS and adjust the Per-
formance slider to the desired value between better audio performances and smoother graphics.
Using the Ultra Analog as a Plug-In 49

7 Using the Ultra Analog as a Plug-In

The Ultra Analog is available in VST, DXI, AudioUnit and RTAS (for Mac OS only) formats
and integrates seamlessly into the industry most popular multi-track recording and sequencing
environments as a virtual instrument plug-in. The plug-in versions will work exactly the same way
as the standalone version, except for the audio, MIDI and latency configurations that will be taken
care of by the host sequencer. Furthermore the Ultra Analog works as any other plug-in in these
environments so we recommend that you refer to your sequencer documentation in case you have
problems running the Ultra Analog as a plug-in. We review here some general points to keep in
mind when using a plug-in version of Ultra Analog.

7.1 Window Size

The size of the Ultra Analog window is fixed as in the standalone version. It is possible, however,
to gain some space on the screen by using the Hide Browser command from the View menu in
order to hide the browser.

7.2 Synchronization to the Host Sequencer

To synchronize the Ultra Analog with the clock of a host sequencer, select the External Source
option in the Source drop down menu of the Clock module and make sure that the sync control of
the Effects, LFO and Arpeggiator modules are set to their on position.

7.3 Audio and MIDI parameters

When the Ultra Analog is used as a plug-in, the audio and MIDI ports, sampling rate, buffer size
and audio format are determined by the host sequencer.

7.4 Automation

Ultra Analog supports automation functions of host sequencers. Automation can usually be done
by using MIDI links and recording MIDI events, or by recording the motion of controls on the
interface.

7.5 Multiple Instances

Multiple instances of the Ultra Analog can be launched simultaneously in a host sequencer.
50 Using the Ultra Analog as a Plug-In

7.6 Saving Projects

When saving a project in a host sequencer, information on the position of all the controls on the
interface, the MIDI links, and the preset name are saved. Note that if the preset was modified after
it was loaded, the original version of the preset is not overwritten.

7.7 MIDI channel

Make sure that the MIDI controller, sequencer and Ultra Analog all use the same MIDI channel.

7.8 MIDI program change

MIDI program changes are supported in the plug-in versions of Ultra Analog. Note that with the
VST format, the list of program changes is available in the VST program list and the Edit Program
Changes command is not available.

7.9 Performance

Using a plug-in in a host sequencer requires CPU processing for both applications. The load on the
CPU is even higher when multiple instances of a plug-in or numerous different plug-ins are used.
To decrease CPU usage, remember that you can use the freeze of bounce to track functions of the
host sequencer in order to render to audio the part played by a plug-in instead of recalculating it
every time it is played.
Quick references to commands and shortcuts 51

8 Quick references to commands and shortcuts

File Menu

Command Windows Mac OS Description

New Folder Apple+Shift+N New Folder in the

Browser

Open Preset Ctrl+O Apple+Option+O Open the selected preset

Close Apple+W Close the window and exit

the application

Save Preset Ctrl+S Apple+S Save the current preset

Save Preset As Save the current preset under

a new name

Save Midi Links Ctrl+Shift+S Apple+Shift+S Save the current MIDI

links

Save Midi Links As Save the current MIDI links

under a new name

Import Import a .axf file

Export Export a .axf file

Exit (Quit on Mac) Quit the application

52 Quick references to commands and shortcuts

Edit Menu

Command Windows Mac OS Description

Undo Ctrl+Z Apple+Z Undo last command

Redo Ctrl+Y Apple+Shift+Z Redo last command

Cut Ctrl+X Apple+X Cut selected item

Copy Ctrl+C Apple+C Copy selected item

Paste Ctrl+V Apple+V Paste

Delete Del Delete selected item

Select All Ctrl+A Apple+A Select all items

Info Ctrl-I Apple+I Edit information about a

selected item (browser)

Compare Compare modified preset

with original settings

Compare Rename current preset

Learn MidiLink Enter MIDI link learn mode

(player)

Forget MidiLink Drop a MIDI link (player)

Set MidiLink Minimun Limit the value of a MIDI

Value link to a minimum value

Set MidiLink Minimun Limit the value of a MIDI

Value link to a maximum value

Edit Midilinks Display the Edit MIDI links

window to view or edit MIDI
links of the current patch

Edit Program Change Associate performances with

MIDI program changes
Quick references to commands and shortcuts 53

Edit/Preferences Menu on Windows, Ultra Analog/Preferences on Mac OS

Command Windows Mac OS Description

General Display the Edit General Preferences

window

Audio Settings Display the Audio Settings window

Midi Settings Display the MIDI Settings window

Latency Settings Display the Latency Settings window

View Menu

Command Windows Mac OS Description

Show/Hide Browser Apple-B Show/Hide the browser panel

Locate Ctrl-L Apple+ Locate the current preset in the

browser and select it

Help Menu

Command Windows Mac OS Description

Manual F1 Display the user manual

Release Notes Display the release notes

About Ultra Analog Display the About Ultra Analog

window
54 Appendix

9 Appendix

Figure 15: Schematic of the Ultra Analog Synthesizer.

License Agreement 55

10 License Agreement

IMPORTANT! CAREFULLY READ ALL THE TERMS AND CONDITIONS OF THIS AGREE-
MENT BEFORE OPENING THIS PACKAGE. OPENING THIS PACKAGE INDICATES YOUR
ACCEPTANCE OF THESE TERMS AND CONDITIONS. IF YOU DO NOT AGREE WITH
THE TERMS AND CONDITIONS OF THIS AGREEMENT, PROMPTLY RETURN THE UN-
OPENED PACKAGE AND ALL COMPONENTS THERETO TO THE PARTY FROM WHOM
IT WAS ACQUIRED, FOR A FULL REFUND OF ANY CONSIDERATION PAID.
This software program, any printed materials, any on-line or electronic documentation, and any
and all copies of such software program and materials (the “Software”) are the copyrighted work
of Applied Acoustics Systems DVM Inc. (“AAS”), its subsidiaries, licensors and/or its suppliers.

1. LICENSE TO USE. The Licensee is granted a personal, non-exclusive and non-transferable

license to install and to use one copy of the Software on a single computer solely for the
personal use of the Licensee. Use of the Software is subject to this Agreement.

2. RESTRICTIONS ON USE. The Licensee may not nor permit third parties to (i) make copies
of any portion of the Software, other than as expressly permitted under this Agreement; (ii)
modify, translate, disassemble, decompile, reverse engineer or create derivative and/or com-
petitive products based on any portion of the Software; (iii) provide use of the Software in a
network, timesharing, interactive cable television, multiple CPU service bureau or multiple
user arrangement to users not individually licensed by AAS, other than as expressly permit-
ted by the terms of this license. The Software is licensed to you as a single product. Its
component parts may not be separated for use on more than one computer.

3. OWNERSHIP. AAS retains title to the Software, including but not limited to any titles,
computer code, themes, objects dialog concepts, artwork, animations, sounds, audio effects,
methods of operation, moral rights, any related documentation and “applets” incorporated
into the Software. AAS retains ownership of and title to all intellectual property rights in the
Software, underlying technology, related written materials, logos, names and other support
materials furnished either with the Software or as a result of this Agreement, including but
not limited to trade secrets, patents, trademarks and copyrights therein. Licensee shall not
remove or alter any copyright or other proprietary rights notices contained on or within the
Software and shall reproduce such notices on all copies thereof permitted under this Agree-
ment or associated documentation.

4. LIMITED WARRANTY. Except for the foregoing, THE SOFTWARE IS provided “AS IS”
without warranty or condition of any kind. AAS disclaims all warranties or conditions, writ-
ten or oral, statutory, express or implied, including but not limited to the implied warranties of
merchantable quality or fitness for a particular purpose, title and non-infringement of rights
of any other person. AAS does not warrant that THE SOFTWARE will meet the Licensee’s
requirements or that the operation of the software will be uninterrupted or ERROR-FREE.
56 License Agreement

5. LIMITATION OF LIABILITY. TO THE MAXIMUM EXTENT PERMITTED BY APPLI-

CABLE LAW, IN NO EVENT WILL AAS BE LIABLE TO THE LICENSEE OR ANY
THIRD PARTY FOR ANY INDIRECT, SPECIAL, CONSEQUENTIAL, INCIDENTAL
OR EXEMPLARY DAMAGES WHATSOEVER, INCLUDING BUT NOT LIMITED TO
LOSS OF REVENUE OR PROFIT, LOST OR DAMAGED DATA, BUSINESS INTER-
RUPTION OR ANY OTHER PECUNIARY LOSS WHETHER BASED IN CONTRACT,
TORT OR OTHER CAUSE OF ACTION, EVEN IF AAS HAS BEEN ADVISED OF THE
POSSIBILITY OF SUCH DAMAGES, EXCEPT IN RELATION TO GROSS NEGLIGENCE
OR WILFUL BREACH OF THIS AGREEMENT BY AAS. NO AAS AGENT, REPRE-
SENTATIVE OR DEALER IS AUTHORIZED TO EXTEND, MODIFY OR ADD TO THIS
WARRANTY ON BEHALF OF AAS. THE TOTAL LIABILITY OF AAS FOR DAM-
AGES, WHETHER IN CONTRACT OR TORT, UNDER OR RELATED IN ANY WAY TO
THIS AGREEMENT SHALL BE LIMITED TO THE LICENSE FEES ACTUALLY PAID
BY LICENSEE TO AAS, OR IF NO FEES WERE PAID, AAS’ LIST PRICE FOR THE
SOFTWARE COVERED BY THIS LICENSE. THE EXCLUSION OF IMPLIED WAR-
RANTIES AND/OR THE LIMITATION OF LIABILITY IS NOT PERMITTED IN SOME
JURISDICTIONS, AND SOME OR ALL OF THESE EXCLUSIONS MAY THEREFORE
NOT APPLY.
6. TERMINATION. This License also shall extend to the Software and any updates or new
releases thereof obtained by the Licensee, if any, subject to any changes to this License made
by AAS from time to time and provided to the Licensee, provided AAS is under a separate
obligation to provide to Licensee such updates or upgrades and Licensee continues to have a
valid license which is in effect at the time of receipt of each such update or new release. This
License shall remain in effect until terminated. The Licensee may terminate this Agreement
at any time, upon notification to AAS. This Agreement will terminate immediately without
notice from AAS if the Licensee fails to comply with any provision of this License. Any
such termination by AAS shall be in addition to and without prejudice to such rights and
remedies as may be available, including injunction and other equitable remedies. Upon
receipt of notice of termination from AAS, the Licensee must (a) immediately cease to use
the Software; (b) destroy all copies of the Software, as well as copies of all documentation,
specifications and magnetic media relating thereto in Licensee’s possession or control; and
(c) return all original versions of the Software and associated documentation. The provisions
of Sections 1, 3, and 5 shall survive the termination of this Agreement.
7. GOVERNING LAW. This Agreement shall be governed by and construed in accordance with
the laws of the Province of Quebec, without regard to the United Nations Convention On
Contracts for the International Sale of Goods and conflict of laws provisions, if applicable,
and the parties hereby irrevocably attorn to the jurisdiction of the courts of that province. Les
parties sont d’accord à ce que cette convention soit rédigée en langue anglaise. The parties
have agreed that this agreement be drafted in the English language.
8. SEVERABILITY. If any of the above provisions are held to be illegal, invalid or unenforce-
able, such provision shall be severed from this Agreement and this Agreement shall not be
License Agreement 57

rendered inoperative but the remaining provisions shall continue in full force and effect.

9. ENTIRE AGREEMENT. This Agreement is the entire agreement between AAS and the
Licensee relating to the Software and: (i) supersedes all prior or contemporaneous oral or
written communications, proposals and representations with respect to its subject matter; and
(ii) prevails over any conflicting or additional terms of any quote, order, acknowledgement,
or similar communication between the parties during the term of this Agreement except as
otherwise expressly agreed by the parties. No modification to the Agreement will be binding,
unless in writing and signed by a duly authorized representative of each party.

10. NON-WAIVER. No delay or failure to take any action or exercise any rights under this
Agreement shall constitute a waiver or consent unless expressly waived or consented to in
writing by a duly authorized representative of AAS. A waiver of any event does not apply to
any other event, even if in relation to the same subject-matter.
Index
adsr, 19, 33 legato mode, 34
amplifier, 18, 30 loop mode, 35
architecture, 17 shape, 34
arpeggiator, 38 export, 15
latch, 39
pattern, 38 factory presets, 11
rate, 39 fade-in, 32
rhythmic pattern, 39 filter, 18, 25
synchronization, 39 band-pass, 26
ASIO drivers, 48 band-pass filter, 25
audio, 45 drive, 28
audio configuration, 10, 48 formant, 28
audio device, 45 formant filter, 25
audio format, 48 high-pass, 26
high-pass filter, 25
band-pass filter, 25, 26 locking, 29
browser, 11, 13 low-pass, 25
customizing, 15 low-pass filter, 25
hiding, 16 notch, 27
buffer size, 48 notch filter, 25
buttons parallel, 29
tweaking, 20, 21 saturation, 28
series, 29
challenge key, 8 folder, 11
chorus, 39, 40 formant filter, 25, 28
clock, 39 forum, 12
commands, 51 free run mode, 34
community, 12
compare, 14 getting started, 10
contact, 11
help, 11
default preset, 14 high-pass filter, 25, 26
delay, 39, 40
display, 20 import, 15
documenting preset, 14 installation, 8
driver, 48 interface, 17

edit, 14 keyboard, 36
effect, 39 monophonic, 36
envelope, 19, 33 polyphonic, 36
free run-mode, 34 priority, 36
INDEX 59

sustain pedal, 36 pitch, 22

tuning, 36 pulse-width, 22
unison, 37 rectangular, 22
knobs, 20 routing, 24
tweaking, 20 saw-tooth, 22
sine, 22
latency, 48 square, 22
legato, 37 sub-oscillator, 23
level, 30, 42 oscillator sync
lfo, 19, 31 modulation, 24
fade-in, 32 transient, 24
phase, 32 output effect, 19
rate, 31 output effect stage, 39
reset mode, 32 chorus, 40
wave shape, 31 delay, 40
low-pass filter, 25 level, 42
master clock, 39 master clock, 39
MIDI, 45 recorder, 42
device, 45 reverb, 41
settings, 45 topology, 41
MIDI configuration, 10 panning, 30
MIDI controller, 45 parameters, 20
MIDI links, 11 performance, 7
creating, 45 phase, 32
editing, 46, 47 physical modeling, 7
MIDI links range, 46 pitch modulation, 22
MIDI map, 15, 43, 47 plug-in, 11
MIDI program change, 11, 47 audio parameters, 49
modulation, 19, 21, 31 automation, 49
module, 20 MIDI channel, 50
bypassing, 21 MIDI parameters, 49
copying settings, 21 MIDI program change, 50
resetting, 21 multiple instances, 49
multi-mode filter, 18, 25 performance, 50
noise, 22 saving projects, 50
noise generator, 18, 31 synchronization, 49
notch filter, 25, 27 window size, 49
polyphony, 7, 43
oscillator, 18, 22 portamento, 37
sync, 23 preset, 11, 43
modulation, 22 compare, 14
noise, 22 default, 14
60 INDEX

deleting, 14 vco, 18, 22

documenting, 14 vibrato, 19, 37
edit, 14 voltage controlled oscillator, 22
editing, 13
exporting, 15 waveform, 22
importing, 15 website, 12
locating, 15
name, 43
playing, 13
saving, 13
presets, 11, 13
pulse-width modulation, 22

recorder, 39, 42
rectangular, 22
redo, 14
registration, 8
reset mode, 32
response key, 9
reverb, 39, 41

sampling rate, 7, 48
saturation curve, 28
saw-tooth, 22
schematic, 54
shortcuts, 51
signal flow, 17
sine, 22
slider, 20
square, 22
standalone mode, 10
sub-oscillator, 23
sustain pedal, 36
synchronization, 23, 39
system requirements, 7

toolbar, 43
transposition, 36
tremolo, 30
tuning, 36

undo, 14
user library, 12