DigiDesign Hybrid User Manual
Hybrid
Version 1.5.x
Legal Notices
This guide is copyrighted ©2008 by Digidesign, a division of
Avid Technology, Inc. (hereafter “Digidesign”), with all rights
reserved. Under copyright laws, this guide may not be
duplicated in whole or in part without the written consent of
Digidesign.
003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O,
882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite,
Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS,
Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory,
Bruno, C|24, Command|8, Control|24, D-Command, D-Control,
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DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign
Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive,
DigiRack, DigiTest, DigiTranslator, DINR, D-Show, DV Toolkit,
EditPack, Eleven, HD Core, HD Process, Hybrid, Impact,
Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox,
MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF,
OMF Interchange, PRE, ProControl, Pro Tools M-Powered,
Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi,
Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,
Smack!, SoundReplacer, Sound Designer II, Strike, Structure,
SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL
Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL
MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser,
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trademarks or registered trademarks of Digidesign and/or Avid
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Product features, specifications, system requirements, and
availability are subject to change without notice.
Guide Part Number 9329-59307-00 REV A 11/08
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Contents iii
contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Registering Your Plug-in. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Working with Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Conventions Used in This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Chapter 2. Installation and Authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installing Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Authorizing Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Uninstalling Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Chapter 3. Functional Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Synthesis Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Hybrid Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Synthesis Architecture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Contents
Hybrid Plug-In Guideiv
Chapter 4. Operating Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Viewing Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Adjusting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Accessing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
The Part Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
The Sequencer Pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
The Common Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
The Effects Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
The Presets Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Morph Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
MIDI Controller Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Appendix A. Hybrid Factory Patch Categories. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Appendix B. Hybrid Wavetables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Appendix C. Part A and B Insert Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Appendix D. Default MIDI Controller Mappings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Chapter 1: Introduction 1
chapter 1
Introduction
Welcome to the Hybrid™ high-definition synthesizer for Pro Tools
®
.
Hybrid delivers the great tone and powerful
sounds of legendary analog synths, modelling
subtractive and wavetable synthesis. With its
extensive control and sound generation possibilities, Hybrid fulfills even the most sophisticated sound design demands.
Features
• Hybrid synthesizer architecture—the best
of both wavetable and subtractive synthesis
• 7 oscillator types and 100 wavetables
• Multimode filter with 23 filter modes and
real filter saturation
• Sample accurate envelopes
• Audio range modulation for oscillators and
filters
• Modulation matrix
• Step sequencer and arpeggiator
• Morph groups, for controlling multiple
parameters at a time
• Over 40 built-in effects
Supported Formats
Hybrid is only available in the RTAS® format.
Supported Systems
Hybrid is supported on the following systems:
• Pro Tools|HD
®
• Pro Tools LE
®
• Pro Tools M-Powered™
Sample Rate and Channel Format
Support
Hybrid supports 44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176.4 kHz, and 192 kHz sample rates.
Hybrid works with mono and stereo formats
only.
Control Surface Support
Hybrid can be operated from the following control surfaces:
• Digidesign
®
003
®
• Digi 002
®
• Digidesign Command|8
®
• Digidesign C|24™
• Digidesign Control|24™
• Digidesign D-Command
®
• Digidesign D-Control
®
• Digidesign ProControl
®
• Mackie HUI-compatible controllers
Hybrid Plug-In Guide2
System Requirements and
Compatibility
To use Hybrid, you need the following:
• An iLok USB Smart Key
• An iLok.com account for managing iLok
licenses
• One of the following:
• A Digidesign-qualified Pro Tools|HD,
Pro Tools LE, or Pro Tools M-Powered
system
• A Digidesign-qualified Pro Tools system
and a third-party software application that
supports the Digidesign RTAS plug-in
standard
• DVD drive for Installation disc (boxed version
of plug-in only)
• Internet access for software activation and
registration purposes
Digidesign can only assure compatibility and
provide support for hardware and software it has
tested and approved.
For complete system requirements and a list of
Digidesign-qualified computers, operating systems, hard drives, and third-party devices, refer
to the latest information on the Digidesign website:
www.digidesign.com/compatibility
Registering Your Plug-in
If you purchased a download version of a plugin from the DigiStore (www.digidesign.com),
you were automatically registered.
If you purchased a boxed version of a plug-in,
you will be automatically registered when you
authorize your plug-in (see “Authorizing Hybrid” on page 6).
Registered users receive periodic software update
and upgrade notices.
For information on technical support, visit the
Digidesign website (www.digidesign.com).
Working with Plug-ins
See the Pro Tools Reference Guide for general
information on working with plug-ins in
Pro Tools, including:
• Inserting plug-ins on tracks
• Clip indicators
• Plug-in window
• Adjusting plug-in controls
• Automating plug-ins
• Monitoring and recording audio from
instrument plug-ins
• Using plug-in presets.
Chapter 1: Introduction 3
Conventions Used in This
Guide
All Digidesign guides use the following conventions to indicate menu choices and key
commands:
:
The names of Commands, Options, and Settings
that appear on-screen are in a different font.
The following symbols are used to highlight
important information:
About www.digidesign.com
The Digidesign website (www.digidesign.com) is
your best online source for information to help
you get the most out of your Pro Tools system.
The following are just a few of the services and
features available.
Product Registration Register your purchase
online.
Support and Downloads Contact Digidesign
Technical Support or Customer Service;
download software updates and the latest online
manuals; browse the Compatibility documents
for system requirements; search the online
Answerbase or join the worldwide Pro Tools
community on the Digidesign User Conference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified
Pro Tools training center.
Products and Developers Learn about Digidesign
products; download demo software or learn
about our Development Partners and their plugins, applications, and hardware.
News and Events Get the latest news from
Digidesign or sign up for a Pro Tools demo.
Pro Tools Accelerated Videos Watch the series of
free tutorial videos. Accelerated Videos are
designed to help you get up and running with
Pro Tools and its plug-ins quickly.
Convention Action
File > Save
Choose Save from the
File menu
Control+N Hold down the Control
key and press the N key
Control-click Hold down the Control
key and click the mouse
button
Right-click Click with the right
mouse button
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
this guide and other Digidesign guides.
Hybrid Plug-In Guide4
Chapter 2: Installation and Authorization 5
chapter 2
Installation and Authorization
Installing Hybrid
To install the Hybrid plug-in:
1 Do one of the following:
• Purchase and download the Hybrid
installer from the DigiStore website. After
downloading, make sure the installer is uncompressed (.ZIP on Windows or .SIT on
Mac).
– or –
• Insert the Hybrid Install disc (included in
the purchased boxed version of the Hybrid
plug-in) into your computer.
2 Double-click the Hybrid Installer
application:
Mac Hybrid_Setup.pkg
Windows Hybrid_Setup.exe
3 Follow the on-screen instructions to complete
the installation of the plug-in and patch files.
4 When installation is complete, click Quit
(Mac) or Finish (Windows).
The Hybrid Installer copies the Hybrid plug-in
(Hybrid.dpm) to the following
location:
Mac Library/Application Support/Digidesign/
Plug-Ins
Windows Program Files\Common Files\
Digidesign\DAE\Plug-Ins
Hybrid Plug-In Guide6
Authorizing Hybrid
Hybrid is authorized using an iLok USB Smart
Key (iLok), manufactured by PACE
Anti-Piracy, Inc.
The iLok is similar to a dongle, but unlike a dongle, it is designed to securely authorize multiple
software applications from a variety of software
developers.
This key can hold over 100 licenses for all of
your iLok-enabled software. Once an iLok is
authorized for a given piece of software, you can
use the iLok to authorize that software on any
computer.
Authorizing Download Versions of
Plug-ins
If you purchased a download version of a plugin from the DigiStore (www.digidesign.com),
authorize the plug-in by downloading licenses
from iLok.com to an iLok.
Authorizing Boxed Versions of
Plug-ins
If you purchased a boxed version of a plug-in, it
comes with an Activation Code (on the included
Activation Card). You will need this code to authorize the plug-in.
To authorize Hybrid using an Activation Code:
1 If you do not have an existing iLok.com ac-
count, visit www.iLok.com and sign up for an
iLok.com account.
2 Transfer your Hybrid license to your iLok.com
account by doing the following:
• Visit http://secure.digidesign.com/
activation.
• Input your Activation Code (listed on the
Activation Card) and your iLok.com User
ID. Your iLok.com User ID is the name you
create for your iLok.com account.
3 Transfer the licenses from your iLok.com ac-
count to your iLok USB Smart Key by doing the
following:
• Insert the iLok into an available USB port
on your computer.
• Go to www.iLok.com and log in.
• Follow the on-screen instructions for transferring your licences to your iLok.
4 Launch Pro Tools.
5 If you have any unauthorized plug-ins or soft-
ware options installed on your system, you will
be prompted to authorize them. Follow the onscreen instructions to complete the authorization process.
iLok USB Smart Key
The iLok USB Smart Key is not supplied
with your plug-in or software option. You
can use the one included with certain
Pro Tools systems (such as Pro Tools|HDseries systems), or purchase one separately.
See the
iLok Usage Guide for details, or visit
the iLok website (www.iLok.com).
For additional information about iLok
technology and licenses, see the iLok Usage
Guide.
Chapter 2: Installation and Authorization 7
Uninstalling Hybrid
If you need to uninstall the Hybrid plug-in from
your system, follow the instructions below for
your computer platform.
Mac OS X
To remove the Hybrid plug-in:
1 Locate and open the Plug-ins folder on your
Startup drive (Library/Application Support
/Digidesign/Plug-ins).
2 Drag the plug-in to the Trash.
3 Empty the Trash.
Windows Vista
To remove the Hybrid plug-in:
1 Choose Control Panel.
2 Under Programs, click Uninstall a Program.
3 Select the Hybrid plug-in from the list of in-
stalled applications.
4 Click Uninstall.
5 Follow the on-screen instructions to remove
the plug-in.
Windows XP
To remove the Hybrid plug-in:
1 Choose Start > Control Panel.
2 Double-click Add or Remove Programs.
3 Select the Hybrid plug-in from the list of in-
stalled applications.
4 Click Remove.
5 Follow the on-screen instructions to remove
the plug-in.
Hybrid Plug-In Guide8
Chapter 3: Functional Overview 9
chapter 3
chapter 3
Functional Overview
Hybrid is an RTAS synthesizer plug-in that uses a
combination of classic subtractive and digital
wavetable synthesis.
Synthesis Overview
Subtractive Synthesis
Dating back to the first hardware analog synthesizers, subtractive synthesis generates sound
with one or more oscillators producing electronic waveforms with rich harmonic content.
Successive modules (such as filters and amplifiers) shape this sound by varying the harmonic
content and level.
Complex sounds that vary over time can be
made by controlling the oscillator, filter, and
amplifier with additional modules, including
Envelope Generators and low frequency oscillators (LFOs). This is called modulation.
This process of generating and shaping sound is
called subtractive synthesis because it deals
mainly with removing frequencies from highly
harmonic enhanced waveforms.
Wavetable Synthesis
Wavetable synthesis became popular with the
first digitally controlled synthesizers. A wavet-
able is a file that consists of 64 different single
cycle waveforms. A digital oscillator runs
through these waveforms to create complex and
vivid sounds. Wavetable synthesis is usually
combined with subtractive synthesis for additional sound shaping.
Hybrid is not multi-timbral—one instance
is assigned to one MIDI channel and consists of two complete sound generation units
(or parts). Each part has individual Mix,
Arpeggiator, and Modulation settings.
Hybrid Plug-In Guide10
Hybrid Overview
Parts and Patches
Hybrid provides two synthesizer elements per
instance, Part A and Part B. Each part is a
complex sound generating unit, following the
principles of subtractive synthesis. You can save
single parts on the Presets page. The two parts
can be used as velocity layers, keyboard splits, or
spread across the stereo field to add width,
depth, and complexity to a sound.
All settings of Hybrid can be saved as a single
patch.
Part A and Part B
Each Hybrid part generates sound and gives
detailed access to sound parameters like pitch,
waveform, tone color, and volume. Each part
has a step sequencer and two insert effects.
Common Page
The Common page provides controls for the
overall pitch and voice management of a patch.
Effects Page
The Effects page contains two insert effects per
part and the Master Effects section where you
can add global effects. The Master Effects section
provides controls for three effects: chorus, delay,
and reverb.
Patch is another name for the plug-in settings. Refer to the DigiRack Plug-Ins Guide
for information on working with RTAS plugins.
Chapter 3: Functional Overview 11
Synthesis Architecture
The above diagram indicates Hybrid’s signal
flow and modulation architecture.
Oscillator Section Oscillators are the basic source
of pitch and harmonic content. Hybrid features
three oscillators, as follows:
• Oscillators 1 and 2 feature seven different
types: Saw Synchronized, Saw Cross Modulated, Saw Multi, Square Synchronized, Square
Cross Modulated, Square Pulse Width Modulation, and wavetable.
• Oscillator 3 offers the classic Sawtooth,
Square, and Triangle waveforms, Sub Oscillator, and Noise Generator.
All audio signals from the Oscillator section are
mixed before they are sent to the filter stage.
Filter Section Gives control over the tone color
by removing or accenting desired frequencies or
harmonics.
Filters have a stop band and a pass band delineated by the cutoff frequency. The frequencies
in the stop band are attenuated or removed,
while the frequencies in the pass band are left
untouched. The pass band is specified by the filter type. For example, a low-pass filter removes
high frequencies and passes lower frequencies.
Other typical filter types are high-pass, bandpass, band reject (notch filter) and all-pass
(phase shift).
The number of filter poles determines the attenuation in the stop band: The higher the number,
the more frequencies are removed. This feature
can also be specified in decibels per octave. An
Hybrid signal flow and modulation architecture
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Hybrid Plug-In Guide12
attenuation of 6 dB/oct equals a pole. Because
an attenuation of 6 dB/oct equals a pole, a twopole low pass filter has an attenuation of 12 dB
per octave above the cutoff frequency.
The Resonance parameter accents the frequencies around the cutoff, which at extreme settings
can lead to self-oscillation: The filter produces an
additional audio signal at the frequency of the
cutoff. Modulating the filter cutoff, while the filter is self-oscillating, produces atonal electronic
spectra. This is analog filter frequency modulation. In this guide, it is referred to as filter FM.
Hybrid offers an envelope-controlled analog
multimode filter with 23 different filter types,
all with resonance and self-oscillation. The different types include low-pass, high-pass, bandpass, band reject, and all-pass filters with various
poles, and the combinations of more than one
type.
A dedicated saturation parameter adjusts the
amount and characteristic of the filter distortion.
A blend of Oscillator 3 and the Noise Generator
can be used as an audio modulation source for
filter FM.
Amplifier Section Controls the loudness and position of the output sound in combination with
envelope generators and LFOs.
Envelope Sections Give shape to the sound. The
shape of an envelope is specified by a number of
segments, forming a graph of level against time.
By playing a note, the envelope runs through its
segments. Most segments have at least an assignable time or level, and modulation envelopes typically have both.
Hybrid has four envelopes: two main envelopes
(one for the filter and one for the amplifier) and
two assignable modulation envelopes. All Hybrid’s envelopes have for segments: attack, decay, sustain, and release (commonly abbreviated
as ADSR). In addition to the ADSR segments, the
main envelopes have an extra decay segment
with control over time and level. A delay time,
an additional decay, and adjustable levels for
each segment add to the modulation envelopes.
Concisely, Hybrid provides:
•Two ADDSR envelopes
• Two DADDSR envelopes with free adjustable levels
LFOs (Low Frequency Oscillators) Generate cyclic modulation signals at a very slow rate. By
modulating pitch or loudness, they imitate vibrato or tremolo effects. Modulating the cutoff
produces electronic sweeps. Hybrid provides
three LFOs:
• Two monophonic LFOs, where monophonic
refers to one modulation distributed to all
voices.
• One polyphonic LFO, where polyphonic
refers to a separate LFO for each voice.
All LFOs have multiple waveforms and several
tempo-syncing options.
Chapter 3: Functional Overview 13
Modulation Matrix Connects modulation
sources with modulation destinations. These
modulations work in addition to the fixed
assigned ones, like the filter and amplitude
envelope or cutoff key tracking. A modulation
source can be routed to multiple destinations
with adjustable intensities. Unlike other synthesizers, Hybrid needs no overly complex modulation page. Instead, the modulation routing
works in the background. Following the typical
workflow, modulations are assigned at the destination module, such as an oscillator or a filter.
The Modulation matrix provides:
• 16 freely assignable modulation sources
• Over 20 modulation destinations
• Multiple assignments of sources and destinations with adjustable intensities
Step Sequencers Deliver musical phrases and
stepped modulation signals. The steps advance
at the rate of the selected note length and automatically synchronize to the Pro Tools sessiontempo. Hybrid provides:
• One note sequence with velocity, for musical
phrases
• Two control sequences for modulation purposes
• Arpeggios and MIDI phrases accessed through
additional modes of the step sequencer
Effects Inserts Operate after all synthesis modules but before the master effects. With its two
effects inserts for each part and an assortment of
over 40 effect algorithms, Hybrid allows for
building complex multi-effect settings.
Hybrid Plug-In Guide14
Chapter 4: Operating Hybrid 15
chapter 4
Operating Hybrid
Viewing Pages
The Hybrid Plug-in window has seven tabs for
accessing different control pages for editing Hybrid.
To view a Hybrid control page:
Click one of the Page tabs to display the
respective page.
Hybrid Control Pages
Part A Page Provides controls for all sound generating parameters of Part A, including settings
for its oscillators, filters, amplifiers, envelopes,
and LFOs.
Seq A Page Provides controls for the sequencer
of Part A. The settings include the sequencer
lines for Note, Velocity, Control 1 and Control
2, and additional Playback modes (such as arpeggios and MIDI phrases).
Part B Page Provides controls for all sound generating parameters of Part B, including settings
for its oscillators, filters, amplifiers, envelopes,
and LFOs.
Seq B Page Provides controls for the sequencer
of Part B. The settings include the sequencer
lines for Note, Velocity, Control 1 and Control
2, and additional Playback modes (such as arpeggios and MIDI phrases).
Common Page Provides controls for adjusting
the overall pitch and voice management of a
patch. In addition, there are settings for the
Morph controllers and general plug-in settings.
Effects Page Provides controls for the effects Inserts of Part A and B and the master effects applied to the whole patch.
Selecting a page
Part A Page tabs
Part B Page tabs
Part A and B are identical and provide the
same set of controls.
To learn more about working with parts, see
“Accessing Parts” on page 18.
Hybrid Plug-In Guide16
Presets Page Provides controls for loading and
saving presets of Part A and B and gives access to
the most commonly edited synthesizer parameters.
Adjusting Parameters
You can adjust most controls by using the computer mouse to drag a control or using the keyboard to type in a value.
Some controls are adjusted by a value from a
pop-up menu or by activating a button.
In addition, envelopes, LFOs, and step sequencers are edited using dedicated graphic controls.
Parameter Ranges and Resolution
Most controls have a range of 0–100%. Some
controls are bipolar, meaning they support negative values and usually have a range of –100% to
+100%, but the internal resolution of all continuous controls is much higher than 100 steps.
Hybrid’s parameter smoothing avoids stair-stepping for a true analog feel of controls.
Using a Mouse
You can adjust controls by clicking and dragging the control’s slider or knob, or by moving
over it and scrolling up or down with the scroll
wheel.
Adjust rotary controls by clicking and dragging
horizontally or vertically. Parameter values increase as you drag upward or to the right, and
decrease as you drag downward or to the left.
Keyboard Shortcuts
For finer adjustments, hold down Command
(Mac) or Control (Windows) while moving the
control.
To return a control to its default value, Optionclick (Mac) or Alt-click (Windows) the control.
Typing in Values
Most controls do not have a text box of their
own. Instead, there is one text box for a control
section (functional group of controls). This text
box displays the last edited control of its section.
You can edit the value with your computer keyboard.
The Presets page offers a fast and simple
way for creating new patches: Just browse
the presets of Part A and B to make new
combinations. Use the supplied controls to
modify sounds. Save the patch with the Settings Librarian.
To learn more about the part preset functionality see “The Presets Page” on page 52.
Dragging a knob
The behavior of knobs can be customized,
see “Knob Mode” on page 46 for more information.
Text bo x
Chapter 4: Operating Hybrid 17
To edit a control with a text box:
1 Click the control you want to adjust.
2 Click the text box and type in the desired
value. Bipolar controls also accept negative values (type a minus sign before the value).
3 Do one of the following:
• Press Enter on the numeric keyboard to input the value and remain in keyboard editing mode.
– or –
• Press Return (Mac) or Enter on the alpha
keyboard (Windows) to input the value
and leave keyboard editing mode.
Displaying Values
Parameter values can be displayed without editing them.
To display the value of a control:
Click the control without dragging it.
Using Pop-up Menus
Oscillator and Filter types, as well as Modulation
sources and destinations, have selectors for accessing their pop-up menus.
To choose a value from a pop-up menu:
1 Click the parameter’s selector.
2 Select a value from the parameter’s pop-up
menu.
Enabling Buttons
Some controls have activate/deactivate buttons.
To activate a button:
Click on the button. Click again to disable it.
To move forward through the different parameters, press the Tab key. To move backward, press Shift+Tab. However, because of
Hybrid’s modular architecture, you can only
Tab between parameters in the same section
(for example, only within the Filter section).
Editing a text box
Choosing waveform settings from a pop-up menu
Enabling a button
Hybrid Plug-In Guide18
Scroll Wheel on Knobs, Faders,
and Menus
A very convenient way to change values is to use
the scroll wheel.
To change a value with a scroll wheel:
1 Move the cursor over a rotary knob, fader, or
menu text field.
2 Scroll the wheel up to increase values. Scroll
the wheel down to decrease values.
Graphic Controls
Graphic controls are provided for adjusting
parameters such as envelopes (see “Graphic Editing of Envelopes” on page 31), LFOs (see
“Graphic Editing of LFOs” on page 34), and step
sequencers (see “Editing of Sequencer Lines” on
page 38).
Accessing Parts
A Hybrid patch consists of up to two synthesizer
elements, Part A and Part B. Use the Page tabs at
the top of the window for accessing the synthesis and sequencer parameters of a specific part.
Use the Part On buttons at the bottom of the
window to activate or deactivate a part. Whenever sound editing requires muting of a part or
the final sound only needs one of the parts, use
these buttons.
To access the parameters of a specific part:
Click the Part or Sequencer tab. The high-
lighted Page tab indicates the Part page or
Sequencer page that is displayed.
To activate or deactivate a specific part:
Click the Part On A or B button. A lit button
indicates the part is active.
Selecting a part for editing
Activating a part
Chapter 4: Operating Hybrid 19
The Part Pages
Part A and B pages give detailed access to all
sound generating parameters of Hybrid. The two
pages provide the same set of controls. For this
reason, the following description applies to both
Part A and B.
The Part page has several functional sections.
The order of these relatively follows Hybrid’s
signal flow. The oscillators stretch across the
upper area, followed by the Filter section in the
center of the panel. The Amplifier section is
located below the filter (at the end of the signal
flow). The Filter and Amplifier envelopes are
located on the right and the freely assignable
Modulation envelopes and LFOs are on the left
of the page.
For information on choosing a page, see
“Accessing Parts” on page 18.
Hybrid Part page
Oscillator sections Filter section
Amplifier section Envelope sections
Low Frequency Oscillators
Hybrid Plug-In Guide20
Oscillators
Hybrid has three Oscillator sections, which provide control over five sound generating elements: Two main oscillators and a third oscillator, which includes a Sub oscillator and Noise
generator.
Each oscillator provides a Main page to access
tuning, wave shape and mix parameters and a
Mod page with three sets of modulation source
and destination controls to modulate these parameters by a selectable source and level.
To access the Main page of an oscillator:
Click the Show Main Page tab in the Oscillator
section you want to adjust.
To access the Mod page of an oscillator:
Click the Show Mod Page tab in the Oscillator
section you want to adjust.
Oscillator Overview
The two main oscillators, Oscillator 1 and 2,
provide tuning controls calibrated in semitones
and cents. They offer various waveforms based
on different algorithms. Each algorithm is
unique in its function and sound. The Oscillator
Type pop-up menu selects the basic waveform of
the oscillator, and the Wave Shape control provides further control over the waveform’s tone
color.
The third oscillator mainly supports Oscillator 1
and 2; it transposes in octave steps and provides
classic waveforms like sawtooth, square, and triangle as well as Sub oscillator and Noise genera-
tor. The Sub oscillator has a square waveform
and follows the pitch of Oscillator 3 minus one
octave. The Noise generator provides white
noise.
Adjusting Oscillators
To adjust the value of an oscillator:
Use the rotary controls of the Oscillator sec-
tion you want to adjust.
– or –
Enter a value in the text box at the upper right
corner of the Oscillator section you want to adjust.
Oscillator Sections
Osc 1 and Osc 2 Main Page
Oscillators 1 and 2 have an identical architecture. They have the same controls, as follows:
Oscillator Type This selector displays the currents oscillator type (the basic waveform and algorithm of the oscillator), and can be clicked to
access a pop-up menu for selecting a different
type. The first part of the name of a type describes the basic waveform. The second part of
the name describes the underlying algorithm.
The Wavetable type does not have an underlying algorithm.
A blend of Oscillator 3 with noise also
serves as a Modulation source for the filter.
Hybrid Oscillator 1 and 2 Main page
Oscillator Type selector
Chapter 4: Operating Hybrid 21
Wave Shape The Shape control selects its tone
color. The control range is from 0% to 100%. For
some oscillator types, higher settings of this
control can result in radical sonic effects. A setting of 0% is neutral and has no effect on the
sound. Depending on the oscillator type, the
Shape control changes other controls, as follows:
• The pitch ratio between master and slave of a
sync oscillator (Saw Sync and Squ Sync types)
• The pitch ratio between carrier and modulator
of a cross modulation oscillator (Saw CM and
Squ CM)
• The amount of detuning between the waves
of a multi oscillator (Saw Multi)
• The pulse width of a square wave (Squ PWM)
• The wave index of a wavetable oscillator
(wavetable)
Semi Transposes the pitch of the oscillator up or
down by semitones. The control range is from
–24 to +24 semitones (two octaves down or up).
Use this feature to tune the oscillator to an interval such as a perfect fifth for interesting tonal effects.
Cents Sets the pitch of the oscillator in hundredths of a semitone. The control range is from
–50 to +50 cents. Use this control to detune an
oscillator relative to the other oscillators. Detuned oscillators animate and thicken the
sound.
Level Sets the volume of the oscillator. The control range is from 0% to 100%.
Oscillator Types
Oscillator 1 and 2 offer the following types:
Saw Sync Produces classic hard-sync sounds
from a sawtooth waveform (slave oscillator).
Sync is short for synchronize. The slave oscilla-
tor synchronizes to the pitch of the master oscillator, which means that the wave cycle of the
slave oscillator abruptly resets whenever the
master oscillator completes a full wave cycle.
Only the slave oscillator is sent to the output,
producing sharp sounds when shifted up in
pitch. The Shape control shifts the pitch of the
slave oscillator by a maximum of six octaves.
Use an envelope or LFO to modulate it.
Saw CM Cross modulates (CM) the pitch of a
saw wave (carrier) with the output of a triangle
wave (modulator). Only the carrier is audible.
With Saw CM, the Shape control shifts the pitch
of the carrier by a maximum of six octaves,
which produces sonic inter-modulation or sidebands in the output spectrum. Try using an envelope to modulate the Shape control.
Saw Multi Generates a stack of seven saw waves
that play in unison. The Shape parameter sets
the amount of detuning between the saw waves
to animate and fatten the sound. This parameter
usually needs no modulation.
Squ Sync Produces classic hard-sync sounds
from a square waveform (slave oscillator). Sync
is short for synchronize. The slave oscillator synchronizes to the pitch of the master oscillator,
which means that the wave cycle of the slave oscillator abruptly resets whenever the master oscillator completes a full wave cycle. Only the
slave oscillator is sent to the output, producing
sharp sounds when shifted up in pitch. The
Shape control shifts the pitch of the slave oscillator by a maximum of six octaves. Use an envelope or LFO to modulate it.
Squ CM Cross modulates (CM) the pitch of a
square wave (carrier) with the output of a triangle wave (modulator). Only the carrier is audible. With Squ CM, the Shape control shifts the
Hybrid Plug-In Guide22
pitch of the carrier by a maximum of six octaves,
which produces sonic inter-modulation or sidebands in the output spectrum. Try using an envelope to modulate the Shape control.
Squ PWM Produces a classic pulse width modulated square wave. One cycle of a square wave
consists of a high level that switches at half way
of the cycle abruptly to its low level. The Shape
control lets you modulate the square wave’s
pulse width. This is perceived as a pitch deviation that thickens the sound. Typically, the
pulse width is modulated by an LFO.
Wavetable Consists of 64 single cycle waveforms
with varying harmonic content. The Shape control modulates the oscillator’s playback position
in the wavetable, which changes the output
spectra according to the harmonic information
contained in the selected waveform. The position in a wavetable is also called a wave index.
Try using a Modulation envelope to modulate it.
Selecting Oscillator Types
To select an oscillator type:
Click the Oscillator Type selector and select a
type from the pop-up menu.
To select a wavetable:
1 Click the Oscillator Type selector and select
Wavetable from the pop-up menu.
2 Click the Wavetable selector and select a
wavetable from the pop-up menu.
Osc 1 and Osc 2 Mod Page
Oscillator 1 and 2 provide up to three modulation destinations for Pitch, Shape, and Level
modulation of an oscillator. Each of these destinations can be addressed multiple times by different Modulation sources.
To set up modulation for Osc 1 and 2:
1 Click a Destination selector and select Pitch,
Shape, or Level as the modulation destination.
2 Select a modulation source, which for exam-
ple can be an envelope, an LFO, or one of the
MIDI controllers, from the center menu.
3 Use the Modulation Level fader to adjust the
level of the modulation. The control range is
from –100% on the left to +100% on the right.
In Wavetable mode (when Oscillator Type
is set to Wavetable), an individual wavetable must be selected. Choose one of the
100 wavetables from the menu.
The additional pop-up menu for selecting a
wavetable is only visible in Wavetable
mode.
See Appendix A “Hybrid Wavetables” for a
complete list of the provided wavetable
banks.
Selecting a wavetable
Hybrid Oscillator 1 and 2 Mod page
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