Native Instruments Absynth 4 Operation Manual
ABSYNTH 4
Operation Manual
The information in this document is subject to change without notice and does not
represent a commitment on the part of NATIVE INSTRUMENTS Software Synthesis
GmbH. The software described by this document is subject to a License Agreement
and may not be copied to other media. No part of this publication may be copied,
reproduced or otherwise transmitted or recorded, for any purpose, without prior
written permission by NATIVE INSTRUMENTS Software Synthesis GmbH. All product
and company names are trademarks of their respective owners.
And also, if you’re reading this, it means you bought the software rather than stole
it. It’s because of people like you that we can continue to create great tools and
update them. So, thank you very much.
Users Guide written by Christoph Laue.
Special thanks to the Beta Test Team, who were invaluable not just in tracking down
bugs, but in making this a better product.
© NATIVE INSTRUMENTS GmbH, 2006. All rights reserved.
Germany USA
NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc.
Schlesische Str. 28 5631 A Hollywood Boulevard
D-10997 Berlin Los Angeles, CA 90028
Germany USA
info@native-instruments.de info@native-instruments.com
www.native-instruments.de www.native-instruments.com
Table Of Contents
1. Welcome to ABSYNTH 4! ................................................................ 7
2. Installing and Setting Up ABSYNTH 4 ............................................. 8
3. Overview ....................................................................................... 9
3.1. What’s new in ABSYNTH 4? ....................................................... 9
3.2. The Idea behind ABSYNTH 4 ...................................................10
3.2.1. Semi-Modular Design .....................................................10
3.2.2. Modulation ....................................................................11
3.2.3. Macro Controls ..............................................................11
3.2.4. Waveforms ....................................................................11
3.3. An Overview of the User Interface .............................................13
3.3.1. Navigation Bar ...............................................................13
3.3.2. Browser & Attributes Window .........................................13
3.3.3. Perform Window ............................................................15
3.3.4. Patch Window................................................................16
3.3.5. Effect Window ...............................................................17
3.3.6. Wave Window ................................................................18
3.3.7. Envelope Window ...........................................................18
3.3.8. LFO Window ................................................................. 20
3.4. Quick Intro ............................................................................21
3.4.1. Loading and Playing Sounds ...........................................21
3.4.2. Creating Own Sounds .....................................................24
3.4.3. Producing and Morphing Waveforms ................................ 30
4. Reference ................................................................................... 35
4.1. Interaction with Control Features .............................................. 35
4.1.1. Windows und Tabs ......................................................... 35
4.1.2. Module On/Off Switches ................................................ 36
4.1.3. Popup Menus ............................................................... 36
4.1.4. Value Fields ...................................................................37
4.1.5. Fader and Knobs ............................................................37
4.2. Stand-Alone Menu .................................................................. 38
4.2.1. Import GLO File… ......................................................... 38
4.2.2. Options ........................................................................ 38
4.2.1. Help Menu ....................................................................41
4.2.2. Audio and MIDI Setting ..................................................41
4.3. Navigation Bar ....................................................................... 42
4.3.1. Window Selection Area .................................................. 43
4.3.2. CPU Meter ................................................................... 43
4.3.1. Level Meter Displays ...................................................... 44
Absynth 4 – 3
4 – Absynth 4
4.3.2. Panic Button ................................................................ 44
4.3.3. NI Logo ....................................................................... 44
4.4. Patch Window ........................................................................ 45
4.4.1. Signal ow ................................................................... 46
4.4.2. Oscillator Module .......................................................... 48
4.4.3. Filter Module ................................................................ 62
4.4.4. Modulation Module ....................................................... 67
4.4.5. Waveshape Module ....................................................... 68
4.5. Effect Window .........................................................................69
4.5.1. General Interaction .........................................................70
4.5.2. Pipe .............................................................................72
4.5.3. Multicomb .....................................................................74
4.5.4. Multitap ........................................................................76
4.5.5. Echoes ........................................................................ 77
4.5.6. Resonators ....................................................................79
4.6. Wave Window ........................................................................ 80
4.6.1. Waveform View, Spectrum View, Morph View .....................81
4.6.2. Creating new Waves .......................................................81
4.6.3. Editing Waves ............................................................... 82
4.6.4. Spectrum Edit .............................................................. 85
4.6.5. Wave Morph ................................................................. 86
4.7. Envelope window .................................................................... 89
4.7.1. Fundamentals for Operation ............................................ 89
4.7.2. Breakpoints, Transitions/Steps, Sync ................................91
4.7.3. Envelope Modes ............................................................ 94
4.7.4. Sample Jump ...............................................................101
4.7.5. Envelope LFO ...............................................................102
4.7.6. Envelope Modulation .....................................................103
4.7.7. Master Envelope ...........................................................105
4.7.8. Transform Commands ...................................................107
4.8. LFO Window .........................................................................109
4.8.1. Oscillator Section ......................................................... 111
4.8.2. Modulation Sections .....................................................112
4.9. Perform Window .................................................................... 115
4.9.1. Global Features ............................................................115
4.9.2. Automation in ABSYNTH 4: Macro Controls .................... 117
4.9.3. Controllers Page ...........................................................120
4.9.4. Assignments Page ........................................................122
4.9.5. MIDI Page ...................................................................123
4.9.6. Note Page ...................................................................125
4.9.7. Tuning Page .................................................................126
4.9.8. Audio Mod ..................................................................128
4.10. The Browser and Attributes Windows .....................................130
4.10.1. The Attributes Concept and the KoreSound ...................130
4.10.2. Searching and Loading Sounds with the Browser ............131
4.10.3. Dening Attributes and Saving KoreSounds ...................138
Appendix A – How to Work with Attributes .........................................140
Appendix B – Attributes Reference ...................................................151
Index .............................................................................................164
Absynth 4 – 5
6 – Absynth 4
1. Welcome to ABSYNTH 4!
We are delighted that you have chosen ABSYNTH 4. You now own a synthesizer, which is capable of producing some of the most daring sounds.
Whether you are developing a lm soundtrack or “just want to make music”
– ABSYNTH 4 always has the right sound in store for you. The semi-modular
design allows you to combine oscillators, modulation sources, and lters in
any way you want. You can create unusual and dynamic sounds by combining
the numerous effects and modulation possibilities in different ways. The new
Marco Controls allow you to operate several parameters at the touch of a button, just pressing one key of your MIDI controller. Or you can take advantage
of the automation capabilities in your Audio MIDI Sequencer to trigger your
sounds into action.
With all these possibilities, the operational ease of ABSYNTH 4 never fails to
impress: you can nd the right sound quickly and intuitively using the sound
browser. Simply state the characteristics that the desired sound requires and
let ABSYNTH 4 perform the search. The newly designed interface now has
a clearer structure so that you can quickly nd important operating features
and always keep them in view. All this allows you to realize your musical ideas
and make great music without having to take detours. This is exactly what
you should set out to do right now!
The ABSYNTH 4 TEAM at NATIVE INSTRUMENTS
Wishes you the best of luck with ABSYNTH 4.
Absynth 4 – 7
8 – Absynth 4
2. Installing and Setting Up ABSYNTH 4
We recommend that you rst follow the steps described in the Setup Guide
supplied separately before you start reading this manual. The Setup Guide
explains how to install ABSYNTH 4 on your computer, how to setup the audio
and MIDI interfaces of the Stand-Alone Version or alternatively, how to incorporate ABSYNTH 4 as a plug-in to your Audio MIDI Sequencer. The Setup Guide
also includes a step-by-step introduction to using the new NI Service Center,
which is available online to help you activate ABSYNTH 4 for permanent use
on your computer and search comfortably for new updates with ease.
3. Overview
In this chapter you will nd a list of the new and modied functions in
ABSYNTH 4. You will learn about the concept behind ABSYNTH 4 and get to
know the interface. The practical examples will simplify the learning process,
to get you started with designing your own sounds.
3.1. What’s new in ABSYNTH 4?
Here you will nd a short overview of the new features in ABSYNTH 4 compared to ABSYNTH 3.
• Wave Morphing: this new waveform type allows you to fuse two wave-
forms into a new one.
• Sync Granular Mode: this new sound source in the oscillator module
produces organic sounds, that are reminiscent of blowing into or strumming a traditional instrument.
• Expanded Resonator effect: the new parameter Drive allows you greater
control over the input signal, which can be manipulated all the way to
distortion.
• Audio Mod: the level of an audio signal can now act as a modulation
source in order to use ABSYNTH as an effect. The level of an oscillator
can also be used to modulate an effect parameter.
• Macro Controls assemble all incoming and outgoing modulation and
automation data to allow you to quickly interact with the parametersparameters
of ABSYNTH, for example, in conjunction with a host sequencer or in example, in conjunction with a host sequencer or in
a live situation.
• Sound Browser lets you search for the sounds you require in a fast and
intuitive way, easing the administration of large sound collections and
allowing seamless integration into KORE of NATIVE INSTRUMENTS.
• Master ADSR: the new global operating envelope Master ADSR allows
fast and effective transformation of complex sounds.
• Step Mode in Envelopes: allow you to place break points in a rhythmEnvelopes: allow you to place break points in a rhythm: allow you to place break points in a rhythm
grid, similar to the principle of a step sequencer.
• A logical interface: clear structure and new operating features ensure
quick access to all Parameters.
Absynth 4 – 9
10 – Absynth 4
3.2. The Idea behind ABSYNTH 4
We would now like to introduce you to several of your synthesizer’s fundamental
concepts so that you are familiar with how ABSYNTH 4 is constructed and
some of the advantages of its design. You will continuously encounter these
concepts in your work with ABSYNTH 4. It is worth reading this section even
if you are familiar with ABSYNTH from an earlier version. There are several
new things to discover!
3.2.1. Semi-Modular Design
The semi-modular design of ABSYNTH 4 allows you to adapt the structure of
your sound production to meet your own demands. Unlike in hardware synthesizers, you yourself can determine to a large extent the number and order
of the oscillators, lters and other features you wish to use: for example you
can have a lter follow a wave shaper and an oscillator in sequence or send
the signal through two lters one after the other.
ABSYNTH 4 offers three so-called Channels in the Patch Window, which
you can combine with Modules as deemed necessary. An Oscillator Module
always sits at the top of a Channel. The Oscillator Modules are the only sound
sources in ABSYNTH 4. They provide the foundation for every sound. One of
the three Oscillator Modules must always be active in order to hear a sound.
The other two Module positions in each Channel can be freely assigned to
one of the following three Modules:
The Modulation Module offers you access to the ring modulator (Ringmod)
and the Frequency Shifter. The Filter Module gives you fourteen different lter
types to choose from. They range from various high and low-pass lter types
to all-pass and notch lters. By using the Waveshape Module you can give
the input signal the character of any Waveform you want.
The signals of the three Channels A to C then run together through the Master
Channel. Here you can also activate up to three Modules. In the rst two
positions, you can insert a Filter Module or Modulation Module. In the third
position, you nd the Effect Module, which enables you to make unusual
delay and resonator effects.
To use the same settings for several modules, you simply copy the Modules
and insert them into free Module positions. You can also store frequently used
combinations in a library, as well as load complete Channel assemblies with
the push of a button. In chapter 3.3.4 you will nd an overview of individual
features in the Patch Window.
Read section 3.4.2 to learn out how to insert Modules into the Channels and
thus create the foundation for your own and individual sounds.
3.2.2. Modulation
ABSYNTH is known for its lively, organic sounds that grow and change whilst
being played over time. The backgrounds of these capabilities are the exible
possibilities of modulation in ABSYNTH 4. To change a parameter for the duration of a sound, you simply connect a parameter with a modulation source.
The modulation source then takes control of the relevant parameter.
There are different modulation sources to choose from in ABSYNTH: you can
produce very good cyclical value sequences with an LFO, for example by let- by let-
ting the amplitude of an oscillator go up and down or by changing the cutoff
frequency of a lter.
To precisely modify the value of a parameter at a certain point in the sound,
you must connect the value changes with the specic break points of the
Envelopes. There are 64 break points to choose from as a trigger for value
changes.
You can nd a guide to the practical application of Envelopes in section 3.4.2,
whilst the LFO Window is introduced in section 3.3.8.
3.2.3. Macro Controls
Use the Macro Controls to control any parameter via MIDI hardware or by
using sequencer automation. You can then raise the lter resonance in real
time, or move the break points of the envelopes.
Macro Controls assemble all of the incoming and outgoing control data, which
you can then move into groups using the parameters in ABSYNTH. You can
easily assign any MIDI source to a Macro Control in the Perform Window using
MIDI Learn. From here, you can then control all the parameters in this group
using a rotary controller on your MIDI keyboard or an automation track from
your sequencer software.
You can learn how the Perform Window looks using the diagrams in section
3.3.7. A list of the control feature names is also included.
3.2.4. Waveforms
In ABSYNTH 4 you do not have to depend on pre-assembled waveforms such
as a sine or sawtooth curve: instead you can produce your own waveforms and
implement them as a sound source or controller for modulations.
In many areas of ABSYNTH 4, Waveforms play an important role, for example,
in the Oscillator Modules or in the LFO Window. Although a large number of
nished Waveforms are provided for immediate use, ABSYNTH 4 does not limit
you to these readymade waveforms when you make new sounds. Instead, you
Absynth 4 – 11
12 – Absynth 4
may start from scratch and design your own waveforms in the Wave Window.
To do this you simply select one of the graphic tools and draw the curves with
the mouse. You can then apply different functions to the Waveform such as
turning the curve on its head or changing the phase. You can also produce
many weird and wonderful sounds using the Fractalize tool..
As well as randomly changing the curve progression (and thus the temporal
component) of an oscillation loaded as a Waveform, you can also edit the you can also edit the
(harmonic) fractal sounds using the tools in the bottom-view Spectrum. Just
draw the amplitude and phase of the harmonic sounds and you can produce
subtle to drastic changes in sound over the curve progression.
It is best to save the results and store them in your own Waveform library.
These waveforms are then readily available in ABSYNTH 4. You can either
use these waveforms individually or “morph” them with the function Morph.
This is how interesting curve progressions are produced, which allows greater
variety in the creation of your sounds. You can learn about the Wave Window
and its features in section 3.3.6. To learn more about creating, storing, and
morphing waveforms refer to section 3.4.3.
3.3. An Overview of the User Interface
In the following pages we will introduce you to the individual Windows and
their features to help you understand the interface of ABSYNTH 4. You may
also use this as a reference guide in case you ever forget the name of a certain
switch or controller.
You will nd tips for handling the different user interfaces and further information about core features in section 4.1.
3.3.1. Navigation Bar
The Navigation Bar is a central feature in ABSYNTH 4 because it is the only
menu always present in the user interface. Here you can switch between
Windows with particular work environments. From here you can also access
the dialogs for loading and storing data through various Popup Menus. You are
over-seeing the vital functions of ABSYNTH 4 with the different status displays.
There is more on the Navigation Bar and its features in section 4.3.
(1) Perform Tab
(2) Patch Tab
(3) Effect Tab
(4) Wave Tab
(5) Envelope Tab
(6) LFO Tab
(7) Browser Tab
(8) Attributes
(9) CPU Meter
(10) Input Level Meter
(11) Output Level Meter
(12) Panic Button
(13) NATIVE INSTRUMENTS Logo
(14) File Popup Menu
(15) Edit Popup Menu
(16) Sound Name Display
(17) Previous Sound Button
(18) Next Sound Button
(19) Save Button
(20) Save As Button
Absynth 4 – 13
14 – Absynth 4
3.3.2. Browser & Attributes Window
Searching for a specic sound in the Browser Window quickly leads to suc-
cess: you simply choose certain characteristics that the sound is supposed to
exhibit and ABSYNTH 4 quickly comes up with the appropriate results from
the database. Attributes that dene the sound are the basis for this search
function. We have already attached Attributes to all of the sounds provided
by the ABSYNTH 4 library. You should also assign Attributes in the Attributes
Window to the sounds that you produce describing them as closely as possible. The effort is worth it because ABSYNTH 4 integrates your sounds into
the search, and the benets of your work will become more obvious as you
progress. There is more on the Browser Window and Attributes Window in
section 4.10.
(1) Sounds Button
(2) Instruments Button
(3) Effects Button
(4) Clear Button
(5) Search Term Field
(6) Programs Button
(7) On Button
(8) Import Button
(9) Export Button
(10) Categories
(11) Attributes
(12) Search Results
3.3.3. Perform Window
The Perform Window manages all control signals “outside” of ABSYNTH 4.
Here, MIDI signals and automation information from host software are distributed into different Macro Controls and are then readily available throughout
ABSYNTH 4. Furthermore, you can draw upon different global settings in the
Perform Window that, for example, affect the polyphony or internal tempo.
There is more to learn about the Perform Window in section 4.9.
(1) Voice Control
(2) Damping Control
(3) MIDI Channel Control
(4) Tempo Control
(5) Transpose Control
(6) Tuning Popup Menu
(7) Controllers Tab
(8) Assignments Tab
(9) MIDI Tab
(10) Note Tab
(11) Tuning Tab
(12) Audio Mod Tab
(13) Sustain Switch
(14) Hold Switch
(15) Pitchbend Wheel
(16) Piano
(17) Master Envelope Area
(18) Input Level Meter
(19) Trigger Mode Popup Menu
(20) Threshold Control
Absynth 4 – 15
16 – Absynth 4
3.3.4. Patch Window
The Patch Window is where you start to design new sounds: this is where
you create the structure of the sound, by choosing the type and order of the
oscillators, lters, and other modules. You can transform ABSYNTH 4 into
completely different instruments by changing the assembly in the Patch
Window. On top of that, you are calling upon elementary functions from the
Modules in the Patch Window. This is where you can also switch over to the
Wave Window and produce waveforms there or switch to the Envelope Window
by using one click to work on an envelope. You will read more on the Patch
Window in section 4.4.
(1) Module (empty slot)
(2) Channel A
(3) Channel B
(4) Channel C
(5) Master Channel
(6) Channel A Level Control
(7) Channel A Pan Control
(8) Oscillator Module
(9) Modulation Module
(10) Filter Module
(11) Waveshape Module
(12) Type Popup Menu
(13) Edit Popup Menu
(14) Main Tab
(15) Mod Tab
(16) Uni Tab
(17) Anti Alias Switch
(18) Synthesis Popup Menu
(19) Waveform Popup Menu
(20) Frequency Popup Menu
(22) Filter Mode Popup Menu
(23) Waveform Popup Menu
3.3.5. Effect Window
The Effect Window helps you determine which effect type you would like to
use and how this effect is supposed to change the sound. There are ve different effects to choose from whilst numerous parameters allow for a detailed
adaptation of the sound. This is the right place to come for producing effects
whether you are making a subtle echo or a psychedelic haze of delay. There
is more on the Effect Window in section 4.5.
(1) Effect Switch
(2) Effect Mode Selector
(3) Input Mix Area
(4) Input Lowpass Frequency
Control
(5) Input Highpass Frequency
Control
(6) Outout Mix Area
(7) Wet Level Control
(8) Dry Level Control
(9) Surround Area
(10) Control Area
(11) Effect Control Master Area
Absynth 4 – 17
18 – Absynth 4
3.3.6. Wave Window
You work on all of the Waveforms or Waves in the Wave Window of ABSYNTH
4. These Waveforms play a central role in ABSYNTH 4 because they provide
the foundation for numerous modules. For example, Waveforms, which you
create and change in the Wave Window, come into use within oscillators,
LFOs, modulation and waveshaper modules. You will learn more about the
Wave Window in section 4.6.
(1) Wave Selection Area
(2) Wave Usage Area
(3) Waveform Tab
(4) Spectrum Tab
(5) Morph Tab
(6) Morph Wave Selection Tabs
(7) Draw Mode Tools
(8) Transform Popup Menu
(9) Amplication Control
(10) Offset Control
(11) Edit Anchor
(12) Wave Display Area
3.3.7. Envelope Window
The Envelope Window is where you prepare all of the envelopes used in
ABSYNTH 4. To modulate, you can apply whichever parameters you like to the
envelopes. This allows you to arrange your sounds in a very lively and dynamic
way. Envelopes are thus another important medium next to waveforms for
designing complex sound progressions or subtle modulations. There is more
to learn on the envelope window in section 4.7.
(1) Envelope Area
(2) LFO Area
(3) Macro Control Area
(4) Envelope Mode Popup Menu
(5) Breakpoint Time Control
(6) Breakpoint Amplitude Control
(7) Breakpoint Amplitude Switch
(8) Breakpoint Slope Control
(9) Breakpoint Slope Switch
(10) LFO Waveform Popup Menu
(11) LFO Phase Control
(12) LFO S&H Switch
(13) LFO Depth Control
(14) LFO Rate Control
(15) LFO S&H Rate Control
(16) Time Macro Control Menu
(17) Time Scale Control
(18) Amplitude Macro Control Menu
(19) Amplitude Scale Control
(20) Transform Popup Menu
(21) Grid Switch
(22) Lock/Slide Switch
(23) Master Envelope
(24) Master Attack
(25) Master Decay
(26) Master Sustain
(27) Master Release
(28) ADSR Assign Switch
(29) Retrigger Control
(30) Envelope List
(31) New Envelope Button
(32) Show Envelope Button
(33) Envelope Display
(34) Breakpoint Handle
(35) Breakpoint Slope Handle
(36) Zoom Handle
Absynth 4 – 19
20 – Absynth 4
3.3.8. LFO Window
The LFO Window is where you manage the settings for the three freely usable LFOs as well as set the goals of the modulation signals that you have
produced. The possibilities of the LFOs are multi-faceted: for example, you
can use them for effects like Tremolo and Vibrato or for automated voyages
into the stereo or surround panorama. Read more about the LFO Window in
section 4.8.
(1) LFO Switch
(2) Mono/Poly Switch
(3) Waveform Popup Menu
(4) Phase Control
(5) Rate Switch
(6) Rate Control
(7) S&H Switch
(8) Vibrato Depth Control
(9) Vibrato Inversion Switch
(10) Vibrato Channel Switch
(11) Modulation Target Popup Menu
(12) Modulation Amount Control
(13) Modulation Channel A Switch 1
(14) Modulation Channel A Switch 2
(16) Retrigger Switch
3.4. Quick Intro
This chapter introduces you to the fundamental steps for operating ABSYNTH
4. First you will learn how to select and load a sound from the library in the
Stand-Alone Version. The automation of your Audio-MIDI-sequencer can then
be used to control the parameters in ABSYNTH 4. The second section on
chapter 3.4.2 provides an introduction to sound design. Meanwhile, chapter
3.4.3 enables you to produce your own Waveforms and introduces Wave
Morph, a new feature for ABSYNTH 4.
3.4.1. Loading and Playing Sounds
In this section, you will rst learn how to load a sound with the browser in
Stand-Alone mode and then how to play the sound with a keyboard.
Stand-Alone Mode
First make sure that you already have the Stand-Alone Version of ABSYNTH
4 installed on your system and that the audio and MIDI interfaces are set
up. You can also catch up on this step later (guidelines for that are found
in the separate installation instructions) and continue with the quick intro if
you have not yet set up your audio and MIDI gadgets to use with ABSYNTH
4. If you happen to not have your MIDI keyboard hooked up, for example, if
you are sitting with your notebook on a plane, you can still operate ABSYNTH
4: the Perform Window offers an Onscreen Keyboard, and you just use your
mouse to strike the keys.
OK so far? Let’s start up ABSYNTH and we will get started.
As an example, we will search for a sound for a lm. We have a piano unlike
any other in mind, a piano that is accompanied by mysterious, oating sounds.
The ideal sound would be one that continues to change even after the note
is played so that it creates a strange atmosphere. Also, we want the sound to
utilize the surround capabilities of ABSYNTH 4. We are working on lm music
and must operate using multi-channel lm score formats.
We could now search the entire ABSYNTH 4 library for the right sound and
listen to each and every one. But that would be quite tedious, and by the time
we actually nd something tting, we may have forgotten our musical idea.
This is why we use the Browser and the so-called Attributes to track down
the right sound. The Browser is a new feature of ABSYNTH 4. It offers an
environment in which you can search for sounds quite intuitively. You do not
have to recall abstract things like preset names or even numbers. In fact, you
can just select terms that describe the desired sound from a list and then
Absynth 4 – 21
22 – Absynth 4
use them as search criteria. These descriptive terms are called Attributes
in ABSYNTH 4. Essentially, Attributes are tags that you can attach to your
sounds, which also give information about the properties of your sounds. The
more precisely you specify your designated sound when selecting attributes,
the closer you narrow down the sounds in question until very few are. The
requirement for this type of search is that the sounds carry Attributes. The
sound designers at NATIVE INSTRUMENTS have already applied Attributes
to the sounds installed in the ABSYNTH 4 library, so your search can begin
immediately.
Normally, ABSYNTH 4 shows the Browser Window directly after starting up.
If not then you must call it up yourself. To do this you click on the Window
Selection Area in the Navigation Bar and then choose the Browser Tab. The
Browser Window is shown underneath the Navigation Bar.
You can see that the Browser Window is divided into several columns. The ve
columns on the left make up one group called the Database View. The heading
describes the Categories, below are the Attributes. Click with your mouse on
the chosen eld in order to select an Attribute. The eld is then highlighted
to show that the Attribute has been selected. To deselect an Attribute simply
click on the eld again.
On the right, we nd the Search Result List. In this function window thethe
browser displays the search results. It is also divided into columns that contain
information about the selected sounds. Besides the names of sounds, the
Search Result List can display an individual sound’s Rating, and also display
the results according to the criteria of the heading.
Let us now start searching for our sound. You will nd the different synthesizers in the rst column of the Database View, which is titled Instrument. This
does not just include instruments but also effects and voices. We are looking
for a piano and therefore choose the Attribute Piano/Keys from the top of the
list. Now take a look at the. Now take a look at the Search Result List: the list has become shorter
because all the sounds that are not marked by the Attribute Piano/Keys have
disappeared from the list. You can specify the basic character of a sound in
the next column titled Source. Here you will nd entries that lead to a certain
synthesizing process, for example FM or Physical Model, but also general
Attributes like Processed, Layered and Surround. We will try our luck with the
last three mentioned. Go ahead and add the Attributes Digital and Synthetic
to the search. You will see a denitively shorter list of sounds in the Search
Result List appears. As you can see, the more Attributes you pick, the more
you narrow down the search and the fewer sounds ABSYNTH 4 will offer you
in the Search Result List. Attributes that describe sound colors can be found
in the category called Timbre. It may include, for example, expressions like
Distorted, Warm and Hard, but also terms that relate to material qualities or
to the vibe. Let’s choose Fat, Soft and Exotic. The column Articulation contains Attributes that link to the playing style or application area of the sounds.
Descriptions of the keystroke behavior, decay length and what happens while
you are playing are also found here just like the familiar sound categories
Lead or Pad. Click on Decaying, Long Release, Long/Evolving and to be safe
also Echoing and Sweep/Filter Mod.
You can see a selection of musical genres in the last column titled genre.
Remember: we are working on a lm soundtrack, so Film Music is the obvious
choice. You can also select Ambient/Electro if you like.
Now look at the Search Result List. Here ABSYNTH 4 only offers you a single
sound, namely the one that contains all the chosen Attributes. “Quiet Afternoon
Absynth 4 – 23
24 – Absynth 4
Piano.“ Double click on this entry in the Search Result List in order to load
the sound. Now play several keys on your MIDI keyboard. You hear a sound
that corresponds very closely with the demands set forth in the beginning:
a type of piano, accompanied by mysterious sounds, which produces its full
effect when played on a surround system. You do not necessarily need to set
all of the Attributes named in this manual to get to this type of sound. From
time to time, you will see that fewer Attributes will lead to good results. This
also applies to situations where ABSYNTH 4 does not deliver any hits at all.
In such cases, you can expand the search spectrum by deselecting some of
the Attributes until usable results are shown.
3.4.2. Creating Own Sounds
ABSYNTH 4 comes with an extensive selection of different sounds. You
have just learnt how to load and play the sounds from the existing library in
the previous chapter, but you can also create your own sounds quickly and
intuitively. This chapter teaches you how to build your own polyphonic lead
sound for several voices: you will learn how to combine the Modules in the
Patch Window and how to modulate envelope parameters. We will use the
Stand-Alone Version of ABSYNTH 4 for these purposes.
Preparations
Start up the Stand-Alone Version of ABSYNTH 4. It is best to begin working
on a new sound with an empty Preset. Choose New Preset from the le popup
menu in the navigation bar to create an empty Preset. Select the “no” icon
if a dialog window appears that asks whether to save or discard changes to
the current preset.
As previously mentioned in the introductory section 3.2.1, the Patch Window
is used for creating the foundation for any sound within the semi-modular
design of ABSYNTH 4. Click on the area titled Patch Window in the Window
Selection Area located in the Navigation Bar. The Patch Window is shown
underneath the Navigation Bar. At least one Oscillator Module must be ac-
tive for ABSYNTH 4 to produce an audio signal. Normally, the Oscillator
Module in Channel A is already engaged when you call up an empty preset.
The waveform is set to Sine. All the other Module Slots are free (remember:
Module Slots are the framed areas in the Patch Window in which you can
call up the Modules). This means the remaining Modules are not active. We
will now learn how to integrate the Patch Window with further Modules and
change the settings of the Modules.
Conguring the Module
You should now be able to play thisnow be able to play this be able to play this Oscillator Module: when you press a key
on your MIDI keyboard, the sine wave makes a sound that corresponds to the
frequency of the note played. We will now try changing the waveform of this
oscillator, as we want to create a stronger lead sound. Click on the Waveform
Popup Menu that you see on the right, next to the small waveform diagram.
A window with a list of names opens up that refer to different waveforms.
Choose from one of the waveforms, and you will see that the waveform representation changes automatically in the Oscillator Module.. You can play the
selected waveform immediately through your MIDI keyboard, and this will allow
you to hear whether the resulting sound meets your expectations or not. This
is how you can quickly nd a waveform that is appropriate to your needs.
We will pick the waveform Square_real as our lead sound. You can already
hear how sharp and assertive the waveform sounds when it starts to play.
Therefore, it easily makes a strong lead sound, which will not be lost amongst
a compact mix.
We will now add another oscillator to give the sound even more character. To
do this, call upon a second Oscillator Module by clicking on the extended left
edge of the Module Slot B that has Osc B written in it.
Absynth 4 – 25
26 – Absynth 4
To begin with, a standard sine wave is active even in this Oscillator Module.
Here you can replace the sine with the waveform Saw_lt2 by repeating the
steps described above for choosing a waveform. Listen repeatedly to the
sound that you have created during the in-between steps to get a feeling
for changing the sound with small steps. We will now transpose the second
oscillator by one octave, in order to separate it from the rst one. You can
see the Transpose Control - which shows “0.0000” at the moment - next to
the Transpose Pop-Up Menu in the Oscillator Module B. This value describes
the tone pitches of the oscillators in relation to the tone pitch of the note that
you play on your keyboard. There are three small hexagons, the Edit Combs,
with which you can change the tone pitch of the oscillators in different size
steps: click with your mouse outside the left edge of one of the hexagons,
and scroll the mouse slightly upward. This is how you raise the tone pitch
in halftone steps. Set this value at 12.0000, which correlates to 12 whole
tones, basically one octave. So your second oscillator always sounds one
octave higher than the rst.
Now put the second oscillator out of tune a bit to make the sound wider
and more powerful. To do this, you have to raise the value a few cents in
the Transpose Control of Oscillator Module B (remember: a halftone step in
the equally tempered tone system is divided into 100 cent-steps). This time
choose the middle hexagon and increase the value in the Transpose Control
to 12.1100. This minor detuning produces a subtle beat in your sound and
is how lead sounds and pads become livelier and stronger.
Now we will treat the sound with a lter in order to reduce the high frequencies a bit. For this we require a Filter Module. Activate the Filter Module by
clicking on the extended left margin Module Slot (marked Filter) in the Master
Channel. The Filter Module is now active. You will recognize the signal ow of
your sound by the lines that connect the three active Modules. The signals of
both Oscillator Modules are then combined in the Master Channel and now
run together through the Filter Module. Now select the Filter Mode LPF 2
Pole in the Filter Mode Pop-Up Menu. Next raise the value to 7000.00 Hz in
the Frequency Control through the three Edit Combs. Shortcut: you can enter
the value directly into the Frequency Control via keys. Simply click directly
on the shown value from the Frequency Control, which then is selected and
highlighted in color. Decide on your desired frequency and press the “enter”
button on your keyboard. You will notice that with this lter setting, the sound
is now softer.
Modulation of Filters
Next we are going to modulate the frequency envelope to make the sound
more interesting. The term “modulate” refers to the automated change of a
parameter through another module. We will rst have to setup the prerequisites
to create an automated parameter change. To do this, we have to connect a
modulation source with a modulation goal. You already know your modulation
goal: the Frequency Envelope of ABSYNTH 4. You can work on the Frequency
Envelope in the Envelope Window, as with all envelopes in ABSYNTH 4, by
clicking on the area marked Envelope in the Window Selection Area of the
Navigation Bar. The Envelope Window is shown beneath the Navigation Bar.
The Envelope Window is where you can produce and work on all Envelopes,
which are used in the preset that you just loaded. The envelopes in ABSYNTH
4 produce a signal for modulating a parameter according to its outlined course.
When you play a sound, this course is channeled and the uctuating value of
the envelope changes the activated parameter.
You can see all the parameters that already have existing envelopes in the
Envelope Selection List - the area listed with the header Available Envelopes
on the left side of the Envelope Window. In this list you will nd, for example,
the Amp Envelopes of both oscillators: Oscil A amp and Oscil B amp.
We actually want to work on the Frequency Envelope of the lter. First we
must add this envelope, as it does not yet appear in the list. Click on the
Absynth 4 – 27
28 – Absynth 4
New Envelope Button to add an envelope to the Envelope List. You will see
a list of loaded Modules in the New Envelope Menu, which is titled Select a
Module. Choose the entry Filter Master2 and click Ok.
The newly added envelope now appears in the Envelope Selection List and is
already selected. Now hide all the other envelopes from the display (Envelope
Display) located next to the list. To do this you choose the entry Filter only
from the Show Popup Menu above the list. Now only the Filter Envelope in
the Envelope Display should appear.
As you can see, the points where the envelopes change their direction are
marked with small squares. These squares are called Breakpoints. You can
work on the breakpoints as you see t: add new breakpoints to the envelope,
delete breakpoints, or relocate them as in our case. If you move a breakpoint
to the right or left, the envelope’s position changes on the timeline axis. If you
move the breakpoint up or down, you change the amplitude of the envelope
and, in so doing, the value of the modulation signal at this point in the course
of the envelope.
To move a breakpoint, click on the small square and drag it with a pressed
down mouse button to the desired new position. We would like to modulate our
lter with a rate of 300 Hz. To set this value simply drag the rst breakpoint
of the envelope downward until it has reached the value of 300.00 Hz in the
Frequency Control of the Selected Breakpoint Area.
When playing your sound you will notice that the lter closes for a brief moment
after the note is struck, then opens again: the sound very quickly becomes
duller and less stellar; more importantly, however, the modulation makes it
livelier and more diverse. Feel free to move around more breakpoints to learn
how to inuence your sound.
The Le adsound has now been completed and can be stored as a
KoreSound.
Saving the Sound
Click on the Save Button in the Navigation Bar to save your newly designed
sound as a Preset in the KoreSound format (*.ksd). A dialog will open up.
Here is where you can choose the folder for your index structure.
We recommend that you save the sound in the folder “My Sound” of ABSYNTH
4 or in one of the sub-categories. This automatically integrates the sound into
the KoreSound database of ABSYNTH 4 and is readily available in the same
way as the sounds provided in the library in the Browser Window. You can
read more on the Browser Window in section 4.10.3 of this manual. There
you will also nd information on Attributes, which you should add to each
newly designed sound en route to the KoreSound database. Of course, this
quick introduction merely gives you a brief insight into the sound synthesis
in ABSYNTH 4. Continue your own research by following the instructions
detailed above. For example, use an additional oscillator to make the sound
even livelier. Perhaps you can add more lters and envelopes - the possibilities are almost endless.
Absynth 4 – 29
30 – Absynth 4
3.4.3. Producing and Morphing Waveforms
In this section you will learn how to merge Waveforms into a Morph Wave,
with the help of the new function Wave Morph. With it you can morph back
and forth between waveforms - between a sine wave and saw tooth wave,
for instance. This is not just a simple cross fade of both original types but
more of a non-linear combination, which produces delightful musical effects
by pushing and pulling the Waveforms during morphing. In the following section, a step-by-step guide will acquaint you with this mighty instrument for
sound design.
Producing a Morph Wave
Start ABSYNTH in the Stand-Alone mode to begin working on a new morph
wave. Create a new empty patch following the instructions in the previous
section. You can also set up a new patch by pressing the key combination
STRG+N (Windows) or Option+N (Mac OS X). Answer the question with a
“No” when asked whether to save changes to your settings.
Now open the selection window with the list of accessible waveforms by
clicking on the Waveform Popup Menu of the only active Osillator Module. In
this window, single-click the category Morph Waves. Choose the entry Miss
Morphy from the list of Morph Waves. This Waveform will now serve as a draft
for your own Morph Wave. Next, click on the New Wave Button to load a copy
of the selected Morph Wave into the Wave Window. ABSYNTH 4 immediately
switches the window view to Wave Window. You will nd the list of Available
Waveforms List on the left edge of the Wave Window. This list contains all
the Waveforms that you have created from other Waveforms via the New Wave
Buttons. You will see that your new Waveform is currently the only one there,
which is why it was selected in the rst place. Click with the mouse on the
name of the waveform: you can now change this name and conrm the new
name by pushing Enter.
Loading...