Eventide DSP4000B+, DSP7500, DSP7000 User Manual

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  

Programming Manual for

Orville and the DSP7000 family



of Harmonizer

Brand Effects

Processors.

( covering Orville™, DSP7000/7500™ and DSP4000B+™ )

Harmonizer is a registered trademark of Eventide Inc. for its audio special effects devices incorporating pitch shift.

Orville, DSP7000, DSP7500, DSP4000B+and Ultrashifter are trademarks of Eventide Inc.

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The Harmonizer

Programmer’s Manual

Table of Contents

GENERAL PRINCIPLES____________________________________________________________________________4

VERVIEW ..................................................................................................................................................................................................................4

Different Kinds of Si gnals 6

OW A PROGRAM INTERFACES WITH THE PARAMETER AREA...................................................................................................................7

Simple Interface 7 Custom Interface 8

ODULES................................................................................................................................................................................................................. 10

The IN and OUT “Modules” 10 The Characteristics of Modules 11

RAP UP ..................................................................................................................................................................................................................15

VSIGFILE ________________________________________________________________________________________ 16

System Requirements and Background Knowledge Required 16

OMMUNICATIONS.................................................................................................................................................................................................16

Establishing a MIDI Connection 16 Establishing a Serial Connection 17

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ASIC FUNCTIONS .................................................................................................................................................................................................. 18

Adding Modules 18 Connecting Modules 19 Deleting Modules 19

ISPLAY FUNCTIONS ............................................................................................................................................................................................. 20

Selecting Modules 20 Moving Modules 20 Re-Positioning Modu les 20 Aligning Modules 21 Zooming 21 View 21

DITING...................................................................................................................................................................................................................22

ENDING PROGRAMS TO THE HARMONIZER................................................................................................................................................... 24

TUTORIAL 1 -A SIMPLE PROGRAM....................................................................................................................................................................... 24

DVANCED FEATURES ..........................................................................................................................................................................................27

The Specifier Display 27 Repeating Fields 31 Editing “Special” Module s 33 Updating the Parameters from the Harmonizer 33 Getting Programs from the Harmonizer 34 Creating the User Interface 35

Viewing Menupages and Menupage Modules 35 Interface Modules 36 Parameter Adjusters 37

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Simple “Parameter Adjuster s” 40 Menupages and Parameter Placement 45

UTORIAL 2 -PRETTY IN DEPTH..........................................................................................................................................................................48

NTER-DSP COMMUNICATION FOR ORVILLE...................................................................................................................................................56

I S

UPERMODULES.......................................................................................................................................................................................................57

UTORIAL 3 -USING SUPERMODULES .................................................................................................................................................................57

ILE FUNCTIONS .....................................................................................................................................................................................................62

“ *.sig” Files versus “ *.sif ” F iles 63

PATCH EDITOR __________________________________________________________________________________64

ET COMFORTABLE BY DOING...........................................................................................................................................................................64

The IN and OUT “Modules” 67

HE PATCH EDITOR AREA DISPLAY...................................................................................................................................................................68

Front Panel Controls 69 The Patch Editor Area SOFT KEY Functions 70

HE <MODIFY> SOFT KEY...............................................................................................................................................................................76

Modifying a delay module 76 Modifying Complex Modules 79

NTER-DSP COMMUNICATION FOR ORVILLE ...................................................................................................................................................80

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REATING THE USER INTERFACE........................................................................................................................................................................81

Viewing Menupages and Menupage Modules 81 Interface Modules 83 Simple “Parameter Adjusters” 87 Menupages and Parameter Placement 91

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Programmer’s Manual

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This manual covers Orville

DSP4000B+

. In the following text these will, for convenience, be referred to as 'Harmonizers'. Much of its contents also

as well as the DSP7000TM family of Harmonizer Brand Effects Processors, as well as the

apply to the older 4000 family, but the reader is not advised to view this publication as an exhaustive reference for these models. This manual does not cover the Eclipse

or the H3000 family of Harmonizer Brand Effects Processors.

One of the reasons Eventide’s effects units are so versatile is that their effects programs are “modular." A single program is composed of many smaller “modules." Modules might best be thought of as good old fashioned “guitar pedals” (except, of course, that unlike guitar pedals, the modules in the Harmonizer are 24 bit, crystal clear, high-end audio

processors!)

. Imagine you have a gym floor covered with guitar pedals and a coat rack draped with patch cords. You run around connecting pedals, a delay pedal to a pitchshifter pedal, the output of that pitchshifter pedal to a compressor, the output of that compressor into a filter, etc. The end result of all that patching is, to the Harmonizer, a program.

Although that picture is oversimplified, it does capture the essence of what’s going on inside VSigfile and the Patch Editor area. You’re just connecting modules (guitar pedals) to each other to produce a desired overall program.

Without going into details, the example cited above, “a delay pedal into a pitchshifter into a compressor into a filter” is shown to the right as seen in the Patch Editor. The little boxes represent the modules and the lines between them represent “patch cords." (Digital Signal Processor) running the program, delay module,

psh represents the pitchshifter module, cpr

represents the compressor module,

IN represents the inputs to the DSP

dly represents the

flt represents the filter module and OUT represents the outputs from the

DSP running the program.

Of course, if things were going to remain this simple there would be no need for this separate Programmer’s Manual. But conceptually, things are this simple! We’ll muddy things up by implementing “control” features that will make your programs easier to use in the

PARAMETER area. We’ll further muddy them by making

large programs that utilize many modules connected in ways that defy the “serial/parallel” paradigm. So the details may get a little complex, but the main idea should remain crystal clear: we’re just connecting a bunch of 24 bit, full bandwidth guitar pedals!

The first chapter in this manual, General Principles, will cover the underlying concepts involved in constructing programs either in VSigfile or the Patch Editor area. It is essential reading. The second chapter will discuss the mechanics of creating programs in VSigfile, and the third chapter will discuss the mechanics of creating programs in the Patch Editor area. It is suggested that you only read the chapter pertaining to the construction “environment” you will in fact use. The Appendix, Modules Manual, will be indispensable in all of your programming adventures. It lists the Harmonizer’s available modules along with their specifications.

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GENERAL PRINCIPLES

OVERVIEW

This section will describe in general terms just what goes into constructing a program. Return to this section if you ever feel like you’re being mired down in details later on.

First, the primary “stuff” of program construction is the “module." Modules are small, functional “chunks." Some modules may have names that will be familiar to you, such as delay, reverb, filter,

pitchshifter, and eq. As you would expect, a delay module delays the signal at its input. A reverb module adds reverb to the signal at its input. A filter module filters the signal at its input.

And so on.

Before going any further, let’s say you wanted to construct a program that delayed and filtered a signal. You would begin either in VSigfile or the Patch Editor area with a “blank slate” that contained nothing but representations of the inputs and outputs of the DSP that would run the program. You would then add a delay module and a filter module. Lastly, you would connect one of the DSP’s inputs to the delay module, the delay module’s one of the DSP’s outputs. The result, as seen in VSigfile, is shown above.

Most modules, delay and filter included, have “control inputs” that allow you to change parameters associated with a given module. For example, a delay module has a control input that allows you to change the delay time for the module (will it delay the signal 20ms or 1000ms?). A filter module has three control inputs: one for the cutoff frequency, one for the resonance at the cutoff, and one to select the type of filtering done by the module (lowpass, highpass, notch, or band).

We normally construct programs so that parameters such as the ones described above can be altered in the

PARAMETER area of the Harmonizer (like the factory presets you’ve probably already played with). Some things called

“userobject signals” are used in the construction of a program to create and organize menu pages of parameters in the

The three paragraphs above capture the three cornerstones of program construction in the Harmonizer.

1. We must connect appropriate modules to achieve a desired, overall audio effect.

2. We must control the parameters of the modules in a program so that the desired audio effect is

achieved.

3. We must make some of the parameters available in the PARAMETER area so that the user can “tweak” the program to fit a particular situation.

PARAMETER area.

output to the filter module, and the filter module’s output to

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Much complication will now be heaped upon the three cornerstones, but all of the complication is introduced in order to achieve the goals set out in the three cornerstones! Don’t lose sight of the three cornerstones, as they motivate everything that follows! Get it - cornerstones !

To gain a greater appreciation for what we are doing when we construct an the Harmonizer program, consider the following analogy:

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Computer programs basically compute things. The computer user however, is not directly involved in actual computation (tha nk goodness). The user does direct the computer regarding what computations it should carry out and receives the results of those computations through a “user interface." The user interface on a computer is typically a monitor, a keyboard, and a mouse. The lucky individual who designs a computer program on the other hand, needs to cons ider both the actual computations that the computer performs and the way those computations will be controlled and displayed at the user interface.

By analogy, when you construct a program for the Harmonizer you must consider the actual audio manipulations carried out by the program controlled and displayed at the user interface

PARAMETER area in conjunction with the front panel keys and display. Don’t worry, constructing programs for the Harmonizer is decidedly easier than even the easiest computer programming!

(cornerstones one and two) and the way those manipulations will be

(cornerstones two and th ree). In this context, the user interface is the

Unfortunately, we must discuss these two charges “bass ackwards." with user interface coming first and actual audio manipulations coming second. The latter can’t be properly understood without the former.

you’ve ever learned a computer language, the first thing they teach you is how to print “Hello” on the monitor!)

But first we’ll take a brief detour and look at the different types of signals that interconnect modules in the Harmonizer. After that, we’ll talk about the user interface.

(If

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Different Kinds of Signals

To achieve the goals set out by the three cornerstones, we must employ four signal types. Signals connect modules together. The four signal types are:

Audio Signals Used to pass full bandwidth audio between modules in accordance with cornerstone

one. Audio signals are represented numerically by a value between -1 and +1.

Control Signals Typically used to pass parameter values between modules in accordance with

cornerstone two. Control signals are low speed and are updated at a variable rate, depending on how busy the Harmonizer is. Control signals are represented numerically by a value between -32768.0 and +32767.999.

Mod Signals Used to pass “modulation signals” between modules. A “modulation signal” is a 1/4

bandwidth audio signal. Mod and audio signals may be interconnected, but not without a loss of signal quality.

Although mod signals look like audio signals, they actually work to achieve cornerstone two (controlling the parameters of a module). In some cases, control signals are too slow to alter a parameter without “clicking” or “stuttering." For instance, if you wanted to alter a delay time quickly to produce a flange effect, a control signal might not be equal to the job. Thus certain modules (moddelay for instance) come equipped with a mod input. Other modules (such as the low frequency oscillator (LFO)) come equipped with a mod output. By interconnecting the two, fast, smooth parameter adjustment can be executed that would defy control signals.

Userobject Signals Used to pass

cornerstone three.

There exist module inputs and outputs for each of the four signal types. They are named (logically enough):

• audio inputs/outputs

• control inputs/outputs

• mod inputs/outputs

• userobject inputs/outputs

Only inputs and outputs of a similar type may be interconnected module will only have those types of inputs/outputs that are pertinent to its function.

PARAMETER area menu page information in accordance with

Programmer’s Manual

(except for audio and mod inputs/outputs). A given

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HOW A PROGRAM INTERFACES WITH THE PARAMETER AREA

Simple Interface

Because you really shouldn’t be reading this manual if you haven’t already read the User Guide, we’ll assume you’ve seen menu

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pages in the

PARAMETER area.

A menu page, with an associated

SOFT KEY, is created by connecting a module’s userobject output to a

userobject input on something called the “head” module. Every program has one (and only one) head

module. The actual parameters that will appear on a menu page created this way depend on the module being connected. They will usually be the values of all unconnected control inputs..

For example, consider the simple delay module connected to a filter module we started this chapter out with for these modules we’ve connected their userobject outputs to the userobject inputs on the head module

the lower right corner. The observant user will spot that t he head “module” doesn’t really look like the other modules)

(again, as shown in VSigfile). Now that you’ve learned a little more, we’ve “unhidden” the control inputs

(the unconnect ed ones on the left) and the userobject outputs (the ones on the lower right). As you can see,

(the disembodied “1” and “2” in

If we run this program and go to the

PARAMETER area, we see

the screen to the right. A menu page exists for each module that contains parameters pertinent to its functioning.

Note that the order of the connections to the head module’s userobject inputs dictates the order of the SOFT

KEYS

Constructing programs this way is fast and easy. Just concentrate on the audio connections and then connect every modules’ userobject output to the head module. However, the user interface isn’t very “slick” and may be cumbersome to use. That’s where “custom” interface construction comes in. . .

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Custom Interface

There is one very special module that is used to create custom menu pages. It’s called (appropriately) the menupage module. It has any number of userobject inputs

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(the example shown to th e right has only one) and a single userobject output. The menupage

module will create a menu page out of the userobject outputs that are connected to it.

The menupage module is typically used with a special group of modules called the “interface” group. Most of the modules in the interface group have a userobject output and either a single control output or a single control input. The interface modules that have a control output

(like the “knob” module shown to the right) are connected to the control input of

another module. The interface module then “takes over” that control input. Similarly, interface modules that have a single control input

(like the “monitor” module shown to the right) are

connected to the control output of another module to display the value of that control output.

create a user interface. Still others exist to manipulate control signals.)

(It should now be clear that not all modules exist to deal with audio. Many, such as the interface modules, exist to

For example, we could utilize two knob modules and a menupage module in the program we’ve been working on. One knob module will take over the delay time control input on the delay module. The second knob module will take over the

frequency control input on the filter module. The userobjects

of both knob modules are connected to the menupage module, which is in turn connected to the head module.

When we run the program on the Harmonizer, the screen shown to the right appears in the

PARAMETER area. Notice that the

order that the knob modules’ userobject outputs are connected to the menupage module dictate their order on the menu page in

PARAMETER area.

the Also notice that because the second knob module “took over”

the filter module’s

frequency control input, that parameter

no longer appears on the filter module’s menu page.

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The menu pages found in the factory presets were almost exclusively made with interface modules and menupage modules.

Now that you have some understanding of audio signals, control signals, and userobject signals coupled with an understanding of how they all play a role in making a program both functional and accessible from the

PARAMETER area, we can discuss modules in a little more depth.

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MODULES

Modules are the magic that make the Harmonizer shine. They are signal processing “nuggets” that are interconnected (via the signals discussed above). Before we discuss aspects of the typical modules like the delay module, the filter module, the pitch shifter module, etc., we need to look at the more specialized IN and OUT “modules."

The IN and OUT “Modules”

Orville

Orville’s programs are loaded and run one at a time on a given DSP. The DSP running the program provides the program with four channels of input audio (where that input audio comes from is a function of the routing configuration, see the Harmonizer’s User Manual). The DSP running the program also takes the four channels of output audio from the program (where it is subsequently sent is again a function of the routing configuration).

DSP7000

The DSP7000’s programs are loaded and run on its single DSP. The DSP provides the program with two channels of input audio and takes two channels of output audio from the program. The remainder of this manual will show Orville-style four channel processing, but the idea is the same with the DSP7000’s two channels. If you send a program that has more than two inputs or outputs to your DSP7000 from VSigfile, it will not be accepted.

The input audio and output audio connections to the program are handled through a pair of pre-defined modules called IN and OUT. The IN module has up to four signals to send to the program, labeled 1, 2, 3, and

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4. Since these signals are coming from the module, they are called

outputs of the

module. A small amount of confusion might result because the IN module has

outputs. Similarly, the OUT module has inputs labeled 1, 2, 3, and 4. This

difficulty is minor compared to the gain in consistency created by using the word

output to refer to all signals that come from a module, and using the word input

to refer to all signals that go into a module. In the simplest of conceivable programs, the IN module’s

outputs are connected directly to the OUT module’s inputs

(this is the

Thru’ program in bank 0). Normally, other, optional

modules are inserted in-between the IN and OUT modules. The IN and OUT modules always remain as part of the program.

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The Characteristics of Modules

There are several characteristics associated with any module. All modules have:

• a module type

• a module name

Modules use memory and processing resources that can be divided into the following groups:

• audio memory

• signal processing

• user interface and control signal memory

• control processing

Different types of modules use different amounts of these resources. Modules that have audio inputs and outputs introduce a six-sample delay in the processed signal. More complex modules have some or all of these items:

• specifiers

• audio inputs (and/or mod inputs)

• audio outputs (and/or mod outputs)

• control inputs

• control outputs

• userobject outputs

• userobject inputs

The following sections will discuss all of these attributes in depth. . .

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ODULE TYPE

There are many kinds of modules at our disposal. The “module type” simply defines a module as being a particular kind of module. When a module is added to a program, it is selected by module type. Once added, the module type cannot be changed. If a different module type is needed, the “offending” module must be deleted and then the correct module type must be added anew.

The Modules section in this manual is sorted by module type. When a module is mentioned in this document, it is referred to by module type. For example, a module whose module type is “samphold” would be referred to as a samphold module.

MODULE NAME

The module name is a text string that is stored with a particular module. It is helpful to change the module name immediately after adding a module so that modules of the same type can be told apart. Choose a name that reflects both the purpose of the module within the patch, and the module type. The name may be up to 18 characters in length. To the right we see gate type module named “Ch1 Hiss Gate."

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ESOURCES

A resource is something that is needed for the operation of a Harmonizer program -there are several different kinds of resources. A program cannot run if it needs more of a particular resource than is available.

Audio memory

Modules that store audio for brief periods of time use audio memory. Modules that use audio memory

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include modules in the delay, filter, pitch shift, and reverb groups. Some modules contain “specifiers”

(see below)

that increase or decrease the amount of audio memory used by either varying the number of audio channels or by specifying the amount of delay explicitly.

Signal Processing

Modules that perform operations on audio use signal processing. The amount of processing performed by a module can only be changed via specifiers (see below.) This is important, as the amount of signal processing that can be done in any given period is finite. Modules that perform complex effects on audio use more processing than those that perform simple effects. For example, the reverb_a module uses more processing power than the delay module, even though the delay module might use more audio memory.

User Interface and Control Signal Memory

Interface memory includes memory used to store text, adjustable range limits, default values, control inputs, control outputs, and any data used by “control” modules. Modules that use text fields consume a large amount of this kind of memory. For instance, it is possible to use up all of the user interface memory with just two textblock modules if each contains enough lines of text (See the Modules Section for a closer look at the textblock module).

Control Processing

Control processing is a resource that cannot be exhausted, though it can be strained. The Harmonizer will repetitively process everything that comes under the control process category as often as possible. Control operations will get slower as more operations are required. For instance, if a single menu page has eight values displayed that are all changing rapidly, the display may appear to update slowly. Typically, control values are updated about 100 times a second.

PECIFIERS

A specifier is a control that affects a module's behavior. For example, a delay module might have a specifier that sets the maximum delay time a user can enter. A pitchshifter module might have a specifier that sets the number of pitchshifting voices used by the module. A module may have several specifiers.

Specifiers are only

PARAMETER area). There is no input or output for specifiers; they reside “inside” a module (you’ll learn how

adjustable in the Patch Editor area or in VSigfile (i.e. specifiers can never be altered in the

to access the “inside” of a module in the VSigfile or Patch Editor chapters).

Specifiers have the following features:

• they are extremely efficient in terms of resources. (A module with a specifier for a given characteristic is more efficient than a module with a control input for that characteristic.)

• they can change the amount of resources that a module needs.

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• they can change the number of audio, mod, and control inputs and outputs, or even the number of

other specifiers (!) for a module.

• they can be numerical, multiple choice, or text. The Modules Section in this manual lists all of the module types and their associated specifiers.

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UDIO INPUTS

An audio input is used to pass high fidelity audio into a module. An audio input can be connected to at most one audio or mod output. Unconnected audio inputs are actually attached to a special “null signal” provided by the Harmonizer's operating system. The null signal simulates a zero voltage, noise-free audio source. Audio signals range if value from -1 to +1, or full negative to full positive. Audio inputs are always found on the left side of modules.

UDIO OUTPUTS

An audio output is used to pass high fidelity audio out of a module. An audio output may be connected to any number of audio or mod inputs. Audio outputs are always found on the right side of modules.

ONTROL INPUTS

One module can control the parameter of a second module by connecting to the second module’s control

(as we saw the knob modules doing in the “Custom Interface” section). The range of values a control input can accept may

input be set by a specifier, by fixed internal programming, or even by another control input. A few notes concerning control inputs:

• Control inputs are always found on the left side of a module.

• The value of a control input cannot change the amount of resources used by a module.

• The existence of a control input takes up processing and memory resources. In modules with a variable

number of control inputs (like the c_switch module), reducing the number of inputs reduces the amount of resources used. (In such modules, specifiers control the number of control inputs.)

• Control inputs can be connected to only one control output.

CONTROL OUTPUTS

A control output sends a numerical value to another module by connecting to one of the other module’s control inputs. A single control output can connect to any number of control inputs. Control outputs are always found on the right side of a module.

OD INPUTS

A mod input is used to pass a high performance modulation signal into a module. A mod input may be connected to at most one audio or mod output. Unconnected mod inputs are actually attached to a special “null signal” provided by the Harmonizer's operating system. The null signal simulates a zero voltage, noise-free audio source. Mod signals range if value from -1 to +1, or full negative to full positive. Mod inputs are always found on the left side of a module.

Although mod signals are high performance modulation signals, they kind of stink at passing audio signals

(they were never really meant t o! Remember, they act to achieve cornerstone two - to control the parameters of modules). An audio signal passed

through a mod in/mod out on a module will lose fidelity. This is because the sampling rate used for mod signals is 1/4 that used for audio signals.

signals might be right up your alley!)

(Of course if you go for that retro, “aliasing." dawn-of-the-samplers kind of sound, mod

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OD OUTPUTS

A mod output is used to pass a high performance modulation signal from a module. A mod output may be connected to any number of audio or mod inputs. Mod outputs are always found on the right side of a module. See the comments made immediately above concerning the “low-fi” status of mod signals.

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SEROBJECT OUTPUTS

Most modules have a userobject output. The userobject output can be connected to the userobject input on a menupage module, the head module, or a gang module. Such a connection will allow the module’s parameters to be accessible in the

PARAMETER area. The existence or use of a userobject does not affect

system resources or memory. This means that menu pages can be created without using much in the way of resources or program memory.

In VSigfile, userobject outputs are always found on the right side of a module. In the Patch Editor area, userobject outputs are not explicitly shown.

SEROBJECT INPUTS

A handful of modules (gang, head, and menupage) have userobject inputs. This means that these modules can accept as inputs other modules’ userobject outputs. For instance, a menupage module may be used to create a

PARAMETER area menu page by accepting the userobjects of other modules.

In VSigfile, userobject inputs are always found on the left side of a module. In the Patch Editor area, userobject inputs are not explicitly shown.

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OK, so that completes our birds-eye view of the program construction process. Recall that all of our constructing is done to satisfy the three so-called “cornerstones”:

1. We must connect appropriate modules to achieve a desired, overall audio effect.

This is achieved by connecting audio-manipulating modules via audio signals. The “heart” of the program lies in its audio construction.

2. We must control the parameters of the modules in a program so that the desired audio effect is achieved.

This is achieved by using mod signals and control signals to alter the parameters of the audiomanipulating modules.

3. We must make some of the parameters available in the PARAMETER area so that the user can “tweak” the program to fit a particular situation.

This is achieved by connecting userobject outputs to the head module. Additionally, menupage modules may be used in conjunction with interface modules to create custom menu pages.

That completes the theory of program construction, but much remains in the way of execution. We’ll cover that in the VSigfile Chapter and the Patch Editor Chapter. You should now proceed to either the VSigfile Chapter or can use with VSigfile, you really ought to use it (see the VSigfile Chapter for system requirements). VSigfile is decidedly easier to use than the Patch Editor area, especially for constructing large programs.

the Patch Editor Chapter, depending on which you plan to use. If you have a computer that you

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WRAP UP

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VSIGFILE

System Requirements and Background Knowledge Required

To run VSigfile, you will need a PC-compatible running Microsoft Windows 3.1, 3.11, 95, 98, NT3.51, or NT4.0, fitted with a minimum of 8M ram (16M for NT). Macintosh users have had some success running Vsigfile under the "Virtual PC" Windows emulator, but Eventide is unable to assist in replicating this operation.

To communicate with the Harmonizer you need either a Windows supported MIDI interface (typically Creative Technology’s “Soundblaster”) or an IBM PC type RS232 serial port. You can create programs on VSigfile without the Harmonizer connected, but you can’t run them on the Harmonizer until they’re uploaded (and this, of course, requires connecting the Harmonizer to your computer!).

This chapter assumes that you’re familiar with the operation of a PC and with the Windows operating environment and that you’ve read the User’s Manual and the General Principles Chapters in this manual.

COMMUNICATIONS

You will create programs in VSigfile and then send them to the Harmonizer to be run, or you will receive programs from the Harmonizer to edit in VSigfile. Either way, there needs to be a communications link between VSigfile and the Harmonizer. You have your choice of a MIDI connection or a serial port connection. We’ll look at each in turn.

Establishing a MIDI Connection

Assuming you’ve launched VSigfile, choose Comms under the Preferences menu. Choose MIDI as the Comms Type in the dialog box that opens.

Then choose MIDI config.

The dialog box that opens allows you to select an input interface and an output interface from the possibilities that exist on your particular computer. Select the interface(s) you want to use. Make sure that the output goes to the external MIDI socket, not to the internal (usually wavetable) synthesizer.

You will need to connect the MIDI Output on the Harmonizer to your chosen MIDI Input interface on your computer and vice versa One way communication is not sufficient.

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On the Harmonizer, ensure that MIDI is enabled and system

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exclusive

menu page in the

is on. You will find these parameters on the [midi]

SETUP area.

If you find that your PC is “unhappy” about the speed of transmission (as in “it’s too fast!”), lower the parameter on the “second”

[midi] menu page in the SETUP area.

sysex speed

This will dumb down the Harmonizer’s transmission speed.

Establishing a Serial Connection

Assuming you’ve launched VSigfile, choose Comms under the Preferences menu.

Choose Serial as the Comms Type in the dialog box that opens. Choose Serial Config to select the comms port you would like to use.

You must also ensure that the

Harmonizer and VSigfile. These parameters are found on the “third”

baud rate, the data bi ts, the stop bits, and the parity agree on the

[midi] menu page in the SETUP area

in the Harmonizer (as shown above right) and in Serial Config under the Preferences menu in VSigfile (as shown above left) . The higher you set the

baud rate the faster the communication will be between the

Harmonizer and your computer. However, most computers have a ceiling above which errors occur. You should set the baud rate as high as you can (on both machines) without incurring errors. On the Harmonizer, ensure that on the

[midi] menu page in the SETUP area.

serial is enabled and system exclusive is on. You will find these parameters

Connect your computer’s serial port to the Harmonizer’s serial port and ensure that no other device on your computer is hogging the comms port (the modem is a common offender on the author’s computer).

If VSigfile is unable to access its assigned comms port, you will get the message shown to the right. It means that there is a device (or another program) hogging the comms port or that there is something wrong with the selected comms port. Either way, you’ve got a problem to ferret out.

VSigfile will itself hog the comms port. To “disconnect” VSigfile from the comms port (so that you can use another device), choose Disconnect from the Midi menu.

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BASIC FUNCTIONS

All right, so now you have VSigfile communicating with the Harmonizer (you do, don’t you?). Now we can take a look at how we actually add, connect, and manipulate modules in VSigfile.

Before we look at anything, verify that the View menu is “checked” as shown to the right. That way, the structures we describe will be visible to you.

In VSigfile, signals are color coded:

• audio and mod inputs, outputs, and signals are coded green.

• control inputs, outputs, and signals are coded blue.

• userobject inputs, outputs, and signals are coded pink.

•

The black and white (damn!) screen capture shown to the right is similar to

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what you should see if you were to begin a new file (by pressing the button). The green to the DSP that will eventually run the program. The blue the left correspond to the “global” control corresponds to the first userobject

Use the Add Module command found under the Edit menu to add modules to a program. The dialog box shown to the right opens. The left side of the box selects a group (a collection of similar modules) and the right side selects a module type inside that group. Additionally, you can change the Num field to insert more than one instance of a particular kind of module. Go ahead and insert a IIR module from the “Filter” group as shown above.

“ins and outs” correspond to the audio inputs and outputs

“1, 2, 3, and 4” on

outputs. The pink “1” on the right

input on the head module.

Adding Modules

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To connect an input to an output simply click on the input or output you want to start with, drag to the output or input you want to connect to, and release. Go ahead and connect the IIR module to the other stuff as shown to the right.

Also note that when you “hover” the pointer over an input or output for a second, a “bubble” appears that describes what that input or output is.

Additionally, the lower left corner of the VSigfile window displays the Module type you are hovering over, its name, the input/output name, and what it is connected to (if anything).

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Connecting Modules

Deleting Modules

To delete modules, first select the module slated for deletion by clicking on it (its module type name will turn red). Then press the “Delete” key on the keyboard or select the Delete Module command from the Edit menu.

To delete more that one module at a time, just click and drag over the area that contains the modules you would like to delete (in the

screen capture to the right, the multiply and the peak modules are being selected)

the modules that you select will have red module type names. Then press the “Delete” key on the keyboard or select the Delete Module command from the Edit menu.

UNPLUGGING CONNECTIONS

To unplug a connection, click on the input that terminates the connection and press the “Delete” key on the keyboard. Away it goes. . .

. All of

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DISPLAY FUNCTIONS

Now that you can add modules, we can discuss a few of the display-related features of VSigfile. These functions don’t have anything to do with the actual construction of a program; they simply make it easier to view and manipulate the display.

Selecting Modules

A single module can be selected by clicking on it. Several modules can be selected simultaneously by clicking and dragging over the area on the screen that contains the

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desired modules

(as shown to the right) or by clicking on all of

the desired modules while pressing the “Shift” key on the keyboard. The selected module or modules will have red module type names

names)

(modules that aren’t selected have gray module type

Moving Modules

You can move modules around on the screen at will. Doing so can help to make a patch more “viewable." Simply click on the module you want to move and drag it to its new position. All of a module’s connections will stay with the module.

To move more than one module at a time, first select the modules you would like to move. All of the selected modules will have red module type names. Then click on any one of the selected modules and drag the whole bunch to its new location.

Re-Positioning Modules

To make a patch more “viewable." a function under the Edit menu exists that automatically re-Positions all of the modules on the screen. There are times when this is very useful; particularly when you’ve downloaded a program from the Harmonizer to work with on VSigfile. There are other times where using re-Position will just make things less “viewable."

Trouble is, the re-Position function is not “Undoable” (see below). As a work- around, Save a program just before you use the re-Position function. If the result is worse than the original, simply reopen the saved version.

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You can align a group of modules either along their top edge or their left edge. First, select the modules you would like to align. Then select either Top or Left from the Align menu. The add and bound modules have been selected to the right.

The result of Top aligning them is shown below. Nice, eh?

You’ll find that as a patch gets very large it’s hard to see the names or input/outputs of individual modules when the whole patch is in view. A zoom function exists to let us zoom in or zoom out. Under the Zoom menu you’ll find four choices:

In Get closer relative to the current display. Out Get further away relative to the current display. to Fit Zoom such that the entire patch just fits on the screen. Selected Zoom such that the currently selected modules just fit on the screen. Modules are

selected by clicking and dragging over the area that contains them.

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Aligning Modules

Zooming

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View

As your programs become more complicated, you’ll often want to “hide” certain kinds of signals to make a patch more “viewable." A check mark next to an item under the View menu indicates that that sort of signal is shown. The absence of a check mark next to an item indicates that that sort of signal is “hidden."

Audio

Shows or hides all audio/mod

Control

Shows or hides all control

Misc

Shows or hides all userobject

Unconnects

Shows or hides all unconnected inputs and outputs. Hiding all the unconnected inputs and outputs is useful when trying to follow the logic of a patch.

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(green) connections, inputs, and outputs.

(blue) connections, inputs, and outputs.

(pink) connections, inputs, and outputs.

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One of the benefits of using VSigfile over the Patch Editor area is that Editing patches in VSigfile is considerably easier than editing patches in the Patch Editor area (despite its name!).

Select All

Selects every module in a program. This is the same as clicking and dragging over all the modules in a program, only easier.

Cut, Copy, and Paste

VSigfile makes use of the standard “clipboard” associated with the Windows operating system. The clipboard is a temporary holding area for text or modules. The Cut, Copy, and Paste commands work with the clipboard as follows:

• The Cut command deletes the currently selected text, module, or modules and places what it deletes on

the clipboard connections exist between those Cut modules, then those connections will exist on the clipboard as well.

(if something was already on the clipboard it will be overwritten!). If more than one module is Cut and

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EDITING

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• The Copy command copies

it copies on the clipboard Copied and connections exist between those Copied modules, then those connections will exist on the clipboard as well. You can also Copy by pressing

the

• The Paste command places the contents of the clipboard into the patch. A version still exists on the clipboard so that you can Paste more than once. If text is selected

with the contents of the clipboard. You can also Paste by pressing the button.

Undo

Selecting the Undo command under the Edit menu reverses the last change that was made to the patch. You can Undo many times in a row.

button.

(as shown to the right), the Paste command will replace the selected text

(does not delete) the currently selected text, module, or modules and places what

(if something was already on the clipboard it will be overwritten!). If more than one module is

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Context Dependent Menus

By right clicking the mouse, a “context dependent menu” will appear as shown to the right. The available commands will depend on what’s going on in the “vicinity” of the right click. Once you get more familiar with VSigfile, using context dependent menus will save you time.

Shortcut Keys

There are several “shortcut” keys that perform menu commands. They are listed next to their command in the various menus. For example, the Cut command can be accomplished by holding down the “Ctrl” key and the “x” key simultaneously. Once you get proficient with VSigfile, these shortcut keys will save you

(and you know what they say about time. . .).

time

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SENDING PROGRAMS TO THE HARMONIZER

Once you’ve constructed a program in VSigfile, you’ll want to send it to the Harmonizer so that it can be run. This is accomplished by selecting the Send command under the Midi menu. Make sure that the Harmonizer is in some area other than the Patch Editor area when you Send, lest errors occur! Be warned: the program running on the currently displayed DSP will be “bumped out” by the program you Send! Save any changes before you Send!

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→ Your compute r mu s t be communicating with the Harmonizer f or this to work! See Communications on page 16.

TUTORIAL 1 -A SIMPLE PROGRAM

We can couple our new found knowledge of VSigfile with the material we learned in the General Principles Chapter to create a simple, but meaningful, program. We’ll create a modulating filter.

To begin, start with a clean slate by pressing the

button. You should see a

work area that looks like the one shown to the right. The green “in1 >” and “in2 >” on the left represent the inputs 1 and 2 on the DSP that will eventually run the program

(we’ll learn how to do quad programs for Orville later, but the idea is the same).

Similarly, the green “> out1” and “> out2” on the right represent the outputs 1 and 2 on the DSP that will eventually run the program. The blue “1, 2, 3, and 4” on the left represent the “global inputs” (these only have meaning for Orville’s d ual DSPs,

and we’ll learn about them in “Inter-D SP Communication” on page 56)

. The pink “1” on the right represents the first userobject input on the head module. Recall that the userobject outputs of modules are connected to the head module so that their menu pages will appear in the

PARAMETER area.

To create a “modulating filter” program, we’ll need just two modules: an LFO (low frequency oscillator) module and a modfilter module. Go ahead and add these modules to the program by using the Add Module command from the Edit menu. You’ll find the LFO module in the “Oscillator” group and the modfilter module in the “Filter” group.

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After adding both modules, the screen should look similar to the one at the right. The modules are overlapping and nothing is yet connected. Move (by clicking and dragging) the modfilter module to the right so that both modules are clearly in view. Note that the DSP outputs and the head module input “move out of the way."

The screen should now look similar to the small one at the immediate right.

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Now connect the modfilter module

over an input or output for a second, a “bubble” will appear that describes the input or output)

• Connect

out1

(“low” is the lowpass output of the filter).

• Connect

>out2 (“high” is the highpass output of the filter).

• Connect

modfilter module.

cutoff frequency will vary as a function of the signal applied to this input.)

in1 > to in on the modfilter module by clicking on in1 > and then dragging to in on

(recall that if you “hover” the pointer

. Similarly,

low on the modfilter module to > high on the modfilter module to out on the LFO module to fmod on the

(“fmod” is a modulation input. The filter’s

The result should look similar to that shown right.

Let’s take a moment and analyze these connections. A signal comes into the DSP’s input 1 and then into the modfilter module. We refer to the Modules Section to learn what exactly the modfilter module will do with the signal. It reads:

Modfilter: This module implements a classic state-variable audio filter. It provides simultaneous lowpass, bandpass, highpass, and notch outputs. It has variable Q. . . and frequency and has mod rate frequency and q factor modulation inputs.

So, not surprisingly, it will filter the signal applied to its input. All of the frequencies in the input signal that lie below the cutoff frequency will be output at the cutoff frequency will be output at

high. Furthermore, the LFO module’s output signal will modulate

low, and all of the frequencies in the input signal that lie above

the cutoff frequency. We’ve now satisfied “cornerstone one” of program construction: We’ve connected appropriate modules to achieve a desired, overall audio effect.

The second and third “cornerstones” of program construction state that:

• We must control the parameters of the modules in a program so that the desired audio effect is

achieved.

• We must make some of the parameters available in the

PARAMETER area so that the user can “tweak”

the program to fit a particular situation.

• In our simple program these will be one in the same. We will arrange to have the parameters for both

modules available in the

PARAMETER area by connecting their userobject outputs to the userobject inputs of

the head module.

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First click on the head module’s userobject input 1 (the pink square below the DSP outputs). Then select the Add Repeating Field command from the Edit menu. A second userobject input should appear.

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Connect the modfilter’s head module’s

userobject userobject

userobject

output to the head module’s input 2. The screen should look similar

userobject

input 1 and the LFO’s

output to the

to the one on the right.

OK, now we’re ready to send the program to the Harmonizer to be run. Make sure the Harmonizer is in some area other than the Patch Editor area and then select the Send command from the Midi menu.

→ If you aren’t connected to the Harmonizer, read “Communications” on page 16.

The Harmonizer should flash “coding file from remote” and

loading progra m." You should then find yourself in the

then “

PARAMETER area with a screen that looks like the one to the

right. After turning the

0.0Hz, mess with the [modfilte] /freq and freq mod parameters.

[lfo] /freq to something other than

And that’s basically it. You can create simple programs by concentrating on “cornerstone one” and then satisfying the other two “cornerstones,” by liberally connecting userobject outputs to the head module. Now that you’ve been introduced to the basics and have some hands-on experience, let’s move on to more advanced topics in program construction.

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ADVANCED FEATURES

The Specifier Display

Some mention was made in the General Principles Chapter of “Specifiers." The astute reader will note that no mention has been made of these creatures since! Well, now’s the time. Go ahead and add a delay module from the “Delay” group.

Once it’s added, doubleclick on it. You will call up the “VSigfile Specifier Display” shown to the right. We’ve entered the “guts” of the module. Here we have access to all kinds of cool stuff. Cells that contain black type can be altered, while those that contain gray type cannot. Let’s take each row in turn. . .

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Title Line

The first row gives a general description of each column (more or less).

• The type column describes what type of input or output a row pertains to

inputs or outputs (like the first two shown above), the ‘type’ column is of little value)

• The MODULE column contains most of the alterable information in the Display. The title of the column

(in this case, “DELAY”) is the module type.

• The description column gives a marginally useful description of each row.

• The min and max columns list the minimum and maximum values that can be entered in the MODULE

column.

• The visible column allows you to “hide” input or outputs in the normal VSigfile display.

Module Name

The second row, MODULE column cell allows you to alter the name of the module. The module name is a text string that is stored with a particular module. There is a default module name that is usually the same as the module type. It is helpful to change the module name immediately after adding a module so that modules of the same type can be told apart. Choose a name that reflects both the purpose of the module within the patch, and the module type. The name may be up to 18 characters in length, and no two modules in a given patch may share the same name.

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(if a row doesn’t have anything to do with

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Additionally, you can change the name of a module from the normal VSigfile display by double clicking on the name.

If you plan to use multiple copies of a particular module type, it’s wise to tack a “1” onto the end of the first instance and then Copy and Paste that instance. The subsequent copies will be numbered sequentially, as shown to the right.

Specifiers

The third row contains a “specifier” for the delay module. Remember specifiers from the General Principles Chapter? It read:

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Specifiers are only PARAMETER ar ea). There is no input or output for specifiers, they reside “inside” a module

adjustable in the Patch Editor area or in VSigfile (i.e. specifiers ca n never be altered in the

Whadaya know? We’ve got a delay module here, and the specifier at hand sets the maximum delay time for it. By looking at the min and max columns, we can see that the minimum delay time is 1 (millisecond) and the maximum delay time is 32500 (milliseconds). The maximum delay time is something you set as the program’s creator; the user will not be able to alter it. This is important, because, like most things in life, the amount of delay the Harmonizer has available is finite. As a result, it is necessary to divide this among the modules, so that each has enough. Setting the maximum amount that each module can use in this way, makes sure that there is enough left for the others.

Different types of modules will have different types of specifiers; some may have no specifiers at all and some may have many. The Modules Section describes what the specifiers for a given module do. Let’s look at the VSigfile Specifier Display windows for a few other types of modules to see what sorts of specifiers they have:

• Here we see the single specifier

for the IIR module. This module is a resonant filter and the n_sections specifier selects the number of “poles” used. The number of poles used is something you set as the program’s creator; the user will not be able to alter it. Here the number of poles controls the behaviour of the filter, but it also determines the amount of DSP resources the filter will use.

• Here we see the single specifier

for the easytaps module. This module produces a tapped delay line and the taps specifier selects the maximum number of taps that the user can select. As with all specifiers, the maximum number of taps is something you set as the program’s creator; the user will not be able to alter it.

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• Here we see the four specifiers for the meter module. The meter

module monitors a control signal output and displays its value in what looks like an old-school VU meter.

• The minimum specifier sets the lowest value that will be displayed, while the maximum specifier sets the highest. The

name specifier sets the description of the meter, and the tag specifier sets the description on its SOFT KEY (if it has one).

All of these items are selected by you, the program’s creator, at its inception. The user can’t change any of this stuff.

There is one other type of specifier that we’ve deliberately ignored: the sort that controls “repeating fields." This sort of specifier can’t be altered from the VSigfile Specifier Display and is discussed in a section all to itself below.

Audio Inputs

Returning to the VSigfile Specifier Display window for the delay module that we started out with, the next row after the specifier row displays the audio inputs.

Double clicking on the MODULE column calls up yet another window: the “Editing Signal Input” window. Here you can select among all of the possible audio outputs in your patch.

The output you select will be connected to the input you double clicked on to call up the Editing Signal input window. If connecting things this way works for you, great, but most folks find it easier to click and drag in the normal VSigfile display.

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Audio Outputs

The next row displays the audio output. Well, actually it just tells you that it exists. This row is mainly useful if you want to “hide” the audio output.

Control Inputs

The next row on the other hand, is very useful. It describes the control input for the module. The type column tells you what the control input is for (in this case, ‘delayamt’ controls the amount of delay). If no control output is connected to this control input (as is the case here), the MODULE column allows you to set the delay amount just as you would in the PARAMETER area on the Harmonizer. The value you enter is constrained by the min and max columns (‘0’ and ‘1’ in this case).

If a control output is connected to this control input

right)

, its module name and output will be displayed.

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(as is the case shown to th e

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If you double click on the MODULE column, you’ll call up the Editing Control input window. Here you can select among all of the possible control outputs in your patch. The output you select will be connected to the input you double clicked on to call up the Editing Control input window.

If connecting things this way works for you, great, but most folks find it easier to click and drag in the normal VSigfile display.

Userobject Outputs

The final row displays the userobject output. This row isn’t too useful unless you want to “hide” the userobject output.

And that’s basically it. You’ll find that different modules have different displays in the VSigfile Specifier Display window, but they’re all variations on the theme described above. When in doubt, turn to the Modules Section for a complete description of a module’s specifiers, inputs, and outputs.

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The term “repeating fields” is easier to define by example than to explain in mere words, so here are a few examples of repeating fields:

• A diatonicshift module can have one, two, three, or four pitchshifting voices. The parameters associated with each pitchshifting voice are repeating fields.

• A menupage module can have any number of userobject inputs. Each input is a repeating field.

• A quadmixer module can have as many as fifty audio inputs. Each input is a repeating field.

• A sequencer module can have between two and fifty “steps” in its sequence. Each step is a

repeating field.

• The DSP inputs and outputs can have two, three, or four connections (DSP7000 users will want to restrict this to

two

). Each input or output is a repeating field.

• The head module can have any number of userobject inputs. Each input is a repeating field.

Get the idea? If not, you will. Read on. . .

If the repeating field on a module pertains to the number of inputs or outputs (of any type) on the module, each repeating field will be numbered. The oswitch module shown to the right has a variable number of outputs. In this case it is set to five.

There are three distinct techniques used to increase or decrease the number of repeating fields. In most cases, the number of repeating fields can be altered via any of the techniques. In a few modules however, the number of repeating fields can only be altered via one of the techniques. We’ll look at each technique in turn.

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Repeating Fields

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ALTERING THE NUMBER OF REPEATING FIELDS IN THE SPECIFIER DISPLAY

To demonstrate the first technique, we’ll add a mixer module. Each audio input on this module is a repeating field. There can be as few as one input as many as fifty. The top input is an audio input, and the bottom input is a control input that controls the level of the audio input.

Double click on the module, and the VSigfile Specifier Display window pops up as shown to the right. To alter the number of repeating fields, click on any existing example of the repeating field. In this case, we want to alter the number of inputs. Clicking on “adc-null” associated with in1 or “0” associated with gain1 will be sufficient. Click on either of these fields. In the

upper left border of the window a

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button appears.

(as shown to the right) or

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Clicking on the the module as shown to the right. A new

appears that will allow you to similarly decrease the number of repeating fields.

If you exit the VSigfile Specifier Display you’ll see that the module now has two audio inputs and two control inputs. If you wanted more than two inputs, you would follow the same procedure:

• Double click on the module to open the VSigfile Specifier Display window.

• Click on the existing example of the repeating field immediately “above” where

you would like to insert a new instance when adding. Click on the repeating field you would like to delete when deleting..

• Press on the

increase or decrease the number of repeating fields.

LTERING THE NUMBER OF REPEATING FIELDS WITH THE CTRL AND DELETE KEYS

button will add a repeating field to

button

button or the

button as many times as necessary to

Again we’ll add the mixer module to demonstrate the second technique. In this simple example, we’ll mix the DSP inputs 1 and 2. First connect DSP input 1 to the input on the mixer module.

Next connect DSP input 2 to the input on the mixer while holding down the Ctrl key on the keyboard. A repeating field is added below the one you connected to.

The complement of this technique involves reducing the number of repeating fields. Simply click on the repeating field you want to remove and press the Delete key on the keyboard.

LTERING THE NUMBER OF REPEATING FIELDS WITH THE EDIT MENU

Finally, we can add or delete repeating fields by clicking on an example of the repeating field in question and selecting the Add Repeating Field or Delete Repeating Field command under the Edit menu.

For example, click on DSP input 2 and select the Add Repeating Field command under the Edit menu. A third DSP input appears. Select the same command and the fourth DSP input appears. You can do the same on the DSP outputs. To delete a repeating field, click on the repeating field you would like to delete and select the Delete Repeating Field command under the Edit menu. It’s worth noting that this is the only technique you can use to add or remove DSP inputs or outputs from your program!

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Editing “Special” Modules

A select few modules require a non-standard editing environment. To enter this “special” environment, click on the special module and then select the second to last command under the Edit menu. The exact phrasing of this command will change depending on what module you have selected. Here are some examples:

“Curve” modules, the multitap module, and the waveform module have a graphical editor that is considerably easier to use than the Harmonizer’s front panel.

The textblock module has its own editor.

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Updating the Parameters from the Harmonizer

As you create more extensive programs, you’ll find yourself frequently Sending incomplete version of a program to the Harmonizer as you work. When you do, you will often change parameter values on the Harmonizer. It would be quite irritating if you lost those parameter changes when you returned to work in VSigfile.

Fortunately, you don’t have to. Once you’re done tweaking things in the Harmonizer and are ready to return to VSigfile, select the Update param s command under the Midi menu. VSigfile will update all of the parameter values in your patch from the Harmonizer.

Note: if you change the types, order or connections in VSigfile after you’ve sent a program to the Harmonizer, you will not be able to Update it. You’ll get the message shown to the right.

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Getting Programs from the Harmonizer

In addition to creating programs from scratch in VSigfile, you can alter programs that exist in the Harmonizer. First, Orville users: make sure the DSP running the program is referred to in the upper left corner of Orville’s display. Then select the Get command under the Midi menu in VSigfile.

If you already have a patch in the active window of VSigfile, you will get the warning that “All changes will be lost.” This means that the program you Get from the Harmonizer will overwrite the patch in the active window. To go ahead, press Yes, to abort, press No.

Once to program is downloaded, its modules will appear in one big string across the top of the display as shown right. Yuck.

This is a good time to use the re-Position command under the Edit menu. The result will look something like that shown to the right. You’ve still got some organizing to do, but at least you have a prayer now. A good way to organize something like this is to first hide Control, Misc, and Unconnects under the View menu and then organize the remaining modules. Then show

Control and organize what appears. Finally, show Misc and organize what appears.

<load> the program in the Harmonizer.

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Creating the User Interface

In our first tutorial in this chapter, we used an LFO module and a modfilter module. To allow the user

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to control the parameters of these modules in the outputs to the head module. You can create a wealth of programs this way. In the parameters will automatically be grouped by module and

PARAMETER area, we simply connected their userobject

PARAMETER area,

SOFT KEYS will appear -one per module. A

program created this way will be fully functional and have all of the audio characteristics of a factory preset. Audio, however, is where the similarities end. A program created this way will not look as slick, nor be as easy to use, as the factory presets are. Factory presets are created by hand-connecting the userobjects of knob modules to menupage modules and then hand-connecting the userobjects of those menupage modules to the head module. This section details how this is done.

Viewing Menupages and Menupage Modules

A menupage module has a single userobject output and any number of userobject inputs. Normally a menupage module is connected to the head module. If so, the menupage module shows up in the

PARAMETER area as one or more pages of parameters, a title line, and a SOFT KEY. The information for

the title line and

PARAMETER area are accessible by using the VSigfile Specifier Display on the menupage module (by double clicking on it)

. For example, load the program Patch Instruct from the “Programming” bank in the

SOFT KEY and the list of connected userobjects that comprise the parameters seen in the

Harmonizer.

The menu page shown to the right is visible in the

PARAMETER

area. It is created with a menupage module, a knob module, a monitor module, and a textblock module

minute)

(we’ll see how in a

Use the Get command under the Midi menu to download this program into VSigfile. Then select the re-Position command under the Edit menu. Move the modules around until they look similar to what is shown on the right.

Double click on the menupage module to enter the

VSigfile Specifier Display. From here, we can see the description “delay control” and the 8 char name

“DelayCtl."

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Note that these equate to the title and

SOFT KEY

when the menu page is viewed in the

PARAMETER area.

The obj rows indicate which userobject outputs are connected to this menupage module’s userobject inputs. In this case, the userobjects of the module named “delay knob." the module named “delay mon." and the module named “info” are all connected to this menupage module’s userobject inputs.

To the right is a close-up of what’s actually going on.

For the fun of it Specifier Display and connect the

output input 2

connected to both

of the knob module to

of the menupage module (so that it is

(and what fun it is!) exit the VSigfile

userobject

1 and 2!). Then select the Send

command under the Midi menu to upload the program to the Harmonizer.

You should see that indeed, the Each Delay parameter is now doubled on the menu page. Change one version and then highlight the second version; you’ll see that they are the same even if they do exhibit some peculiar behavior. You won’t normally have any reason to put the same parameter on the same menu page more than once!

more than one “place” in the program.)

(But you may want to put the same parameter on different menu pages in the same program so that it will be ac cessible from

Interface Modules

Control inputs are used to send a parameter value into a module. The parameter value is generated by another module, perhaps a knob module. One common use for this capability is the creation of custom “parameter adjusters” to adjust the parameters for the modules in a program. The custom “parameter adjusters” are special purpose modules from the “interface” module group. This group includes the common text/numerical parameter adjuster that is generated by the knob module, as well as several graphical “parameter adjusters” (hfader module, vfader module, and rfader module).

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Parameter Adjusters

“Parameter adjuster” modules have a single control output and a userobject output. If connected to a menupage module, a “parameter adjuster” will show up on the menu page in the

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PARAMETER area as a parameter.

For example, in the program Patch Instruct (a

section of which is shown to the right)

, the module named

“delay knob” is a “parameter adjuster." It’s userobject output is connected to a menupage module which is in turn connected to the head module.

Thus, the module named “delay knob” shows up in the area as a parameter (

Each Delay).

PARAMETER

Selecting a parameter in the

KNOB will change the value of the “parameter adjuster’s” control

PARAMETER area and rotating the

output. The change will also be reflected in a textual or graphical display change. In this case, rotating the KNOB changes the Each

Delay

parameter in the PARAMETER area, and it changes the value

sent from the “delay knob’s” control output into both delay modules and the c_multiply module

(see the diagram above).

The actual text used for a parameter and the way changes made to a parameter’s value in the

PARAMETER area

translate to control output changes are set up in the VSigfile Specifier Display.

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Double clicking on the knob module in the Patch Instruct program reveals this window as shown above

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(you may have to download the program by using the Get command if you haven’t already done so).

• The module name specifier is set to “delay knob."

• The menu statement specifier is set to “Each Delay:%2.0fms." This means that on a menu page in the

PARAMETER area where this knob module’s menu statement shows up, the text “Each Delay: xxxxxms

” will show, where xxxxx actually reflects the value that the parameter is set to. The “%2.0f”

part is described in some detail later.

• The 8 char name is “Delay." The 8 char name is what would show up as a SOFT KEY if this module’s userobject output were connected to the head module.

• The min value specifier sets the minimum value that the parameter can be set to.

• The max value specifier sets the maximum value that the parameter can be set to.

• The resolution specifier sets the “jump” that the parameter value makes when the

KNOB is rotated. In

other words, when the user rotates the KNOB, the resolution is how far the parameter value changes per incremental movement.

• The last row reads “250.000” This allows you to manually set the value of the control output from the VSigfile Specifier Display.

Let’s look at these lines in more detail, shall we?

Menu Statement

The menu statement is a crucial specifier used in the basic knob module, which is the most common “parameter adjuster." The menu statement is the line that will appear in

PARAMETER area menu page. The

menu statement may contain up to 20 characters including the parameter value. Anything over 20 characters will not be displayed.

The first job of the menu statement is to indicate to the user what the parameter is for. It should also contain the format for the parameter value that will be displayed, indicating the number of spaces that the parameter value will take up and how many digits will be after the decimal point for a numerical parameter value (parameter values can be text as well, more on this later). You must specify this format bearing in mind the min value, the max value, and the resolution. The syntax of the format is:

%Y.Xf

where Y is the number of spaces reserved for display and X is the maximum number of digits after the decimal point. The percent(%), period(.), and f must be used as shown. If the period(.) is removed, the Harmonizer will display six digits after the decimal point. Here are example formats and results that would be displayed on a menu page in the

PARAMETER area. “~” represents a space that will be inserted.

format for 1.2345 for 23456.0013 for .1234 for 1 for -55.234

%1.2f %4.2f %5.2f %5.0f %7.1f %9.4f

%2f

1.23 23456.00 0.12 1.00 -55.23

~1.23 23456.00 ~0.12 ~1.00 -55.23

~~~~1 23456 ~~~~0 ~~~~1 -55.23

~~~~1.2 23456.0 ~~~~0.1 ~~~~1.0 ~-55.23

~~~1.2345 23456.2345 ~~~0.1234 ~~~1.0000 ~-55.2300

1.234497 23456.001300 0.123398 1.000000 -55.234000

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Refer to the separate User’s Manual on entering text for a list of the characters included in the text insert menus. The formats shown here can be created using the % character, numbers, a small f, and a period(.).

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As an wee exercise, Get the program from the Harmonizer Then change the menu statement to “Each Delay:%2.3

Patch Instruct

(it’s found in the “Programming” bank”), and double click on the knob module.

fms” as shown above.

Now Send the program back to the Harmonizer, and see the difference that made to the display. Note the decimal value in the “

Each Delay” parameter. It used to read 250. Now it reads

250.000. Contain yourself. . .

Min and Max Values

The lower and upper limits of a numeric parameter value are set as specifiers in the module that controls the parameter. In the example program

Patch Instruct, the “delay knob” parameter value has

a range of 0.0000 to 10000.0000 set by the min value and max value specifiers. You can adjust these limits if you wish.

As another wee exercise, Get the program from the Harmonizer

“Programming” bank”)

, and double click on the knob

Patch Instruct

(it’s found in the

module. Change the min value and max value to set different limits as shown above.

Now Send the program back to the Harmonizer and test the

parameter. To the right we bump up against the new min

Delay

Each

value. And on this screen we bump up against the new max value.

You will find min value and max value specifiers in most of the “interface” group modules.

Resolution

The resolution specifier controls what minimum change in a parameter value can be achieved by turning the

KNOB or by using the INC or DEC key on the numeric keypad. The resolution specifier also controls the “rate

of change” as the steps” as the leaps” as the

KNOB is spun. If the resolution is very fine, the parameter value will increment in “baby

KNOB is spun. If the resolution is very course, the parameter value will increment in “great KNOB is spun.

For example, if the selected parameter displays a value of 45.30 and the resolution is 1.0000, then slow motion clockwise rotation on the

KNOB will change the value to 46.30 (unless the max value is less th an 46.30!). If

the selected parameter displays a value of 45.30 and the resolution is 0.1000, then slow motion clockwise rotation on the

KNOB will change the value to 45.40.

As yet another wee exercise, double click on the knob module the same way as in the Min and Max Value section and adjust the resolution specifier. Notice the difference this makes in the “step size” of the Each

Delay

parameter value. (You’ll have to walk y ourself through this one. . .)

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Simple “Parameter Adjusters”

There are seven simple “parameter adjusters” modules:

• A knob module for simple numeric values.

• An rfader module for “rotary” graphical display instead of numeric values.

• An hfader module for “horizontal” graphical display instead of numeric values.

• A vfader module for “vertical” graphical display instead of numeric values.

• A textknob module for “text-valued” parameters.

• A tapknob module for “tapered” (or non-linear) values.

• A percentknob module for percentage display that corresponds to fractional control output.

They have several things in common:

• All have a single control output and no other signal inputs or outputs.

• All have a userobject output that can be connected to a menupage, gang, or head module.

• All have a menu statement and an 8 char name.

These modules are used by connecting their

userobject outputs to a menupage module or the head module. The

will then show the text or graphic menu statements for the connected “parameter adjuster” modules.

The following pages describe the simple “parameter adjusters." To play along at home, load and then Get the program Interface Modul es from the Harmonizer

(it’s in the “Programming” bank).

PARAMETER area menu pages

Programmer’s Manual

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Hfader Module

The hfader module creates a horizontal graphic on a

PARAMETER area menu page. In

the example screen to the right it is the highlighted, upper left parameter. The area taken up by the graphic is one half of the width of the screen and one text line long. Eight of these can fit on a single menu page.

Six characters of the 8 char name are presented on the display to the left of the graphic. The menu statement is not used. Refer to the Modules Section for complete information.

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Knob module

The knob module is the most popular interface module (in factory programs). It generates a 20-character text string, including a very versatile numerical display from the menu statement. Eight of these can fit on a single menu page.

The 8 char name is used only if this module’s userobject output is connected directly to the head module. Normally its userobject will be connected a menupage module. Refer to the Modules Section for complete information.

Percentknob Module

The percentknob module is very similar to the knob module. The only difference is that the control output value is divided by

100. Refer to the Modules Section for complete information.

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Programmer’s Manual

Tapknob Module

The tapknob module is a modification of the standard knob module. Just like the knob module, the menu statement is used to create the 20-character text display. However, instead of using the %f format, the %s format is used. The tapknob module creates an 8-character numeric result that is inserted in place of the %s.

The tapknob module creates a tapered (non-linear) control that has a “selectable” number of

steps (instead of the usual resolution parameter) and a

“selectable” taper waveform. The greater the taper specifier, the more non-linear the parameter response. Refer to the Modules Section for complete information.

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Rfader Module

The rfader module creates a graphic on the screen. The graphic, including title, takes up four lines of the screen and one quarter of the width of the screen. Up to four of these modules can fit on one menu page.

Nine characters of the menu statement are displayed above the graphic as a title. Refer to the Modules Section for complete information.

Vfader Module

The vfader module creates a graphic on the PARAMETER screen. The graphic, including title, takes up four lines of the screen and one sixth of the width of the screen. Up to six of these modules can fit on one menu page.

Six characters of the 8 char name are displayed in the graphic as a title. Refer to the Modules Section for complete information.

PARAMETER

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Textknob Module

The textknob module creates a multiple choice selection in a single line by half screen width area of a

PARAMETER area menu page.

The choices appear in place of the %s in the menu statement. The only used if the module’s userobject is connected to the head module. The control output reflects which selection is made. If the 1st selection is made the output will equal 0. If the 3rd selection is made, the output value will equal 2.

8 char name is

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Programmer’s Manual

ONTROL SIGNAL MONITORS

Just as “parameter adjuster” modules are used to generate control signals and are displayed as parameters in

PARAMETER area menu pages, control signal monitor modules monitor the value of control signals and may

be displayed on those same menu pages.

Graphical Control Signal Monitors

There are five different monitor modules. Three of these, the hmonitor, meter, and vmonitor modules, produce graphical displays. The screen to the right (taken from the program

Interface Modul es

graphical monitors

from the “

(among others).

Programming

” bank) shows the three

• Each of the graphical

control signal monitor modules has a control signal input and four

specifiers: minimum, maximum, name and tag.

minimum sets the lowest value that may be indicated by the monitor.

• maximum sets the highest value that may be indicated by the monitor.

• For vmonitor and hmon, the tag specifier is used to generate the text for the monitor.

• For meter, the name specifier is used to generate the text for the monitor.

• The text fields of the monitors may include %f format numeric displays

information)

(to convey numerical as well as graphical

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All three graphical monitors will indicate when the control input’s value falls above or below the range set by the minimum and



maximum specifiers.

11 on the “knob for mons” module in the

(The screen to the right was made by changing the max value to

Interface Modul es

program.)

The vmonitor module creates a graphic that is one sixth of a screen width and four lines high. The hmonitor module creates a graphic that is one half of a screen width and one line high. The meter

module creates a graphic that is one quarter of a screen width and four lines high.

Form over function. . .

Textual Control Signal Monitors

The monitor and tmonitor modules use text to display their control input values.

The monitor module is a mirror image of the knob module; it displays the decimal value of its control input. The format for the display is set using the text and %f format described earlier (page ).

The tmonitor module is a mirror image of the textknob module. It uses the control input to determine which of several text strings will be shown. A control input value of 0 chooses chooses

text1, a value of 3 text4 and so on.

Both the textual monitor modules create displays that are half of a screen width and one line long.

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Menupages and Parameter Placement

The use of menupage modules to create menu pages in the

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PARAMETER area is crucial for creating easy to use programs. This

section discusses many of the fine points of menu creation. There are several important points regarding

PARAMETER area menu pages

and their construction in VSigfile:

• Unconnected userobject inputs have no effect on the way things look in the

PARAMETER area.

• Any userobject output that is connected to the head module creates a SOFT KEY.

The order that a userobject is connected to the head module determines what location the appear in the the fifth

PARAMETER menu. The first userobject output gets the first SOFT KEY. The fifth userobject gets

SOFT KEY and so on.

• The order that a userobject is connected to a

menupage module determines where on a

PARAMETER area menu page it will

appear.

Objects are placed on a menu in upper left to lower right order, as listed in the menupage module.

SOFT KEY will

If a module’s PARAMETER area graphic is too large to appear on a menu page with other modules’ graphics, it is placed on a later menu page in a menu stack, thus creating a

KEY

stack.

SOFT

• menupage modules may be connected to other menupage modules! A menupage userobject output is the

same as any other module’s userobject output, except that a menupage userobject output is always big enough to warrant being placed on its own menu page or pages in the

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PARAMETER area.

Programmer’s Manual

• A userobject output may be connected to multiple userobject inputs. This means a single module’s userobject



output can show up in several menu pages in the

shown more than once on a single

menu page, the second instance might not be updated when the first instance’s value changes and vice versa.

PARAMETER area. Note: If an module’s PARAMETER area graphic is

Parameter Placement on a Menu Page

Menu page design may be highly individualized. The “look and feel” of a menu page is important if a program is complex or if there are displayed reactions to adjustments that must be viewed and understood quickly. For instance, if a program uses a meter monitor to display the signal level in a given frequency range while a knob parameter gives adjustment of the compression level in that frequency range, it is important to have the knob parameter and the meter monitor on the same menu page. It may also be possible to show the relationship between a fader parameter and a meter monitor by placing them on the same menu page. This kind of “look and feel” control is performed through the connection of userobject outputs to menupage modules.

This section goes through a tutorial to show:

• Parameters are presented on a menu page in the

PARAMETER area in the order their userobjects are

connected to a menupage module, with placement beginning in the upper left corner of the screen and proceeding to lower right corner of the screen.

• Modules that produce parameters with simple text take up one eighth of the screen

. Modules that produce parameters with

module)

(exception is the textblock

graphics take up some other portion of the screen. The order that modules are connected to the menupage module may cause the parameters to be placed poorly, allowing only a few parameters to appear on a screen where better placement might have allowed more.

Placing a Vfader, a Meter, and Four Knob Modul es

It is possible to build a good looking menu page using six modules connected to a menupage module. The order of their connection to the menupage module is important. The display to the right shows a typical arrangement of the six modules, taken from the program “

Programming” bank.

Placement Demo found in the

To achieve this arrangement, the modules’ userobject outputs must be connected to the menupage module in exactly the order shown to the right:

1. main fader-obj

2. left low knob-obj

3. left high knob-obj

4. right low knob-obj

5. right high knob-obj

6. meter-obj

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If the userobject outputs are connected in a different order, the menu page items might not only look bad but might not all fit on the same menu page. For instance, connecting the userobject outputs in this order:

1. main fader-obj

2. left low knob-obj

3. left high knob-obj

4. meter-obj

5. right low knob-obj

6. right high knob-obj

results in two menu pages

(accessible via a stacked SOFT KEY)!

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Programmer’s Manual

Since parameters are always placed from upper left to lower right, top to bottom, once the meter monitor is placed, (not fitting below the left highs parameter) there is no more room below the meter or to the right of the meter on the first menu page. Therefore, a new menu page is created for the latter two knob parameters.

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TUTORIAL 2 -PRETTY IN DEPTH

OK, now you’ve got just about all the tricks at hand. It’s time to build a serious program, complete with custom menu pages. We’ll build a dual flanger with a changeable rate, depth, feedback, and waveform. Flangers work by modulating a short delay and then recombining that signal with the original signal. The interference that results from the recombination produces that classic “whooshing” effect.

Recall our three “cornerstones” of program construction:

1. We must connect appropriate modules to achieve a desired, overall audio effect.

2. We must control the parameters of the modules in a program so that the desired audio effect is

achieved.

3. We must make some of the parameters available in the PARAMETER area so that the user can “tweak” the program to fit a particular situation.

We’ll clearly tackle “cornerstone one” first. We’ll then tackle “two” and “three” at the same time because they’re quite intertwined.

The audio modules we will need for a single channel of our flanger are as follows:

mix module to mix back part of our modulating delay’s output to produce “feedback." microdelay module to modulate the signal. LFO module to modulate the microdelay module’s delay time. mixer module to combine the modulated signal with the original signal.

Go ahead and add these modules and connect them as shown above. The mix module and the mixer module are both found in the “Mixer” group. The microdelay module is found in the “Delay” group. The LFO module is found in the “Oscillator” group. Remember to add a repeating field to the mixer module by clicking on the first input and then selecting the Add Repeating Field command under the Edit menu.

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To keep things straight, let’s rename these modules. Remember to tack a “1” on at the end of each name. That way their names will Copy appropriately when we Copy these modules for the second channel.

Now double click on the “modulator 1” module and change the max delay specifier to 50 milliseconds. A 50ms modulation is more than sufficient for a flanger. Also, set its delayamt control input to “0.1." Doing so will ensure that the delay time is never modulated to zero milliseconds, a situation that can result in audible clicks and pops. Now we’ve accomplished “cornerstone one." The audio is set (for channel one, anyway).

This is a good time to make sure the flanger works as you expect it to. Connect the userobject



outputs from these four modules to the head module

(adding repeating fields as necessary) and then

select the Send command under the Midi menu to upload the program to the Harmonizer.

Depending on the order of your connections, you’ll see something like the screen to the right in the Harmonizer. To get the flanger working, you’ll need to set atten1 on the [feedback] menu page to

, moddelay on the [modulato] menu page to 5.0 ms, and

freq on the [waveform] menu page to 0.250 Hz. Try it out.

1.00, delay on the [modulato] menu page to 0.1

Assuming it works and you’re not cursing this page, you’ll want to choose the Update params command under the Midi menu to “grab” the parameter changes you made in the Harmonizer. Now let’s concentrate on controlling the parameters of this program.

We’re going to create a menu page that utilizes “parameter adjusters." To create a cool, usable flanger, we’ll need six “parameter” adjusters and one monitor per channel

“sneak peek” at what we’ll have when we’re done)

• We’ll need a “

Strength” parameter that adjusts the length of

(to the right is a

the delay modulation.

• We’ll need a “Feedback” parameter that controls how much of the delay’s output is reapplied to its input. This will actually control the level of the mix module’s second input.

• We’ll need a “Depth” parameter that controls how much of the modulated signal is recombined with the original signal. This will actually control the level of the mixer module’s second input.

• We’ll need a “Rate” parameter that controls the rate of the LFO module.

• We’ll need a “

Wave” parameter that selects the LFO module’s waveshape.

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Programmer’s Manual

• We’ll need a “Duty” parameter that controls the duty cycle of the LFO module’s waveshape.

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• Finally, we’ll want (though we don’t need) a “

Sweep” monitor that monitors the output of the LFO

module.

We’ll hook each one of these up and then use the VSigfile Specifier Display window to set all of the various specifiers correctly.

Strength

The first “parameter adjuster” we’ll want to add is a knob module

(from the “Interface” group). Go ahead and

add it, and connect it to the microdelay module as shown. Then double click on it to enter the VSigfile Specifier Display window. To the right is how we’d like to set everything and here’s why:

• We set the module’s name to reflect its purpose. Adding the “1” at the end ensures that when we copy this module later, the copied version is incremented properly.

• The menu statement is what will appear on the menu page. We write “4.1” because we want the value to take up four spaces no matter how many digits there are and because we want only one decimal point of precision.

• Because this knob module will be connected to a menupage module and not to the head module directly, the 8 char name is left blank (it would serve as the

SOFT KEY title if the module were connected directly to the head module).

• The min is set at zero corresponding to no modulation at all.

• The max is set at “49.9” because we set our maximum delay time to 50 milliseconds and we set the

delayamt to “0.1." We don’t want the user to specify a

Strength that is greater than what the

microdelay module is set up to deliver!

• We set the resolution to “0.1” so that a spin of the

Strength’s value.

KNOB results in a reasonable change in the

• We set the default value at “10” because 10 milliseconds is a pretty standard flanger strength.

Feedback

Add a percentknob module and connect its control output to

amp2 on the mix module. Then

double click on it. Change the specifiers as shown to the right.

• The mix module’s control inputs accept a value from -1 to +1

signal)

. Recall that the percentknob

(negative values invert the phase of the applied

module’s output will be 1/100th that of its displayed value. Thus we can display the feedback as a percentage and still get the appropriate fractional control output.

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• The “%%” in the menu statement is necessary to allow a single “%” symbol to appear on the

Harmonizer’s display. This is because “%” is a special symbol that tells the Harmonizer that numeric information is to be displayed in what follows. Thus, to tell it that you actually want to display a “%” symbol requires two.

Depth

Add a knob module and connect its control output to double click on it to alter its specifiers to match those shown to the right.

• The control inputs on the mixer module

Rate

Add a knob module and connect its control output to click on it to alter its specifiers to match those shown to the right.

• The

gain2 on the mixer module. Then

accept values from -100 to zero.

freq on the LFO module. Then double

freq control input on the LFO module

accepts a value between zero and 1000.

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Wave

Programmer’s Manual

Add a textknob module and connect its control

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output to

freq on the LFO module. Then double click

on it to alter its specifiers to match those shown to the right. Remember to add the correct number of repeating fields by first clicking on the cell under the “TEXTKNOB” column associated with the “value1

name." The

button appears, permitting you to add

repeating fields with abandon.

• The “value” row sets which value the module will default to. A value of 0 selects value1, a value of 1 selects value2, a value of 2 selects value3, a value of 3 selects value4, and so on. Here, a value of 1 selects value2, Tri.

• The waveshapes corresponding to each value can be found in the LFO module’s section in the Modules Section.

Duty

Add a percentknob module and connect its control output to

dutycycle on the LFO module. Then

double click on it. Change the specifiers as shown to the right.

• The

dutycycle control input on the LFO module

accepts an input value between zero and 1, but by using the percentknob module we can display a value between zero and 100. The choice is purely aesthetic. We could have just as well used a normal knob module and set its min and max to “0” and “1."

Sweep

Arranging a Sweep monitor is a little more involved than the above interface modules were. We want to monitor the mod

output of the LFO

module, but all of the monitor modules have only control

inputs. Of course we can’t directly connect a mod output to a control input! Fortunately there exist a few “bridge” modules that convert audio/mod signals to control signals and vice versa. Go ahead and add an a_to_c module from the “Bridge” group and an hmonitor module from the “Interface” group. Connect them as shown above.

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Double click on the hmonitor monitor and change the specifiers as shown to the right.

• Audio and mod signals range from -1 to +1. In this case, the LFO’s output is only varying from zero to +1 and so we set the minimum and maximum on the monitor accordingly.

Constructing the Menu Page

OK, the hard stuff is over. All of the elements are there, we just need to place them on a menu page. To the right is a sneak peak at what we will end up with. Notice that the parameters on the

right side of the menu page pertain to the modulation rate and shape, while the parameters on the left side of the menu page pertain to everything else. This is a good, functional arrangement.

Add a menupage module from the “Interface” group and connect its userobject output to the head module. Then double click on the menupage module and change the specifiers as shown to the right.

• The description “Ch 1 Flanger” will be displayed in the upper right corner of the Harmonizer’s display.

• The 8 char name will be used on the menu page’s

Now we’re ready to connect the userobject outputs from the various “parameter adjusters” to the menupage module. The order that we connect them is the order they will appear on the menu page. We’ll connect them in the order shown to the right:

1. strgth knob 1

2. feedback knob 1

3. depth knob 1

4. rate knob 1

5. wave select 1

6. duty knob 1

7. sweep mon 1

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SOFT KEY.

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The Harmonizer

Select the Send command under the Midi menu to upload the program to the Harmonizer. You should see a screen like that to the right. If you’ve made any errors back and fix things up.

Notice that our “three parameters on the left side and four parameters on the right side” idea has been shot! This is because the menupage module “robotically” places “parameter adjusters” in the order they are connected. What we really need to do is connect a “space saver” to the fourth userobject input. Add a knob module and leave its menu statement blank. Then connect its userobject output to the third userobject input while holding down the Ctrl key on the keyboard. This will connect the “space saver” to userobject input four

Upload the program to the Harmonizer. Things should look pretty good now. . .

Creating the second channel of this dual flanger is easy now that we have the first channel up and running. Just select all of the modules on the page, and then Copy and Paste them

paste file with head into existing file." simply select all of the modules by clicking on each one while holding down the “Shift” key on the keyboard)

of the new modules except for the menupage module will be named appropriately because we stuck “1”s on the ends of our original module names. Move the new modules in such a way that the screen is somewhat understandable.

Double click on the new menupage module and alter its specifiers as shown to the right.

Follow the instructions on the next page.

(a VERY common occurrence) go

(by adding a repeating field).

Programmer’s Manual

(if you have trouble pasting becaus e “you cannot

. All

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Connect:

• DSP input 2 to inputs 1 on both the second mix module and the second mixer module.

• The output of the second mixer module to DSP output 2.

• The userobject output of “ch2 menu” to userobject input 2 on the

head module (adding a repeating field if necessary).

As a final touch, select Set title,author under the Edit menu and name this program!

Upload the program to the Harmonizer and flange away. . .

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Programmer’s Manual

If you wanted to make a quad mono flanger for your Orville, you’d need to add repeating fields to the DSP inputs and outputs and then copy and paste as we did above. If you wanted to create a stereo (as opposed to dual) flanger, you’d need to use two sets of audio processing modules “control adjusters” connected to both sets of audio processors

You’ll find that our creation of a two channel flanger could have been facilitated somewhat by using “Supermodule” functions. You’ll read about Supermodules on page 57.

(you’d probably only want to use one LFO module as well).

(like we already have) but only one set of

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The Harmonizer

INTER-DSP COMMUNICATION FOR ORVILLE

DSP7000 users should move ahead - this is for Orville only.

Control signals can be sent from one DSP to the other in Orville! The c_bridge module accepts four control signal inputs. Control signal outputs that are connected to these inputs appear at the other DSP’s “global control outputs” and at the control outputs of a c_bridge module in the other DSP. A DSP’s global control outputs are the four blue squares on the left side of the screen.

For example, load the program Inter-DSP Send from the “

Programming” bank into DSP A. A knob module is

connected to the first input of a c_bridge module in as shown to the right.

Additionally, the knob module’s userobject output is connected to the head module so that the knob module’s parameter shows up in the

Now load the program Inter-DSP Recei ve from the “

Programming” bank into DSP B. A monitor module is

connected to global control output 1.

Additionally, the monitor module’s userobject output is connected to the head module so that it shows up in the

PARAMETER area as shown to the right.

You can see for yourself that changing the Send Val ue in DSP A alters the Receive value in DSP B. Of course, you could add a c_bridge module in DSP B to send control signals to DSP A at the same time that DSP A is sending control signals to DSP B! This function can be used to write huge programs that span both DSPs.

PARAMETER area as shown to the right.

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A “Supermodule” is a module which is itself made up of other modules (possibly including supermodules) that is able to leap tall buildings in a single bound. It is a way of making complex functions, and then reusing them without being bothered by their tedious inner details. Supermodules can also be used when a construction requires the same functions on multiple channels (like our flanger above) - it is only necessary to get a single channel working satisfactorily, and then that channel can be converted to a supermodule and repeated easily. Be aware that different instances of a supermodule are different modules - changing one will not change the others. The

SuperMod menu contains supermodule related commands as follows: Combine Modules Converts the selected modules into a supermodule

Break Apart Converts a supermodule back into its constituent modules Create from File Loads an entire program from disk as a supermodule Save to File Saves a supermodule to disk as a program Add to Library Adds a supermodule to the dusk-resident library so it may be easily used in other

designs.

Rename Changes the TYPE name of the supermodule. Note that this can only be done to

supermodules -ordinary modules must live with the type name they were born with. Also allows various text substitutions to be done to the contents of the module.

Edit Opens another window, allowing the modules within a supermodule to be edited.

This is mainly used for seeing what a supermodule does and for easily hiding and revealing connections.

Hide Internals Hides all of the internal connections of a supermodule at a stroke.

Supermodules only exist in VSigfile then returned to VSigfile via the Get command, the Supermodule will no longer appear. In its place will be its constituent modules.

. If a program containing a Supermodule is Sent to the Harmonizer and

Programmer’s Manual

SUPERMODULES

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TUTORIAL 3 -USING SUPERMODULES

In this tutorial we’ll build a compressor, create a Supermodule from it, and use that Supermodule to generate a second channel.

• To start, begin a new file by pressing the

• Add a ducker module from the “Dynamics” group and name it

“Comp”

• Connect the ducker module’s

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(by double clicking on its name directly or by entering the VSigfile Specifier Display).

output to its sidechain input. output to DSP output 1.

button.

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Programmer’s Manual

Cool. Now we need to be able to control our compressor. We need some interface modules. If we open the VSigfile Specifier Display window of our ducker module we see that we have the option of up to five controls. In this case we will connect “parameter adjusters” to all five. Also found here are the limits of these control inputs. We’ll need this information along with the “units” involved (e.g. is the attack control in seconds or milliseconds?) when we set the min and max specifiers in our “parameter adjusters." Refer to the Modules Section for the units that each control input is cast in.

Add a knob module and connect its control



output to the ducker module’s

threshcntl

control input. Double click on it and change the specifiers to match those shown to the right. Notice that we’re not using the full range of the parameter as settings beyond the ones we’ve limited it to are quite “unphysical."

Now add four more knob modules. Connect and alter their specifiers

(in the VSigfile Specifier Display) as the table

below indicates: name menu statement min max resolution default

cratio Ratio : %3.0f:1 1 100 1 10 cgain Gain : %4.1f dB 0 24 0.1 12 cattack Attack: %6.3f Sec 0 10 0.001 0.003 cdecay Decay: %6.3f Sec 0 10 0.001 0.4000

connected to. . .

ratiocntl gaincntl attackcntl decaycntl

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Next, add a menupage module and connect the

userobject outputs of the five knob modules to its userobject inputs (adding repeating fields as necessary) as shown

to the right. Connect the menupage module’s userobject output to the head module.

Finally, double click on the menupage module and change its specifiers as shown to the right. Be sure to include the “ ^1” prior to the description and 8 char name. The significance of these will be discussed when we create a Supermodule. If we weren’t planning on creating a Supermodule, the “ ^1” would not be included.

Our single channel compressor is now fully functional. You can name it if you like (use the “Set

title,author” command under the Edit menu)

Harmonizer.

and Send it to the

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Now we’ll create a Supermodule! Select all the modules choose the Combine Modules command under the SuperMod menu. The Enter the name for the new SuperModule window should pop up. Type in the name “monocomp."

In the String Substitution fields, type a blank space in the Replacement column for “ ^1." A check mark will appear next to “ ^1” when you do. The substitution windows allows you to “globally” change text information for a Supermodule. In this case we do not want the “ ^1” to be part of our menu. Later we will substitute “L” and “R” to give a clear description of each menu when we employ them in a dual compressor.

If you think through things when creating Supermodules, the substitution feature will allow quick redefinitions of multiple menu and knob names. You can avoid much tedious editing later. Once the dialog box looks like the one to the right, press the OK button.

The VSigfile display should now look like the one shown to the right. Notice that all of its inputs and outputs are visible. Click on the Supermodule and then select the Hide Internals command under the SuperMod menu.

The VSigfile display should now look like the one shown to the right. At this time it would be a good idea to add this Supermodule to the “Library” module group so that it will always be immediately available to add to a file. Click on the Supermodule and then select the Add to Libr ary command under the SuperMod menu. Although you may edit the supermodule contents at any time testing and tweaking it prior to saving it to the LIBRARY.

(by clicking and dragging over all of them) and then

(using the Edit command under the SuperMod menu), we suggest

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Now we will create a two channel version of our compressor. If you did in fact add the monocomp Supermodule to the “Library” module group, then you may simply add a second instance of the Supermodule as you would a normal module Alternatively, you may highlight the monocomp Supermodule, Copy, and Paste. Connect the new monocomp Supermodule’s audio input to DSP in 2, its audio output to DSP out 2, and its userobject output to the head module’s userobject input 2

We will now highlight each Supermodule in turn and select Rename under the SuperMod menu. In the Replacement field enter “L ” and “R ” respectively.

Send the file to the Harmonizer and enjoy your dual compressor!

(by selecting the “Add Module” command under the Edit menu).

(adding a repeating field).

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As you’d expect, you can save and load the programs you create (or Get) to and from your computer. In this context, the programs are called “files." You can also print out a picture of your program. All of these functions are accessed under the File menu.

• The New command creates an “empty” file. Use this command to start creating a new program or just before you Get a program from the

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FILE FUNCTIONS

Harmonizer. The

• The Open command opens an existing file. The dialog box shown to the right allows you to select a file to open from among the various drives and folders in

your computer. The button does the same thing.

• The Save command saves the program in the active window and overwrites its previous version. The

button does the same thing.

• The Save As command opens a dialog box similar to the File Open dialog box above. You can select from among the various drives and folders in your computer to save the program in the active window. You can also create or change the name of the file.

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• The Print command prints opens the dialog box shown to the right. The top section allows you to scale the size of the image to fit on a given number of pages. If more than one page is selected, you can overlap their edges by a given amount. The bottom section allows you to “hide” audio (Signals), control, or userobject (Misc) connections, inputs, and outputs. Once you’re satisfied with these settings, press the Print button to print or the Cancel button to abort.

• The Print Preview command calls up the exact same dialog box that the Print command calls up. Once you select the Scaling and Show options you would like to view, press the Print button to call up the Print Preview window.

• The Print Setup command calls up the dialog box shown to the right. Here you can select the printer, paper, and orientation for your VSigfile print jobs.

• The section of the File menu below the print section contains links to the last four opened files for quick access.

• The Exit command closes the VSigfile program entirely.

Programmer’s Manual

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“ .sig” Files versus “ .sif” Files

Two file formats are recognized by VSigfile. You will normally want to save all of your files with the “ *.sif” extension, but it may be useful to know why both exist.

• The “Sig” file format is the format recognized by the Harmonizer. When files are transferred to or from

the Harmonizer, they are transferred in the “Sig” format

Midi menu, the file that results has the “Sig” extension)

• “Sig” files are saved as ASCII text. If you want to look at a VSigfile file in a text editor, the “Sig”

extension is the one to use. But be warned, saving files with the “Sig” extension may result in a loss of some display information. In other words, the program may not look the same in VSigfile when you reopen it, although it will still function the same when sent to the Harmonizer.

• To view files in their “Sig” format, select the as Sigfile command under the View menu.

• The “Sif” file format on the other hand, does save all of the display information. It’s the format you’ll

normally want to use.

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(you may have noticed that when you use the Get command under the

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Programmer’s Manual

PATCH EDITOR

GET COMFORTABLE BY DOING

Let’s make a patch, OK? That way you’ll get a feel for how the Patch editor works, and you’ll have a much better understanding of things when you read about the details later.

The patch we're going to make will be an audio compressor. A compressor reduces the audio gain when louder signals are input. The compressor we will build is constructed from a single “ducker” module. Here is an excerpt from the Modules Section of this manual describing the module:

The ducker module is the basic building block for most dynamics control patches. It is essentially a dynamic range compressor with separate inputs for the signal whose gain is to be processed and for the detection (sidechain) input.

By connecting sidechain to the output, a basic compressor is built. By connecting a dry signal to the sidechain and a processed signal to the input, the processed signal can be ducked (have its gain reduced) during louder passages of audio.

Ducking is often used by radio talk show hosts such that the host’s audio overrides the guest or telephone caller. Each time the host talks the caller’s audio is dropped down such that the host’s audio is much louder. If the host talks loudly, the caller’s audio disappears altogether.

Since we’ll be using the ducker module as a compressor, we’ll loop the output audio back to the

sidechain input. Try the following tutorial out on your Harmonizer:

To start, go to the PROGRAM area and load the Thru’ program



from the

Programming bank.

Next, go to the Patch Editor area by pressing and holding the

PARAMETER key. We're looking at an empty slate. The only

things we see are the IN and the OUT modules, which exist in every patch. The IN module is where audio signals come into your program, and the OUT module is where audio signals exit your program. In its current configuration, the DSP running

Thru’

should be passing audio unchanged, just as the patch display shows.

To start creating the compressor, insert a ducker module. Press

<insert> SOFT KEY. You will get a list of things to insert.

the We want a ducker, which is in the “Dynamic” group of modules.

You can either turn the

KNOB until you see the little arrow pointing to ducker, or you can save a little

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time by scrolling through groups first. To do the latter, press the name is highlighted, and then turn the

KNOB until you see the “Dynamic” group.

Programmer’s Manual

LEFT CURSOR key so that the group



Press the and press the program. It's the little box marked

RIGHT CURSOR key twice to highlight the ducker

SELECT key. A ducker will appear in your

dck.

Note that the IN and OUT modules are still connected to each other, just as they were. Audio is still passing through the DSP running

Thru unchanged!

Now we need to make a compressor from the ducker. Press the

<connect> SOFT KEY.

The upper left-hand side of the display now asks you what you want to connect. The upper right-hand side of the display gives the name of the currently selected output. The center of the display shows the currently selected output as a highlighted little line inside the module’s box. You can choose to connect a different output instead by pressing the or

LEFT CURSOR key or by turning the KNOB. Right now we want to connect the ducker’s output,

which is the currently selected output. So just press the

SELECT key.

RIGHT

Notice that the output we selected is still identified by a little line inside its module box, but the box itself is not highlighted. The little line tells us what we're connecting from. The editor is now asking what input we would like our previously selected output connected to. The currently selected input is shown as a highlighted little line inside the OUT module. Rotate the select the ducker's

sidechain input. As you move the highlighted little line between available inputs,

KNOB (or use the LEFT or RIGHT CURSOR key) to

the upper right-hand side of the display will show the currently selected input and the name of the module it resides on.

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Programmer’s Manual

The display to the right shows the ducker highlighted, with its



output selected and its sidechain input ready to be selected.

Press the

SELECT key.

There you have it. There’s a wire connecting the ducker’s

output to its sidechain input.

Now let’s connect the ducker’s Press the twice. The ducker’s

<connect> SOFT KEY and then the LEFT CURSOR key

main input should be highlighted as

main input to the IN module.

shown to the right.

Press the

input

ducker’s

module’s

SELECT key to actually select the ducker’s main

. Now we need to select something to connect the

main input to. As luck would have it, the IN

input 1 is the currently selected candidate.

Press the

SELECT key to complete the connection.

The last thing we need to do is connect the OUT module to the ducker so that we can hear what the compressor sounds like.

Press the <connect> SOFT KEY and then the SELECT key to select the ducker’s that to the OUT’s

output. Press the SELECT key again to connect

output 1.

Now the compressor will be heard on the first “channel” of the DSP running the program, while the remaining three “channels” go uncompressed. Press and hold the PARAMETER key to see the ducker module’s menu page.

Now that you’re somewhat familiar with the mechanics of inserting and hooking modules up, let’s move on to something a little more comprehensive.

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The IN and OUT “Modules”

In the simplest of conceivable programs, the IN module’s

outputs are connected directly to the OUT module’s inputs

(this is the modules are inserted in-between the IN and OUT modules. The IN and OUT modules always remain as part of the program.

Thru’ program in bank 0). Normally, other, optional

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Orville

DSP7000

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Programmer’s Manual

THE PATCH EDITOR AREA DISPLAY

When the PARAMETER key is pressed and held, the Harmonizer presents a Patch Editor area display of the current program along



with a selection of

SOFT KEYS. This is the default Patch Editor

area screen. Unlike the other areas in the Harmonizer, the top line of the screen is used for “special purposes."

The left half of the top line is used as a question field when the

<connect> or <unplug> SOFT KEY is used.

The right half of the top line shows the name of the currently selected module (except during

operations when it shows the currently selected input or output).

A block diagram of the program takes up most of the display. As mentioned before, a program consists of a series of modules. Each module is shown on the display as a block with lines indicating its inputs and outputs. Inputs are on the left side of a module while outputs are on the right side. Each module is shown with a threecharacter (or less) abbreviation of its function name.

→ See the Modules Section for a list o f all modules .

The example screen to the right shows four modules and is shown in the default “audio only” mode. This means that the only modules and signals shown are audio paths and modules that work with audio. The modules shown in the example are:

IN audio from the DSP’s four inputs (only one is being used) mix a two-input mixer mdl “modulateable” delay OUT audio to the DSP’s four outputs

As shown, the IN module’s mixer

input of the delay. The delay output may be seen to drive five module inputs: the mixer input

input comes from the output of the “modulateable” delay. The mixer feeds the

and all four of the OUT module’s

output 1 is connected to one of the inputs of the mixer. The other

inputs.

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Front Panel Controls

There are several controls used to manipulate the Patch display.

Knob

In many programs, the patch diagram will be larger than the screen. In such a case, the screen will display only part of the



program. The

KNOB may be used to shift the screen. A

complicated program will move more slowly across the screen as

KNOB is rotated. This is due to the processing required for the Harmonizer to draw the picture of the

the program. If the

KNOB is rotated very fast, the screen immediately jumps to the end of the program. The screen will not

KNOB is rotated faster than the screen moves, the screen will jump to catch up. If the

“wrap around” to the other end of the program.

Cursor Keys

LEFT and RIGHT CURSOR keys are used to highlight (select)

The modules. When you first enter the Patch Editor area, the IN module is highlighted. As shown on the example screen to the right, pushing the

RIGHT CURSOR key causes the mix module to

be highlighted. The name of the selected module is shown in the top right line of the display.

PARAMETER key

The

PARAMETER key is used to toggle between sets of SOFT

. Tapping the PARAMETER key on the screen to the right

KEYS

would give you access to. . .

. . .these

PARAMETER key. If you hold it down, you will exit the Patch

Editor area and return to the

→ To adjust the “hold time." key hold par ameter on the [misc] menu page in the SETUP area.

SOFT KEYS. Notice that you need only tap the

PARAMETER area.

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The Patch Editor Area

SOFT KEY Functions

In the Patch Editor area, there are seven SOFT KEY functions.

<insert> and <delete> add and remove modules from a

program. signal connection.

KNOB moves the display. <aud-only> changes the display

<connect> and <unplug> add, remove, or change a

<scroll> changes the direction that the

mode to show audio and control lines instead of just audio lines or to show menupage modules. <modify> makes changes to internal module details and userobject information. Let’s take a closer look at the functions of all these

SOFT KEYS.

Scroll Direction

<scroll> SOFT KEY selects the direction of motion that the

The

KNOB causes. This is useful if the program you are editing has so

many signals that they dip below the level of the screen. . .

. . .or if one or more modules have enough inputs that they are taller than the screen. Here, the

qmx module has inputs that exist

“below” this screen.

<scroll> SOFT KEY changes to reflect current scroll mode,

The allowing you to scroll either horizontally or vertically.

The screen will not move if there is no off-screen information in the direction that you are spinning the KNOB. Thus, in the case of a simple program such as the one shown to the right, selecting scroll motion up and down and then rotating the

KNOB will cause

no change.

Display Mode

It is quite possible to construct a complex program without using control signals. Eventually however, you’ll want to create custom

PARAMETER area menu pages. This is accomplished by using knob modules,

fader modules, and other interface modules that use control signals. Most of the factory presets that

come with the Harmonizer were created using these modules. One of the consequences of using interface modules is that there are usually more control signals than audio signals. As a result, what might have been a fairly “viewable” “patch” in terms of its audio signals becomes quite complex in terms of its control signals. To allow the patch to be viewed in a simplified manner, a feature exists that excludes control signals from the Patch Editor area display. Furthermore, modules that have no audio signals (this includes knobs, faders, etc.) are not shown in the the editor; they will show up in the

aud only view. Note that mod signals are treated like audio signals by

aud only view.

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The right-most

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SOFT KEY provides display mode control. When

Programmer’s Manual

this key is pressed, the display mode will change to the next mode in this order:

aud+ctrl, etc. The right-most SOFT KEY’s label will change to

aud only, aud+ctrl, ctrlonly, misc, au d only,

indicate the current mode. Upon entering the Patch Editor area, the right-most

SOFT KEY is in the aud only mode, and only the audio path is visible. Control signals (and

modules that contain only control inputs or outputs) are hidden. Note: most modules that have audio inputs or outputs also have control inputs or outputs. The following images are composite pictures of a simple program in all 4 display modes.

<aud+ctrl>

<misc>

By comparing these different pictures, we can determine which of the wires in the audio signals and which carry control signals. The

misc display mode will be discussed later.

aud+ctrl picture carry

Connect Modules

Pressing the <connect> SOFT KEY starts a process that will connect a module output to a suitable input. The Patch Editor will prompt for a starting input or output and then will prompt for a complementary destination. The Patch Editor automatically limits the available destinations to legal selections. For example, if a connection is started from a control input, only control outputs will be offered. Similarly, if a connection is started from a mod output, only audio/mod inputs will be offered. To abort a connect, press the PATCH key.

To illustrate, load the program “

Programming” bank. This program consists of a pair of

Patch Instruct from the

delay modules, connected in series between DSP input 1 and DSP output 1. The remaining DSP inputs and outputs are “hardwired” one to the other. Press and hold

the PARAMETER

key to see what this “patch” looks like. As you can see, there are two delay modules.

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If you press the <aud only> SOFT KEY to go to the aud+ctrl display mode, you'll see the knobs and monitor that make the



Each delay and Delay Amount parameters shown in the PARAMETER area work. Notice the mul module. That's a

c_multiply module. It is multiplying the control signal from the knob ( amount

(in this case 2 -but you can’t see it in this display) and feeding the result to the monitor (mon) module.

knb) module by a constant

Go back to the

key)

to see how these modules and their connections in the Patch

PARAMETER area (by pressing and holding the PARAMETER

Editor area translate into parameters on a menu page. The monitor module creates the parameter Delay Amount that shows the actual delay, while the knob creates the parameter

delay

that sets the delay for each of the delay modules.

Each

For the sake of demonstration, we'll use the <connect> SOFT KEY to rearrange the delay (dly) modules such that one is in “channel” 1 and the other is in “channel” 2, thus delaying each “channel” by up to 10 seconds (10,000mS).

(Hey! Ya gotta crawl before you can run, OK?)

Press the PROGRAM key and reload Patch Instruct. After the program is loaded, press and hold the

PARAMETER key to re-enter the Patch Editor area.

Press the <aud only> SOFT KEY to get the screen shown to the right.

Now press the

<connect> SOFT KEY. The Harmonizer will

prompt for something to connect.

Using the

CURSOR keys, select the output of the leftmost dly

module. You'll know you have the correct output when the upper right of the display reads first delay-out. When the screen looks like the one shown to the right, press the

SELECT key.

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As this is an audio output, the screen mode will automatically



change to

aud only mode. Because you have selected an output,

the screen will now prompt you for an input to connect to. The Patch Editor will automatically choose a valid audio input for you to connect to as shown to the right. Note that the Patch Editor’s choice may not be your choice! Use the

LEFT and RIGHT CURSOR keys and the KNOB to experiment with what exactly can be selected.

Although the <aud only> SOFT KEY is presented, pressing it in this case will not allow connections to anything that isn't an audio or mod input. This is because we’ve already selected an audio output, and you can’t connect an audio output to anything but an audio or mod input. Feel free to press the

<aud only> SOFT KEY,

and you’ll see what we mean.

After you’ve experimented, set the screen mode back to

, select out1 on the OUT module, and press the SELECT key.

only

aud

The current program now has a single delay module between

in1 and OUT:out1, a delay module that has an input but

IN:

no output, and straight paths between the remaining DSP “channels." Note that the signal that was previously connected to

OUT:

out1 has been automatically disconnected. See Notes

below. You should now be able to connect IN:

delay:

in. Then connect second delay:out to OUT:out2.

in2 to second

The screen to the right is what you should end up with. This “patch” has a delay module in each “channel” of audio.

As an exercise, you could go to

knb) to mon-in (as shown to the right). That would make the Delay Amount parameter in the PARAMETER

(

ctrlonly screen mode and bypass the mul module by connecting the knob

area show the correct delay value.

Notes on

Although it is possible to connect a single output to multiple inputs, it is not possible to connect two signals to a single input. If an attempt is made to connect a signal to an input that is already in use, the new signal will replace the old. To connect multiple audio signals to one input, a mixer or adder module could be used to combine the audio signals. For control signals, a c_adder module could be used.

Breaking a Connection

<unplug> SOFT KEY removes a single connection between two modules. To break a connection, press

The the

<unplug> SOFT KEY, then use the CURSOR keys and the KNOB to choose which input to disconnect.

<unplug> SOFT KEY will not allow a disconnect to be specified by output because outputs may be

The

connected to more than one input.

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Example: To break the connection between the two delay modules in the program Patch Instruct from



the “

Programming” bank, first load the program. Then press and hold the PARAMETER key to enter the

Patch Editor area.

After the display updates, briefly press the to reveal the alternative set of

SOFT KEYS.

PARAMETER key again

Press the <unplug> SOFT KEY

Use the LEFT CURSOR key to select the input for the second delay module.

Press the SELECT key.

That’s it. You’ve “unplugged” the input to the delay module.

Note that the aud only/aud+ctrl/ctrlonly/misc SOFT KEY is active to aid in selecting a module and input to be unplugged. Changing the display mode does not deselect the currently selected input. The upper right corner of the screen will indicate the currently selected input, regardless of the display mode.

Inserting Modules

The <insert> SOFT KEY adds a new module to the “patch." The new module will be inserted to the right of the currently selected module. Use the

RIGHT and LEFT CURSOR keys to select the

insertion point.

Note that modules do not, strictly speaking, have to be in any particular order because connections can run in either direction. However, the programmer should be aware that every instance of reverse signal flow will add a four sample delay to the process. In some casess, such as where a preset has multiple signal paths, such delays can cause objectionable "phasing," or other artefacts.

After you've chosen where to place a new module, press the the one given in the

PROGRAM area. Just as in the PROGRAM area, the top area shows the name of a

<insert> SOFT KEY. This display is a lot like

“group” (bank), and the field below lists the contents of that group. The difference is that here a group “contains” modules instead of programs

manual.

Please read the separate User’s Manual before proceeding!

. If you’re unfamiliar with how to load a program, you probably shouldn’t be reading this

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Most modules will create a menu page in the

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PARAMETER area

when they are inserted in the Patch Editor area. To demonstrate



this, first load the program Then press and hold

the PARAMETER key to enter the Patch

Long Mono Delay from Bank 2.

Editor area. Insert an eq module by pressing the <insert> SOFT KEY,

scrolling to the Filter group, and selecting

eq. Press the SELECT

key to actually insert the eq module.

Press and hold

PARAMETER area. Note that now there is a menu page and an

associated

the PARAMETER key to return to the

SOFT KEY for eq parameters.

Most, but not all, modules get their own

PARAMETER area menu keys automatically. If the inserted module

comes from any of the following groups, it will not show up automatically:

• Bridge

• Control Math

• Control Process

• Interface

• Math

• Miscellaneous

If a module does not create an “automatic” menu page in the created for it in the

PARAMETER area. This is a more advanced operation and is discussed in Chapter 3.

PARAMETER area upon insertion but does have parameters, a menu page can still be

Notes on

During the insert process, if you change your mind and decide not to insert anything yet, press the PARAMETER key to abort. That will put you back at the main edit menu without changing the patch.

Removing a module

The <delete> SOFT KEY removes a module from a program. Any signals connected to the deleted module are disconnected. Select a module to be deleted by highlighting it using the

CURSOR

keys. Here we’re choosing the second delay delay

LEFT and RIGHT

module.

Next, press the be sure that the

CURSOR

key (choosing OK) and then press the SELECT key.

<delete> SOFT KEY. The Harmonizer prompts to

<delete> is intentional. If it is, press the DOWN

In the example to the right, the OUT module now has an unconnected

output.

input and the first dly module has an unconnected

Modifying a module

The <modify> SOFT KEY is described in the next section.

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THE <MODIFY>

SOFT KEY

The <modify> SOFT KEY gives you the ability to directly change the “internals” of a module. This is necessary to create complex, highly customized programs. The

<modify> SOFT KEY works on one module

at a time and is needed to change the following:

• the module name

• specifiers

• connections between userobjects and userobject inputs

• control inputs that are not “patched” and that are not controlled via their userobject

Modifying a delay module

To use the <modify> SOFT KEY in the Patch Editor display, simply select the desired module using the

LEFT and RIGHT CURSOR

control keys. . .

. . .and then press the

<modify> menu, the display shows the current KNOB mode

(

select or adjust), the name of the module, the module type, and

<modify> SOFT KEY. On entry to the

the first three lines of module information.

<modify> menu scrolls and behaves much like things in the PROGRAM area do.

The

• To scroll through the data for the module use the

keys. If the can also use the

KNOB mode reads (select) (as shown to the right) you

KNOB to scroll through the data for the

CURSOR

module.

• To change any of the data in the module, first ensure that the

line of data you want to change is highlighted and that the

KNOB mode reads (adjust) (these two requirements are actually one in the

. You highlight a line by either pressing the RIGHT or

same)

DOWN CURSOR key OR by pressing the SELECT key.

• Once a line of data is highlighted, spin the

KNOB or use the

numeric keypad to adjust the data. A pop-up menu appears that prompts you to either press the

SELECT key or the ENT

key when you are satisfied with the change.

Below is a composite of the information for the first delay module in the

Patch Instruct program.

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The above example includes several details that are familiar and a few that aren’t. The following is a breakdown of each line.

KNOB Mode



KNOB mode reads (select), spinning the KNOB will scroll through the menu. If the KNOB mode

If the

(adjust), spinning the KNOB will adjust the data on the current line (the line with the little triangle next to it!).

reads

Module Name

The name of the module we are

<modify>ing!

Module Type

The type of module we are

<modify>ing!

Edit Module Name

This is the current name of the selected module. Selecting this line and pressing the name. After the name is changed, press the

SELECT key will allow you to change the

SELECT key to make

it “stick” . The Harmonizer will display a message indicating that “

Modifying...” and then “Loading new patch...” is taking place. If the <done> SOFT KEY is pressed

while the name is being edited, the name change will be lost and the display will return to the basic Patch Editor area display.

Specifier

This example (the delay module) has only one specifier. Some modules have many specifiers. To change the specifier, choose it and press the value with the numeric keypad or the key or the

Modifying...” and then “Loading new patch...” is taking place. If the change in specifiers makes the

“ program take up too much of any resource, the Harmonizer will display the “ and will reverse the change. To return to the any key other than

SELECT key. This will bring up a menu. Change the

KNOB. Press the SELECT

ENT key to save your alteration. The Harmonizer will display a message indicating that

Patch too big” error message

<modify> menu without changing the value of the specifier, press

SELECT or ENT.

Audio input

The delay module has one audio input. In this program, the

first delay module’s input is connected to adc-in1. That’s

“techie speak” for

in1 on the IN module.

You can change the output that connects to the current module’s input in the changed it to

<modify> menu if you so desire. Here we’ve

second delay-out.

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Returning to the basic Patch Editor area display (

delay module’s

output is indeed connected to the first delay module’s input.

Programmer’s Manual

by pressing the

<done>

SOFT KEY), we can see that the second

“Fine,” you say, “but it seems simpler to do stuff like that with the <connect> SOFT KEY.” A wise pupil are you. . .

Mode of 'Delayamt' Control Input

Every control input has two possible modes, “patched” and



“autoknob." If patched is selected

(as in the example to the right) the next

line of the menu will show the module and output connected to

this input

(

delay knob-out

in the example to the right). More on this below

under “Output Connected to ‘delayamt’ Control Input." . .

If “autoknob” is chosen the menu will show the “autoknob’s” statement along with the current value of the control input

delay: 101.00 ms

in the example to the right). More on this below under

(as in the example to the right), the next line of

PARAMETER area menu

(

first

“Autoknob." . .

Output connected to 'delayamt' control input

Since the mode of the delayamt control input is set to “patched” in the example shown to the right, the next line will show the module and output connected to this input. By selecting this line

(as shown to the right) and pressing the SELECT key, the

chosen module and output may be changed. But of course the standard method of re-patching control inputs is to use the

<connect> SOFT KEY in the basic Patch Editor area display.

Autoknob

If this particular module's

delayamt input is set to “autoknob."

the control input's value is adjustable. The prompt offered (in this case “first delay”) is the same prompt that would be offered if this module's userobject was displayed on a menu page in the

PARAMETER area (by connecting this module’s userobject to the head module). The prompt, also called a “menu

statement." is, in this case, the same as the module name. The text that is displayed is determined by the inherent properties of a particular module type (i.e. delay module) and may be different for other module types.

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Modifying Complex Modules

Some modules have specifiers that change the number of remaining specifiers in the module or the number of some other type of input or output on the module. Consider these two composite screen images:

The major difference between these two examples of the c_switch module is that the module on the left has its set to first inserted, the control inputs in the c_switch module has changed, basic Patch Editor area display will show a different icon for the module:

number inputs: specifier set to 1 whereas the module on the right has its number inputs: specifier

4. Since the c_switch module will always have its number inputs: specifier set to 1 when it is

<modify> menu must be used to enable more inputs. Note that since the number of



Programmer’s Manual

1 input c_switch:

4 input c_switch:

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INTER-DSP COMMUNICATION FOR ORVILLE

Control signals can be sent from one DSP to the other in Orville.

7000 family users should note that they only have a single DSP, so will probably want to skip this section.

The c_bridge module accepts four control signal inputs. Control signal outputs that are connected to these inputs appear at the other DSP’s “global control outputs” and at the control outputs of a c_bridge module in the other DSP. A DSP’s global control outputs are



located on the IN module as seen on the screen to the right (notice that we’re in

ctrlonly

display mode).

For example, load the program Inter-DSP Send from the “

Programming” bank into DSP A. A knob module is

connected to the first input of a c_bridge module in as shown to the right.

Additionally, the knob module’s userobject output is connected to the head module so that the knob module’s parameter shows up in the

PARAMETER area as shown to the right.

Now load the program “

Programming” bank into DSP B. A monitor module is

Inter-DSP Rec eive from the

connected to global control output 1.

Additionally, the monitor module’s userobject output is connected to the head module so that it shows up

PARAMETER area as shown to the right.

in the

You can see for yourself that changing the Send Value in DSP A alters the

<insert> a c_bridge module in DSP B to send control signals

Receive value in DSP B. Of course, you could

to DSP A at the same time that DSP A is sending control signals to DSP B!

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CREATING THE USER INTERFACE

The Patch Editor automatically creates PARAMETER area menu pages for most modules when they are inserted by connecting their userobjects to the head module. You can create a wealth of programs this way.



In the

PARAMETER area, parameters will automatically be grouped by module and SOFT KEYS will appear -

one per module. A program created this way will be fully functional and have all of the audio characteristics of a factory preset. Audio, however, is where the similarities end. A program created using the “automatic menu system” will not look as slick, nor be as easy to use, as the factory presets are. Factory presets are created by hand-connecting the userobjects of knob modules to menupage modules and then handconnecting the userobjects of those menupage modules to the head module. This chapter details how this is done.

Viewing Menupages and Menupage Modules

A menupage module has a single userobject and any number of userobject inputs. Normally a menupage module is connected to

the head module. If so, the menupage module shows up in

PARAMETER area as one or more pages of parameters, a title

the line, and a

SOFT KEY and the list of connected userobjects that comprise the parameters seen in the PARAMETER area

are accessible by using the program

SOFT KEY. The information for the title line and

<modify> SOFT KEY on the menupage module. For example, load the

Patch Instruct from the “Programming” bank.

The menu page shown above is visible in the knob module, a monitor module, and a textblock module

PARAMETER area. It is created with a menupage module, a

(we’ll see how in a minute).

Pressing and holding Editor area. Do so and then press the

the PARAMETER key will access the Patch

<aud only> SOFT KEY to

get the screen shown to the right. From this display the knob (knb) module and monitor (mon) module are visible. Both are visible in this display mode because they have one or more control inputs or outputs. The menupage and textblock modules have neither so they will only be visible in the

<aud+ctrl> SOFT KEY twice to view the program in the misc display mode.

misc display mode. Press the

The three modules, head (hed), menupage (mnu), and textblock (

RIGHT CURSOR key will select one of the modules. Select the

menupage module and then press the

txt) can now be seen. Pressing the LEFT or

<modify> SOFT KEY.

From here, we can see the description “delay control” and

8 char name “DelayCtl."

the

Note that these equate to the title and SOFT KEY when the menu page is viewed in the

PARAMETER area.

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

To the right is a composite of the would be seen by rotating the

<modify> menu data that

KNOB. The obj data lines indicate

which userobject outputs are connected to this menupage module’s userobject inputs. In this case, the userobjects of the module named “ and the module named “

delay knob." the module named “delay mon."

info” are all connected to this

menupage module’s userobject inputs. are included userobjects.

To the right is a diagram of what’s actually going on. As was mentioned before, the connections made between userobject outputs and userobject inputs are not shown as little lines in the Patch Editor area. The connections are implicit, much like the connections made between inputs and outputs when routing signal flow on the [analog], [dsp A], [dsp B], and [digital] menu pages in the

SETUP area of Orville.

As an exercise, use the should look like the one to the right. Rotate the

KNOB and RIGHT CURSOR key to select obj2. Press the SELECT key. The screen

KNOB left and

right to view available userobjects that can be connected to this userobject input. The possibilities are: adc-nullobj, delay knob-

, scalemult-obj, delay mon-obj, menu1-obj, and info-

obj obj

Just for the fun of it (and what fun it is!) select delay knob- obj. The screen should look like the one to the right, with

connected to both userobject input 1 and userobject input 2.

obj

delay knob-

Now return to the PARAMETER area by pressing the <done>

SOFT KEY and then pressing and holding the PARAMETER key.

You should see that indeed, the

Each Delay parameter is now

doubled on the menu page. Change one version and then highlight the second version; you’ll see that they are the same even if they do exhibit some peculiar behavior. You won’t normally have any reason to put the same parameter on the same menu page more than once! (But you may want to put the same parameter on different menu pages in the

same program so that it will be acc essible from more than one “place” in the p rogram.)

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Programmer’s Manual

Interface Modules

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ARAMETER ADJUSTERS

“Parameter adjuster” modules have a single control output and a userobject output. If connected to a menupage module, a “parameter adjuster” will show up on the menu page in the

PARAMETER area as a parameter.

For example, in the now infamous program shown to the right, the module named “

Patch Instru ct

delay knob” is a

“parameter adjuster."

Its userobject is connected to a menupage module. . .

. . .which is in turn connected to the head module.

Thus, the module named “delay knob” shows up in the

PARAMETER area as a parameter (Each Delay).

Selecting a parameter in the

KNOB will change the value of the “parameter adjuster’s” control

PARAMETER area and rotating the

output. The change will also be reflected in a textual or graphical display change. In this case, rotating the KNOB changes the Each

Delay

parameter in the PARAMETER area. . .

. . .and it changes the value sent from the “delay knob’s” control output into both

dly modules and the mul module (of course this

screen doesn’t show the change, but the value has changed nonetheless!) .

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The actual text used for a parameter and the way changes made to

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a parameter’s value in the output changes in the Patch Editor area are set up by

PARAMETER area translate to control

<modify>ing

the “parameter adjuster’s” module in the Patch Editor area.. This screen shown to the right is a composite picture of the <modify> menu for the knob module in the

• The module

• The

menu statement specifier is set to “Each

Delay:%2.0fms

page in the

menu statement shows up, the text “Each Delay: xxxxxms

name specifier is set to “delay knob."

” (the last ‘s’ is hidden). This means that on a menu

PARAMETER area where this knob module’s

” will show, where xxxxx actually reflects the value

that the parameter is set to. The “

Patch Instruct program.

%2.0f” part is described in

some detail later.

• The 8 char name is “Delay." The 8 char name is what would show up as a SOFT KEY if this module’s userobject were connected to the head module.

• The

min value specifier sets the minimum value that the parameter can be set to. max value specifier sets the maximum value that the parameter can be set to. resolution specifier sets the “jump” that the parameter value makes when the KNOB is rotated. In

other words, when the user rotates the

KNOB, the resolution is how far the parameter value changes

per incremental movement.

• The last line in the is an example of what the

<modify> menu shows “Each Delay:250ms” This is called the “example line." It

menu statement actually looks like when viewed in the PARAMETER area.

If the example line is selected, the parameter value can be set and the parameter will behave the same as it does when used in the

PARAMETER area.

Let’s look at these lines in more detail, shall we?

Menu Statement

The menu statement is a crucial specifier used in the basic knob module, which is the most common “parameter adjuster." The

menu statement may contain up to 20 characters including the parameter value. Anything over 20

The

menu statement is the line that will appear in PARAMETER area menu page.

characters will not be displayed.

The first job of the

menu statement is to indicate to the user what the parameter is for. It should also

contain the format for the parameter value that will be displayed, indicating the number of spaces that the parameter value will take up and how many digits will be after the decimal point for a numerical parameter value

(parameter values can be text as well, more on this later). You must specify this format bearing in mind the min

, the max value, and the resolution.

value

The syntax of the format is:

%Y.Xf

where decimal point. The percent(

Y is the number of spaces reserved for display and X is the maximum number of digits after the

%), period(.), and f must be used as shown. If the period(.) is removed, the

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Harmonizer will display six digits after the decimal point. Here are example formats and results that would

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be displayed on a menu page in the

PARAMETER area. “~” represents a space that will be inserted.

format for 1.2345 for 23456.0013 for .1234 for 1 for -55.234

%1.2f 1.23 23456.00 0.12 1.00 -55.23 %4.2f 1.23 23456.00 0.12 1.00 -55.23 %5.2f ~1.23 23456.00 ~0.12 ~1.00 -55.23 %5.0f ~~~~1 23456 ~~~~0 ~~~~1 -55.23 %7.1f ~~~~1.2 23456.0 ~~~~0.1 ~~~~1.0 ~-55.23 %9.4f ~~~1.2345 23456.2345 ~~~0.1234 ~~~1.0000 ~-55.2300

%2f 1.234497 23456.001300 0.123398 1.000000 -55.234000

Refer to the separate User Manual on entering text for a list of the characters included in the text insert menus. The formats shown here can be created using the % character, numbers, a

f, and a period(.).

small

As an wee exercise, load the Patch Instruct program from the

Programming” bank, go to Patch Editor area, change the

“ screen mode to use the

Each Delay:%2.3 fms” as shown to the right.

“

<modify> SOFT KEY to change the menu statement to

aud+ctrl, and highlight the knb module. Then

Now go to the made to the display. Note the decimal value in the “

Delay

” parameter. It used to read 250. Now it reads 250.000.

Contain yourself. . .

PARAMETER area and see the difference that

Each

Min and Max Values

The lower and upper limits of a numeric parameter value are set as specifiers in the module that controls the parameter. In the example program value has a range of

and max value specifiers. You can adjust these limits using

value

the numeric keypad or the As another wee exercise, load the program

Programming” bank, go to the Patch Editor area, change

the “ the screen mode to Then use the

max value to set different limits as shown to the right.

Now go to the parameter. To the right we bump up against the new

Patch Instruct, the “delay knob” parameter

0.0000 to 10000.0000 set by the min

KNOB.

Patch Instruct from

aud+ctrl, and highlight the knb module.

<modify> SOFT KEY to change the min value and

PARAMETER area and test the Each Delay

min value.

And on this screen we bump up against the new max value.

You will find max value and min value specifiers in most of the “interface” group modules.

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Resolution

The resolution specifier controls what minimum change in a parameter value can be achieved by turning the

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KNOB or by using the INC or DEC key on the numeric keypad. The resolution parameter also controls the

“rate of change” as the “baby steps” as the “great leaps” as the

KNOB is spun. If the resolution is very fine, the parameter value will increment in

KNOB is spun. If the resolution is very course, the parameter value will increment in

KNOB is spun.

For example, if the selected parameter displays a value of 45.30 and the resolution is 1.0000, then slow motion clockwise rotation on the the selected parameter displays a value of clockwise rotation on the

KNOB will change the value to 45.40.

KNOB will change the value to 46.30 (unless the

45.30 and the resolution is 0.1000, then slow motion

max value

is less than

46.30

!). If

As yet another wee exercise, use the <modify> SOFT KEY the same way as in the Min and Max Value section and adjust the size” of the

Each Delay parameter value. (You’ll have to walk yourself through this one. . .)

resolution specifier of the knb module. Notice the difference this makes in the “step

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Simple “Parameter Adjusters”

There are seven simple “parameter adjusters” modules:

• A knob module for simple numeric values.

• An rfader module for “rotary” graphical display instead of numeric values.

• An hfader module for “horizontal” graphical display instead of numeric values.

• A vfader module for “vertical” graphical display instead of numeric values.

• A textknob module for “text-valued” parameters.

• A tapknob module for “tapered” (or non-linear) values.

• A percentknob module for percentage display that corresponds to fractional control output.

They have several things in common:

• All have a single control output and no other signal inputs or outputs.

• All have a userobject output that can be connected to a menupage, gang, or head module.

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• All have a

menu statement and an 8 char name.

These modules are used by connecting their userobject outputs to a menupage module

as shown to the right) on the head module)

. The PARAMETER area menu pages will then

show the text or graphic

(using the

SOFT KEY on the menupage module

or the head module (using the

menu statements for the connected

SOFT KEY

“parameter adjuster” modules.

The following pages describe the simple “parameter adjusters." To play along at home, load the program

Interface Mod ules from the “Programming” bank.

Hfader Module

hfader module creates a horizontal graphic on a

The

PARAMETER area menu page. In the example screen to the right

it is the highlighted, upper left parameter. The area taken up by the graphic is one half of the width of the screen and one text line long. Eight of these can fit on a single menu page.

Six characters of the to the left of the graphic. The

8 char name are presented on the display

menu statement is not used.

Refer to the Modules Section for complete information.

Knob module

The knob module is the most popular interface module (in factory programs). It generates a 20-character text string, including a very versatile numerical display from the

statement

. Eight of these can fit on a single menu page.

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The 8 char name is used only if this module’s userobject is connected directly to the head module. Normally its userobject will be connected a menupage module. Refer to the Modules Section for complete information.

Percentknob Module

The percentknob module is very similar to the knob module. The only difference is that the control output value is divided by 100. Refer to the Modules Section for complete information.

Tapknob Module

The tapknob module is a modification of the standard knob

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module. Just like the knob module, the

menu statement is

used to create the 20-character text display. However, instead of using the %f format, the %s format is used. The tapknob module creates an 8-character numeric result that is inserted in place of the

%s.

The tapknob module creates a tapered (non-linear) control that has a “selectable” number of

resolution parameter) and a “selectable” taper waveform. The

greater the

taper specifier, the more non-linear the parameter

steps (instead of the usual

response. Refer to the Modules Section for complete information.

Rfader Module

The rfader module creates a graphic on the

PARAMETER

screen. The graphic, including title, takes up four lines of the screen and one quarter of the width of the screen. Up to four of these modules can fit on one menu page.

Nine characters of the menu statement are displayed above the graphic as a title. Refer to the Modules Section for complete information.

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Vfader Module

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The vfader module creates a graphic on the

PARAMETER

screen. The graphic, including title, takes up four lines of the screen and one sixth of the width of the screen. Up to six of these modules can fit on one menu page.

Six characters of the

8 char name are displayed in the graphic as

a title. Refer to the Modules Section for complete information.

Textknob Module

The textknob module creates a multiple choice selection in a single line by half screen width area of a

PARAMETER area menu

page.

The choices appear in place of the

8 char name is only used if the module’s userobject is

The

%s in the menu statement.

connected to the head module. The control output reflects which selection is made. If the 1st selection is made the output will equal 0. If the 3rd selection is made, the output value will equal 2. Refer to the Modules Section for complete information.

ONTROL SIGNAL MONITORS

Just as “parameter adjuster” modules are used to generate control signals and are displayed as parameters in

PARAMETER area menu pages, control signal monitor modules monitor the value of control signals and may

be displayed on those same menu pages.

Graphical Control Signal Monitors

There are five different monitor modules. Three of these, the hmonitor, meter, and vmonitor modules, produce graphical displays. The screen to the right (taken from the program

Interface Modul es

graphical monitors

from the “

(among others).

Programming

” bank) shows the three

Each of the graphical control signal monitor modules has a control signal input and four specifiers:

name and tag.

•

minimum sets the lowest value that may be indicated by the

minimum, maximum,

monitor.

• maximum sets the highest value that may be indicated by the

monitor.

• For vmonitor and hmon, the tag specifier is used to generate the text for the monitor.

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• For meter, the name specifier is used to generate the text for the monitor.



• The text fields of the monitors may include

information)

%f format numeric displays (to convey numerical as well as graphical

All three graphical monitors will indicate when the control input’s value falls above or below the range set by the minimum and

maximum specifiers. (The screen to the right was made by changing the

on the “

knob for mons

” module in the

Interface Modul es

max value

program.)

The vmonitor module creates a graphic that is one sixth of a screen width and four lines high. The hmonitor module creates a graphic that is one half of a screen width and one line high. The meter

module creates a graphic that is one quarter of a screen width and four lines high.

Form over function. . .

Textual Control Signal Monitors

The monitor and tmonitor modules use text to display their control input values.

The monitor module is a mirror image of the knob module; it displays the decimal value of its control input. The format for the display is set using the text and

%f format described earlier.

The tmonitor module is a mirror image of the textknob module. It uses the control input to determine which of several text strings will be shown. A control input value of 0 chooses

text1, a value of 3 chooses text4 and so on.

Both the textual monitor modules create displays that are half of a screen width and one line long.

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Menupages and Parameter Placement

The use of menupage modules to create menu pages in the PARAMETER area is crucial for creating easy to use programs. This section discusses many of the fine points of menu creation and the care and feeding



of userobjects. There are several important points regarding

PARAMETER area menu pages and their

construction in the Patch Editor area:

• Null userobjects are invisible. They do not take space on a

menu page in the

PARAMETER area. Having the head

module or a menupage module include a nullobj (sometimes titled adc-nullobj (as shown to the right) or head-

nullobj

) creates null userobjects.

• Any userobject that is connected to the head module creates

SOFT KEY (with the exceptions of those userobjects that are

null).

• The order that a userobject is listed in the head module

determines what location the

PARAMETER menu. The first userobject gets the first SOFT

. The fifth userobject gets the fifth SOFT KEY and so on.

KEY

SOFT KEY will appear in the

• The order that a userobject is listed in a menupage module

determines where on a PARAMETER area menu page it will appear.

• Objects are placed on a menu in upper left to lower right order, as listed in the menupage module.

• If a module’s

PARAMETER area graphic is too large to

appear on a menu page with other modules’ graphics, it is placed on a later menu page in a menu stack, thus creating a

SOFT KEY stack.

• menupage modules may be connected to other menupage modules! A menupage userobject output is the same as any other module’s userobject output, except that a menupage userobject output is always big enough to warrant being placed on its own menu page or pages in the

•

A userobject output may be connected to multiple userobject inputs. This means a single module’s userobject output can show up in several menu pages in the

is shown more than once on a single

menu page, the second instance might not be updated when the first instance’s value changes and vice versa.

PARAMETER area. Note: If an module’s PARAMETER area graphic

PARAMETER area.

• When a module with a userobject output from the “delay." “detector." “dynamic." “external." “filter." “mixer." “oscillator." “pitchshift." or “reverb” module groups is inserted using the

<insert> SOFT KEY,

its ‘userobject” output is automatically connected to the head module.

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PARAMETER AREA MENU PAGE PLACEMENT

This section goes through a tutorial to show:

• Certain modules that have userobject outputs are automatically connected to the head module upon



<insert>ion.

• The order of userobject connection to the head module affects

SOFT KEY location in the PARAMETER

area.

• A null userobject connected to the head module or a menupage module does not appear in the

PARAMETER area menu pages, but rather acts as a place holder.

Start with a “clean slate”

• Load Empty Program from the “Utilities” bank.

• Go to the Patch Editor area

key)

• Select the

SOFT KEY three times. Select the module marked hed with

LEFT or RIGHT CURSOR key. Press the <modify> SOFT

the

KEY

<modify> menu looks like for the head module at this time.

misc display mode by pressing the <aud only>

. To the right is a composite image of what the

(by pressing and holding the PARAMETER

Automatically connecting a userobject to the head module

• Press the <done> SOFT KEY to leave the <modify> menu for the head module. Press the <misc>

SOFT KEY twice to select the aud+ctrl display mode.

• Press the

key. Turn the Press the

<insert> SOFT KEY and then the LEFT CURSOR

KNOB until the “Delay” group is shown.

RIGHT CURSOR key to highlight the allpass

module.

• Press the

SELECT key to go ahead with the insertion.

• Press and hold the

menu page and

PARAMETER key to see that there is now a

SOFT KEY for the allpass module.

• Go back to the Patch Editor area and select the

mode and use the module. This is a composite of what the

can see in the head module now. This shows that the

KEY

<modify> SOFT KEY on the head

<modify> SOFT

misc display

allpass-obj userobject was automatically connected to the head module.

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• Go back to the basic Patch Editor area by pressing the

<done> SOFT KEY. Now <insert> an easytaps module.



• Return to the

now a second

PARAMETER area and observe that there is

SOFT KEY. This SOFT KEY is stacked because the

easytaps’ parameters take up more than one menu page.

• Go back to the Patch Editor and use the

KEY

on the head module. Note there are now three

<modify> SOFT

userobjects connected to the head module and that the new userobject was connected after the existing two userobjects.

Adding a menupage module

This section demonstrates how an empty menu page shows up in the

PARAMETER area with a SOFT KEY.

<insert> a menupage module (from the “Interface”

•

group).

• Use the

change the

<modify> SOFT KEY on the head module and

obj1 specifier to menupage-obj.

• Return to the PARAMETER area and observe that the

menupage module has created a new menu page and that the allpass and easytaps’

SOFT KEYS were bumped

over when the null userobject was replaced.

TACKED MENU PAGES

This section goes through a tutorial to show:

• That modules’ parameters are presented on a menu page when their userobject outputs are connected to a menupage module (which is in turn connected to the head module).

•

That multiple connections of the same module’s userobject output creates multiple “images” of the module’s parameter(s).

Note: The second image of a module’s parameter(s) on the same menu page may not be active.

• That menupage modules’ userobject outputs may be connected to other menupage modules to create

SOFT KEY stacks.

Inserting Multiple men upa g e s

• Load Empty Program from the “Programming” bank.

• Go to the Patch Editor area by pressing and holding the

• Select

•

misc display mode by pressing the <aud only> key three times.

<insert> a menupage module from the interface group.

PARAMETER key.

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• So that we can differentiate this menupage module from the



next one we insert, use the its

name to “1menupage." Do this by selecting the name

specifier, pressing the

SELECT key, turning the KNOB right until the

highlighted line reads “

<modify> SOFT KEY on it and change

1menupage." and pressing the SELECT

key. After you’ve changed the

name, press the<done> SOFT KEY and

note that the module name is displayed in the upper right corner of the screen.

• Select the

•

<insert> a meter module from the “Interface” group.

aud+ctrl display mode.

• Go back to the

SOFT KEY on the menupage module. (Use the LEFT or RIGHT CURSOR key to choose the menupage module.)

• Set the

meter-obj. Make sure you use the SELECT key to save each

# entries specifier to 1 and then set the obj1 specifier to

change. Press the

misc display mode and use the <modify>

<done> SOFT KEY to exit from the <modify> menu.

• Use the

Change its

obj1 to 1menupage-obj.

<modify> SOFT KEY on the head (hed) module.

# entries parameter to 1 (if it isn’t already) and set

• Return to the

PARAMETER area and observe the menu page.

Note that it has one meter module monitor. Note also that the

SOFT KEY is not stacked and that the menu page’s title is

menupage."

“

• Go back to the Patch Editor,

<modify> SOFT KEY on the menupage module.

• Set the

meter-obj (same as obj1).

# entries specifier to 2 and then set the obj2 specifier to

misc display mode and use the

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• Return to the PARAMETER area and observe the menu page. Note that it shows two meter module monitors



are in fact two pictures of the same meter module)

is not stacked.

KEY

. Notice that the SOFT

(these

• Go back to the Patch Editor area,

<insert> another menupage module. Edit its module name using the <modify> SOFT KEY such that it reads

2menupage." Then change the description specifier to

“ read “

2” (you will need to use the CXL key to delete characters). Press

<done> to exit the <modify> menu.

misc display mode and

Note the module name in the upper right corner of the display.

• Go back into the

2menupage module and set the # entries specifier to 1

and then change the the

<modify> menu by pressing <done>.

<modify> SOFT KEY menu for the

obj1 specifier to meter-obj. Exit from

• Now, using the LEFT or RIGHT CURSOR key, select the

1menupage module. Use the <modify> SOFT KEY and

change its

2menupage. Press <done>.

# entries specifier to 3 and its obj3 to

• Return to the stack of page is still “

PARAMETER area. Notice that there is now a

SOFT KEY menu pages. The title of the top menu

menupage."

• Press the

SOFT KEY. The second menu, whose title is “2."

has only one meter module monitor on it.

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ARAMETER PLACEMENT ON A MENU PAGE

Programmer’s Manual

This section goes through a tutorial to show:



• Parameters are presented on a menu page in the

PARAMETER area in the order their userobjects are

connected to a menupage module, with placement beginning in the upper left corner of the screen and proceeding to lower right corner of the screen.

• Modules that produce parameters with simple text take up one eighth of the screen

module)

. Modules that produce parameters with graphics take up some other portion of the screen. The

(exception is the textblock

order that modules are connected to the menupage module may cause the parameters to be placed poorly, allowing only a few parameters to appear on a screen where better placement might have allowed more.

Placing a Vfader, a Meter, and Four Knob Modul es

Placement Demo found in the “Programming” bank.

To achieve this arrangement, the modules’ userobject outputs must be connected to the menupage module in exactly the order shown to the right:

1. main fader-obj

2. left low knob-obj

3. left high knob-obj

4. right low knob-obj

5. right high knob-obj

6. meter-obj

To create a menu page such as the one shown, the programmer inserts the six “parameter” modules and the

menupage module using the <insert> SOFT KEY and then uses the <modify> SOFT KEY on the menupage module. The

# entries is first set to the desired number (six) and then the obj entries are

adjusted, one at a time, to connect the userobject outputs to the menupage module.

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

1. main fader

2. left low knob

3. left high knob

4. meter

5. right low knob

6. right high knob

results in two menu pages

(accessible via a stacked SOFT KEY)!

Since parameters are always placed from upper left to lower right, top to bottom, once the meter monitor is placed, (not fitting below the

left highs parameter) there is no more room below

the meter or to the right of the meter on the first menu page. Therefore, a new menu page is created for the latter two knob parameters.

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Eventide DSP4000B+, DSP7500, DSP7000 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

OVERVIEW

Different Kinds of Signals

HOW A PROGRAM INTERFACES WITH THE PARAMETER AREA

Simple Interface

Custom Interface

MODULES

The IN and OUT “Modules”

The Characteristics of Modules

MODULE NAME

Audio memory

Signal Processing

User Interface and Control Signal Memory

Control Processing

CONTROL OUTPUTS

WRAP UP

System Requirements and Background Knowledge Required

COMMUNICATIONS

Establishing a MIDI Connection

Establishing a Serial Connection

BASIC FUNCTIONS

Adding Modules

Connecting Modules

Deleting Modules

UNPLUGGING CONNECTIONS

DISPLAY FUNCTIONS

Selecting Modules

Moving Modules

Re-Positioning Modules

Aligning Modules

Zooming

View

Audio

Control

Misc

Unconnects

Select All

Cut, Copy, and Paste

EDITING

Undo

Context Dependent Menus

Shortcut Keys

SENDING PROGRAMS TO THE HARMONIZER

TUTORIAL 1 -A SIMPLE PROGRAM

ADVANCED FEATURES

The Specifier Display

Title Line

Module Name

Specifiers

Audio Inputs

Audio Outputs

Control Inputs

Userobject Outputs

Repeating Fields

ALTERING THE NUMBER OF REPEATING FIELDS IN THE SPECIFIER DISPLAY

Editing “Special” Modules

Updating the Parameters from the Harmonizer

Getting Programs from the Harmonizer

Creating the User Interface

Viewing Menupages and Menupage Modules

Interface Modules

Parameter Adjusters

Menu Statement

Min and Max Values

Resolution

Simple “Parameter Adjusters”

Hfader Module

Knob module

Percentknob Module

Tapknob Module

Rfader Module

Vfader Module

Textknob Module

Graphical Control Signal Monitors

Textual Control Signal Monitors

Menupages and Parameter Placement

Parameter Placement on a Menu Page

“ .sig” Files versus “ .sif” Files