Applied Acoustics Systems TASSMAN User Manual
USER MANUAL
2
Information in this manual is subject to change without notice and does not represent a commitment on
the part ofApplied 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.
Copyrightc 2004 Applied Acoustics Systems DVM Inc. All rights reserved. Printed in Canada.
Program Copyrightc 2000-2004 Applied Acoustics Systems, Inc. All right reserved.
Tassman 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,
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Tone Systems Inc. ProTools and DirectConnect are registered trademarks of Digidesign. Digital Performer
and MAS are registered trademarks of Mark of the Unicorn. Logic is a trademark of Emagic Soft-un Hardware GmbH. 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 8
1.1 System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1.2 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1.3 Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.4 Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.5 Using the Tassman as a Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.6 Getting help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.7 About this book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2 Tutorials 18
2.1 Tutorial 1. A Simple Analog Synth . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2.2 Tutorial 2 Playing a Synth with a Keyboard . . . . . . . . . . . . . . . . . . . . . 25
2.3 Tutorial 3 Using a Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2.4 Tutorial 4 Playing with Acoustic Objects . . . . . . . . . . . . . . . . . . . . . . . 39
3 The Tassman Builder 45
3.1 The Builder area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
3.2 Creating an instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
3.3 Setting MIDI Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
3.4 Making Polyphonic Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
3.5 Using Sub-Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4 The Tassman Player 52
4.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
4.2 The Tassman Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
4.3 Tweaking knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
4.4 Audio Device Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
4.5 MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
4.6 Latency Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
4.7 Instruments and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
4.8 Output Effect Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
4.9 Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
4 CONTENTS
5 The Browser 60
5.1 The Instruments folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
5.2 The Performances folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
5.3 The Modules folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
5.4 The Sub-Patches folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
5.5 The Import folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
5.6 Customizing the browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
5.7 Browser Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
6 Specifications for modules 64
6.1 ADAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
6.2 ADSR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
6.3 After Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
6.4 And . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
6.5 Audio In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
6.6 Audio Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
6.7 Bandpass2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
6.8 Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
6.9 Bowed Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
6.10 Bowed Marimba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
6.11 Bowed Membrane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
6.12 Bowed Multimode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
6.13 Bowed Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
6.14 Bowed String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
6.15 Breath Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
6.16 Comb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
6.17 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
6.18 Constant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
6.19 Control Voltage Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
6.20 Control Voltage Sequencer with Songs . . . . . . . . . . . . . . . . . . . . . . . . 83
6.21 Damper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
6.22 Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
CONTENTS 5
6.23 Dual Gate Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
6.24 Dual Gate Sequencer with Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
6.25 Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
6.26 Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
6.27 Gain, Gain 2, Gain 3, Gain 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
6.28 Highpass1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
6.29 Inlets (1-12) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
6.30 Inverter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
6.31 Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
6.32 Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
6.33 LESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
6.34 Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
6.35 LFO (Low Frequency Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
6.36 Lin Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
6.37 Lowpass1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
6.38 Lowpass2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
6.39 Mallet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
6.40 Marimba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
6.41 Master Recorder Trig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
6.42 Master Sync Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
6.43 Membrane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
6.44 Mix2, Mix3, Mix4 and Mix5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
6.45 Modulation Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
6.46 Multimode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
6.47 Multi-sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
6.48 Nand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
6.49 Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
6.50 Noise mallet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
6.51 Nor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
6.52 Not . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
6.53 On/Off, On/Off2, On/Off3, On/Off4 . . . . . . . . . . . . . . . . . . . . . . . . . 109
6.54 Or . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
6 CONTENTS
6.55 Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
6.56 Outlet (1-12) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
6.57 Panpot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
6.58 Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
6.59 Pickup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
6.60 Pitch Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
6.61 Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
6.62 Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
6.63 Plectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
6.64 Polykey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
6.65 Polymixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
6.66 Polyvkey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
6.67 Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
6.68 Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
6.69 Recorder2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
6.70 Reverberator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
6.71 RMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
6.72 Sample & Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
6.73 Sbandpass2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
6.74 Selector2, Selector3 and Selector4 . . . . . . . . . . . . . . . . . . . . . . . . . . 131
6.75 Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
6.76 Single Gate Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
6.77 Single Gate Sequencer with Songs . . . . . . . . . . . . . . . . . . . . . . . . . . 134
6.78 Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
6.79 Static Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
6.80 Stereo Audio In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
6.81 Stereo Audio Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
6.82 Stereo Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
6.83 String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
6.84 Sync delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
6.85 Sync LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
6.86 Sync Ping Pong Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
CONTENTS 7
6.87 Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
6.88 Tone wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
6.89 Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
6.90 Tube . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
6.91 Tube4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
6.92 Tube Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
6.93 VADAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
6.94 VADSR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
6.95 Vbandpass2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
6.96 VCA (Voltage Controlled Amplifier) . . . . . . . . . . . . . . . . . . . . . . . . . 150
6.97 VCO (Voltage Controlled Oscillator) . . . . . . . . . . . . . . . . . . . . . . . . . 151
6.98 VCS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
6.99 Vhighpass2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
6.100Vkeyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
6.101Vlowpass2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
6.102Vlowpass4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
6.103Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
6.104Xor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
7 Quick references to commands and shortcuts 159
8 License Agreement 163
8 Introduction
1 Introduction
The Tassman is a modular software synthesizer based on physical modeling. The modular archi-
tecture of the software reproduces the very powerful features of vintage analog synthesizers letting
you construct instruments “`a la carte” by patching modules together. The module library includes
many analog-type objects but also modules simulating acoustic objects and instruments. The Tass-
man makes no distinction between different object types which means that you can reproduce your
favoritevintage analog synthesizer, recreate or inventacoustic instruments but also combine analog
and acoustic modules and create very innovative hybrid instruments.
The Tassman generates sound by simulating the different modules through physical modeling.
This technology uses the laws of physics to reproduce the behavior of an object. In other words
the Tassman solves, in real-time, mathematical equations describing how an object functions. The
Tassman uses no sampling or wavetable, it just calculates the sound as you play in accordance
to the controls it receives. For example, if you choose to hit a plate with a mallet, the Tassman
simulates (1) the impact of the mallet at a particular point, (2) the resulting displacement of the
plate due to wave motion (taking into account the geometry and physical parameters of the plate
related to its material), and (3) sound radiation at a particular listening point.
Physical modeling is a very general and powerful approach since the result is obtained by
reproducing how an object generates sound rather than trying to reproduce the sound signal itself
using, for example, wavetables, additive synthesis or samples. This implies that a module can
generate very different sounds depending on the driving signals it receives. For example, different
sounds will be produced by a plate of a given geometry and material, depending on the strength of
the mallet impact and its impact point. It will behave differently again if you hit the plate when it
is at rest or when it is already vibrating. Physical modeling takes all these parameters into account
naturally since it reproduces the behavior of the real object. This results in very natural and realistic
sounds and reproduces the control musicians have on real acoustic instruments.
The Tassman software is comprised of three tightly integrated views, in a single window. In-
struments are created in the Builder by patching together modules imported from the Browser.
Modules are just “building block” having inputs and outputs which you connect together using
wires. The fully modular architecture of the Tassman lets you expand the Browser library by letting
you define groups of modules as sub-patches for later inclusion in your constructions. Instruments
created with the Tassman can be exported as short text files, which means that you can very easily
exchange them with other users.
Once an instrument has been constructed, the Player is opened, displaying the instrument’s
controls. The Player interprets the files generated in the Builder and automatically generates the
playing interface and the computational code corresponding to a particular instrument. The panels
of the different modules were inspired by vintage hardware making them very easy to use. All the
controls appearing on the screen can be moved with the mouse and keyboard but can also be linked
to external MIDI controllers. As with sub-patches, and modules in the builder view, presets for
each instrument can be easily “drag and dropped” from the browser, which means you don’t have
to worry about searching through an endless stream of “load” dialog boxes to find the components
1.1 System requirements 9
you need.
Before discussing the Tassman in more detail, we would like to take the opportunity to thank
you for choosing an Applied Acoustics Systems product. We hope that you have as much fun
playing with the Tassman as we had developing it!
1.1 System requirements
The following computer configuration is necessary to run the Tassman:
Mac OSX :
• Mac OSX 10.2 (Jaguar) or later.
• G3 Processor (G4 strongly recommended)
• 256 Mb RAM
• 800 x 600 or higher screen resolution
• MIDI Keyboard (recommended)
• Ethernet Port
• Quicktime 4.0
PC :
• Win98SE/2000/XP
• PIII 500 or better processor
• 128 Mb RAM
• 800 x 600 or higher screen resolution
• Direct X or ASIO supported sound card
• MIDI Keyboard (recommended)
This computer configuration will enable you to play fairly elaborate instruments. Keep in mind
that the computational power required by the Tassman depends on the complexity of the patch you
are playing and the number of voices of polyphony. Although it is not absolutely necessary it is
strongly recommended to play the Tassman with a MIDI keyboard or controller.
1.2 Installation
Mac OSX
Insert the Tassman program disc into your CD ROM drive. Open the CD icon once it appears
on your desktop. Click on the Tassman Install icon and follow the instructions of the installer.
For download installations simply click on Install icon and follow the instructions of the installer.
10 Introduction
PC
Insert the Tassman 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 installer.
1.3 Registration
Upon launching the Tassman for the first time the registration page will appear. The Tassman
uses a proprietary challenge/response copy protection system which requires you to provide some
information before using the program. You will require:
• 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)
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.
1.4 Getting started 11
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. Yourresponse 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: support@applied-acoustics.com
1.4 Getting started
There’s no mistaking it. Getting a new piece of gear is an occasion for excitement. At a time
when music technology is getting faster and more powerful by the day, however, the task of going
through the process of figuring out how your new toy actually works can be a little daunting to
say the least. Enter the realm of software and virtual instruments and you could be looking at
learning the “ins and outs” of the equivalent of an entire studio full of gear, in a single piece of
software! As is so often the case, the most important thing is to know yourself and the pace at
which you feel comfortable working. The Tassman has been developed with the needs of a very
wide spectrum of individuals in mind. Whether you’renew to the world of soft synths and computer
music production, or are a seasoned industry professional, the Tassman is sure to be a source of
creative inspiration, and offer up hours of virtual knob twiddling fun.
When you launch the Tassman for the first time you’ll be greeted with a familiar “file-browser-
like” interface, not unlike those your operating system generates to display the contents of your
12 Introduction
hard disk, or your email program uses to organize your mail and address book. The left side of the
screen contains the Tassman’s browser, a “tree view” organization of all the relevant components
the Tassman uses, including:
• Imports - destination folder for imported instruments, presets and sub-patches.
• Instruments - ready to play, pre-configured groups of modules of all shapes and sizes in-
cluding physical modeled acoustic instruments, electro-mechanical emulations, analog, FM
synths, and more.
• Modules - The basic building blocks of the Tassman including Oscillators, Filters, etc.
• Sub-patches - smaller groups of pre-patched modules that are saved for use in various in-
struments such as your favorite effects, filter banks and EQs, etc.
This approach makes it possible for you to explore the Tassman at your own pace. From
scanning through the included instruments and presets, to constructing your own synths from the
ground up, the Tassman grows right along with you.
Audio and MIDI Configuration
Before you start exploring the included instruments and presets, take a moment to set up your
system configuration, under the Edit drop down menu, selecting Preferences:
General Settings - This menu allows you to select whether exported folders from the browser
contain the contents of any sub-folders located in their branch of the browser tree, i.e. when you
export a synth, its presets and sub-patches will be included in the export with it if this option
is selected. For more details on import and export functions please refer to the browser section
of this manual. The General page also includes a slider which allows you to choose between
smoother graphical response or better audio performance. Save preferences and the default sound
file directory are also set from this menu. Finally, this menu lets you resize the window of the
different plug-in versions of Tassman by adjusting the height and width of the window. Note that
in order for these adjustments to take effect, you need to unload and then reload the plug-in.
Audio Settings - 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.
MIDI Settings - This menu lists all of the available MIDI ports installed on your system. Select
the port or ports you wish to use and click OK. Tassmancan receiveup to 16 simultaneous channels
of MIDI data.
1.4 Getting started 13
Latency Settings on PC - Audio Control Panel on Mac - This panel allows you to select the
bit depth (16, 24, or 32 bit audio) sample rate (22.05, 44.1, 48, or 96 kHz) and buffer size, which
affects how quickly the Tassman responds to the control information it receives. The smaller the
buffer size, the shorter the latency, and vice versa. Why would you ever want to introduce more
latency you might ask? In some situations, such as large, self generating ambient synths and other
stand-alone applications, you may wish to ‘trade’ the resources Tassman normal utilizes to maintain
low latency response for more raw processing power. Note that the content of the dialog depends
on the driver selected in the Audio Settings menu.
ASIO Driver Configuration - 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, or bit depth. 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’s 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.
96k hz Sample Rate Support - 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
have twice the processing to do. As a result of this, 96 kHz support is only recommended for PIV,
and G4 processor based systems running at 800Mhz or more.
Exploring the Factory Instruments and Presets
The Tassman comes with 50 factory instruments and around 1000 presets right out of the box,
which amounts to a huge range of sounds before you’ve even turned a single knob. As you’d
expect, the best way of coming to grips with the possibilities each synth offers is simply to go
through them one at a time. Open the Instruments folder by clicking on the “disclosure” symbol to
the left. This will expand the browser to reveal the folder’s contents. Select the type of synth that
interests you (acoustic, analog, etc) and double click on the first synth in the list. The Builder, as
the name implies, shows all of an instrument’s included modules and internal connections, while
the Player displays its editing and performance controls. You can switch back and forth between
these views from the View menu. Clicking on the “disclosure” symbol to the left of any instrument
reveals its presets. You can switch between presets by double clicking on the preset of your choice.
If you fall upon an instrument you’re having trouble understanding, or would simply like to have
more information about how it works, choose Get Instrument Info from the Edit menu. For
detailed information on the functionalities of the Builder, Browser, and Player, please refer to the
dedicated chapters on each later in manual.
As was mentioned earlier, the Tassman has been designed to meet the needs of a wide range of
users. Similarly, the included synths and presets have been created to cover an equally wide range
of tastes. Once you’ve had a chance to explore the included synths in some detail, you may find
14 Introduction
that some of them produce sounds you feel you will use very rarely in your work, or simply aren’t
quite your style. The Browser makes it easy to organize your synths and presets in whatever manor
you choose. Click in the browser, and choose New Folder from the File menu. Name this folder
“Archive”. You can now place all those “specialty” synths in the archive, freeing up space in your
instruments folder and making it quicker and easier to find the sounds you need while you work.
Building your Own Instruments
One of the Tassman’s greatest strengths is its modularity. As you explore the various factory
instruments and presets, ideas for your own creations are sure to come up. The tutorials section of
the manual provides an excellent basis for getting your ideas off the ground, and coming to grips
with the basic functionalities of the Tassman’s Builder. Regardless of your knowledge of synthesis
and previous experience with modular environments, we recommend that you at least scan the
tutorials to learn about the basic conventions of the builder. By answering a few key questions
before beginning your first constructions, you will be able to spend less time pondering the near
infinite possibilities the Tassman offers, and more time making music.
Does one of the included instruments contain some of the elements of the idea you have in
mind?
You can easily duplicate groups of modules used in one synth in another using the Copy and Paste
menu commands. If there is a group of modules you find you’re using quite frequently in your
constructions, copy and paste it to a new instrument, add the necessary inlets and outlets from the
In/Out folder of the browser, and save it as a new sub-patch.
Have you checked the sub-patch folder for elements you want to include in your synth?
The Tassmancomes with a large collection of sub-patches ranging from various oscillator and filter
configurations, common output setups, and effects chains. You don’t have to reinvent the wheel
every time you sit down to build a new instrument. Save time, use a sub-patch. Is this synth going
to be used as a plug-in?
If you plan to use your synth as plug-in, a well thought out, efficient design will provide better
performance when it’s running along side several other audio and MIDI tracks. Even if you’re
using a top of the line system with the fastest processor on the market, efficient patch design means
your instruments will run more smoothly in plug-in mode, and take less of your system’s resources.
Does your patch really need 16 reverbs !?
For detailed instructions on building your first synths, please refer to the Tutorials section of
the manual. A detailed description of each module’s functionalities is also provided in chapter 6.
1.5 Using the Tassman as a Plug-in 15
1.5 Using the Tassman as a Plug-in
The Tassman integrates seamlessly into the industry’s most popular multi-track recording and sequencing applications as an instrument plug-in, making it easy to use the factory synths, as well as
your own instruments and presets in your arrangements. Belowyou’ll find step by step instructions
on how to open the Tassman as plug-in in several of these applications. Instructions have been provided for the most recent versions of each product. For further details on using virtual instruments,
please refer to the documentation of your host sequencer.
Opening Tassman in Cakewalk’s Sonar as a DXi plug-in
• Start Sonar,
• Select DXi Synth > Tassman from the Insert menu,
• The Insert DXi Synth Options dialog will appear, click OK,
• The Tassman window will appear.
Opening Tassman in FL Studio as a DXi or VST plug-in
• Start Fl Studio,
• Select More . .. from the Channel menu,
• Click the refresh button and select Fast Scan (Recommended),
• Double-click on Tassman either from the VST plug-ins or DXi plug-ins categories,
• The Tassman window will appear.
Opening Tassman in MOTU’s Digital Performer as an Audio Units plug-in
• Start Digital Performer,
• Create or open a project,
• Select Add Track Instrument Track > Tassman from the Project menu,
• The Tassman window will appear,
• Click the output of a MIDI channel, select Tassman and the MIDI Channel; make sure that
the MIDI channels are matching.
Opening Tassman in Digidesign’s ProTools using RTAS
• Start Protools,
• Create or open a project,
16 Introduction
• Create a Stereo Audio Track,
• In the mix window, on the newly created track, click on the first insert button and choose
multi-channel plugin > Tassman,
• Create a MIDI Track,
• In the mix window, on the newly created track, assign the MIDI output to Tassman; make
sure that the MIDI channels are matching.
Opening Tassman in Emagic’s Logic Audio a VST plug-in
• Start Logic,
• Create or open a project,
• In the main window of Logic, select an audioinst track by double-clicking on it. This will
bring up the mixer,
• Choose the track you want to appear on, hold-click on the inserts button and select Stereo >
VST > Tassman.
Opening Tassman in Emagic’s Logic Audio an Audio Units plug-in
• Start Logic,
• Create or open a project,
• In the main window of Logic, select an audioinst track by double-clicking on it. This will
bring up the mixer,
• Choose the track you want to appear on, hold-click on the I/O button and select Stereo >
Audio Units > Applied Acoustics Systems > Tassman.
Opening Tassman in Steinberg’s Cubase SX as a VST plug-in
• Select VST Instruments from the Devices menu,
• Select Tassman from the drop down menu,
• Create a MIDI Track,
• Assign the output of the MIDI track to Tassman.
1.6 Getting help
Applied Acoustics Systems technical support representatives are on hand from Monday to Friday,
9am to 6pm EST. Whether you’ve got a question regarding a new synth you are building, or need
a hand getting the Tassman up and running as a plug-in in your favorite sequencer, we’re here to
help. Contact us by phone, fax, or email at:
1.7 About this book 17
• North America Toll Free:1 888 441 8277
• Worldwide: 1 514 871 8100
• Fax: 1 514 845 1875
• Email: support@applied-acoustics.com
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
The AAS community site also contains the Tassmanuser forum, an excellent place to meet new
users and get answers to your questions, as well as the synth download page, tutorials, and MP3s
create with AAS products. The community site is located at:
www.applied-acoustics.com/community.htm
1.7 About this book
This User Manual begins with a tutorial to help you learn quickly how to create and play instruments with the Tassman. Four examples are included in the tutorial and every patch presented
in the tutorial has been pre-constructed for you. You can find the corresponding files in the Tu-
torial folder of the Tassman browser. The Tassman comes with a certain number of pre-patched
instruments and presets. We strongly recommend that you have a look at these instruments as a
complement to the tutorial.
Chapters 5, 3 and 4 of this manual describe the Tassman Browser, Builder and Player respectively. Chapter 6, a reference guide, contains a description of every module included in the
Tassman. Builder and Player menus and shortcuts are listed in Chapter 7.
18 Tutorials
2 Tutorials
The following tutorials will teach you the basics of constructing and playing synthesizers with the
Tassman. We recommend that you build the different synthesizers from scratch as you go along
the different examples. If you have any problem, you can find the patches described in the different
tutorials in the Tutorials folder under the Instruments folder in the Tassman Browser. The Tassman
comes with many pre-constructed instruments and presets. We strongly recommend that you have
a look at the patches of these instruments for more elaborate examples.
2.1 Tutorial 1. A Simple Analog Synth
In this first example we will build a simple analog type synthesizer. You will learn to:
• Select modules.
• Connect modules.
• Switch to the Player view.
• Use modulation signals.
• Delete modules and wires.
• Monitor the output of an instrument.
• Save an instrument.
Open the Tassman by clicking on its icon or from the Start menu. The Builder contains three
different parts. The main section of the Builder is the construction area on which you will make
your patch. The Browser at the left, contains all the folders needed in Tassman. You will find the
Imports, Instrument, Modules and Sub-patches folders.
The different modules that you can assemble appear on the left in the Browser and are listed
under the different headings of Effects, Envelopes, Filters, Generators, etc . ..Just above the construction area is a help area that will give you basic information on the currently selected module.
Step 1: VCO and Audio Out
Description
We will construct what is probably the simplest synthesizer one can build. The basis of our first
synth is a VCO (Voltage Controlled Oscillator). This module is a wave generator and constitutes
the sound source in our example. To hear the output of the VCO we will connect it to an Audio
Out module, which represents the output of your sound card. This module takes the digital signal
produced by the VCO and sends it to the computer sound card so that it can be heard. It is, in fact,
necessary to have one Audio Out in any instrument you make if you want to hear it.
2.1 Tutorial 1. A Simple Analog Synth 19
Construction
• In the Generators section, click-hold on the VCO and then drag it in the construction area.
A VCO module then appears in the construction area. You can select it by dragging the icon
and placing it anywhere you want in the construction area. Note that the module has three
inputs and one output. You can have some information on the use of these inputs and outputs
by positioning the mouse over them on the icon. You can also find basic information on the
currently selected module in the help area located above the construction area.
• Select an Audio Out module in the Outputs folder of the In/Out section and drag it in the
construction area. Note that this module has one input and no output.
• Now we need to connect the two modules together so that the VCO output signal can be sent
to the Audio Out module. Click on the VCO output and move the mouse toward the Audio
Out module and you will see a wire appear in the construction area. Now click on the Audio
Out input and the two modules will be connected as shown in the following figure.
Figure 1: Tutorial 1, step 1
Playing
To play and hear the instrument you need to display the Tassman Player view. In the View menu
choose the Show Player command which will switch to the Tassman Player view. You can now
see the playing interface of the two modules you have connected in the Builder. You can turn off
your new synth by clicking on the switch of the Audio Out module.
You can now play with the VCO. To change the frequency of the sound generated by the
VCO, move the coarse or fine knob. There are many different ways to move a knob. First select
it by clicking on it and, keeping button down, move the mouse upwards or downwards. Once the
knob has been selected, you can also move it by using the arrow keys. To position the cursor in
a particular spot, Shift-click (Option-click on Mac) on the circumference of the knob where you
want it to point. The frequency can also be varied by one or more octaves by using the range
selector.
The color of the sound produced by the VCO depends on the waveform you choose. To change
the waveform, click on the wavetype selector on the right of the front panel and drag the cursor up
20 Tutorials
and down. You have a choice between four waveforms: sine, pulse, sawtooth, and noise. The sine
wave consists of a single fundamental harmonic and is a very soft sound. The pulse wave is made
by combining a fundamental and the whole harmonics series; this is very rich in tone and is good
for woodwind sounds. The sawtooth wave contains all the harmonics, but its higher frequencies
are softer than in the pulse wave; it is good for brass-like sounds and strings. The noise wave, as
its name indicates, consists of white noise; it is good for unpitched percussion. Note that when a
pulse wave has been chosen, its shape can be changed with the PWM (Pulse Width) knob.
Before going on to the next step, go back to the Builder by choosing Show Builder from the
View menu or use the Ctrl-T/Apple-T shortcut.
Step 2: Adding a LFO
Description
To add some life to our synthesizer, we will use the output of a LFO (Low Frequency Oscillator)
to modulate the input of the VCO. A LFO is an oscillator which generates sine, triangle, square
and random waves with a frequency varying between 0.1 Hz and 35 Hz. The frequency of a LFO
signal is so low that it cannot be heard; a LFO, therefore, is not used to produce sound but rather
to generate control signals which modulate other signals. In our patch, we will use this signal to
vary the frequency of the VCO (i.e., to produce a vibrato effect).
Construction
• In the Generators section of the Browser, choose the LFO module and connect its output to
the first input of the VCO. This input is a pitch modulation signal. This means that the pitch
variation will follow the shape of the input signal.
Figure 2: Tutorial 1, step 2
Playing
Now switch back to the Tassman Player. To hear the effect of the LFO, turn the mod1 knob of the
VCO to the right and you will start to hear the frequency varying. The mod1 knob is simply a gain
knob that adjusts the effect of the input signal by multiplying it by a gain. When the knob is fully
2.1 Tutorial 1. A Simple Analog Synth 21
turned to the left, the gain is zero, which means that the input has no effect. As you turn the knob
to the right, the amplitude of the modulation signal affecting the VCO increases so that you hear a
deeper vibrato. The frequency variations of the vibrato are relative to the settings of the coarse and
fine knobs on the VCO panel. The speed of the vibrato can be adjusted with the frequency knob on
the LFO panel, the oscillation of the red LEDs on the panel giving you an indication of the speed
of the vibrato. As with the VCO, the shape of the output waveform of a LFO can be varied with
the wavetype selector. Try the different waveforms and you will hear how the frequency variations
of the VCO follow the modulation signal.
Note
The mod2 knob is a gain knob for the second pitch modulation input of the VCO. This input works
exactly like the first one, which means that you can use two signals to modulate the pitch variations
of the VCO. The resulting modulation signal is the sum of the two inputs. The third input signal
modulates the pulse width of the pulse wave relative to the setting of the PW knob. Try connecting
the output of a LFO to this input and then vary the frequency of the LFO to hear the change in the
waveform.
Step 3: Adding a Filter
Description
Filters are important elements of synthesizers. They are used to color the sound by altering its
harmonic content. Now, instead of sending the output of the VCO directly to the Audio Out, we
will first filter it with a low-pass filter. This type of filter, as the name suggests, filters out high
frequency components from a sound so that only frequencies below a so-called cutoff frequency
are able to escape.
Construction
• In the Filters section, select a Vlowpass2 filter and drag it into the construction area.
• You must now disconnect the VCO from the Audio Out. To do so, click on the correspond-
ing wire to select it and then delete it by pressing on the Del or BkSp key (delete key on
Mac) of your computer keyboard.
• Place the filter between the VCO and the Audio Out and then pull one wire between the
VCO output and the first Vlowpass2 input and another one from the Vlowpass2 output to
the Audio Out input.
22 Tutorials
Figure 3: Tutorial 1, step 3
Playing
Vlowpass2 stands for “variable second-order low-pass filter”. This means that the cutoff frequency
of the filter can be controlled with an external modulation signal. It can, however, also be adjusted
with the cutoff frq knob on the filter panel. Launch the Player and move the cutoff knob to the right
and you will hear the sound become brighter as the cutoff frequency increases (to hear the effect
you can use any waveform from the VCO except the sine wave, which only has one frequency
component). When this knob is turned completely to the left there is no sound (since the cutoff
frequency becomes so lowthat all the components are filtered out from the sound). When the knob
is fully turned to the right, the full spectrum of sound is heard.
The resonance knob is used to enhance the frequency components near the cutoff frequency. If
you turn this knob to the right and then slowly tweak the frequency knob, you will hear the different
frequency components of the sound come out as the cutoff frequency is equal to these frequencies.
Try changing waveforms and playing with the frequency knob to hear the differences in harmonic
content between all waveforms. If, when working with a sine wave, you adjust the cutoff frequency
close to the signal frequency and then increase the filter resonance, the filter will act more like an
amplifier than a filter. Interesting effects are achieved as the resonance rises and the filter starts
to self-oscillate and the sound to saturate. Filters can be effectively used with the noise waveform
because of all the harmonics they contain (try it with a lot of resonance).
Note
Modules can be deleted in the construction area the same way as the wires can be. Click on a
module to select it and then use the Del or BkSp (delete key on Mac) key on your computer
keyboard.
Step 4: Modulating the filter
Description
As was the case with the VCO, the Vlowpass2 filter has a modulation input that can be used to
modulate the cutoff frequency of the filter.
2.1 Tutorial 1. A Simple Analog Synth 23
Construction
• Pull a wire from the output of the LFO that we already have in the construction area to the
second input of the Vlowpass2 filter.
Figure 4: Tutorial 1, step 4
Playing
The amplitude of the modulation signal is controlled with the mod1 gain knob on the filter panel. As
you turn this knob to the right you will start hearing the effects of the cutoff frequency variations.
This cutoff frequency increases with the amplitude of the modulation signal. The filter also has a
second modulation input which modulates the cutoff frequency. The resulting modulation signal is
the sum of the two signals modulated by their respective gain values.
Step 5: Adjusting default module parameter values
Description
You have probably noticed that when you switch to the Player, the different modules appear with
their panel controls adjusted to specific values. In this example we will change the default cutoff
frequency, the name of the Vlowpass2 filter, and the location of its control panel on the Player.
Keep in mind that you can apply the same procedure to all the modules appearing in the construction area.
Construction
• In the construction area, double click on the Vlowpass2 module. A dialog box appears with
certain fields that you can edit.
• Set the value of the cutoff frequency to 20000.
• Change the name of the module to “my filter”.
• Change the display row to Row2 in the display row combo box.
• Click OK to exit the edition window.
24 Tutorials
Figure 5: Tutorial 1, step 5
Playing
When you launch the Player, the filter module appears on the second row. Note that the cutoff frq
knob on the Vlowpass2 front panel is completely turned to the right, which means that the filter
is fully open. Note also that the name appearing at the top of the front panel has been changed to
“my filter”. Naming modules can be very helpful when using several modules of the same type in
a patch.
Step 6: Monitoring the output signal
Description
We will now add two last modules to our patch, a Volume and a Level meter. These modules do
not produce sound, but are very useful for monitoring the output from a synth and they appear in
practically every instrument made with the Tassman.
Construction
• Select the Level module from the Output folder in the In/Out section of the Browser and the
Volume module from the Envelopes section and then place them in the construction area.
• Select and delete the wire going from the output of the Vlowpass2 filter to the Audio Out.
• First pull a wire from the output of the Vlowpass2 filter to the input of the Volume module
and then pull two wires from the output of the Volumemodule to the inputs of the Level and
Audio Out modules.
2.2 Tutorial 2 Playing a Synth with a Keyboard 25
Figure 6: Tutorial 1, step 6
Playing
When sound is produced by the synth, you will see the needle of the level meter move with the
amplitude of the signal. The red section of the meter indicates the saturation zone. The Volume
slider is used to change the amplitude of the output signal from the synthesizer.
Step 7: Saving your synth
We will conclude this example by saving the instrument you have just made.
• To save a patch, use the Save Instrument or Save Instrument As command from the File
menu. A dialog box will appear with “untitled instrument” highlighted, write the name you
want your instrument to have and click OK. A new instrument with the name you wrote will
appear under the Instrument section of the Browser.
You can open an instrument by double-clicking on its name in the Browser. If you want to
work again on your instrument in the Builder, hit Ctrl-T/Apple-T.
2.2 Tutorial 2 Playing a Synth with a Keyboard
The synthesizer we have constructed in the preceding tutorial gives some interesting results but is
not very convenient for playing melodies. In this second tutorial we will replace the LFO which
controlled the VCO with a keyboard so that the pitch of the VCO changes according to the note
being played on the keyboard. You will learn to:
• Use a MIDI keyboard in your instrument.
• Create envelopes.
• Link MIDI controllers to the Player interface controls.
• Create polyphonic instruments.
26 Tutorials
Step 1: Connecting a keyboard
Description
The Keyboard module reads and interprets control signals coming from a MIDI keyboard or host
sequencer. MIDI stands for Musical Instrument Digital Interface and is a communication protocol
used by most electronic musical instruments, computers and sound cards. Using MIDI, the keyboard sends messages such as the notes played, the status of the pitch or modulation wheel. The
keyboard communicates with your computer through a MIDI cable connecting the MIDI output of
the keyboard to the MIDI connector of the computer sound card. Some keyboards also use USB to
communicate with the sound card.
It is assumed in this tutorial that you have a MIDI keyboard which can be connected to your
computer. This is, of course, the best way to take full advantage of the Tassman. This is not a limit,
however, since there are lots of things to do with the Tassman even without a keyboard. In the next
tutorial we will replace the Keyboard module by a Sequencer module. But read this one first,
even if you do not have a keyboard.
Construction
• Wewill first open the instrument we constructed in the last tutorial. Double-click on it in the
Browser, this will open the instrument in the Player view, hit Ctrl-T/Apple-T to switch to
the Builder view. If you did not save the preceding synth open the “Tutorial1 Step6” in the
Tutorial folder of the instrument section.
• Select the wire linking the LFO to the VCO and delete it.
• In the module library section, select the Keyboard module from the MIDI folder in the
In/Out section. You will notice that there are four different types of keyboard: a Keyboard,
a Vkeyboard, a Polykey and a Polyvkey first select the Keyboard module and place it in
the construction area.
• Pull a wire between the second Keyboard output (pitch signal) and the first input of the
VCO.
Playing
Use your keyboard to play melodies. The Keyboard module we have selected behaves like a
classic monophonic keyboard, which means that it can only play one note at a time. The note
signal output corresponds to the highest note played when one or more keys are pressed and to the
last key played when no key is pressed. In order to change the pitch of the VCO, remember that
the mod1 gain knob of the first modulation input of the VCO must be turned to the right. In its
center position (green LED on), the gain is equal to 1 and the pitch variations will follow the notes
you play on the keyboard. If you do not want to play an equal tempered scale, tweak the mod1
2.2 Tutorial 2 Playing a Synth with a Keyboard 27
Figure 7: Tutorial 2, step 1
knob to the left for microtonal variations or to the right for larger variations. You can also use the
pitch bend wheel of your keyboard to change the pitch. Note that the sound is uninterrupted even
after you have released a key on the keyboard. This is because a monophonic keyboard holds the
last note played. To remedy this, we will use the gate signal of the Keyboard module to stop the
note at the right time.
Step 2: Add a VCA
Description
A VCA is a Voltage Controlled Amplifier. More simply said, it is a module that multiplies two
signals. In order to obtain sound only when a key is pressed, we will connect the gate signal from
the Keyboard to the first input of the VCA. The gate signal is simply a signal that indicates whether
a note is pressed or not; its value is 1 when a key is pressed and 0 when the key is released. In
this way, if we connect a second signal to the VCA, the output of the VCA will produce no sound
when no key is pressed and will be equal to the second input signal when a key is pressed.
Construction
• Select a VCA module in the Envelopes section of the module library section in the Browser.
• Pull a wire between the first Keyboard output, the gate signal, and the first input of the VCA.
• Select the wire between the Vlowpass2 output and the Volume input and delete it.
• Now connect the output of the VCO to the second input of the VCA and the output of the
VCA to the first input of the Volume.
Playing
Make sure the mod1 knob of the VCO is in its center position. You should now be able to play
melodies on your keyboard with the sound going on or off as keys are pressed and released.
28 Tutorials
Figure 8: Tutorial 2, step 2
Step 3: Add an ADSR
Description
Now that we are able to trigger the sound with the keyboard, we would like to be able to shape the
sound with different types of envelopes. To achieve this we will use an ADSR module (Attack,
Decay, Sustain, Release). This module shapes the amplitude of a note according to the settings you
chose. The Attack is the time it takes for the envelope of a sound to go from zero to its maximum
value. The time it takes for the sound to go from this peak value to the sustain level is referred to
as the Decay. As to the Sustain level, it is held as long as the note is held on the keyboard. And,
finally, the Release time is the time the sound takes to vanish once the note has been released.
Construction
• Choose an ADSR module from the Envelopes section and place it in the construction area.
• Delete the wire that connects output 1 of the Keyboard (gate signal) to input 1 of the VCA.
• Pull a wire from output 1 (gate signal) of the Keyboard and connect it to the input of the
ADSR.
• Pull a wire from the output of the ADSR and connect it to input 1 of the VCA (input 2
remains connected to the Vlowpass2).
• The signal to the VCA will now be shaped by the ADSR which is itself triggered by the gate
signal of the Keyboard.
Playing
The ADSR can shape the amplitude in many different ways. This is one of the most important
components in the characterization of a sound. For example, a piano sound has a completely
different envelope than does a violin or a trumpet. They are, of course, very different in timbre too,
but for now let’s concentrate on the envelope. A piano has a very sharp attack, a long decay, no
2.2 Tutorial 2 Playing a Synth with a Keyboard 29
Figure 9: Tutorial 2, step 3
sustain and no release. Try to set the ADSR to those settings. Because there is no sustain in this
example, the sound starts to decay shortly after you press keys.
Now let’s try to produce a violin-like envelope. This envelope is very different from that of the
preceding example, since on a string instrument a note is held as long as the string is bowed. Since
a violin’s sound doesn’t appear immediately, select a long Attack. Now choose a short Decay, a
high Sustain level (since the note is held as long as the bow plays the string), and a Release that is
not too long. Now the note will play until you release the key.
Step 4: Filter Modulation
Description
There are no new modules in this step, but we’ll explore other possibilities of modulation with
the modules we already have. First, we’ll have the Keyboard modulating the Vlowpass2, which
will cause the Vlowpass2 to change the cut-off frequency according to the notes played on the
Keyboard. This enables one to change the harmonic content of a sound with the pitch of the note
played, which is a behavior found in many acoustic instruments (piano for example). Second, the
ADSR will also modulate the Vlowpass2 so that the cut-off will move according to the envelope.
Again, this is a very natural acoustic and musical phenomenon.
Construction
• First select and delete the wire linking the LFO and the Vlowpass2 modules.
• Pull a wire between output 1 of the LFO and input 2 of the VCO module.
• Pull a wire from output 2 (pitch signal) of the Keyboard and connect it to input 3 of the
Vlowpass2 filter. Note that you can pull as many wires as you want out of an output, but you
can only connect one wire to an input.
• Pull a wire from output 1 of the ADSR and connect it to input 2 of the Vlowpass2.
• Save this instrument so that we can use it in Tutorial 3.
30 Tutorials
Figure 10: Tutorial 2, step 4
Playing
Try changing the parameters of the ADSR and hear the changes in the filter response. You can
control the amount of modulation of both the ADSR and the Keyboard with the two knobs, mod1
and mod2, on the filter module. Set a very slow attack and a long release on the ADSR to hear
the filter open and close at the same speed as the ADSR (you have to turn the mod1 knob to the
right to hear the effect). You can hear the keyboard modulation effect by turning the mod2 knob
all the way to the right and playing low notes followed by high notes. The higher ones will have a
richer harmonic content than the lower ones. You will hear the effect better if the resonance knob
is turned halfway up.
Step 5: Add a MIDI controller
Description
Knobs on the Player interface can be tweaked with the mouse, although this is not the most natural
way to play a synth. This method has the further limitation of allowing you to tweak only one knob
at a time. Tassman, however, allows you to link all the controllers on the front panel of the Player
to any hardware MIDI controller (such as a modulation wheel, sustain pedal, breath controller or a
knob box). In this example we will control the mod2 knob of the VCO (controlling the modulation
signal from the LFO) with the modulation wheel of the keyboard.
Construction
• In the Player, right-click (control-click on Mac) on the mod2 knob of the VCO, a contextual
menu appears. Choose Learn MIDI link.
• Move the modulation wheel on your keyboard controller. This will link it to the mod2 knob.
• To edit the MIDI link, right-click/Ctrl-click again on the mod2 knob and select “Edit MIDI
link”. This opens the Edit window for the MIDI links.
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