ROLAND RAPTURE User Manual

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Rapture

User’s Guide

Benutzerhandbuch

Manual del Usuario

Manuel de l’utilisateur

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Information in this document is subject to change without notice and does not represent a commitment on the part of Twelve Tone Systems, Inc. The software described in this document is furnished under a license agreement or nondisclosure agreement. The software may be used or copied only in accordance of the terms of the agreement. It is against the law to copy this software on any medium except as specifically allowed in the agreement. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Twelve Tone Systems, Inc.

ACID is a trademark of Sonic Foundry, Inc.

Cakewalk is a registered trademark of Twelve Tone Systems, Inc. Project5 and the Cakewalk logo are trademarks of Twelve Tone Systems, Inc. Other company and product names are trademarks of their respective owners.

Visit Cakewalk on the World Wide Web at www.cakewalk.com.

Die Informationen in diesem Dokument unterliegen Änderungen ohne vorherige Ankündigung und stellen keine Verpflichtung von Seiten von Twelve Tone Systems, Inc dar. Die in diesem Dokument beschriebene Software wird im Rahmen einer Lizenz oder Nichtveröffentlichungsvereinbarung bereit gestellt. Die Software darf nur in Übereinstimmung mit den Vereinbarungsbedingungen verwendet oder kopiert werden. Das Kopieren dieser Software auf ein anderes Medium als im Rahmen der Vereinbarung ausdrücklich zugelassen ist verboten. Ohne ausdrückliche schriftliche Genehmigung von Twelve Tone Systems, Inc. darf kein Teil dieses Dokuments in irgendeiner Form oder auf irgendeine Weise, weder elektronisch noch mechanisch, einschließlich von Fotokopien oder Auszeichnungen, zu irgendeinem Zweck reproduziert oder übertragen werden.

ACID ist eine Marke von Sonic Foundry, Inc.

Cakewalk ist eine eingetragene Marke von Twelve Tone Systems, Inc. Project5 und das CakewalkLogo sind Marken von Twelve Tone Systems, Inc. Alle anderen Firmen und Produktnamen sind Marken ihrer jeweiligen Rechtsinhaber.

Besuchen Sie Cakewalk im World Wide Web unter www.cakewalk.com.

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La información de este documento está sujeta a cambios sin previo aviso y no representa un compromiso por parte de Twelve Tone Systems, Inc. El software descrito en este documento se facilita bajo un acuerdo de licencia o de no divulgación. El software puede utilizarse o copiarse siguiendo sólo los términos del acuerdo. La copia de este software en cualquier medio es ilegal, exceptuando los casos previstos de forma específica en el acuerdo. Ninguna parte de este documento puede reproducirse ni transmitirse de ninguna forma ni por ningún medio, electrónico o mecánico, incluyendo las fotocopias y la grabación, para cualquier finalidad sin el consentimiento expreso por escrito de Twelve Tone Systems, Inc.

ACID es una marca comercial de Sonic Foundry, Inc.

Cakewalk es una marca comercial registrada de Twelve Tone Systems, Inc. SONAR y el logotipo de Cakewalk son marcas comerciales de Twelve Tone Systems, Inc. Otros nombres de empresas y de productos son marcas comerciales de sus respectivos propietarios.

Visite Cakewalk en la World Wide Web: www.cakewalk.com.

Les informations contenues dans ce document sont sujettes à modification sans préavis et n’impliquent aucun engagement de la part de Twelve Tone Systems, Inc. Le logiciel présenté dans le présent document est fourni dans le cadre d’un accord de licence ou de confidentialité. L’utilisation et la copie de ce logiciel sont régies par les termes dudit contrat. La copie de ce logiciel sur un média autre que celui spécifiquement autorisé par ledit accord constitue une infraction à la loi. La reproduction ou la diffusion d’une partie ou de l’ensemble de ce document est strictement interdite de quelque forme ou par quelque moyen que ce soit, électronique ou mécanique, y compris la photocopie et l’enregistrement, pour des fins autres que celles expressément autorisées par écrit par Twelve Tone Systems, Inc.

ACID est une marque de commerce de Sonic Foundry, Inc.

Cakewalk est une marque déposée de Twelve Tone Systems, Inc. SONAR et le logo Cakewalk sont des marques de commerce de Twelve Tone Systems, Inc. Les autres entreprises et les autres noms de produits sont des marques de commerce de leurs propriétaires respectifs.

Consultez le site web de Cakewalk : www.cakewalk.com.

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Table of Contents

English

1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Installation for Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Installation for Windows . . . . . . . . . . . . . . . . . . . . . . . . 8

Architecture of Rapture . . . . . . . . . . . . . . . . . . . . . . . . .8

MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

2 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Loading Programs. . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Loading Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Combining and Mixing Elements. . . . . . . . . . . . . . . . .11

Saving Programs and Elements . . . . . . . . . . . . . . . . .12

Using Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Using Rapture as a Multi-timbral Instrument . . . . . . . .13

The Modulation Matrix. . . . . . . . . . . . . . . . . . . . . . . . .13

The X/Y Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

3 The Interface and Controls . . . . . . . . . . . . . . . . . 15

The Interface’s Controls . . . . . . . . . . . . . . . . . . . . . . . 18

4 Main Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Programs, Elements and Audio Files . . . . . . . . . . . . .22

File Organization. . . . . . . . . . . . . . . . . . . . . . . . . 22

Loading Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Editing Oscillator Controls. . . . . . . . . . . . . . . . . .24

Copying, Unloading, and Resetting Elements . . . . . . 26

Chaining Elements. . . . . . . . . . . . . . . . . . . . . . . 26

Ring Modulation. . . . . . . . . . . . . . . . . . . . . . . . . 27

The DSP Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Using the Filters . . . . . . . . . . . . . . . . . . . . . . . . . 27

Using the LoFi Module. . . . . . . . . . . . . . . . . . . . 31

Using the Drive Module . . . . . . . . . . . . . . . . . . . 31

Using the EQ’s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

The Insert FX Section . . . . . . . . . . . . . . . . . . . . . . . . 32

Delay Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Reverb Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Distortion Mode . . . . . . . . . . . . . . . . . . . . . . . . . 35

The Modulators Section . . . . . . . . . . . . . . . . . . . . . . . 36

Envelope Generators. . . . . . . . . . . . . . . . . . . . . 36

Low Frequency Oscillators. . . . . . . . . . . . . . . . . 40

Keytracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

The Step Generator . . . . . . . . . . . . . . . . . . . . . . 43

Modulator Copy/Paste . . . . . . . . . . . . . . . . . . . . 45

Amplitude Editing. . . . . . . . . . . . . . . . . . . . . . . . 46

The Global Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

The Modulation Matrix . . . . . . . . . . . . . . . . . . . . . . . . 46

MIDI Learn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

The Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Microtuning and Alternative Tunings . . . . . . . . . . . . . 49

Sinc Interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

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Appendix A: Parameter Reference . . . . . . . . . . . . . . . 51

Appendix B: Modulation Matrix . . . . . . . . . . . . . . . . . . 57

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

LICENSE AGREEMENT . . . . . . . . . . . . . . . . . . . . . . . . . 71

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Introduction

In This Chapter

Welcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Installation for Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Installation for Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Architecture of Rapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

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Welcome

Architecture of Rapture

Thank you for purchasing Rapture!

Rapture is a wavetable synthesizer with advanced sound manipulation capabilities, well suited for electronicarelated music styles. A comprehensive Modulation Matrix provides expressive control and a unique Step Generator provides an intuitive interface for the creation of rhythmic parameter changes.

Installation for Mac

To install Rapture on a Mac:

1. Insert the Rapture installation CD into your CD drive.

2. Double-click the CD icon that appears on your desktop.

3. Double-click the “Rapture Installer” icon, and follow on-screen instructions.

The installer will give you the option of installing VST, AU, and/or RTAS formats to your system’s plug-in library.

Installation for Windows

To install Rapture on Windows:

1. Insert the Rapture installation CD into your CD drive.

2. The Rapture installer should start automatically. If it does not, go to My Computer and double-click the CD drive icon.

3. Follow the on-screen instructions provided by the installer.

The installer will give you the option of installing DXi, VST and/or RTAS formats to your system.

Rapture is composed of six individual sound generation components, called Elements.

A Rapture Program (stored as a file with a . sion) is defined by the settings of all parameters within all Elements and the Global section. Each Element has a complete engine composed of an Oscillator, a per-voice DSP stage (Bit Reduction, Decimation, Drive and two multi-mode resonant filters), and a set of Modulators (envelope generators, low frequency oscillators and step generators) applied to the main sound generation parameters. The sound generated by the six Elements is mixed and routed to a global DSP stage (three band parametric equalizer and multi-effects section).

The Oscillator is the core of the sound manufacturing process. Each Oscillator is capable of high-quality, high-performance wavetable synthesis. This type of synthesis is an efficient method of creating sustained sounds by looping a minimal amount of audio data. In Rapture, the wavetable is defined by a single-cycle audio file.

During the wave loading procedure, Rapture creates all the sample images required for the Oscillator to play the single cycle across the whole keyboard range without any aliasing distortion. Rapture ships with over two hundred wavetable definition files, which can be expanded.

PROG exten-

MIDI Controllers

To get the most out of Rapture, we recommend using a good MIDI controller. Many programs use the Mod Wheel, Aftertouch, and Velocity to change the sound of the program while the program is playing back.

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Getting Started

In This Chapter

Loading Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Loading Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Combining and Mixing Elements . . . . . . . . . . . . . . . . . . . 11

Saving Programs and Elements . . . . . . . . . . . . . . . . . . . . 12

Using Rapture as a Multi-timbral Instrument . . . . . . . . . . 13

The Modulation Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

The X/Y Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

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This section provides a brief-but-useful introduction to Rapture’s more significant concepts and most-used functions. More detailed information is included in later chapters of this User’s Guide.

You can also access the online help topics by pressing the F1 key on your Windows keyboard or Command+”?” on your Mac keyboard while the Rapture interface is launched.

You can also load a program by clicking the Program Handling button and choosing Load Program from the popup menu, or by drag and dropping a . Rapture window.

When you load a program, you load all the Elements at once, along with all the associated effects, filters, etc.

PROG file into the

Loading Elements

Loading Programs

A Rapture program is made of up to six Elements. Each Element contains a wavetable oscillator and a chain of effects, filters, envelope generators, step generators, and LFO’s. You can turn each Element off or on in the Mixer section at the bottom of Rapture’s interface. If you want to use Rapture as a six-part multi-timbral synth, you can also set each Element to respond to a different MIDI channel.

To Load a Program

1. Click the program window:

Click here

The Program Browser appears.

2. Navigate to the folder where the desired program is located, and double-click the name of the program. Close the Program Browser after you double-click the program.

Rapture loads the program you double-clicked, and displays the program name in the program window.

Rapture allows you to create and load single element files. An element file stores a single Element’s selected wavetable, modulators, EQ and insert effect settings as a disk file with an . reloaded and recombined to create new programs.

Loading an Element file does not change any settings in the unselected Elements. If you wish to clear settings from all Elements before loading any Element files, initialize the program first by clicking the Program Handling button and choosing Initialize Program from the popup menu.

ELEM extension. Element files can then be

To Load an Element

1. Right-click (Ctrl-click on a Mac) the Element button of the Element that you want to load a sound into (E1, E2, E3, E4, E5 or E6).

2. Select Load Element from the popup menu:

The Load Element dialog appears.

3. Navigate to the folder where the desired Element is located, click the name of the Element, and click the Open button.

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Rapture loads the Element you clicked and the Wavetable Display window shows the name of the wave file used by the wavetable oscillator. The graphic represents the singlecycle waveform used by the Oscillator to create a sustained sound.

Name of the selected wave file

Waveform display of the single-cycle wave file

You can also load an Element by selecting any of the files in the Elements folder of the Program browser, or by drag and dropping an .

Tip: When you left-click an Element button to view that Element’s settings, you can switch to another Element by pressing 1 through 6 on your computer keyboard (but not the Num Pad).

ELEM file into the Rapture window

Combining and Mixing Elements

If you want to combine different Elements into a new program, simply load up to six Elements and then save a new program. This is valuable if you want to play different timbres at the same time: for example, you could double a lead and a pad.

Here’s the procedure:

To Combine Elements into a New Program

1. Initialize the program to clear all sounds and effects: click the Program Handling button and choose

Initialize Program from the popup menu (click Yes to the All Current Settings Will Be Discharged prompt).

Click the E1 button to display the controls for Element 1.

2. Load an Element into Element 1: right-click (Ctrl-click on a Mac) the E1 button, choose Load Element from the popup menu, navigate to the desired Element, select it and click the Open button.

3. Adjust any effects, filters, etc. for Element 1, and make sure Element 1’s On button is enabled in the Mixer section:

Click to turn Element 1 on or off

Click and drag to adjust Element 1’s pan and volume controls

You can also adjust each Element’s individual pan and volume settings in the Mixer section.

4. Repeat steps 2 and 3 for any additional Elements you want to combine for this program (for Element 2, click button E2 to display the controls for Element 2, load an Element into Element 2, adjust settings for Element 2, and make sure Element 2’s On button is enabled; for Element 3, click button E3, etc.).

5. When you’ve loaded and configured up to six Elements, adjust the program’s master stereo mix in the Master section.

English

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Stereo level meter

Master pan and volume controls

These master controls, Pan and Volume, modify the combined signal of all currently active Elements. The level meter gives a visual indication of the Rapture’s stereo output.

Note: If the levels are high and you want a hard limiter applied to this program, enable the Limiter On button in the Master section. The limiter will ensure levels are always kept below digital zero (0 dB), which is very useful for highly resonant or distorted sounds.

6. When the program sounds the way you want it, save the program as described in the next section.

Saving Programs and Elements

Once you’ve configured a Program or an Element the way you want it, you can save it to your Programs or Elements folders. Rapture also allows you to set the program it will automatically load every time a new Rapture instance is inserted.

To Save a Program

1. When the program sounds the way you want it, click the Program Handling button and choose Save

Program or Save Program As from the popup menu.

2. If you chose Save Program, Rapture saves the program under its current name in its current folder.

3. If you chose Save Program As, the Save Program dialog appears: navigate to the folder where you want to save the program, type a name for the program, and click the Save button.

Rapture will automatically add the ‘.prog’ extension to the program, and the program name display will be updated to reflect the program name.

To Save an Element

1. When the Element sounds the way you want it, rightclick (Ctrl-click on a Mac) that Element button and choose Save Element As from the popup menu. This opens the Save Element dialog.

2. Navigate to the folder where you want to save the Element, type a name for the Element, and click the Save button.

To Save the Default Program

1. Load the program that you want Rapture to use when you haven’t chosen a program.

2. Click the Program Handling button and choose Save Default Program from the popup menu.

3. Click Yes when Rapture asks you if this is what you want to do.

Rapture saves the current program as the default program.

Using Effects

Insert FX are available for each individual Element, and a Program can contain both Global and Master FX. Each category of effect (Insert, Global and Master) features the same type of menu and parameter controls.

Here’s the procedure for adding a master effect to your program:

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To Apply Master FX to a Program

1. Display the Global page by clicking the Global button.

To Use Rapture as a Multi-timbral Instrument

1. Load the program that you want to use as a multitimbral program.

The Master FX section is located just above the Mixer section.

Click to choose an effect Parameter knobs

2. Choose an effect type by clicking the arrow in the FX window and then choosing an effect from the popup menu that appears.

3. Adjust the effect with the corresponding parameter knobs.

For more information on effects, see “The Insert FX Section” on page 32.

Using Rapture as a Multitimbral Instrument

Each of the six Elements can function as a separate instrument, if you want to use a single instance of Rapture as a six-part multi-timbral instrument.

2. Click the Options button . The Options dialog appears.

3. Check the Set Program As Multi-timbral option, and click OK.

4. Save the program, if you want to change it to a multitimbral program.

When a program is in Multi-timbral mode, the six Elements respond to MIDI channels 1-6, respectively.

The Modulation Matrix

You can use the Modulation Matrix to virtually 'connect' different modulation sources to several parameters. The Modulation Matrix expands the control and performance behavior of a program

To Assign a Modulation Source to a Rapture Parameter (Modulator Destination)

1. Display the Modulation Matrix by clicking the Show/

Hide Modulation Matrix button .

2. In the Source column, click the arrow at the left side of the column to open the Modulation Source menu.

3. Pick a Modulation Source that you want to use to control a Rapture parameter.

4. In the Destination column, click the arrow at the left side of the column to open the Destination menu (a list of Rapture parameters).

5. Click the Rapture parameter that you want to control with the Source you chose in the left column.

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6. In the Depth column, drag up or down to enter a number that controls how strongly and in which direction the parameter responds to changes in the source (negative numbers produce an inverse relationship).

7. In the Smooth column, drag upward to produce a number that smooths out the response of the Destination to the Source.

The X/Y Pad

This X/Y Pad is used to adjust assigned synth parameter levels by dragging the X/Y crosshair around the pad. Parameter levels rise and fall as you move the crosshair.

The Desaccel field allows you to slow down the response of the cross hair—higher values cause a slower response.

Open the X/Y Pad by clicking the Show/Hide Vector Mixer button .

Cross hair

To Assign Parameters to the X/Y Pad

1. Display the Modulation Matrix by clicking the Show/

Hide Modulation Matrix button .

2. In the Source column, click the arrow at the left side of the column to open the Modulation Source menu.

3. From the Source menu, select X/Y Pad X or X/Y Pad Y.

4. In the Destination column, click the arrow at the left side of the column to open the Modulation Destination menu.

5. From the Destination menu, select any of the available synth parameters.

The X/Y Pad will now control the selected parameters. You can assign as many parameters to the X/Y Pad as space provides in the Modulation Matrix.

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The Interface and Controls

In This Chapter

The Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

The Interface’s Controls . . . . . . . . . . . . . . . . . . . . . . . . . . 18

English

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The Interface

The Main Interface

Program name and browser launcher

Oscillator/Editor section

Envelope Generator (EG) and LFO section

Step Generator

EQ section

Insert FX section

Mixer section

The main Rapture interface consists of three areas:

• Program area (top)

In this area we can find the program selector/loader, and the buttons for Program Handling, Options, the Modulation Matrix and the X/Y Pad.

The Modulation Matrix and X/Y Pad are deployable windows. In the Modulation Matrix window, all

Element selection buttons and Global page button

Filter/Drive section

Master output section

modulation assignments for the current preset are defined. The X/Y Pad allows you to control synth parameters .

• Elements area (middle)

This area has an horizontal selector button to choose the Element for editing (1-6), plus all the Element components like the EQ and Step Generator.

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• Mixer/Master area (bottom)

This area has the mixer controls for the six elements, as well as master controls to adjust the final stereo mix.

The Global Page

Program name and browser launcher

Global FX 1

Global FX 2

Global Step Generator

Master EQ section

Master FX section

Rapture also has a Global page with settings for Global and master FX. Access the Global page by pressing the Global button next to the Element selection buttons.

English

Global page button

Mixer section

Master output section

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The Interface’s Controls

All the functions in Rapture are performed by the following controls:

Horizontal Selectors

The horizontal selectors are always in the header of a section, and are used to choose a ‘page’ for editing in a multiple-page context.

They’re used to select the main component page (Element 1-6, Global), and the Modulator page (Pitch, Cutoff 1 & 2, Resonance 1 & 2, Pan and Amplitude).

To Use Horizontal Selectors

• Direct Clicking or Clicking and Dragging can be used to select each page in the Horizontal Selectors.

• If a horizontal selector is ‘active’, it will receive keystrokes. Number keys can be used to select each page when active.

Knobs

Parameters that are continuously variable and suited for automation are controlled by knobs. The knobs in Rapture can be operated by mouse movements, mouse wheel, keyboard, or MIDI messages.

When a parameter is not active (if the whole section is off, for instance), the knob will become semi-transparent. If a knob is operated when in this status, the parameter will be adjusted. However, there won’t be any change to the resulting sound.

To Use Knobs

• Hovering the mouse over the knob for a moment (without clicking on it) will make a tooltip appear, displaying the currently selected element, the parameter name and the current parameter value.

• Clicking on the knob, then moving the mouse vertically will adjust the parameter value. A tooltip will show the parameter value for current adjustment.

• Double-clicking on the knob will set the parameter to its default value (the ‘natural’ value for each parameter).

• After a knob is clicked (or double-clicked), it becomes ‘active’. When a knob is active, it receives mouse wheel messages and keystrokes.

• The mouse wheel will change the parameter value in ± 5% steps for the active knob. If the Shift key is down while moving the wheel, the knob will move in ± 1% steps, allowing for more precise adjustment. Tooltips will display the parameter value for mouse wheel messages as long as the mouse cursor is over the knob. Knobs won’t generate interpolated values on mouse wheel.

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• If a knob is ‘active’, it will receive keystrokes. The following keys can be used to change the parameter value:

Key... Change...

Left, Right arrow ± 0.1%

Up, Down arrow ± 1%

Home Minimum

End Maximum

Tooltips will display the parameter value for mouse wheel messages as long as the mouse cursor is over the knob. Knobs won’t generate interpolated values on keystrokes.

Buttons

Buttons are used to turn on/off a component.

• The Up/Down selectors are controlled in the same way as the knobs: clicking on it and moving the mouse vertically. However, adjusting an Up/Down selector won’t result in interpolated values. A tooltip will show the parameter value for current adjustment.

• Like the knobs, after an Up/Down selector is clicked, it becomes active. The font color will change to orange when in that status.

• When a text selector is active, it can receive mouse wheel messages and keystrokes.

• Since many parameters represented by Up/Down selectors have broad ranges, and at the same time they require precise adjustments, the following modifiers can be used to achieve different speed/ resolution changes while using the mouse:

Modifier... Change...

Shift Small steps

(small parameter movements, increased resolution)

English

Clicking on a button will turn the component on/off, and the button image will reflect the status.

Up/Down selectors

Parameters with numerical values, not suitable for automation are controlled via Up/Down selectors. An example of this type of parameters is the Low and High Keyboard Note for any Element, in the Oscillator control display.

Control (Command on a Mac)

• The range and step size for each parameter is shown in the ‘Parameter Ranges’ table. See “Appendix A: Parameter Reference” on page 51.

Big steps (big parameter changes, reduced resolution)

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• If an Up/Down selector is active, it will receive keystrokes. The following keys can be used to change the parameter value:

Key... Parameter Value...

When a Text Selector is clicked, it becomes active. The font color will change to orange when in that status. When a text selector is active, it can receive mouse wheel messages and keystrokes. The following keys can be used to change the parameter value:

Up/Down Arrows Next/Previous parameter value.

Standard Steps.

Page Up/Down Step forward/backward 10 steps

Text Selectors

The text selectors are used to choose a value for parameters that have multiple options, non-numerical. An example of this kind of parameter is the Insert FX Type.

A text selector will advance to next/previous value when the display text is left/right clicked (left click/Control+click on a Mac).

Key... Change...

Up/Down Arrows Next/Previous parameter value

Page Up/Down Step forward/backward 10 steps

Tip: Many text selector values can also be accessed via a menu. Click the gray triangle to the left or right of a text selector to view available options in a popup menu.

Envelope, Step Generator, LFO Waveform and Key Tracking controls

The Modulators section includes special controls to set the Envelope Generators, Step Generator, the LFO Waveforms and the Keyboard Tracking. For precise details on how to operate those controls, see “The Modulators Section” on page 36.

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Main Functions

In This Chapter

Programs, Elements and Audio Files . . . . . . . . . . . . . . . . 22

Loading Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Copying, Unloading, and Resetting Elements . . . . . . . . . 26

The DSP Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Using the EQ’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

The Insert FX Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

The Modulators Section . . . . . . . . . . . . . . . . . . . . . . . . . . 36

The Modulation Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

MIDI Learn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

The Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Microtuning and Alternative Tunings. . . . . . . . . . . . . . . . . 49

Sinc Interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

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The following sections describe the advanced functionality of Rapture and other details not covered in the introductory topics.

Programs, Elements and Audio Files

As described in the Getting Started chapter, a Rapture program has six Elements at its disposal, making for sophisticated sound programming potential. A program consists of the settings for these six elements, including references to the wavetables used by all oscillators, and all global settings.

File Organization

After installation, the following folders will be created inside the Rapture folder:

Multisamples\ Multisamples folder

All factory wavetables, multisample definitions and sample collections.

Programs\ Programs folder

All factory presets/programs. Rapture will point to this folder on Save…Program.

Programs\Elements\ Elements folder

All factory elements. Rapture will point to this folder on Save…Element.

Sample Pool\ Sample Pool folder

Project/Demo song specific samples.

File/Folder... Stores...

Documentation\ Documentation folder

Release Notes, User Manual and Registration information.

Lfo Waveforms\ Lfo Waveforms folder

All factory LFO waveforms. Userdefined waverforms can be stored here as well.

MIDI\ MIDI folder

All MIDI Learn data.

Tunings\ Tunings folder

All microtuning and alternate tuning files.

Program Files

Program files (.prog) can be anywhere in the disk or network. The ‘Programs\’ folder was created for organizational purposes, but the user can save a program anywhere.

Program files are not required for the Song Persistence to work. A copy of the program file is saved as persistence, and it’s reloaded on song reload.

This means each song will include a ‘snapshot’ of the used programs in the moment the song was last saved. This allows you to preserve old songs and their settings even if factory programs are updated in the future.

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Elements

Rapture can save and load individual Elements to file. The idea here is making an ‘Element Set’, capable of serving as ‘quick construction kit’ for new programs. An element file contains all settings for an element, including the wavetable and oscillator parameters, with all modulators and DSP settings applied.

Tip: Elements stored in the default Elements folder can be loaded directly via the Program Browser. Launch the Porgram Browser and navigate to the Elements folder to make your selection. Loading an Element in this way will not affect the other Elements within the program.

Audio Files

Rapture specializes in using single-cycle audio files to define wavetables, driving the Oscillator for wavetable synthesis. However, Rapture allows a variety of other audio file types to be loaded as well. Unlike Program files, audio

SFZ, .WAV, .AIF, .AIFF, .OGG) are not included in the

files (. Song Persistence. Therefore, songs will be affected by any changes to the original audio source.

Additionally, the samples are external standard wave files which can be edited using a standard wave editor. Consequently, this warning is here: if a multisample definition file is edited, and/or a sample file is edited, the old song might sound different after reloading it if it happens to use the edited files.

Samples

If a sample defined inside an .sfz definition file is missing, Rapture will try to load it from the original location on Program/Song reload.

If that wave file isn’t in the original location, Rapture will try to find it in the Sample Pool folder. This simplifies exchanging sample files between users.

Rapture will report every sample it can’t find after above attempts fail.

Loading Samples

You can load single samples (Wave or AIFF files), or multisamples, (SFZ files) which already contain key mapping and velocity switching assignments. You can load samples in any bit depth and sample rate, in mono or stereo, in looped or unlooped format. Wave and AIFF files can be loaded directly, or as a sample inside an SFZ definition file.

Samples can be of any bit depth (8 to 32-bit), any samplerate, and either mono or stereo. Each sample in a multisample can be a standard PCM Windows wave file (. an Apple audio format (. standard, high-quality, open and royalty-free ogg-vorbis

OGG). Those files can also be loaded directly into

format (. an Element.

Alternatively, it is possible to open multisample definition files (.sfz) or individual samples by drag and dropping them into Rapture window. The sample will be loaded into the selected element.

Tip: If a multisample or individual sample (even samples inside a multisample) is loaded more than once, across multiple elements, or multiple instances of Rapture, the sample will exist in memory only once. The size indicated for the second and subsequent instances will be zero, which boosts memory efficiency.

Loading a sample or multisample does not clear the effects that may be patched into Rapture at the time of loading. If you want to clear all effects first, initialize the program by clicking the Program Handling button and choosing Initialize Program from the popup menu.

A multisample consists of a group of samples, their key mapping, and velocity switching. If you want to change key mapping and/or velocity switching, you can edit each multisample’s .sfz file, which is found in the multisample folder along with the multisamples. You can use Notepad to edit a .sfz file. The .sfz format is explained at http://www.rgcaudio.com/sfzformat.htm.

AIFF) or a compressed file in the

WAV),

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Note: Rapture can read .sfz files in Unicode (little or big endian), UTF-8 and ANSI. Inside unicode/utf files, any character set can be used in the definition of folder and filenames. It is possible to install Rapture in a unicodenamed folder.

To Load a Wavetable or Sample

1. Click the Wavetable Display window to open the Load Multisample dialog, and navigate to the folder where the desired wavetable or sample is located.

Wavetable Display window

Waveform

Note: Rapture streams samples from RAM, so only samples under a minute in length are suitable for loading, depending on the amount of RAM in your computer. Playback of a stereo sample will use more

CPU than a mono sample, but less CPU than two mono samples.

2. Click the name of the wavetable or sample, and click the Open button.

• Drag a wave file from the Windows Explorer or the MacOS Finder to Rapture’s Oscillator section.

Tip: You can navigate forwards and backwards through wave files in the current wave directory without opening a browse dialog by left-clicking or right-clicking (Ctrl-click on a Mac) the waveform in the Wavetable Display window.

Editing Oscillator Controls

Once the wavetable is loaded into the Element, you can adjust a number of mapping, tuning, and performance parameter. The following controls are located in the Oscillator section:

Control... Does This... Value Type...

Lo/Hi Key Changes the range of notes that the element will play. Note Number

Lo/Hi Vel Changes the velocity range that the element will play. Velocity Value

Bend Up/Down Changes the pitch bend range. Semitones

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Sust/Sost Changes whether the element responds to MIDI Sustain data (cc # 64), or

MIDI Sostenuto (cc # 66).

Transpose Changes the pitch (keyboard mapping is unaffected). Semitones

Tune Adjusts the pitch in one-cent increments, up or down. Cents

Keytrack Changes the pitch variation for each note, in cents. Cents per Key

Off/On

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Phase Adjusts the initial phase of the waveform, from 0 to 360 degrees, when a

MIDI Note On event arrives.

It is possible to create complex sound textures by combining waveforms in two oscillators with different starting phases.

Quality Defines how the wavetable rendering quality.

"Standard" should be used when no exposed pitch sweeps are performed with that oscillator. "High" will perform a high-order partial-level interpolation, allowing huge pitch sweeps without audible aliasing.

Multi Turns the currently loaded wavetable into multiple oscillators (voices),

spread across the stereo field at even distributions and with different detuning levels.

Note that the detuning level is regulated by the Detune control.

Ring Mod Changes the oscillator into TWO oscillators which ring modulate each

other. For more information, see “Ring Modulation” on page 27.

Note that the detune level between both oscillators is regulated by the Detune control.

Detune Applied to the most-detuned oscillators when in Multi or Ring Mod mode;

the middle oscillators are interpolated from that value. The Detune range is one semitone, or 100 cents.

Porta Time Forces pitch glide when polyphony is set to 0 (monophonic/legato mode).

Value ranges from 0 to 10 seconds.

Degrees

Std/Hi

Off, 3v, 5v, 7v, 9v

On/Off

Cents

Seconds

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Polyphony Sets the polyphony for the element. Setting Polyphony to 1 puts that

Element in monophonic mode, setting it to 0 puts that Element in monophonic and legato mode.

Notes

Layers Shows what sample layer is currently playing. Rapture defines a Layer as

Tip: The Multi and Ring Mod controls are suitable for much higher detuning factors, if extreme effects are wanted. Further detuning is available via the Modulation Matrix.

Copying, Unloading, and Resetting Elements

If you right-click (Control-click on a Mac) an Element button (E1 through E6), a popup context menu appears, which contains the following commands:

• Unload Element—removes the multisample from the multisample window without removing parameter settings.

• Reset Element—removes the multisample from the multisample window and removes all parameter settings.

• Copy Element—places all information from current Element, including multisample assignments and all parameter settings, on the clipboard.

• Paste Element—pastes copied Element data from the clipboard to the current Element: to paste, right-click (Control-click on a Mac) the Element button of the Element that you want to paste to, and select Paste Element from the popup menu.

the playback for one sample, either mono or stereo.

• Paste Element Fx—pastes only Insert Fx settings from a copied Element to the current Element.

Remember, only one Element can be selected and edited at a time. Read on for details about the remaining Element context menu items.

Chaining Elements

Sometimes a program requires two different wavetables to be processed with their own LoFi, Filter and Drive settings, but with the same EQ and effects applied to both.

The result of that operation is the same as mixing the two elements and then applying the EQ and effects on the mix. However, the CPU usage in the latter is much lower, since only one set of effects is operational.

Rapture allows you to ‘chain’ the output of one element into the effects of the next, for the first five elements. Chain to Next Element is in the last section of the Element context menu. Re-select this menu item to unchain the elements.

This field is display only, 0 to INF.

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Ring Modulation

“Modulation” in this sense means that an aspect of the audio signal is being modified in an explicit way using digital signal processing. Ring Modulation is a process in which two audio signals are used to create a new signal containing the sum and differences of those frequencies. These frequencies will typically be non-harmonic, resulting in rather disharmonic, bell-like sounds.

Mathematically, the resulting frequency is the sum and the difference of the input frequencies, or the 'sidebands' where the upper sidebands are the sums and the lower sidebands are the differences. Use Rapture’s Detune parameter in either the Oscillator section or the Modulation Matrix (destination Detune), to control the modulation amount.

Rapture offers the Ring Modulate Previous Elements option in the Element context menu. When this menu item is checked, the current Element will ring-modulate the output of all previous elements.

The DSP Section

Click to change the order of DSP processes

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Using the Filters

The DSP section provides two multimode filters. This is useful for filter effects, such as combining low-pass and high-pass frequency filters or using two separate bandpass filters. Rapture’s filters provide a wide selection of filter types, which you choose from the dropdown menu:

Choose filter types here

The DSP section of Rapture contains Filter, Drive and LoFi parameters. Independent controls are provided for two Filters, the LoFi module, and the Drive module. The order of these processes can be altered, thereby modifying the signal path and the resulting sound.

To Reorder the DSP Chain

• Click on the signal path above the controls to cycle through the available reordering options or to Bypass the section entirely. Left-click or right-click (Ctrl-click on a Mac) on the signal path to iterate forwards or backwards respectively.

The dropdown menu has the following choices:

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Filter... Description...

LP1P Low Pass, One-Pole filter (6dB/octave roll-off). Allows passing all frequencies below the specified by

the Cutoff knob. Above that frequency, there’s a 6dB/octave roll-off, very gentle.

This filter doesn’t feature resonance.

HP1P High Pass, One-Pole filter (6dB/octave roll-off). Allows passing all frequencies above the specified by

the Cutoff knob. Below that frequency, there’s a 6dB/octave roll-off, very gentle.

This filter doesn’t feature resonance.

BP1P Band Pass composed of two One-Pole LP and HP filters in series (6dB/octave roll-off). Allows

passing all frequencies in the neigborhood of the specified by the Cutoff knob. Above and below that frequency, there’s a 6dB/octave roll-off, very gentle.

BR1P Band Rejection composed of two One-Pole HP and LP filters in series (6dB/octave roll-off). Allows

AP1P All Pass, One-Pole filter.

LP2P Low Pass, Two-Pole filter (12dB/octave roll-off).

passing all frequencies except the ones in the neigborhood of the specified by the Cutoff knob. Surrounding that frequency, there’s a 6dB/octave roll-off, very gentle.

This filter doesn’t feature resonance.

This filter is used to introduce sub-sample delay times.

This is useful when phase aligning samples between different elements.

This is a very subtle effect.

This filter allows passing all frequencies below the specified by the Cutoff knob. Above that frequency, there’s a 12dB/octave roll-off in amplitude.

This filter features resonance, which is a boost of the frequencies surrounding the cutoff frequency.

Resonance can dramatically increase the loudness. Please make sure you have the main Limiter turned on when editing programs with high resonance.

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HP2P High Pass, Two-Pole filter (12dB/octave roll-off).

This filter allows passing all frequencies above the specified by the Cutoff knob. Below that frequency, there’s a 12dB/octave roll-off in amplitude.

This filter features resonance, which is a boost of the frequencies surrounding the cutoff frequency.

Resonance can dramatically increase the loudness. Please make sure you have the main Limiter turned on when editing programs with high resonance.

BP2P Band Pass, Two-Pole filter (12dB/octave roll-off).

This filter allows passing all frequencies around the specified by the Cutoff knob. Below and above that frequency, there’s a 12dB/octave roll-off in amplitude.

This filter features resonance, which is a boost of the frequencies surrounding the cutoff frequency.

High resonance settings on a band pass filter result in a narrow output bandwidth. For most sounds, this is percieved as a reduced loudness. However, if the incoming sound frequency matches the filter cutoff, a dramatically high loudness is expected. Please make sure you have the main Limiter turned on when editing programs with high resonance.

BR2P Band Rejection, Two-Pole filter (12dB/octave roll-off).

This filter allows passing all frequencies except the ones around the specified by the Cutoff knob. Surrounding that frequency, there’s a 12dB/octave roll-off in amplitude.

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PK2P Peak Filter. This filter will reinforce the Cutoff frequency by 6dB, and the surrounding frequencies with

a slope of 12dB/octave.

The width of the peak is adjusted with the Resonance knob.

LP4P Low Pass, Four-Pole filter (24dB/octave roll-off).

This filter allows passing all frequencies below the specified by the Cutoff knob. Above that frequency, there’s a 24dB/octave roll-off in amplitude.

This filter features resonance, which is a boost of the frequencies surrounding the cutoff frequency.

Resonance can dramatically increase the loudness. Please make sure you have the main Limiter turned on when editing programs with high resonance.

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HP4P High Pass, Four–Pole filter (24dB/octave roll-off).

This filter allows passing all frequencies above the specified by the Cutoff knob. Below that frequency, there’s a 24dB/octave roll-off in amplitude.

This filter features resonance, which is a boost of the frequencies surrounding the cutoff frequency.

Resonance can dramatically increase the loudness. Please make sure you have the main Limiter turned on when editing programs with high resonance.

LP6P Low Pass, Six-Pole filter (36dB/octave roll-off).

This filter allows passing all frequencies below the specified by the Cutoff knob. Above that frequency, there’s a 36dB/octave roll-off in amplitude.

This filter features resonance, which is a boost of the frequencies surrounding the cutoff frequency.

Resonance can dramatically increase the loudness. Please make sure you have the main Limiter turned on when editing programs with high resonance.

HP6P High Pass, Six–Pole filter (36dB/octave roll-off).

This filter allows passing all frequencies above the specified by the Cutoff knob. Below that frequency, there’s a 36dB /octave roll-off in amplitude.

This filter features resonance, which is a boost of the frequencies surrounding the cutoff frequency.

Resonance can dramatically increase the loudness. Please make sure you have the main Limiter turned on when editing programs with high resonance.

PINK Multiple Knee filter, composed of multiple Low Pass, One-Pole filters.

This is a static filter, generally used to create pink noise. When applied to sample material it has the effect of creating a slight darkening on the tone, without affecting the sound character at all.

COMB Comb filter.

A comb filter creates several frequency ‘notches’, which color the sound in a particular way.

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Using the LoFi Module

Rapture’s LoFi module contains a bit reduction effect and a decimation effect that you can apply to the current Element.

The bit reduction effect emulates the sound of older, low bit-resolution samplers. The decimation effect continuously adjusts the sample rate.

When placed after a Filter in the signal path, the Drive module allows you to ‘tame’ high resonance filter settings, create a broken, distorted sound, or add some character to a sound, depending which drive mode is selected:

Mode... Description...

Off Effect bypassed.

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To Use Bit Reduction

1. Enable the On button that’s above the Bit Red knob.

2. Adjust the Bit Red knob between 0 and 100% to achieve the desired sound.

To Use Decimation

1. Enable the On button that’s above the Decim knob.

2. Adjust the Decim knob between 0 and 100% to achieve the desired sound.

Using the Drive Module

Rapture’s Drive module adds various overdrive effects, which you choose from the dropdown menu. The Drive knob adjusts the shape of the selected effect.

Click here to toggle through overdrive types or Off

Drag knob to adjust Drive Shape

Tube Very soft effect.

A shaping process like the one found in tube amplifiers is applied.

Soft Slight overdrive.

Mid Mid overdrive.

Hard Aggressive overdrive effect, ideal to

be applied on solo lead instruments

Asymmetric Bright distortion effect.

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Using the EQ’s

The Insert FX Section

Rapture’s three EQ modules give you tremendous control over the sound of each Element.

Each EQ has the following controls:

EQ On button

Lo shelf

• On button—enable this button to use the EQ.

• Low shelf button—when this button is enabled, the EQ modifies all frequencies below the Freq knob value.

• Band pass button—when this button is enabled, the EQ modifies all frequencies surrounding the Freq knob value.

• High shelf button—when this button is enabled, the EQ modifies all frequencies above the Freq knob value.

• Gain knob—turn this knob to the left to cut the selected frequencies by up to 24 dB, or to the right to boost by up to 24 dB.

• Freq knob—turn this knob to select a frequency between 8 and 22480 Hz.

• Q knob—turn this knob to the left to narrow the range of affected frequencies, or to the right to widen the range.

Band pass

Gain

Frequency

High shelf

Each element in Rapture contains an Insert FX section featuring several combinations of Delay, Filter, Modulation, Phaser, Reverb and Distortion effects.. Depending on the mode selected, the knobs control different effect parameters as described below.

Note: Knobs and the Filter are disabled (greyed-out) when not applicable to the selected mode.

Delay Mode

Rapture’s Insert FX section offers many delay types in the Type menu, and has a built-in filter that you can select options for in the Filter menu.

The Delay mode has the following controls:

Delay Type menu

Filter parameters

Filter menu

LFO parameters

Delay parameters

Mix parameters

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• Delay menu—choose the desired type of delay effect, defined in the following table:

Delay Type... Description...

Off No Effect. All CPU usage is recovered.

Stereo Delay A stereo delay effect, with independent delay lines for both stereo channels and output filter.

The delay output is routed through the filter.

Cross Feedback Delay Two independent delay lines, with the feedback of each channel routed to the input of the

other. The delay output is routed through the filter.

Ping Delay A delay effect where the echoes bounce in the stereo field.

The delay output is routed through the filter.

L/R/C Delay The first echo appears in left channel, the second in the right channel and subsequent

images move gradually to the center. The delay output is routed through the filter.

R/L/C Delay The first echo appears in right channel, the second in the left channel and subsequent

images move gradually to the center. The delay output is routed through the filter.

Triple Delay Similar to Stereo Delay, but a mono echo image with independent delay time appears

centered in the stereo field. The delay output is routed through the filter.

Detuning Delay A static delayed image appears, tuned differently than the original according to the

Modulation Frequency and Depth settings.

Chorus A standard stereo modulated delay, with feedback. This setting allows for several Chorus

and Flanger effects.

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Symphonic A multiple voice chorus effect.

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LFO Filter Delay Similar to Stereo Delay, but a low frequency oscillator is used to change the filter cutoff.

Filter is applied to the wet signal only.

Panning Delay A delay effect where the echo image is panned in the stereo by a low frequency oscillator.

Auto Pan The low frequency oscillator is used to move the sound in the stereo field cyclically.

LFO Filter Signal is processed by the filter, and the filter cutoff is modulated by the Low Frequency

Phased Delay Similar to Stereo Delay, with the output passed thru a Phaser. The CENTER, LFO FREQ

Filter/Phaser A combination of a Filter effect with a Phaser effect. Both effects are controlled with the

• Filter menu—choose the type of filter. Choices are Low Pass (LP), Band Pass (BP), High Pass (HP), Band Reject (BR), All Pass (AP), Peak (PK), Comb filter, and Pink. Strength choices are 6 dB(1P) up to 36 dB (6P).

• Delay parameters—Left delay: choose a tempo ratio. Center delay: choose a tempo ratio (knob is greyedout if the delay type doesn’t use a center delay). Right delay: choose a tempo ratio. Feedback: choose from 0 to 100%.

• Filter parameters—choose a cutoff frequency and resonance level. A knob is greyed-out if the chosen filter doesn’t support the parameter that the knob controls.

Oscillator.

and LFO DEPTH control the Phaser behavior.

same LFO, so LFO FREQ and LFO DEPTH will control the filter and phaser sweep and depth simultaneously.

• LFO parameters—if a chosen delay type uses an LFO, set the frequency and depth with these two knobs. Knobs are greyed-out if the relevant parameter is not used.

• Mix parameters—use these knobs to control the Delay input level and dry/wet mix.

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Reverb Mode

Rapture’s Insert FX section also offers many reverbs in the Type menu.

The Reverb mode uses several knobs for parameter control:

Distortion Mode

Rapture’s Insert FX section also includes distortion effects in the Type menu.

The Distortion mode uses several knobs for parameter control:

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Type menu

Reverb Tone

• Type menu—choose the desired type of reverb effect: Small Room, Mid Room, Large Room, Small Hall, Mid Hall, Large Hall, and Chamber.

• Reverb Size parameter—use the Center knob to adjust the size

• Reverb Damp parameter—use the Feedback knob to adjust reverb damping

• Reverb Tone parameter—use the Cutoff knob to adjust the reverb tone

• Mix parameters—use these knobs to control the Reverb input level and wet/dry mix.

Reverb Size Reverb Damp

Mix parameters

Type menu

Distortion Tone

• Type menu—choose the desired type of distortion effect: Distortion 1 or Distortion 2.

• Distortion Feeback parameter—use the Feedback knob to adjust the distortion feedback

• Distortion Tone parameter—use the Cutoff knob to adjust the distortion tone

• Mix parameters—use these knobs to control the Distortion input level and wet/dry mix.

Caution: Distortion effects can be very loud, so make sure youhave the Limiter turned On before applying them. Use the DRY/WET knob to adjust the overall level of the distortion effect. The Limiter can be turned Off after the adjustment is complete.

Distortion Feedback

Mix parameters

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The Modulators Section

Unlike other synthesizer designs where just a few Envelope Generators (EG), Low Frequency Oscillators (LFO), Keyboard Tracking generators, etc. are shared and routed to the destination parameter via a Modulation Matrix, Rapture has one set of dedicated components for each destination.

In this way, a total of forty-two Envelope Generators, fortytwo Low Frequency Oscillators, forty-two Keyboard Tracking Generators, and forty-two Step Generators are available for a program, and they can be all active at once with their own settings.

The Modulators section allows you to generate envelopes to control an Element’s pitch, cutoff and resonance for both filters, pan and amplitude/volume.

after sustain point will be operational, stopping once the final node is reached.

If a loop is defined, the EG will move to the defined loop start node once it reaches the sustain node, over and over again.

Here are some procedures for generating envelopes:

To Display an Envelope

• To display the envelope for pitch, cutoff, resonance, pan, or amplitude, respectively, click the Pitch button, Cutoff 1 or 2 button, Resonance 1 or 2 button, Pan button, or Amplitude button, respectively. After you click an envelope button, you can switch between envelopes by pressing the numbers 1 through 7 on your keyboard (not the Num Pad).

Envelope Generators

Rapture’s Envelope Generators (EG) are possibly the most advanced EG system currently available, and provide much of the basis for Rapture’s versatility. Each EG features an arbitrary amount of envelope segments, with adjustable shape, keyboard tracking and velocity tracking for each segment. The EG also allow looping, so they can be turned in a complex wave low frequency oscillator.

The EG will start working on note-on, and will follow all defined segments until the last node, if there’s no loop nor sustain point defined. Once the final node is reached, the level will remain unchanged for the whole note duration.

When the Amplitude Envelope Generator reaches the last node and if no loop is defined, it will deactivate the layer (layer expired).

If a sustain point is defined, the EG will start on note on and will follow all defined segments until the sustain node is reached. Then the level will remain unchanged until the Note-Off event for the layer. Then the segments defined

Pitch Cutoff 1 Resonance Pan AmplitudeCutoff 2 Resonance 2

To Turn On an Envelope Generator

1. Display the desired envelope.

2. Click the EG Status field so that it’s on.

Click here

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To Edit EG Depth and Velocity Response

• To edit EG Depth, drag the Depth field up or down.

• To edit velocity intensity, drag the Vel->int value up or down. This controls the intensity in which the Note-on velocity affects the modulation depth.

• To edit how velocity affects EG times, as a multiplier of the time, drag the Vel->tim value up or down.

• To edit how velocity affects the current envelope’s value, drag the Vel Track field up or down.

To Graph or Edit an Envelope

1. Click an envelope button to display the desired envelope, and make sure the EG Status field is On.

2. Add and edit nodes according to the following table:

Edit a line segment.

Reset a line segment.

Adjust a line segment shape.

Remove/reset all nodes.

Drag the line segment.

Double-click the segment or hold the Shift key and click the segment.

Ctrl-click the segment and drag vertically (Command-click on a Mac).

Press r or right-click (Ctrl-click on a Mac) above the EG grid and choose Reset All Nodes from the context menu.

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To Do This... Do This...

Add a node to the envelope.

Remove a node. Right-click the node (Control-click

Move a node. Drag the node.

Move a node without moving other nodes.

Right-click the envelope (Controlclick on a Mac). If the envelope does not have any line segments and nodes yet, right-click the graph where you would like to insert a line segment and a node.

on a Mac).

Ctrl-drag the node (Commanddrag on a Mac).

Display the values of a node.

Scroll the graph. Drag the border at the bottom of

Fit the envelope to the window.

Hold the mouse over the node. The node values appear at the top of the graph, including node number, time, distance from previous node, and level.

the envelope window.

• Double-click the border at the bottom of the envelope window.

• Right-click (Ctrl-click on a Mac) above the EG grid and choose Fit from the context menu.

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Zoom in on envelopes.

Zoom out on envelopes.

• Scroll the mouse wheel up; hold the Ctrl key (Command on a Mac) down for finer adjustments

• Hold the mouse over the center of the area you want to zoom in on, and press the * key on the Num Pad.

• Right-click (Ctrl-click on a Mac) above the EG grid and choose Zoom In from the context menu.

• Scroll the mouse wheel down; hold the Ctrl key (Command on a Mac) down for finer adjustments

• Hold the mouse over the center of the area you want to zoom in on, and press the / key on the Num Pad.

• Right-click (Ctrl-click on a Mac) above the EG grid and choose Zoom Out from the context menu.

Change a line segment from the default “variable power” curve to an exponential curve, or vice versa. See the tip on amplitude editing below.

Precisely move a node.

Set/Clear/ Reposition SUSTAIN point (loop end)

Set/Clear/ Reposition LOOP START point

Hold your mouse over the end node of the line segment, and press N on your keyboard, or right-click (Ctrl-click on a Mac) above the EG grid and choose Toggle Envelope Shape from the context menu.The segment turns dark blue when the exponential curve is being used.

Click the node, then press any of the Arrow keys. Hold the Shift key down to move by finer increments.

Select the desired node and press S on your keyboard, or right-click (Ctrl-click on a Mac) above the EG grid and choose Set/Clear Active Node as Sustain from the context menu. Rapture adds a vertical red line under the node. Open the context menu or press S again to clear the loop point.

Select the desired node and press the key L, or right-click (Ctrl-click on a Mac) above the EG grid and choose Set/Clear Active Node as Loop from the context menu. Open the context menu or press L again to remove loop start point.

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Adjust Time Velocity Tracking for a segment.

Try increasing the velocity tracking value for different parts of a sample’s amplitude curve, and playing your keyboard harder or softer to hear the difference. For example, if you set a positive value for the attack segment of an amplitude curve, playing your keyboard harder increases the time that the attack segment takes.

Make the EG window active (click anywhere on it), then press the V on your keyboard (this is a toggle command), or right-click (Ctrl-click on a Mac) above the EG grid and choose Edit Segment Time Velocity Tracking from the context menu.

Orange-shaded bars appear above or below the horizontal center line of the graph, depending on each segment’s velocity tracking setting.

Positive bars (above the center line of the graph) mean higher velocity = longer time.

Negative bars (below the center line of the graph) mean higher velocity = shorter time.

If there is no positive or negative value for velocity tracking in a segment, no orange bar appears.

To add or adjust a velocity tracking value to a segment, drag in the area above or below the center line of the graph within a line segment’s boundaries. The tracking value works by multiplying the segment time, from

0.1x to 10x.

Adjust Time Keyboard Tracking for a segment

Try increasing the time keyboard tracking value for different parts of a sample’s amplitude curve, and playing your keyboard higher or lower to hear the difference. For example, if you set a positive value for the attack segment of an amplitude curve, playing higher notes on your keyboard increases the time that the attack segment takes.

Make the EG window active (click anywhere on it), then press the K on your keyboard (this is a toggle command) or right-click (Ctrl-click on a Mac) above the EG grid and choose Edit Segment Time Keyboard Tracking from the context menu.

Blue-shaded areas appear above or below each line segment, depending on each segment’s time keyboard tracking setting.

Positive bars (above the center line of the graph) mean higher range = longer time.

Negative bars (below the center line of the graph) mean higher range = shorter time.

ITo add a time keyboard tracking value to a segment, drag in the area above or below the center line of the graph within the line segment’s boundaries.

To adjust a value, click between the two nodes surrounding the desired segment, drag vertically to adjust. The tracking value works by multiplying the segment time, from 0.1x to 10x.

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Low Frequency Oscillators

The Low Frequency Oscillators (LFO) in Rapture are a great component to add animation and movement to the sound. Originally intended to emulate the vibrato and tremolo found in natural acoustic instruments, synthesizers have redefined their use, making them a fundamental component in the construction of evolving pads and textures.

As with the EG, one LFO is available for each destination in each element, for a total of forty-two LFOs which can be operative simultaneously.

The LFO main parameter is the LFO waveform. Rapture has a graphical waveform selector, which allows selecting the wave shape and phase for the selected waveform.

Selections... Description...

Waveform • Left/Right-click (Left/Control-

click on a Mac) on the waveform to select next/ previous waveform, or

• Right-click (Ctrl-click on a Mac) above the LFO window to access all LFO options from a popup menu.

Tip: Rapture allows user-defined waveforms for LFOs as well. The following requirements must be satisfied to add your own waveforms:

• User defined waveforms need to be stored in the folder \LFO Waveforms.

• Files must named in a consecutive numbering order:

LfoWaveform030.wav

LfoWaveform031.wav

LfoWaveform032.wav

etc…

• Note that the first twenty waveforms (0 to 19) are hard-coded, therefore numbering should begin at "…020."

• Rapture supports up to 80 user-defined LFO wave files (020 to 099).

• LFO files must be standard wav files, 8 to 32-bit mono (stereo will be converted to mono by adding both channels), any samplerate and length.

• Note that waveform 100/101 is an internal random generator, unipolar/bipolar respectively.

Phase • Hold the Shift key, then click

on the waveform and drag horizontally to select the LFO start-up phase

• Press the Left/Right arrow keys for 1 degree adjustment

• Press Shift plus the Left/ Right arrow keys for 10 degree adjustment

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Beyond the selected waveform, each LFO features the following parameters:

Parameters... Description...

Status Turns the LFO on or off, or puts it in Shot mode.

Shot is short for “one-shot,” and means the LFO plays one cycle of the LFO shape at the beginning of the voice event and does not repeat.

Freq Frequency, in Hertz.

The waveform indicator will display the selected frequency, with a horizontal scale of two seconds. This is, two cycles will be shown when the frequency is set to 1Hz.

Sync Synchronize to Host Tempo, in Beats.

When Sync is in the Off position, the LFO will move at the frequency defined by the previous value (Freq). When a Sync value is selected, from 1/8t to 128d, the LFO will follow the host tempo and position, generating one cycle each time the host moves through the specified beat value.

For instance, if Sync is set to 1, the LFO will generate one cycle in each host beat.

Delay Time from Note-On message to LFO startup, in Seconds.

After Note-On, the LFO will wait a time to start working, as specified by this parameter. A value of zero means instant startup.

Fade Time for LFO fade-in, in seconds.

Once the LFO starts working (after LFO Delay time), the LFO modulation level will rise gradually to a maximum, which will be reached after the time specified by the Fade parameter.

Depth LFO modulation depth.

This determinates how much the LFO will affect the selected destination, expressed in the destination units. For instance, for the Pitch LFO, the depth is expressed in cents.

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To Control an Envelope’s LFO

• Click the LFO Status field to turn the LFO on or off.

LFO Status field

• Click the current waveform to select from several waveform options.

Keytracking

The keytracking control adjusts how the selected parameter changes with the keyboard (hence 'keyboard tracking'). The left node represents MIDI Note 0, the right node represents MIDI Note 127. The shape and orientation of the curve in between represents the parameter variation in the whole note range.

Keytrack envelope

Right-click (Ctrl-click on a Mac) here to access LFO popup menu

LFO waveform

• Drag in the fields to adjust other LFO parameters as described above.

To Control Keytracking

• Drag the nodes or curve of the Keytrack envelope where it appears under the LFO waveform. You can drag the line segment into a curve, or reset the line segment by double-clicking it. You can move both nodes by pressing the up or down Arrow keys, or by pressing the Page Up or Page Down keys for larger increments.

Keytracking maps the range of your MIDI controller to changes in the current envelope. For example, if you display the Cutoff envelope, and drag the Keytrack envelope into an upward slope, playing higher notes on your controller will raise the cutoff frequency. On the Amplitude envelope, you can actually use the Keytrack envelope as a global gain—drag both nodes of the Keytrack envelope up or down to control global output volume.

Here’s another example of using Keytracking: if you load a bright waveform, for instance a saw, and apply a low-pass filter on it, then set the cutoff to 800 Hz, playing high notes in the keyboard will result in a lower volume than playing low notes. This happens because higher notes will result in more-filtered notes. Here's where keytracking enters in action. Two options are available:

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• Adjust the CUTOFF keytracking control so the cutoff point moves together with the played note. This results in all notes having the same amount of harmonics, hence the same output level.

• Adjust the AMPLITUDE keytracking control. This will keep higher notes dull and filtered, but will raise the volume of those notes so they will better match the volume of the unfiltered low notes.

Tip: When adjusting any envelope but Pitch, you can reset the Keytrack envelope by right-clicking the Keytrack window and selecting Keyboard Tracking reset from the context menu. When in Pitch mode, this launches the Load Tuning Definition File window. See “Microtuning and Alternative Tunings” on page 49.

Parameter... Range...

Pitch 0 to 9600 cents (8 octaves)

Cut 1 0 to 12000 cents

Res 1 0 to 20 dB

Cut 2 0 to 12000 cents

Res 2 0 to 20 dB

Pan 0 to 100%

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The Step Generator

The Step Modulator is much like an LFO, where the 'shape' can be defined by setting arbitrary values to variable range steps for Pitch, Cutoff, Resonance, Pan and Amplitude modulation at regular time intervals.

To set values in a given step, hold left-click (Ctrl-click on a Mac) and drag across the Step Generator.

The Step Generator is affected by the following controls:

Amp o to 100%

Each destination parameter’s range of values in the Step Generator is specified below:

Parameters... Description...

Status Turns the Step Generator on or

off.

Steps Sets the number of steps in the

generator, from 2 to 128.

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Freq Frequency, in Hertz.

Defines the number of times that the drawn pattern repeats per second, from 0 to 40Hz.

Right-click (or Ctrl-click on a Mac) to access the Step Generator’s context menu, which contains more helpful functions:

Sync Synchronize to Host Tempo, in

Beats. When Sync is in the Off position, the Step Generator will move at the frequency defined by the previous value (Freq). When a Sync value is selected, from 1/8t to 128d, the Step Generator will follow the host tempo and position, generating one cycle each time the host moves through the specified beat value.

For instance, if Sync is set to 1, the Step Generator will generate one cycle in each host beat.

Smooth Controls the rate at which a step

value rises or falls to meet the next value.

Depth Variable range, dependent on

modulation destination. Controls the max range for Step Generator values in the current modulation mode.

Menu item... Description...

Reset Steps Resets all steps to a default

Randomize Steps Sets a random value to each

Reverse Step Levels Reverses the order of the values

Mirror Step Levels Repeats step levels, starting at

Invert Step Levels Inverts levels by subtracting the

Copy/Paste Steps Copy and paste current step

No Snap; Snap to 10 Levels, 12 levels, 24 levels

value. Shortcut key: R

step. Shortcut key: N

in the current sequence.

the step after the 50% point of the sequence, iterating backwards from the last step of the first half of the sequence.

current value from 50% the max value, then adding the difference to the 50% value. Shortcut key: I

values across modulation destinations, elements and the Global section

Subdivides the step into “n” equal values, useful for articulating step sequences

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MIDI Note Entry (C4 = Base) Note: Available for Pitch Modulation only

Here are a few additional procedures for manipulating Step Generator data:

Enter step sequence using MIDI note events starting at C4.

Default depth setting is to 2400 (two octave range), but may need to be adjusted by user. Any note lower than C4 backs up one step.

MIDI note entry mode ends by entering a note for every step in the sequence.

To Reset a Step Value to Default

• Ctrl-click and Ctrl-click-drag (Command-click on a Mac).

To Snap All Steps to the Nearest Pitch or Logical Value

•Press P.

To Increase/Decrease All Step Values

• Scroll the mouse wheel up/down over the active Step Generator.

To Copy/Paste a Modulator Value

1. To copy a whole Modulator, just one envelope, an LFO, a Keytrack setup, or a Step Generator, rightclick (Control-click on a Mac) an envelope button and choose Copy-(name of component you want to copy) from the popup menu.

English

Right-click one of the seven envelope buttons, Ctrl-click on a Mac

2. To paste what you just copied, right-click (Controlclick on a Mac) the envelope button where you want to paste the copied data, and choose Paste-(name of component you want to paste) from the popup menu.

You can paste between instances of Rapture.

Node values

Modulator Copy/Paste

Sometimes it is desirable to have identical settings for the EG, LFO or Keytrack in two different parameters or elements. Rapture offers the ability to Copy/Paste any EG, LFO, Keytrack, Step Generator or the whole Modulator to a new destination, or to the same destination in another element.

Nodes

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Amplitude Editing

Rapture actually uses two amplitude envelopes. If you don’t turn on the Amplitude EG, Rapture uses a master envelope that makes sure the ampltude reaches zero after you stop playing the current Element. If you turn on the Amplitude EG and create an amplitude envelope, that envelope controls the amplitude, unless the envelope that you created does not eventually reach zero amplitude. If your envelope does not eventually turn the sound off, the master envelope does it for you.

Tip: If you are editing the amplitude for a sample from an acoustic source, and want a more natural release, you can change the type of envelope curve Rapture uses. The default type is variable power, which is CPU-friendly, and works well when you’re using heavy reverb or delay. The optional exponential type works better with exposed acoustic sounds by creating a more natural sounding release.

To change the envelope curve to exponential:

1. Display the Amplitude curve for your sample.

2. Highlight the ending node for the segment by holding the mouse over the node.

3. Press the N key on your keyboard.

The envelope segment turns dark blue, meaning that it is now an exponential curve. You can press the N key again to return to the default envelope type.

The Global Page

The Global page contains effects, EQ’s and a Global Step Generator that adjusts Rapture’s stereo output. Settings made here affect all elements within a program.

The Global page conducts the signal through the following path:

1. Global FX 1 (standard insert FX menu + controls, applied to all elements)

2. Global FX 2 (standard insert FX menu + controls, applied to all elements)

3. Global Step Generator; a Left/Right channel Step Generator output level modulator; note that this level gates even effects tails from upstream delay lines and reverbs

4. Master EQ section (3 standard multimode band EQs)

5. Master FX (standard insert FX menu + controls, applied to the post Global Step Generator mix)

The Global Step Generator is controlled in the same way as the Step Generator in the Modulator section, but instead provides discrete left and right channel control of Rapture's stereo mix.

Note: You can achieve identical level patterns using the Step Generator's Copy/Paste function, available via context menu.

For more details on using Step Generators, see“The Step Generator” on page 43.

For more details on effects and EQs, see “The Insert FX Section” on page 32 and “Using the EQ’s” on page 32.

The Modulation Matrix

Rapture features a very clear distinction between ‘sound modulations’ and ‘performance modulations’. The first group is represented by the Modulators, while the second is achieved thru the Modulation Matrix.

In the Modulation Matrix it is possible to ‘wire’ any MIDI control or message to any sound parameter in Rapture in any program. This way each program can be perfectly adapted to the control environment from a single, unified place. The Modulation Matrix features 24 rows which can

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connect any of the over 130 possible sources, to over 150 destinations. All those ‘connections’ can have a specified depth and a smooth value, and are stored in the program file.

To deploy/collapse the Modulation Matrix window, click on the button in the top area, marked with a MIDI connector. The Modulation Matrix features the following parameters:

Parameter... Description...

Source The Source is the MIDI control

which Rapture will use to change the parameter selected as destination. Sources can be any MIDI Control Message (CC1-CC127), Pitch Bend, Channel and Polyphonic Aftertouch, Keyboard, Keyboard Gate, Attack and Release Velocity, Unipolar and Bipolar Random and Alternate, and the X/YPad..

Destination Element Pitch, Cutoff, Resonance,

Pan, Amplitude and their LFO Depth and Speed, Envelope and Step Generator parameters, plus most EQ/FX parameters can be used as destinations.

Depth The depth for the modulation, in

parameter units.

Smooth Smooths out the response of the

Destination to the Source.

See “Appendix B: Modulation Matrix” on page 57 for more information.

MIDI Learn

In addition to the Modulation Matrix, Rapture features one of the most advanced MIDI control customization systems of any virtual synthesizer. The MIDI Learn feature allows you to assign any knob or button on the screen to any MIDI controller, even assigning multiple controllers to a single parameter or vice-versa.

To invoke the MIDI Learn menu, just right-click (Controlclick on a Mac) on a knob or button. To assign a MIDI controller, select MIDI Learn from the pop-up menu.

Once you select MIDI Learn, Rapture enters a "waiting" mode, expecting a MIDI controller to be received. You can send the controller by using a physical MIDI control device or by using your sequencer to send a MIDI continuous controller (CC). Multiple knobs/buttons can be set to "waiting" mode at once in order to assign them to the same control.

Note: When sequencers’ Start/Stop Audio Streaming functions occur, they send numerous controllers. Avoid those operations while Rapture is in "waiting" mode, as it might learn unexpected controller numbers.

As soon as MIDI controller information is received, Rapture assigns it to the selected controls. The controls will display new values according to the incoming controller values.

Once a control is assigned, you can scale it (setting the minimum and maximum) and reverse the control polarity. To perform these operations, call the MIDI Learn menu again by right-clicking (Control-click on a Mac) the control. New options will appear:

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Menu option... Description...

MIDI Learn Assigns additional controllers

to the parameter. This option will always remain active since it is possible to assign multiple controllers to any parameter.

MIDI Forget Removes all MIDI controller

associations from the knob/ button.

Set Min Sets the minimum value this

control will have when the incoming MIDI control value is zero.

Set Max Sets the minimum value this

knob will have when the incoming MIDI control value is

127.

eter is assigned to a hard-wired MIDI controller, that controller will adjust both the new parameter and the hardwired one simultaneously.

The following controllers are hard-wired:

CC7 = Volume

CC11 = Expression

CC64 = Sustain (can be enabled/disabled perelement using display control)

CC66 = Sostenuto (can be enabled/disabled perelement using display control)

CC73 = Global Amplitude Attack

CC72 = Global Amplitude Release

The Mixer

The Mixer section in Rapture is defined so the volume, pan and on/off settings for the six elements are simultaneously accessible.

There are three controls for each element in the mixer:

Reverse Inverts the MIDI control

polarity.

Any MIDI controller can be learned except CC0, CC32 (bank change), CC120 (all sounds off), CC121 (all controllers off), and CC123 (all notes off).

Aftertouch and pitch bend MIDI messages can also be assigned as standard controllers. When Pitchbend is assigned, the center will be calculated according to the Min and Max settings for selected parameter.

Note: Some MIDI controllers are hard-wired in Rapture but can still be learned. This means that if an additional param-

Control... Description...

On/Off Turns the element on or off.

When an element is off, it won’t take any CPU.

Pan Element stereo panoramic

position.

Volume Main element volume.

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Microtuning and Alternative Tunings

2. Click on the Keytrack window.

Microtuning has been an interesting field of research for musicians and physicists for years. Several synthesizers have included some sort of microtuning abilities to allow performers to use alternative tunings to the standard 12tone equal-tempered system. One of the powerful features of Rapture is that it can load native ScalaTM . tuning files.

Scala is a powerful freeware software tool for experimentation with musical tunings, such as just intonation scales, equal and historical temperaments, microtonal and macrotonal scales, and non-Western scales. It supports scale creation, editing, comparison, analysis, storage, tuning of electronic instruments, and MIDI file generation and tuning conversion. All this is integrated into a single application with a wide variety of mathematical routines and scale creation methods.

Scala is ideal for the exploration of tunings and becoming familiar with the concepts involved. In addition, a very large library of scales is freely available for Scala and can be used for analysis or music creation.

Note: For more information about Scala, visit the Scala home page at http://www.xs4all.nl/~huygensf/scala/

Rapture allows each element in a program to use a specific microtuning definition, so multiple microtuning sets can be used in a single patch.

SCL micro-

To load a microtuning definition for any element

1. Select the Pitch Modulator for that element.

Keytrack window

A 'File...Open' dialog box will appear.

3. Select the microtuning definition file of your choice.

The Keytrack window will display a graphical representation of the selected tuning scale. A tooltip will display the currently loaded definition file.

To reset an element to standard tuning

1. Select the Pitch Modulator for that element

2. Shift-click on the Keytrack window.

The tuning definition file selected is remembered and reloaded with the program.

Not limited to 12-tone scales, Rapture microtuning support allows for any number of notes, including mean-tone and quarter-tone scales. Rapture includes 200 Scala tuning definition files with the default installation. A file with over 2900 tuning definition files (.scl) can be downloaded for free from:

http://www.xs4all.nl/~huygensf/doc/scales.zip

You can find a brief description of the scala files here:

http://www.xs4all.nl/~huygensf/doc/scalesdir.txt

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Sinc Interpolation

When you freeze or play back a Rapture track, you have the option to use a higher-quality algorithm called sinc interpolation. This can increase the time it takes to freeze tracks, and use a little more of your computer’s resources when you play back audio. If you’re using distortion, you don’t need this algorithm.

To Use Sinc Interpolation

1. Open the Options dialog by clicking the Options

button .

2. Check the Use Sinc Interpolation When Freezing/ rendering checkbox.

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Appendix A: Parameter Reference

This section provides a reference for every Rapture parameter. Each parameter is described in terms of its value ranges (Min/Max/Default), increment size (Fine/Norm/Coarse) and unit type (Unit).

*Note: All Fx parameters are also applicable to Global Fx. In addition, all StepGen parameters are applicable to Global StepGen L and R.

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Number Name Min Max Default Fine Norm Coarse Unit

1 LoKey 0 127 1 1 1 12 Note

2 HiKey 0 127 1 1 1 12 Note

3 LoVel 0 127 1 1 1 10 -

4 HiVel 0 127 1 1 1 10 -

5 Bend Up 0 24 2 1 1 1 St

6 Bend Down 0 24 2 1 1 1 St

7 Sustain Off, On

8 Sostenuto Off, On

9 Transpose -96 96 0 1 1 12 St

10 Tune -100 100 0 1 1 10 Ct

11 KeyTrack -200 200 100 1 1 10 Ct/Key

12 Phase 0 360 0 1 1 10 Deg

13 Quality Std, High

14 Multi Off, 3v, 5v, 7v, 9v

15 Ringmod Off, On

16 Detune 0 100 10 1 1 10 Ct

17 Porta Time 0 10 0 0.01 0.1 1 s

18 Polyphony 0 inf 16 1 1 10 Layer

19 DSP Order Bypass, F1->LoFi->Drive->F2, F1->Drive->F2->LoFi, F1->Decim + F2->Drive

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20 Filter 1Type Off, LP1P, HP1P, BP1P, BR1P, LP2P, HP2P, BP2P, BR2P, LP4P, HP4P, LP6P, HP6P,

COMB, PINK

21 Filter 1 Cutoff 8.2 22350 8.2 Log Log Log Hz

22 Filter 1 Reso 0 40 0 0.04 0.4 4 dB

23 BitRed On/Off - - Off - - - -

24 BitRed Amount 0 100 0 0.1 1 5 %

25 Decim On/Off - - Off - - - -

26 Decim Amount 0 100 0 0.1 1 5 %

27 Drive Type Off, Tube, Soft, Mid, Hard, Asymmetric

28 Drive Shape 0 100 0 0.1 1 5 %

29 Filter 2Type Off, LP1P, HP1P, BP1P, BR1P, LP2P, HP2P, BP2P, BR2P, LP4P, HP4P, LP6P, HP6P,

COMB, PINK

30 Filter 2 Cutoff 8.2 22350 8.2 Log Log Log Hz

31 Filter 2 Reso 0 40 0 0.04 0.4 4 dB

32 EG Status Off, On

33 EG Depth

34 Pitch -9600 9600 0 1 10 50 Ct

35 Cutoff 1/2 -12000 12000 0 1 10 100 Ct

36 Resonance 1/2 -40 40 0 0.01 0.1 1 dB

37 Pan -100 100 0 0.01 0.1 1 %

38 Amplitude -100 100 0 0.01 0.1 1 %

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39 EG Vel->Int

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40 Pitch -9600 9600 0 1 10 50 Ct

41 Cutoff 1/2 -12000 12000 0 1 10 100 Ct

42 Resonance 1/2 -40 40 0 0.01 0.1 1 dB

43 Pan -100 100 0 0.01 0.1 1 %

44 Amplitude -100 100 0 0.01 0.1 1 %

45 EG Vel->Tim -1024 1024 0 0.01 0.1 1 x (mul)

46 VelTrack 0 100 100 0.01 0.1 1 %

47 Pitch -9600 9600 0 1 10 50 Ct

48 Cutoff 1/2 -13700 13700 0 1 10 100 Ct

49 Resonance 1/2 -40 40 0 0.01 0.1 1 dB

50 Pan -100 100 0 0.01 0.1 1 %

51 Amplitude -100 100 0 0.01 0.1 1 %

52 LFO Status Off, Shot, On

53 LFO Waveform 20 internal waveforms, 80 external waveforms, random unipolar, random bipolar

54 LFO Frequency 0 40 1 0.001 0.01 0.5 Hz

55 LFO Sync 1/8t, 1/8, 1/8d, 1/4t, 1/4, 1/4d, 1/2t, 1/2, 1/2d, 1t, 1, 1d, 2t, 2, 2d, 4t, 4, 4d, 8t, 8, 8d, 16t,

16, 16d

56 LFO Delay 0 10 0.001 0.01 0.05 2 S

57 LFO Fade 0 10 0.001 0.01 0.05 2 S

58 LFO Depth

59 Pitch 0 4800 0 1 1 50 Ct

60 Cutoff 1/2 0 6000 0 1 1 100 Ct

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61 Resonance 1/2 0 20 0 0.01 0.1 0.5 dB

62 Pan 0 100 0 0.1 1 5 %

63 Volume 0 6 0 0.1 1 2 dB

64 StepGen Status* Off, On

65 StepGen Steps 2 128 16 1 1 4 Step

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66 StepGen

Frequency

67 StepGen Sync 1/8t, 1/8, 1/8d, 1/4t, 1/4, 1/4d, 1/2t, 1/2, 1/2d, 1t, 1, 1d, 2t, 2, 2d, 4t, 4, 4d, 8t, 8, 8d, 16t,

68 StepGen Smooth 1 1000 1 1 10 100 ms

69 StepGen Depth

70 Pitch 0 9600 0 1 1 50 Ct

71 Cutoff 1/2 0 12000 0 1 1 100 Ct

72 Resonance 1/2 0 20 0 0.01 0.1 0.5 dB

73 Pan 0 100 0 0.1 1 5 %

74 Amplitude 0 100 100 0.1 1 5 %

75 Eq On/Off Off, On

76 Eq Type Lo Shelf, Peaking, Hi Shelf

77 Eq Gain -24 24 0 0.024 0.24 2.4 dB

78 Eq Freq 8.2 22350 8.2 Log Log Log Hz

79 Eq Q 0.1 8 1 Log Log Log -

0 40 1 0.001 0.01 0.5 Hz

16, 16d, 32t, 32, 32d, 64t, 64, 64d, 128t, 128, 128d

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80 Fx Type* Off, Stereo Delay, Cross Feedback Delay, Ping Delay, L/R/C Delay, R/L/C Delay,

Triple Delay, Detuning Delay, Chorus, Symphonic, LFO Filter Delay, Panning Delay, Autopan, LFO Filter, Phased Delay, Filter/Phaser, Small Room, Mid Room, Large Room, Small Hall, Mid Hall, Large Hall, Chamber, Distortion 1, Distortion 2

81 Fx, Global Fx

Filter Type

82 Fx Delay Left 1/8t, 1/8, 1/8d, 1/4t, 1/4, 1/4d, 1/2t, 1/2, 1/2d, 1t, 1, 1d, 2t, 2, 2d, 4t, 4, 4d, 8t, 8, 8d, 16t,

83 Fx Delay Center

84 Fx Delay Right

85 Fx Delay

Feedback

86 Fx Filter Cutoff 8.2 22350 8.2 Log Log Log Hz

87 Fx Filter

Resonance

88 Fx Lfo Freq 0 10 0 0.01 0.1 0.5 Hz

89 Fx Lfo Depth 0 100 0 0.1 1 5 %

90 Fx Input 0 100 0 0.1 1 5 %

91 Fx Dry/Wet 100:0 0:100 50:50 0.1 1 5 %

92 Mixer Element

Status

93 Mixer Pan -100 100 0 0.2 2 10 %

94 Mixer Volume 0 100 0 0.1 1 5 %

Off, LP1P, HP1P, BP1P, BR1P, LP2P, HP2P, BP2P, BR2P, LP4P, HP4P, LP6P, HP6P, COMB, PINK

16, 16d (0 to 50ms for Chorus and Symphonic for L and R)

0 100 0 0.1 1 5 %

0 40 0 0.04 0.4 4 dB

Off, On

95 Mixer Volume 0 100 0 0.1 1 5 %

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Appendix B: Modulation Matrix

This section provides a reference for Modulation Matrix parameters. Of particular note is the nature of input sources, which include many different types of MIDI events and other functions.

Note about “mapped to”: “Mapped to” values, such as “0 1” describe the mathematical product of the source function as it modulates the specified destination parameter.

Example:

If you map the cutoff frequency to a depth of 1000 cents, a value of 64 from a given MIDI controller will change the cents value to 500 (1000 * 0.5 = 500).

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Modulation Matrix Sources

Source... Description...

CC 1 to CC 127 MIDI Continuous Controllers 1 to 127

Any MIDI Controller can be used as source, mapped to 0-1..

Pitch Bend MIDI Pitch Bend messages, mapped to 0-1.

Channel Aftertoch MIDI Channel Aftertouch, mapped to 0-1.

Polyphonic Aftertouch MIDI Polyphonic Aftertouch messages, mapped to 0-1.

Attack Velocity Incoming Note-On MIDI Velocity, mapped to 0-1.

Release Velocity Incoming Note-Off MIDI Velocity, mapped to 0-1.

Keyboard Incoming Note-On MIDI Note, mapped to 0-1 (Note 0 = 0,

Note 127 = 1).

Key Gate Digital value based on MIDI Note-On messages: 0 when no

Random Unipolar Random value generated on MIDI Note-On messages, 0-1.

Random Bipolar Random value generated on MIDI Note-Off messages, -1-1.

Alternate Alternate value generated on MIDI Note-On messages, 0 or 1

X/Y Pad X Value based on user’s horizontal motion over the X/Y Pad.

X/Y Pad Y Value based on user’s vertical motion over the X/Y Pad.

keys are depressed, 1 when there’s any note depressed.

in each new note-on.

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Modulation Matrix Destinations

Destination... Description... Range Unit

Sample Offset 1-6, All When loading a sample (wav/aif/ogg/sfz), offset

sets the point where the playback starts. When a wavetable is loaded, it sets the startup phase (same as the main Phase control). For elements 1 to 6, and for all elements simultaneously.

Sample Delay 1-6, All Time elapsed since note-on to sample

playback.

For elements 1 to 6, and for all elements simultaneously.

Pitch 1-6, All Pitch for elements 1 to 6 and for all elements

simultaneously.

Detune 1-6, All Detune for elements 1 to 6 and for all elements

simultaneously. This setting will only effect oscillators In MULTI or RINGMOD modes.

Bitred 1-6, All Bit reduction depth for elements 1 to 6 and for

all elements simultaneously. Requires the BITRED dsp component to be ON.

Decim 1-6, All Decimation depth for elements 1 to 6 and for all

elements simultaneously. Requires the DECIM dsp component to be ON.

Drive 1-6, All Drive depth for elements 1 to 6 and for all

elements simultaneously. Requires the DRIVE dsp component to be active, in any mode.

±441000 samples

English

±100000 ms

±2400 cents

±4800 cents

±100 %

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F1 Cutoff 1-6, All Filter 1 Cutoff for elements 1 to 6 and for all

elements simultaneously.

±13700 cents

F1 Resonance 1-6, All Filter 1 Resonance for elements 1 to 6 and for

all elements simultaneously.

F2 Cutoff 1-6, All Filter 2 Cutoff for elements 1 to 6 and for all

elements simultaneously.

F2 Resonance 1-6, All Filter 2 Resonance for elements 1 to 6 and for

all elements simultaneously.

Pan 1-6, All Pan for elements 1 to 6 and for all elements

simultaneously.

Volume 1-6, All Volume for elements 1 to 6 and for all elements

simultaneously.

Pitch LFO Depth 1-6, All Depth for the Pitch LFO added to the static

depth value for elements 1 to 6 and for all elements simultaneously.

F1 Cutoff LFO Depth 1-6, All Depth for the filter 1Cutoff LFO added to the

static depth value for elements 1 to 6 and for all elements simultaneously.

F1 Reso LFO Depth 1-6, All Depth for the filter 1Resonance LFO added to

the static depth value for elements 1 to 6 and for all elements simultaneously.

F2 Cutoff LFO Depth 1-6, All Depth for the filter 2 Cutoff LFO added to the

static depth value for elements 1 to 6 and for all elements simultaneously.

±40 dB

±13700 cents

±40 dB

±100 %

±100 cents

±2400 cents

±13700 cents

±40 dB

±13700 cents

F2 Reso LFO Depth 1-6, All Depth for the filter 2 Resonance LFO added to

the static depth value for elements 1 to 6 and for all elements simultaneously.

Pan LFO Depth 1-6, All Depth for the Pan LFO added to the static depth

value for elements 1 to 6 and for all elements simultaneously.

±40 dB

±100 %

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Volume LFO Depth 1-6, All Depth for the Volume LFO added to the static

depth value for elements 1 to 6 and for all elements simultaneously.

±6 DB

Pitch LFO Freq 1-6, All Frequency of the Pitch LFO added to the static

frequency setting for elements 1-6 and for all elements simultaneously

F1 Cutoff LFO Freq 1-6, All Frequency of the filter 1 Cutoff LFO added to

the static frequency setting for elements 1-6 and for all elements simultaneously

F1 Reso LFO Freq 1-6, All Frequency of the filter 1 Resonance LFO added

to the static frequency setting for elements 1-6 and for all elements simultaneously

F2 Cutoff LFO Freq 1-6, All Frequency of the filter 2 Cutoff LFO added to

the static frequency setting for elements 1-6 and for all elements simultaneously

F2 Reso LFO Freq 1-6, All Frequency of the filter 2 Resonance LFO added

to the static frequency setting for elements 1-6 and for all elements simultaneously

Pan LFO Freq 1-6, All Frequency of the Pan LFO added to the static

frequency setting for elements 1-6 and for all elements simultaneously

Volume LFO Freq 1-6, All Frequency of the Volume LFO added to the

static frequency setting for elements 1-6 and for all elements simultaneously

Pitch LFO Delay 1-6, All Delay of the Pitch LFO added to the static delay

setting for elements 1-6 and for all elements simultaneously

±40 Hertz

English

±40 Hertz

±10000 ms

F1 Cutoff LFO Delay 1-6, All Delay of the filter 1 Cutoff LFO added to the

static delay setting for elements 1-6 and for all elements simultaneously

±10000 ms

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F1 Reso LFO Delay 1-6, All Delay of the filter 1 Resonance LFO added to

the static delay setting for elements 1-6 and for all elements simultaneously

±10000 ms

F2 Cutoff LFO Delay 1-6, All Delay of the filter 2 Cutoff LFO added to the

static delay setting for elements 1-6 and for all elements simultaneously

F2 Reso LFO Delay 1-6, All Delay of the filter 2 Resonance LFO added to

the static delay setting for elements 1-6 and for all elements simultaneously

Pan LFO Delay 1-6, All Delay of the Pan LFO added to the static delay

setting for elements 1-6 and for all elements simultaneously

Volume LFO Delay 1-6, All Frequency of the Volume LFO added to the

static delay setting for elements 1-6 and for all elements simultaneously

Pitch LFO Fade 1-6, All Delay of the Pitch LFO added to the static fade

setting for elements 1-6 and for all elements simultaneously

F1 Cutoff LFO Fade 1-6, All Delay of the filter 1 Cutoff LFO added to the

fade delay setting for elements 1-6 and for all elements simultaneously

F1 Reso LFO Fade 1-6, All Delay of the filter 1 Resonance LFO added to

the fade delay setting for elements 1-6 and for all elements simultaneously

F2 Cutoff LFO Fade 1-6, All Delay of the filter 2 Cutoff LFO added to the

static fade setting for elements 1-6 and for all elements simultaneously

±10000 ms

F2 Reso LFO Fade 1-6, All Delay of the filter 2 Resonance LFO added to

the fade delay setting for elements 1-6 and for all elements simultaneously

±10000 ms

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Pan LFO Fade 1-6, All Delay of the Pan LFO added to the static fade

setting for elements 1-6 and for all elements simultaneously

±10000 ms

Volume LFO Fade 1-6, All Frequency of the Volume LFO added to the

static fade setting for elements 1-6 and for all elements simultaneously

Pitch StepGen Depth 1-6, All Depth for the Pitch StepGen added to the static

depth value for elements 1 to 6 and for all elements simultaneously.

F1 Cutoff StepGen Depth 1-6, All Depth for the filter 1Cutoff StepGen added to

the static depth value for elements 1 to 6 and for all elements simultaneously.

F1 Reso StepGen Depth 1-6, All Depth for the filter 1Resonance StepGen added

to the static depth value for elements 1 to 6 and for all elements simultaneously.

F2 Cutoff StepGen Depth 1-6, All Depth for the filter 2 Cutoff StepGen added to

the static depth value for elements 1 to 6 and for all elements simultaneously.

F2 Reso StepGen Depth 1-6, All Depth for the filter 2 Resonance StepGen

added to the static depth value for elements 1 to 6 and for all elements simultaneously.

Pan StepGen Depth 1-6, All Depth for the Pan StepGen added to the static

depth value for elements 1 to 6 and for all elements simultaneously.

Volume StepGen Depth 1-6, All Depth for the Volume StepGen added to the

static depth value for elements 1 to 6 and for all elements simultaneously.

±10000 ms

English

±2400 cents

±13700 cents

±40 dB

±13700 cents

±40 dB

±100 %

±6 dB

Pitch StepGen Freq 1-6, All Frequency of the Pitch StepGen added to the

static frequency setting for elements 1-6 and for all elements simultaneously

±40 Hertz

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F1 Cutoff StepGen Freq 1-6, All Frequency of the filter 1 Cutoff StepGen added

to the static frequency setting for elements 1-6 and for all elements simultaneously

±40 Hertz

F1 Reso StepGen Freq 1-6, All Frequency of the filter 1 Resonance StepGen

added to the static frequency setting for elements 1-6 and for all elements simultaneously

F2 Cutoff StepGen Freq 1-6, All Frequency of the filter 2 Cutoff StepGen added

to the static frequency setting for elements 1-6 and for all elements simultaneously

F2 Reso StepGen Freq 1-6, All Frequency of the filter 2 Resonance StepGen

added to the static frequency setting for elements 1-6 and for all elements simultaneously

Pan StepGen Freq 1-6, All Frequency of the Pan StepGen added to the

static frequency setting for elements 1-6 and for all elements simultaneously

Volume StepGen Freq 1-6, All Frequency of the Volume StepGen added to the

static frequency setting for elements 1-6 and for all elements simultaneously

Pitch StepGen Smooth 1-6, All Smooth of the Pitch StepGen added to the

static smooth setting for elements 1-6 and for all elements simultaneously

F1 Cutoff StepGen Smooth 1-6, All Smooth of the filter 1 Cutoff StepGen added to

the static smooth setting for elements 1-6 and for all elements simultaneously

F1 Reso StepGen Smooth 1-6, All Smooth of the filter 1 Resonance StepGen

added to the static smooth setting for elements 1-6 and for all elements simultaneously

±40 Hertz

±1000 Hertz

±1000 ms

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F2 Cutoff StepGen Smooth 1-6, All Smooth of the filter 2 Cutoff StepGen added to

the static smooth setting for elements 1-6 and for all elements simultaneously

±1000 ms

F2 Reso StepGen Smooth 1-6, All Smooth of the filter 2 Resonance StepGen

added to the static smooth setting for elements 1-6 and for all elements simultaneously

Pan StepGen Smooth 1-6, All Smooth of the Pan StepGen added to the static

smooth setting for elements 1-6 and for all elements simultaneously

Volume StepGen Smooth 1-6, All Smooth of the Volume StepGen added to the

static smooth setting for elements 1-6 and for all elements simultaneously

Pitch EG Attack 1-6, All Time for the Pitch EG Attack added to the static

time value for elements 1 to 6 and for all elements simultaneously.

F1 Cutoff EG Attack 1-6, All Time for the filter 1Cutoff EG Attack added to

the static time value for elements 1 to 6 and for all elements simultaneously.

F1 Reso EG Attack 1-6, All Time for the filter 1Resonance EG Attack added

to the static time value for elements 1 to 6 and for all elements simultaneously.

F2 Cutoff EG Attack 1-6, All Time for the filter 2 Cutoff EG Attack added to

the static time value for elements 1 to 6 and for all elements simultaneously.

F2 Reso EG Attack 1-6, All Time for the filter 2 Resonance EG Attack

added to the static time value for elements 1 to 6 and for all elements simultaneously.

±1000 ms

English

±1000 ms

±100000 ms

Pan EG Attack 1-6, All Time for the Pan EG Attack added to the static

time value for elements 1 to 6 and for all elements simultaneously.

±100000 ms

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Volume EG Attack 1-6, All Time for the Volume EG Attack added to the

static time value for elements 1 to 6 and for all elements simultaneously.

±100000 ms

Pitch EG Release 1-6, All Time for the Pitch EG Release added to the

static time value for elements 1 to 6 and for all elements simultaneously.

F1 Cutoff EG Release 1-6, All Time for the filter 1Cutoff EG Release added to

the static time value for elements 1 to 6 and for all elements simultaneously.

F1 Reso EG Release 1-6, All Time for the filter 1Resonance EG Release

added to the static time value for elements 1 to 6 and for all elements simultaneously.

F2 Cutoff EG Release 1-6, All Time for the filter 2 Cutoff EG Release added to

the static time value for elements 1 to 6 and for all elements simultaneously.

F2 Reso EG Release 1-6, All Time for the filter 2 Resonance EG Release

added to the static time value for elements 1 to 6 and for all elements simultaneously.

Pan EG Release 1-6, All Time for the Pan EG Release added to the

static time value for elements 1 to 6 and for all elements simultaneously.

Volume EG Release 1-6, All Time for the Volume EG Release added to the

static time value for elements 1 to 6 and for all elements simultaneously.

Eq1 Gain 1-6, All Gain of the first Eq band. ±24 dB

Eq1 Frequency 1-6, All Frequency of the first Eq band. ±12000 cents

±100000 ms

Eq1 Q 1-6, All Q of the first Eq band. ±1

Eq2 Gain 1-6, All Gain of the second Eq band. ±24 dB

Eq2 Frequency 1-6, All Frequency of the second Eq band. ±12000 cents

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Eq2 Q 1-6, All Q of the second Eq band. ±1

Eq3 Gain 1-6, All Gain of the third Eq band. ±24 dB

Eq3 Frequency 1-6, All Frequency of the third Eq band. ±12000 cents

Eq3 Q 1-6, All Q of the third Eq band. ±1

Fx Feedback 1-6, All Fx Delay Feedback ±100 %

Fx Cutoff 1-6, All Fx Filter Cutoff ±13700 Cents

Fx Resonance 1-6, All Fx Filter Resonance ±40 dB

Fx LFO Frequency 1-6, All Fx LFO Frequency ±10 Hertz

Fx LFO Depth 1-6, All Fx LFO Depth ±100 %

Fx Input Level 1-6, All Fx Input Level ±100 %

Fx Dry/Wet 1-6, All Fx Dry/Wet ±100 %

English

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Index

English

Alternative tunings 49 Amplitude editing 46

Chaining elements 26

Delay effects 32 Distortion effects 35 Drive module 31 DSP Section 27

Element 23 Envelope Generators 36 EQ modules 32

File organization 22 Filter 27

Global page 46

Insert FX 32

Keytracking 42

Limiter 12 LoFi module 31 Low Frequency Oscillators (LFO) 40

Master section 11 Microtuning 49 MIDI Learn 47 Mixer 48 Modulation Matrix 13, 46 Modulators Section 36 Multisamples 23 Multi-timbral mode 13

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Oscillator Controls 24

Program files 22

Reverb effects 35 Ring Modulation 27

Samples 23 Saving Programs and Elements 12 Scala files 49 Sinc interpolation 50 Step Generators 43

Wavetable synthesis 8

X/Y Pad 14

Page 71

TWELVE TONE SYSTEMS, INC. d/b/a CAKEWALK LICENSE AGREEMENT

YOU SHOULD CAREFULLY READ ALL OF THE FOLLOWING TERMS AND CONDITIONS BEFORE USING THIS PRODUCT. INSTALLING AND USING THE PRODUCT INDICATES YOUR ACCEPTANCE OF THESE TERMS AND CONDITIONS. IF YOU DO NOT AGREE WITH THEM, YOU SHOULD PROMPTLY RETURN THE PRODUCT UNUSED AND YOUR MONEY WILL BE REFUNDED.

1. GRANT OF LICENSE. In consideration of payment of the license fee, Twelve Tone Systems, Inc., d/b/a Cakewalk ("Cakewalk" or the "Licensor") grants to you, the Licensee, a nonexclusive license to have one person use the enclosed Cakewalk software product (the "Product") on one personal computer at a time. If you want to use the Product on more than one personal computer at a time, or if you want to network the Product, you must obtain separate licenses from Cakewalk by calling (617) 423-9004. This license does not grant you any right to any enhancement or update to the Product. Enhancements and updates, if available, may be obtained by you at Cakewalk’s then current standard pricing, terms and conditions.

2. OWNERSHIP OF THE PRODUCT. Portions of the Product incorporate certain material proprietary to third parties. Cakewalk and licensors of Cakewalk own and will retain all title, copyright, trademark and other proprietary rights in and to the Product. This License is NOT a sale of the Product or any copy of it. You, the Licensee, obtain only such rights as are provided in this Agreement. You understand and agree as follows:

2.1. You may NOT make any copies of all or any part of the Product except for archival copies of the computer software components of the Product as permitted by law,

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2.4. You may NOT transfer the Product. If transferred, the original and subsequent owners forfeit all rights to use the software.

2.5 You may not use the documentation for any purpose other than to support your use of the SOFTWARE PRODUCT.

2.6 You may not perform engineering analyses of the SOFTWARE PRODUCT, including performance analyses, or benchmark analyses, without the written permission of Cakewalk.

3. CONTENT RESTRICTIONS. Unless specified elsewhere in your product package, the following restrictions apply to all digitally recorded sounds, MIDI or Cakewalk-format song files or rhythm patterns, and printed or digitally reproduced sheet music contained in the product package (the “content”):

All content is protected by copyright and owned by Cakewalk or other parties that have licensed these works to Cakewalk.

Any duplication, adaptation, or arrangement of the content without written consent of the owner is an infringement of U.S. or foreign copyright law and subject to the penalties and liabilities provided therein.

English

Page 72

You may not synchronize the content with any videotape or film, or print the content in the form of standard music notation, without the express written permission of the copyright owner.

The content may not be used for broadcast or transmission of any kind. You may not resell or redistribute the content “as is” (i.e., stand alone) in any way, including for use in sampling or

sample playback units, or in any sound library product, or in any radio or television broadcast, soundtrack, film or other commercial product in any media, whether the works remain in their original form or are reformatted, mixed, filtered, re-synthesized or otherwise edited.

4. LICENSEE'S RESPONSIBILITIES FOR SELECTION AND USE OF THE PRODUCT. Cakewalk hopes the Product will be useful to your business or personal endeavors. HOWEVER, CAKEWALK DOES NOT WARRANT THE OPERATION OF THE PRODUCT OR THE ACCURACY OR COMPLETENESS OF ANY INFORMATION CONTAINED IN THE PRODUCT. You, and not Cakewalk, are responsible for all uses of the Product.

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Cakewalk 268 Summer st. Boston, MA 02210 U.S.A. 617 423-9004

5.2. Limitations on Warranties. THE EXPRESS WARRANTY SET FORTH IN THIS ARTICLE 4 IS THE ONLY WARRANTY GIVEN BY CAKEWALK WITH RESPECT TO THE ENTIRE PRODUCT; CAKEWALK MAKES NO OTHER WARRANTIES, EXPRESS, IMPLIED OR ARISING BY CUSTOM OR TRADE USAGE, AND SPECIFICALLY DISCLAIMS THE IMPLIED WARRANTIES OF NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE. CAKEWALK SHALL NOT BE HELD RESPONSIBLE FOR THE PERFORMANCE OF THE PRODUCT NOR FOR ANY LIABILITY TO ANY OTHER PARTY ARISING OUT OF USE OF THE PRODUCT.

SOME STATES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS WHICH VARY FROM STATE TO STATE.

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Page 73

PROFITS OR LOSS OF BUSINESS) ARISING OUT OF OR IN CONNECTION WITH THE PERFORMANCE OF THE PRODUCT, EVEN IF CAKEWALK HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.

SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE EXCLUSION OR LIMITATION MAY NOT APPLY TO YOU.

7. U.S. GOVERNMENT RESTRICTED RIGHTS. If you are a government agency, you acknowledge that the Product was developed at private expense and that the computer software component is provided to you subject to RESTRICTED RIGHTS. The rights of the government regarding its use, duplication, reproduction or disclosure by the Government is subject to the restrictions set forth in subparagraph (c)(1)(ii) of the rights in Technical Data and Computer Software clause at DFARS 252.227-7013, and (c)(1) and (2) of the Commercial Computer Software -- Restricted Rights clause at FAR 52.227-19. Contractor is Twelve Tone Systems, Inc., d/b/a Cakewalk.

8. TERMINATION. This License Agreement will terminate immediately if you breach any of its terms. Upon termination, you will be required promptly to return to Cakewalk or to destroy all copies of the Product covered by this License Agreement.

9. MISCELLANEOUS.

9.1. Governing Law. The terms of this License shall be construed in accordance with the substantive laws of the United States and/ or Commonwealth of Massachusetts, U.S.A.

9.2. No Waiver. The failure of either party to enforce any rights granted hereunder or to take any action against the other party in the event of any breach hereunder shall not be deemed a waiver by that party as to subsequent enforcement of rights or subsequent actions in the event of future breaches.

9.3. Litigation Expenses. If any action is brought by either party to this Agreement against the other party regarding the subject matter hereof, the prevailing party shall be entitled to recover, in addition to any other relief granted, reasonable attorneys' fees and litigation expenses.

9.4. Unenforceable Terms. Should any term of this License Agreement be declared void or unenforceable by any court of competent jurisdiction, such declaration shall have no effect on the remaining terms hereof.

9.5.Certain components of this software are the property of Progressive Networks and its suppliers. You are not allowed to distribute these DLLs to others.

YOU ACKNOWLEDGE THAT YOU HAVE READ THIS LICENSE AGREEMENT, UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS. YOU FURTHER AGREE THAT IT IS THE COMPLETE AND EXCLUSIVE STATEMENT OF THE LICENSE AGREEMENT BETWEEN YOU AND CAKEWALK WHICH SUPERSEDES ANY PROPOSALS, OR PRIOR AGREEMENT, ORAL OR WRITTEN, AND ANY OTHER COMMUNICATIONS BETWEEN YOU AND CAKEWALK RELATING TO THE SUBJECT MATTER OF THIS LICENSE AGREEMENT.

English

Page 74

Page 75

Inhaltsverzeichnis

1 Einführung. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Willkommen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Installation auf dem Macintosh . . . . . . . . . . . . . . . . . .78

Installation unter Windows . . . . . . . . . . . . . . . . . . . . .78

Die Architektur von Rapture . . . . . . . . . . . . . . . . . . . . 78

MIDI-Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

2 Erste Schritte. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Laden von Programmen . . . . . . . . . . . . . . . . . . . . . . . 82

Laden von Elementen . . . . . . . . . . . . . . . . . . . . . . . . .82

Kombinieren und Mischen von Elementen . . . . . . . . .83

Speichern von Programmen und Elementen . . . . . . . 84

Verwenden von Effekten . . . . . . . . . . . . . . . . . . . . . . . 85

Verwenden von Rapture als multitimbrales Instrument86

Die Modulationsmatrix. . . . . . . . . . . . . . . . . . . . . . . . . 86

Das X/Y-Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

3 Bedienoberfläche und Bedienelemente . . . . . . . 89

Bedienelemente . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

4 Wesentliche Funktionen. . . . . . . . . . . . . . . . . . . . 95

Programme, Elemente und Audiodateien . . . . . . . . . . 96

Dateiorganisation . . . . . . . . . . . . . . . . . . . . . . . .96

Laden von Samples . . . . . . . . . . . . . . . . . . . . . . . . . .97

Einstellen der Oszillatorbedienelemente. . . . . . . 99

Kopieren, Entladen und Zurücksetzen von Elementen101

Verketten von Elementen . . . . . . . . . . . . . . . . 101

Ringmodulation . . . . . . . . . . . . . . . . . . . . . . . . 102

Der DSP-Bereich . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Verwenden der Filter . . . . . . . . . . . . . . . . . . . . 102

Verwenden des LoFi-Moduls . . . . . . . . . . . . . . 107

Verwenden des Drive-Moduls . . . . . . . . . . . . . 107

Verwenden des Equalizers . . . . . . . . . . . . . . . . . . . 108

Der Insert-FX-Bereich . . . . . . . . . . . . . . . . . . . . . . . 108

Der Delaymodus . . . . . . . . . . . . . . . . . . . . . . . 108

Der Reverb-Modus. . . . . . . . . . . . . . . . . . . . . . 111

Verzerrereffekte (Distortion). . . . . . . . . . . . . . . 111

Der Modulatorbereich . . . . . . . . . . . . . . . . . . . . . . . 112

Hüllkurvengeneratoren . . . . . . . . . . . . . . . . . . 112

LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Keyboard-Tracking . . . . . . . . . . . . . . . . . . . . . 120

Der Stepgenerator . . . . . . . . . . . . . . . . . . . . . . 121

Kopieren und Einfügen von Modulatoren . . . . 124

Lautstärkebearbeitung . . . . . . . . . . . . . . . . . . . 124

Die globale Bedienseite . . . . . . . . . . . . . . . . . . . . . . 125

Die Modulationsmatrix . . . . . . . . . . . . . . . . . . . . . . . 125

Die MIDI-Learn-Funktion . . . . . . . . . . . . . . . . . . . . . 126

Der Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Microtuning und alternative Stimmungen. . . . . . . . . 128

Sinc-Interpolierung . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Deutsch

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Anhang A: Parameterreferenz . . . . . . . . . . . . . . . . . . 131

Anhang B: Modulationsmatrix . . . . . . . . . . . . . . . . . . 139

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

LIZENZVEREINBARUNG. . . . . . . . . . . . . . . . . . . . . . . 155

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Einführung

In diesem Kapitel finden Sie Erläuterungen zu folgenden Themen:

Willkommen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Installation auf dem Macintosh . . . . . . . . . . . . . . . . . . . . . 78

Installation unter Windows . . . . . . . . . . . . . . . . . . . . . . . . 78

Die Architektur von Rapture . . . . . . . . . . . . . . . . . . . . . . . 78

MIDI-Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Deutsch

Page 78

Willkommen

Herzlichen Glückwunsch zu Ihrer Entscheidung für Rapture!

Rapture ist ein Wavetable-Synthesizer mit innovativen Funktionen zur Soundmanipulation – perfekt für Electronica und verwandte Musikstile. Die umfassende Modulationsmatrix ermöglicht eine ausdrucksstarke Klangsteuerung, und der einzigartige Stepgenerator stellt eine intuitive Oberfläche zur Erstellung rhythmischer Parameteränderungen bereit.

Installation auf dem Macintosh

So installieren Sie Rapture auf einem Macintosh:

1. Legen Sie die Installations-CD von Rapture in Ihr CDROM-Laufwerk.

2. Doppelklicken Sie auf das angezeigte CD-Symbol.

3. Doppelklicken Sie auf das Symbol "Rapture Installer" (Rapture-Installationsprogramm für Mac OSX) und folgen Sie der Anleitung auf dem Bildschirm.

Das Installationsprogramm erlaubt Ihnen die Installation von Rapture als Plug-In in den Formaten VST, AU und/ oder RTAS.

Installation unter Windows

So installieren Sie Rapture unter Windows:

1. Legen Sie die Installations-CD von Rapture in Ihr CDROM-Laufwerk.

2. Das Installationsprogramm für Rapture wird in der Regel automatisch gestartet. Falls nicht, öffnen Sie den Arbeitsplatz und doppelklicken Sie auf das Symbol für das CD-Laufwerk.

3. Folgen Sie den Anweisungen des Installationsprogramms auf dem Bildschirm.

Das Installationsprogramm erlaubt Ihnen die Installation von Rapture als Plug-In in den Formaten DXi, VST und/ oder RTAS.

Die Architektur von Rapture

Rapture besteht aus sechs individuellen Klangerzeugungskomponenten, den so genannten Elementen.

Ein Rapture-Programm (welches als Datei mit der Erweiterung . Einstellungen aller Parameter aller Elemente sowie den Einstellungen des globalen Bereichs zusammen. Jedes Element umfasst eine vollständige KlangerzeugungsEngine, die aus einem Oszillator, einer DSP-Stufe pro Stimme (mit den Funktionen "Bit Reduction", "Decimation", "Drive" und zwei resonanzfähigen Multimodefiltern) und einem Satz Modulatoren (Hüllkurvengeneratoren, Tiefpassfilter und Stepgeneratoren) besteht, die sich auf die wesentlichen Klangerzeugungsparameter anwenden lassen. Die von den sechs Elementen erzeugten Signale werden gemischt und in eine globale DSP-Stufe (mit parametrischem 3-Band-Equalizer und Multieffektsektion) geführt.

Der Oszillator ist der Kern des Klangerzeugungsvorgangs. Die Oszillatoren basieren auf der hochwertigen und leistungsfähigen Wavetable-Synthese. Diese Syntheseform stellt eine effiziente Methode zur Erstellung nichtperkussiver Klänge dar. Zu diesem Zweck wird ein ganz kurzer Audioausschnitt in einer Wiederholungsschleife (Loop) wiedergegeben. Bei Rapture besteht die Wavetable (Wellentabelle) aus einer Audiodatei mit genau einem Audiozyklus.

Beim Laden der Wellenform erzeugt Rapture alle SampleImages, die der Oszillator braucht, um den Einzelzyklus

PROG gespeichert wird) setzt sich aus den

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über die gesamte Tastatur wiedergeben zu können, ohne dass durch Aliasing bedingte Verzerrungen entstehen. Im Lieferumfang von Rapture sind mehr als 200 WavetableDefinitionsdateien enthalten. Diese lassen sich durch zusätzliche Dateien ergänzen.

MIDI-Controller

Die optimale Leistung erzielen Sie bei Rapture durch den Einsatz eines guten MIDI-Controllers. Viele Programme nutzen Steuereinrichtungen wie Modulationsrad, Aftertouch und Anschlagsstärke (Velocity) zur Echtzeitbeeinflussung des Klangs während der Wiedergabe.

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Erste Schritte

In diesem Kapitel finden Sie Erläuterungen zu folgenden Themen:

Laden von Programmen . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Laden von Elementen. . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Kombinieren und Mischen von Elementen . . . . . . . . . . . . 83

Speichern von Programmen und Elementen . . . . . . . . . . 84

Verwenden von Rapture als multitimbrales Instrument. . . 86

Die Modulationsmatrix . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Das X/Y-Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

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In diesem Abschnitt finden Sie eine kurze, aber hilfreiche Einführung in die wichtigsten Konzepte und meistverwendeten Funktionen von Rapture. Die Details werden dann in den weiteren Kapiteln dieses Benutzerhandbuchs erläutert.

Sie können die Themen der Onlinehilfe auch anzeigen, indem Sie die Funktionstaste F1 (Windows) bzw. die Tastenkombination Befehlstaste + "?" (Macintosh) betätigen.

Laden von Programmen

Rapture lädt das gewählte Programm und zeigt den entsprechenden Programmnamen im Programmfenster an.

Sie können Programme auch laden, indem Sie auf die Schaltfläche "Program Handling" (Programmverwaltung)

klicken und im Menü Load Program (Programm laden) auswählen, oder indem Sie eine . Rapture-Fenster ziehen.

Beim Laden eines Programms werden alle Elemente einschließlich zugehöriger Effekte, Filtereinstellungen usw. gleichzeitig geladen.

PROG-Datei in das

Ein Programm besteht bei Rapture aus bis zu sechs Elementen. Dabei besteht jedes Element aus einem Wavetable-Oszillator und einer Abfolge von Effekten, Filtern, Hüllkurven- und Stepgeneratoren und LFOs. Jedes Element können Sie im Mixerbereich ganz unten auf der Bedienoberfläche von Rapture ein- oder ausschalten. Wollen Sie Rapture als sechsfach multitimbralen Synthesizer verwenden, dann können Sie jedem Element auch einen anderen MIDI-Kanal zuweisen.

So laden Sie ein Programm

1. Klicken Sie auf das Programmfenster.

Hier klicken

Der Programm-Browser wird angezeigt.

2. Öffnen Sie den Ordner, in dem das gewünschte Programm gespeichert ist, und doppelklicken Sie auf den Programmnamen. Schließen Sie den ProgrammBrowser nach dem Doppelklicken auf das Programm.

Laden von Elementen

Rapture gestattet Ihnen die Erstellung und das Laden einzelner Elementdateien. In einer Elementdatei sind die Wavetable, die Modulatoren und die Einstellungen von Equalizern und Insert-Effekten eines einzelnen Elements gespeichert. Elementdateien werden auf der Festplatte mit der Erweiterung . Elementdateien durch sukzessives Laden miteinander kombinieren und als Basis für ein neues Programm verwenden.

Beim Laden einer Elementdatei werden die Einstellungen nicht gewählter Elemente nicht geändert. Wenn Sie die Einstellungen aller Elemente vor dem Laden von Elementdateien löschen wollen, initialisieren Sie zunächst das Programm, indem Sie auf die Schaltfläche "Program Handling" klicken. Wählen Sie dann im Menü den Eintrag Initialize Program (Programm initialisieren) aus.

So laden Sie ein Element

1. Klicken Sie mit der rechten Maustaste (Windows) bzw. bei gedrückter Ctrl-Taste (Macintosh) auf die Elementschaltfläche des Elements (E1…E6), in das Sie einen Klang einladen wollen.

ELEM abgelegt. Sie können mehrere

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Kombinieren und Mischen von Elementen

2. Wählen Sie Load Element aus dem Kontextmenü.

Das Dialogfeld "Load Element" (Element laden) wird angezeigt.

3. Öffnen Sie den Ordner, in dem das gewünschte Element gespeichert ist. Klicken Sie auf den Namen des Elements und dann auf die Schaltfläche "Open" (Öffnen).

Rapture lädt nun das gewählte Element. Im WavetableFenster erscheint der Name der Wave-Datei, die vom Wavetable-Oszillator verwendet wird. Die Grafik zeigt dazu den Wellenformzyklus an, den der Oszillator zur Erstellung eines Dauertons verwendet.

Name der gewählten Wave-Datei

Wellenformanzeige des Zyklus in der Wave-Datei

Sie können ein Element auch laden, indem Sie eine der Dateien im Ordner "Elements" des Programm-Browsers auswählen oder eine . ziehen.

Tipp: Wenn Sie auf eine Elementschaltfläche geklickt haben, um die Einstellungen eines Elements anzuzeigen, können Sie durch Betätigung der Tasten 1 bis 6 auf Ihrer Computertastatur (nicht aber der Tasten auf dem Ziffernblock) zum Element mit der betreffenden Nummer umschalten.

ELEM-Datei in das Rapture-Fenster

Um verschiedene Elemente zu einem neuen Programm zu kombinieren, können Sie einfach bis zu sechs Elemente laden und diese dann gemeinsam als neues Programm speichern. Dies ist nützlich, wenn Sie verschiedene Klangfarben gleichzeitig spielen möchten. So können Sie etwa einen Lead-Sound und ein Pad miteinander kombinieren.

Die Vorgehensweise ist im folgenden Abschnitt beschrieben.

So kombinieren Sie Elemente zu einem neuen Programm

1. Initialisieren Sie das Programm, um alle Sounds und Effekte zurückzusetzen. Klicken Sie zu diesem

Zweck auf die Schaltfläche "Program Handling" und wählen Sie im Menü den Eintrag Initialize

Program (Programm initialisieren). Bestätigen Sie nachfolgend die Meldung "All Current Settings Will Be Discharged" (Alle aktuellen Einstellungen werden verworfen) durch Anklicken der Schaltfläche Yes).

Klicken Sie auf die Schaltfläche "E1", um die Bedienelemente für Element 1 anzuzeigen.

2. Laden Sie ein Element in Element 1. Klicken Sie hierzu mit der rechten Maustaste (Windows) bzw. bei gedrückter Ctrl-Taste (Macintosh) auf die Schaltfläche "E1" und wählen Sie Load Element (Element laden) aus dem Kontextmenü. Navigieren Sie dann zum gewünschten Element, wählen Sie es aus und klicken Sie auf "Open" (Öffnen).

3. Nehmen Sie Effekteinstellungen, Filtereinstellungen usw. für Element 1 vor und stellen Sie sicher, dass im

Deutsch

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Mixerbereich die Schaltfläche "On" (Ein) für Element 1 aktiviert ist.

Element 1 durch Anklicken einoder ausschalten

Klicken und ziehen, um die Panorama- und Lautstärkeregler für Element 1 einzustellen

Sie können die Panorama- und Lautstärkeeinstellungen der einzelnen Elemente auch im Mixerbereich vornehmen.

4. Wiederholen Sie Schritte 2 und 3 für weitere Elemente, die Sie in diesem Programm kombinieren wollen. Klicken Sie etwa für Element 2 auf die Schaltfläche "E2", um die Bedienelemente für Element 2 anzuzeigen, laden Sie ein Element in Element 2, stellen Sie die Effekte für Element 2 ein und prüfen Sie, ob im Abschnitt "Mix" die Schaltfläche "On" (Ein) für Element 2 aktiviert ist. Für Element 3 klicken Sie dann auf die Schaltfläche "E3" und verfahren nachfolgend wie beschrieben.

5. Wenn Sie die bis zu sechs Elemente geladen und konfiguriert haben, stellen Sie den Stereosummenmix des Programms im Master-Bereich ein.

Stereopegelanzeige

Regler für Gesamtpanorama und -lautstärke

Mit diesen Master-Reglern für Panorama und Lautstärke bearbeiten Sie das Gesamtsignal aller

derzeit aktiven Elemente. Die Pegelanzeige stellt das Stereoausgangssignal von Rapture optisch dar.

Hinweis: Wenn die Pegel hoch sind und Sie das Programm mit einem Hard-Limiter (d. h. einem Begrenzer mit festen Einstellungen) bearbeiten wollen, aktivieren Sie die Schaltfläche "Limiter On" im Master-Bereich. Der Limiter stellt sicher, dass die Pegel immer unterhalb der digitalen Vollaussteuerung (0 dB) bleiben. Diese Funktion ist gerade für Sounds mit hohen Resonanzwerten oder starker Verzerrung

sehr sinnvoll.

6. Wenn das Programm wie gewünscht klingt, speichern Sie es wie im folgenden Abschnitt beschrieben ab.

Speichern von Programmen und Elementen

Nachdem Sie ein Programm oder Element wie gewünscht konfiguriert haben, können Sie es im betreffenden Ordner "Programs" bzw. "Elements" speichern. Rapture gestattet ferner die Auswahl eines Programms, das bei jedem Einfügen einer neuen Rapture-Instanz automatisch geladen wird.

So speichern Sie ein Programm

1. Wenn das Programm wie gewünscht klingt, klicken Sie auf die Schaltfläche "Program Handling" und

wählen Sie Save Program (Programm speichern) oder Save Program As (Programm speichern unter) aus dem Menü.

2. Wenn Sie Save Program auswählen, speichert Rapture das Programm unter dem aktuellen Namen und im aktuellen Ordner.

3. Wenn Sie hingegen Save Program As auswählen, wird das Dialogfeld "Save Program" (Programm speichern) angezeigt. Öffnen Sie den Ordner, in dem

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Sie das Programm speichern möchten, geben Sie einen Namen für das Programm ein und klicken Sie auf "Save" (Speichern).

Rapture fügt automatisch die Dateierweiterung ".prog." hinzu. Der angezeigte Programmname wird aktualisiert.

So speichern Sie ein Element

1. Wenn Sie mit dem Klang Ihres Elements zufrieden sind, klicken Sie mit der rechten Maustaste (Windows) bzw. bei gedrückter Ctrl-Taste (Macintosh) auf die Schaltfläche "Program Handling" und wählen Sie im Menü den Eintrag Save Element As (Element speichern unter) aus. Das Dialogfeld "Save Element" (Element speichern) wird angezeigt.

2. Öffnen Sie den Ordner, in dem Sie das Element speichern möchten, geben Sie einen Namen für das Element ein, und klicken Sie auf "Save" (Speichern).

So speichern Sie das Standardprogramm

1. Laden Sie das Programm, das Rapture verwenden soll, wenn kein anderes Programm ausgewählt wurde.

2. Klicken Sie auf die Schaltfläche "Program Handling"

und wählen Sie im Menü den Eintrag Save

Default Program (Standardprogramm speichern).

3. Klicken Sie nachfolgend auf Yes, um die Verwendung des Programms zu bestätigen.

Rapture speichert das aktuelle Programm nun als Standardprogramm.

Verwenden von Effekten

Master-Effekte) verfügen über dieselben Menüs und Parameterbedienelemente.

Gehen Sie wie nachfolgend beschrieben vor, um einen Master-Effekt für Ihr Programm zu konfigurieren.

So stellen Sie einen Master-Effekt für ein Programm ein

1. Rufen Sie durch Anklicken der Schaltfläche "Global" die gleichnamige Seite auf.

Der Master FX-Bereich befindet sich direkt über dem Mixerbereich.

Deutsch

Anklicken, um einen Effekt auszuwählen Parameterregler

2. Wählen Sie zunächst einen Effekttyp aus, indem Sie auf dem Pfeil im Effektfenster klicken und dann einen Effekt aus dem angezeigten Menü selektieren.

3. Den Effekt können Sie mit den entsprechenden Parameterreglern einstellen.

Weitere Informationen zu Effekten finden Sie unter “Der Insert-FX-Bereich” auf Seite 108.

Für jedes Element stehen separate Insert-Effekte zur Verfügung. Zudem verfügen Programme über globale und Master-Effekte. Alle Effektkategorien (Insert-, Global- und

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Verwenden von Rapture als multitimbrales Instrument

Sie können jedes der sechs Elemente separat ansprechen, wenn Sie eine einzelne Rapture-Instanz als sechsfach multitimbrales Instrument verwenden wollen.

So verwenden Sie Rapture als multitimbrales Instrument

1. Laden Sie das Programm, das Sie multitimbral verwenden möchten.

2. Klicken Sie auf die Schaltfläche "Options" (Optionen)

. Das Dialogfeld "Options" (Optionen) wird

angezeigt.

3. Markieren Sie die Option "Set Program As Multitimbral" (Programm multitimbral verwenden) und klicken Sie dann auf "OK".

4. Speichern Sie das Programm, wenn Sie es zukünftig immer multitimbral einsetzen möchten.

Wenn für ein Programm der Multitimbralmodus gewählt ist, lassen sich die sechs Elemente über den jeweiligen MIDIKanal 1 bis 6 ansteuern.

Die Modulationsmatrix

Sie können mithilfe der Modulationsmatrix verschiedene Modulationsquellen virtuell mit verschiedenen Parametern verknüpfen. Die Modulationsmatrix erweitert die Steuerund Ausdrucksmöglichkeiten eines Programms.

So verknüpfen Sie eine Modulationsquelle mit einem Parameter (Modulationsziel)

1. Rufen Sie die Modulationsmatrix auf, indem Sie auf die Schaltfläche "Show/Hide Modulation Matrix"

(Modulationsmatrix ein-/ausblenden) klicken .

2. Klicken Sie in der Spalte "Source" (Quelle) links auf den Pfeil, um das Menü "Modulation Source" (Modulationsquelle) zu öffnen.

3. Wählen Sie die Modulationsquelle aus, die Sie zur Steuerung eines Rapture-Parameters verwenden möchten.

4. Klicken Sie in der Spalte "Destination" (Ziel) links auf den Pfeil, um das Menü "Destination" zu öffnen. Nun wird eine Liste der Parameter von Rapture angezeigt.

5. Klicken Sie auf den Parameter, den Sie mit der in der linken Spalte gewählten Modulationsquelle steuern möchten.

6. Durch Ziehen mit der Maus können Sie in der Spalte "Depth" (Intensität) einen Wert festlegen, der angibt, mit welcher Intensität und Ausrichtung der Parameter auf Steuermeldungen der Quelle reagiert. Negative Werte erzeugen dabei invertierte Modulationen.

7. Durch Ziehen mit der Maus können Sie in der Spalte "Smooth" (Glättung) einen Wert für die Glättung der durch die Modulationsquelle hervorgerufenen Änderungen am Zielparameter festlegen.

Das X/Y-Pad

Das X/Y-Pad dient der Änderung zugewiesener Synthesizerparameterwerte. Hierzu wird das Fadenkreuz im Pad verschoben. Je nach Bewegung des Fadenkreuzes werden die Werte erhöht oder vermindert.

Mit dem Feld "Desaccel" können Sie die Trägheit des Fadenkreuzes erhöhen. Höhere Werte verlangsamen die Reaktion.

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Sie öffnen das X/Y-Pad durch Anklicken der Schaltfläche "Show/Hide Vector Mixer" (Vektormixer ein-/ausblenden)

Fadenkreuz

So weisen Sie dem X/Y-Pad Parameter zu

1. Rufen Sie die Modulationsmatrix auf, indem Sie auf die Schaltfläche "Show/Hide Modulation Matrix"

(Modulationsmatrix ein-/ausblenden) klicken .

2. Klicken Sie in der Spalte "Source" (Quelle) links auf den Pfeil, um das Menü "Modulation Source" (Modulationsquelle) zu öffnen.

3. Wählen Sie im Menü "Source" einen der Einträge X/Y Pad X oder X/Y Pad Y.

4. Klicken Sie in der Spalte "Destination" (Ziel) links auf den Pfeil, um das Menü "Modulation Destination" (Modulationsziel) zu öffnen.

5. Wählen Sie im Menü "Destination" einen der angezeigten Synthesizerparameter aus.

Das X/Y-Pad steuert nun die ausgewählten Parameter. Sie können dem X/Y-Pad so viele Parameter zuweisen, wie Platz in der Modulationsmatrix vorhanden ist.

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Bedienoberfläche und

Bedienelemente

In diesem Kapitel finden Sie Erläuterungen zu folgenden Themen:

Bedienoberfläche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Bedienelemente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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Bedienoberfläche

Das Hauptfenster

Programmname und Aufruf des Programm-Browsers

Oszillator-/ Editorbereich

Hüllkurvengenerator

- und LFO-Bereich

Stepgenerator

EQ-Bereich

Insert-FX-Bereich

Mixerbereich

Die Bedienoberfläche von Rapture besteht aus drei Bereichen:

• Programmbereich (oben)

In diesem Bereich befinden sich die Funktionen zum Auswählen und Laden von Programmen und die Schaltflächen für Programmverwaltung, Optionen, Modulationsmatrix und X/Y-Pad.

Wahlschalter für die Elemente und Schaltfläche für die Globalseite

Filter-/DriveBereich

Master-Bereich

Modulationsmatrix und X/Y-Pad sind separat aufzurufende Fenster. Im Modulationsmatrixfenster werden alle Modulationszuweisungen für das aktuelle Preset definiert. Mit dem X/Y-Pad steuern Sie Synthesizerparameter.

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• Elementbereich (Mitte)

Dieser Bereich enthält einen horizontalen Wahlschalter, um das zu bearbeitende Element (1-6) sowie alle Elementkomponenten wie EQ oder Stepgenerator auszuwählen .

Die globale Bedienseite

Programmname und Aufruf des Programm-Browsers

Globaler Effekt 1

Globaler Effekt 2

Globaler Stepgenerator

• Mixer-/Master-Bereich (unten)

Dieser Bereich enthält die Mixerregler der sechs Elemente sowie Summenregler zur Einstellung der Ausgangsstereomischung.

Rapture verfügt ferner über eine globale Bedienseite, auf der die Einstellungen für globale und Master-Effekte vorgenommen werden. Sie rufen die globale Seite durch Anklicken der Schaltfläche "Global" neben den Elementwahlschaltern auf.

Schaltfläche zum Aufruf der globalen Bedienseite

Deutsch

Master-EQ-Bereich

Master-FX-Bereich

Mixerbereich

Master-Bereich

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Bedienelemente

Alle Funktionen in Rapture werden über die folgenden Bedienelemente gesteuert:

Horizontale Wahlschalter

Die horizontalen Wahlschalter befinden sich oben im jeweiligen Bereich und werden verwendet, um eine von mehreren verfügbaren Seiten zur Bearbeitung auszuwählen.

Sie dienen der Auswahl auf der Hauptseite (Elemente 1 bis 6 und globale Bedienseite) und auf der Modulatorseite (Tonhöhe, Filterfrequenzen und -resonanzen sowie Panorama und Lautstärke).

So verwenden Sie horizontale Wahlschalter

• Seiten lassen sich durch direktes Anklicken der horizontalen Wahlschalter oder durch Klicken und Ziehen mit der Maus auswählen.

• Wenn ein horizontaler Wahlschalter aktiv ist, kann er auf Tastenbetätigung reagieren. Seiten lassen sich zudem, sofern aktiv, auch über die Zifferntasten auswählen.

Regler

Parameter, die stufenlos einstellbar und automatisierbar sind, werden über Regler eingestellt. Die Regler in Rapture können über Mausbewegungen, das Mausrad, die Tastatur oder MIDI-Meldungen gesteuert werden.

Wenn ein Parameter nicht aktiv ist (z. B. weil der gesamte Bereich deaktiviert ist), wird der entsprechende Regler halbtransparent dargestellt. Wenn ein Regler in diesem Status bedient wird, wird der entsprechende

Parameterwert zwar geändert, aber dies wirkt sich nicht auf den zu hörenden Klang aus.

So verwenden Sie Regler

• Wenn Sie den Mauszeiger auf einen Regler setzen (ohne ihn anzuklicken), dann erscheint nach einem Moment ein QuickInfo, welches das derzeit gewählte Element, den Parameternamen und den aktuellen Parameterwert anzeigt.

• Klicken Sie auf den Regler und bewegen Sie die Maus dann vertikal, um den Parameterwert anzupassen. Ein QuickInfo zeigt während der Einstellung den aktuellen Parameterwert an.

• Durch einen Doppelklick auf einen Regler wird der entsprechende Parameter auf seinen Standardwert (den "natürlichen" Wert) zurückgesetzt.

• Wenn ein Regler angeklickt (oder darauf ein Doppelklick ausgeführt) wird, wird er zum aktiven Regler. Aktive Regler können durch Bewegungen des Mausrads und Tastenbetätigung gesteuert werden.

• Das Mausrad ändert den Parameterwert für den aktiven Reglern in Schritten von ±5%. Wenn Sie beim Bewegen des Mausrades die Umschalttaste drücken, ändert sich der Parameterwert mit einer Schrittweite von ±1%, was eine genauere Einstellung ermöglicht. Solange sich der Mauszeiger über dem Regler befindet, wird der Parameterwert für Mausradmeldungen in einem QuickInfo angezeigt. Regler erzeugen bei Mausradsteuerung keine interpolierten Werte.

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• Wenn ein Regler aktiv ist, reagiert er auf Tastenbetätigungen. Die folgenden Tasten können verwendet werden, um den Parameterwert zu ändern:

High Key" (niedrigste und höchste spielbare Note) eines Elements in der Oszillatorbedienanzeige.

Taste Änderung

Links-/Rechtspfeiltaste ± 0.1%

Aufwärts-/ Abwärtspfeiltaste

Pos1 Minimum

Ende Maximum

Solange sich der Mauszeiger über dem Regler befindet, wird der Parameterwert für Tastaturmeldungen in einem QuickInfo angezeigt. Regler erzeugen bei Tastatursteuerung keine interpolierten Werte.

± 1%

Schaltflächen

Schaltflächen werden verwendet, um Komponenten einoder auszuschalten.

Wenn Sie auf eine Schaltfläche klicken, wird die Komponente ein- bzw. ausgeschaltet; die Schaltfläche zeigt den entsprechenden Status an.

Aufwärts-/Abwärtswahlschalter

Nicht automatisierbare Parameter mit numerischen Werten werden über die Aufwärts-/Abwärtswahlschalter gesteuert. Ein Beispiel für diesen Parametertyp ist "Low/

• Die Aufwärts-/Abwärtswahlschalter werden ebenso gesteuert wie die Regler: Klicken Sie darauf und bewegen Sie die Maus nach oben oder unten. Die Einstellung der Aufwärts-/Abwärtswahlschalter erzeugt jedoch keine interpolierten Werte. Ein QuickInfo zeigt während der Einstellung den aktuellen Parameterwert an.

• Wie ein Regler wird auch ein Aufwärts-/ Abwärtswahlschalter aktiv, sobald er angeklickt wird. In diesem Zustand wird die Schriftfarbe orangefarben.

• Wenn ein Aufwärts-/Abwärtswahlschalter aktiviert ist, kann er Mausradmeldungen empfangen und auf Tastenbetätigungen reagieren.

• Da viele der durch die Aufwärts-/Abwärtswahlschalter dargestellten Parameter große Wertebereiche aufweisen und gleichzeitig eine genaue Einstellung erfordern, können die folgenden Modifikatoren verwendet werden, um bei Verwendung der Maus verschiedene Geschwindigkeiten bzw. Auflösungen einzustellen:

Modifikator Änderung

Umschalttaste Kleine Schrittweite

Strg-Taste (Befehlstaste beim Macintosh)

(hohe Auflösung, geringe Werteänderungen)

Große Schrittweite (geringe Auflösung, hohe Werteänderungen)

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• Bereich und Schrittweite aller Parameter sind in der Tabelle "Parameterbereiche" aufgeführt. Siehe “Anhang A: Parameterreferenz” auf Seite 131.

• Wenn ein Aufwärts-/Abwärtswahlschalter aktiv ist, reagiert er auf Tastenbetätigungen. Die folgenden Tasten können verwendet werden, um den Parameterwert zu ändern:

Mausradmeldungen empfangen und auf Tastenbetätigungen reagieren. Die folgenden Tasten können verwendet werden, um den Parameterwert zu ändern:

Taste Änderung

Taste Parameterwert

Aufwärts-/ Abwärtspfeiltasten

Bild auf/ab 10 Schritte auf/ab

Nächster bzw. vorhergehender Parameterwert bei Standardschrittweite.

Textwahlschalter

Die Textwahlschalter werden verwendet, um einen Parameter mit verschiedenen nichtnumerischen Optionen einzustellen. Ein Beispiel hierfür ist etwa der Parameter "Insert FX Type" (Insert-Effekttyp).

Wenn Sie unter Windows mit der linken Maustaste auf einen Textwahlschalter klicken, wird der folgende, bei Anklicken mit der rechten Maustaste der vorherige Wert ausgewählt. Beim Macintosh erfolgt die Auswahl durch Anklicken (nächster Wert) bzw. durch Anklicken bei gedrückter Ctrl-Taste (vorheriger Wert).

Beim Klicken auf einen Textwahlschalter wird dieser aktiv. In diesem Zustand wird die Schriftfarbe orangefarben. Wenn ein Textwahlschalter aktiviert ist, kann er

Aufwärts-/ Abwärtspfeiltasten

Bild auf/ab 10 Schritte auf/ab

Tipp: Viele Textselektorwerte lassen sich auch über ein Menü aufrufen. Klicken Sie auf das graue Dreieck links oder rechts neben einem Textselektor, um die verfügbaren Funktionen in einem Popupmenü anzuzeigen.

Nächster/vorhergehender Parameterwert

Bedienelemente für die Parameter "Envelope" (Hüllkurve), "LFO Waveform" (LFO-Wellenform) und "Key Tracking"

Der Modulatorbereich umfasst spezielle Bedienelemente zur Einstellung von Hüllkurvengeneratoren, LFOWellenformen und Keyboard-Tracking. Detaillierte Hinweise zur Bedienung dieser Bedienelemente finden Sie unter “Der Modulatorbereich” auf Seite 112.

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Wesentliche Funktionen

In diesem Kapitel finden Sie Erläuterungen zu folgenden Themen:

Programme, Elemente und Audiodateien . . . . . . . . . . . . . 96

Laden von Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Kopieren, Entladen und Zurücksetzen von Elementen. . 101

Der DSP-Bereich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Verwenden des Equalizers . . . . . . . . . . . . . . . . . . . . . . . 108

Der Insert-FX-Bereich. . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Der Modulatorbereich . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Die Modulationsmatrix . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Die MIDI-Learn-Funktion . . . . . . . . . . . . . . . . . . . . . . . . 126

Der Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Microtuning und alternative Stimmungen . . . . . . . . . . . . 128

Sinc-Interpolierung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Deutsch

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Die folgenden Abschnitte beschreiben die erweiterten Funktionalitäten von Rapture und andere Sachverhalte, die in den einführenden Kapiteln nicht behandelt wurden.

MIDI\ MIDI-Ordner.

Enthält alle Daten für die MIDILearn-Funktion.

Programme, Elemente und Audiodateien

Wie bereits im Kapitel "Erste Schritte" beschrieben, besteht ein Programm bei Rapture aus bis zu sechs Elementen und bietet so viel Potenzial für anspruchsvollste Klangprogrammierung. Ein Programm umfasst die Einstellungen dieser sechs Elemente einschließlich der Verweise auf die Wavetables, die von den Oszillatoren verwendet werden, und aller globaler Einstellungen.

Dateiorganisation

Nach der Installation werden die folgenden Verzeichnisse im Rapture-Verzeichnis erstellt:

Verzeichnis Inhalt

Documentation\ Dokumentationsordner.

Enthält Versionshinweise, das Benutzerhandbuch und Registrierungsinformationen.

Lfo Waveforms\ Ordner für LFO-Wellenformen.

Enthält alle werksseitig vorprogrammierten LFOWellenformen. Benutzerdefinierte Wellenformen lassen sich ebenfalls hier ablegen.

Multisamples\ Ordner für Multisamples.

Enthält alle werksseitig vorhandenen Wavetables, Multisample-Definitionen und Samplesammlungen.

Programs\ Ordner für Programme.

Enthält alle Werkspresets und programme. Wenn Sie ein Programm speichern wollen, zeigt Rapture diesen Ordner standardmäßig als Zielverzeichnis an.

Programs\Elements\ Ordner für Elemente.

Enthält alle Werkselemente. Wenn Sie ein Element speichern wollen, zeigt Rapture diesen Ordner standardmäßig als Zielverzeichnis an.

Sample Pool\ Samplepoolordner

Enthält Samples für Projekt- oder Demosongs.

Tunings\ Ordner für Stimmungen.

Enthält alle Microtuning-Dateien und Dateien für alternative Stimmungen.

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Programmdateien

Programmdateien (.prog) können überall auf der Festplatte oder im Netzwerk gespeichert werden. Der Ordner "Programs\" dient lediglich Organisationszwecken, Sie können Ihre Programme an beliebiger anderer Stelle ablegen.

Sie brauchen sich nicht darum zu kümmern, wo Sie Programmdateien ablegen, damit Ihre Songs korrekt wiedergegeben werden: Eine Kopie der Programmdatei wird zu Konsistenzzwecken gespeichert und immer dann geladen, wenn auch der Song geladen wird.

Jeder Song enthält also eine Momentaufnahme aller verwendeten Programme zu dem Zeitpunkt, an dem der Song beim letzten Mal gespeichert wurde. Auf diese Weise können Sie ältere Songs und die entsprechenden Einstellungen auch dann korrekt wiedergeben, wenn die Werksprogramme in Zukunft geändert werden sollten.

Elemente

Rapture kann einzelne Elemente als Datei speichern und laden. Dieses Konzept erlaubt die Erstellung einer Art "Elementpool", der als Grundlage für die schneller Erstellung neuer Programme dienen kann. Eine Elementdatei enthält alle Einstellungen eines Elements einschließlich der Wavetable- und Oszillatorparameter, aller Modulatoren und der programmierten DSPEinstellungen.

Tipp: Elemente, die im Standardordner für Elemente abgelegt sind, lassen sich direkt über den ProgrammBrowser laden. Starten Sie den Programm-Browser und öffnen Sie den Elementordner, um dort Ihre Auswahl zu treffen. Wenn Sie ein Element auf diesem Wege laden, werden die übrigen Elemente des aktuellen Programms hiervon nicht betroffen.

Audiodateien

Rapture ist spezialisiert auf die Erstellung von Wavetables unter Verwendung von Audiodateien, die genau einen

Audiozyklus enthalten. Im Ergebnis erzeugen die Oszillatoren von Rapture ihre Klänge also auf der Basis der so genannten Wavetable-Synthese. Rapture gestattet aber auch das Laden einer Vielzahl anderer Audiodateitypen. Im Unterschied zu Programmdateien werden von den Audiodateien (. jedoch keine songspezifischen Kopien erstellt. Dies bedeutet, dass sich alle Änderungen, die Sie an den als Basis verwendeten Audiodateien vornehmen, direkt auf die Wiedergabe betreffender Songs auswirken.

Zudem handelt es sich bei den Samples um standardkonforme Wave-Dateien, die mit einem konventionellen Wave-Editor bearbeitet werden können. Daher folgende Warnung: Wenn Sie eine MultisampleDefinitionsdatei und/oder eine Sampledatei editieren, klingt ein Song, der die betreffenden Dateien verwendet, aufgrund der Änderungen unter Umständen anders als vorher.

SFZ, .WAV, .AIF, .AIFF, .OGG)

Samples

Wenn beim Laden eines Programms oder Songs ein in einer SFZ-Definitionsdatei referenziertes Sample nicht gefunden werden kann, versucht Rapture es von der ursprünglichen Position zu laden.

Wenn sich die Wave-Datei nicht mehr an der ursprünglichen Position befindet, durchsucht Rapture den Samplepoolordner. Dies vereinfacht den Austausch von Sampledateien zwischen Benutzern.

Rapture meldet jedes Sample, das auch nach Durchführung der beschriebenen Vorgänge nicht gefunden werden konnte.

Laden von Samples

Sie können Einzelsamples (Wave- oder AIFF-Dateien) und auch Multisamples (SFZ-Dateien) laden, die bereits Zuordnungsdaten für Tastatur- und Anschlagsstärkenbereiche enthalten. Dabei lassen sich

Deutsch

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geloopte wie auch ungeloopte Mono- und Stereosamples beliebiger Auflösung und Samplerate laden. Wave- und AIFF-Dateien können Sie entweder direkt oder als Sample in einer SFZ-Definitionsdatei laden.

Samples können eine beliebige Auflösung (8 bis 32 Bit) und Sample-Rate aufweisen und wahlweise mono oder stereo sein. Als Sample in einem Multisample können Wave-Dateien (PCM-kodierte, meist unter Windows eingesetzte Audiodateien mit der Erweiterung . Dateien (Audiodateien im Apple-Format mit der Erweiterung . Vorbis-Format sein (Ogg Vorbis ist ein hochwertiges, lizenzfreies Open-Source-Format; die Dateien haben die Erweiterung Element geladen werden.

Ferner können Multisample-Definitionsdateien (SFZDateien) oder einzelne Samples auch via Drag & Drop direkt in das Rapture-Fenster gezogen werden. Das Sample wird dann in das ausgewählte Element geladen.

Tipp: Wenn ein Multisample oder ein einzelnes Sample (auch solche aus einem Multisample) mehrfach – z. B. in mehrere Elemente oder Rapture-Instanzen – geladen wird, ist es physisch trotzdem nur einmal im Speicher vorhanden. Die für die zweite und alle weiteren Instanzen angegebene Größe ist demzufolge Null. Hierdurch wird der Speicher effizient genutzt.

Wenn Sie ein Sample oder Multisample laden, werden eventuell vorhandene Effektverknüpfungen in Rapture nicht gelöscht. Wenn Sie die Effekte zuvor löschen möchten, initialisieren Sie das Programm, indem Sie die Schaltfläche "Program Handling" (Programmverwaltung)

anklicken und im Menü Initialize Program

(Programm initialisieren) auswählen.

Ein Multisample besteht aus einer Gruppe von Samples und den zugehörigen Zuordnungsdaten für Tastatur- und Anschlagsstärkenbereiche. Um die Zuordnung der Tastatur und Anschlagsstärkenbereiche zu ändern,

AIFF) oder komprimierte Dateien im Ogg-

OGG). Auch diese Dateien können direkt in ein

WAV), AIFF-

können Sie die SFZ-Datei des Multisamples bearbeiten. Diese Datei und die Multisamples finden Sie im Multisampleordner. SFZ-Dateien können Sie mit dem Windows-Editor bearbeiten. Eine Erläuterung des SFZFormats finden Sie unter http://www.rgcaudio.com/ sfzformat.htm.

Hinweis: Rapture kann SFZ-Dateien in den Formaten Unicode (Little und Big Endian), UTF-8 und ANSI lesen. In Unicode- und UTF-Dateien kann zur Definition von Ordner- und Dateinamen jeder beliebige Zeichensatz verwendet werden. Sie können Rapture mithin in einem im Unicode-Format benannten Ordner installieren.

So laden Sie eine Wavetable oder ein Sample

1. Klicken Sie in das Wavetable-Fenster, um das Dialogfeld "Load Multisamples" (Multisamples laden) anzuzeigen. Öffnen Sie dann den Ordner, in dem die Wavetable bzw. das Sample abgelegt ist.

Wavetable-Fenster

Wellenform

Hinweis: Rapture liest Samples im StreamingVerfahren aus dem RAM aus. Aufgrund dessen ist es abhängig von der Speicherausstattung Ihres Computers unter Umständen möglich, dass nur Samples von maximal einer Minute Länge zur Verwendung geeignet sind. Die Wiedergabe eines Stereosamples belastet den Prozessor stärker als die

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eines Monosamples, jedoch weniger stark als die Wiedergabe zweier Monosamples.

2. Klicken Sie auf den Namen der Wavetable oder des Samples und dann auf die Schaltfläche "Open" (Öffnen).

ODER

• Ziehen Sie eine Wave-Datei aus dem WindowsExplorer bzw. dem Finder auf den Oszillatorbereich von Rapture.

Tipp: Sie können die Wave-Dateien im aktuellen Verzeichnis nacheinander aufrufen, ohne ein Dialogfeld zu öffnen, indem Sie im Wavetable-Fenster mit der linken Maustaste auf die Wellenform klicken. Klicken Sie die Wellenform mit der rechten Maustaste (Windows) bzw. bei gedrückter Ctrl-Taste (Macintosh) an, dann wird die Aufrufreihenfolge umgekehrt.

Einstellen der Oszillatorbedienelemente

Sobald eine Wavetable in das Element geladen ist, können Sie eine Anzahl von Zuordnungs-, Stimmungs- und Abspielparameter einstellen. Im Oszillatorbereich finden Sie die folgenden Bedienelement vor:

Bedienelement Funktion Typ

Lo/Hi Key Bestimmt den Notenbereich, in dem das Element wiedergegeben wird. Notennummer

Deutsch

Lo/Hi Vel Bestimmt den Anschlagsstärkenbereich, in dem das Element

wiedergegeben wird.

Bend Up/Down Bestimmt den Pitchbend-Bereich. Halbtöne

Sust/Sost Bestimmt, ob und wie das Element auf die MIDI-Controller 64 (Sustain)

und 66 (Sostenuto) reagiert.

Transpose Ändert die Tonhöhe (dies betrifft jedoch nicht die Tastaturzuordnung). Halbtöne

Tune Erhöht oder vermindert die Tonhöhe in Schritten von 1 Cent (100 Cent =

1 Halbton).

Keyboard-Tracking Ändert die Tonhöhenabweichung pro Note. Cent pro Taste

Notennummer

On/Off (ein/aus)

Cent

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Phase Stellt die Startphase der Wellenform im Bereich von 0 bis 360° ein. Diese

Startphase wird dann beim Empfang eines Note-On-Befehls verwendet.

Es ist möglich, durch Verwendung einer Wellenform mit unterschiedlichen Startphasen in zwei Oszillatoren komplexe Klangtexturen zu erstellen.

Grad

Quality Bestimmt die Rendering-Qualität der Wavetable.

"Standard" sollte immer dann verwendet werden, wenn mit dem Oszillator keine prägnanten Tonhöhenverläufe ausgeführt werden. Die Einstellung "High" führt eine Interpolierung höherer Ordnung auf Teiltonebene durch und gestattet so umfassende Tonhöhensweeps ohne hörbares Aliasing.

Multi Verteilt die aktuell geladene Wavetable auf mehrere Oszillatoren

(Stimmen), die gleichmäßig und mit unterschiedlicher Verstimmung im Stereofeld verteilt werden.

Beachten Sie, dass der Verstimmungsgrad durch den Regler "Detune" gesteuert wird.

Ring Mod Wandelt den Oszillator in ZWEI Oszillatoren um, die sich gegenseitig

ringmodulieren. Weitere Informationen finden Sie unter “Ringmodulation” auf Seite 102.

Beachten Sie, dass der Verstimmungsgrad zwischen beiden Oszillatoren durch den Regler "Detune" bestimmt wird.

Detune Die hier vorgenommene Verstimmungseinstellung gilt im Multioszillator-

und Ringmodulationsmodus für den am stärksten verstimmten Oszillator; die übrigen Oszillatoren werden von diesem Wert interpoliert. Der Wertebereich beträgt einen Halbton (100 Cent).

Porta Time Erzwingt einen stufenlosen Tonhöhenübergang (Portamento), wenn die

Polyfonie auf 0 gesetzt ist (dies entspricht dem monofonen Modus mit Legatomodus). Der Wertebereich liegt zwischen 0 und 10 Sekunden.

Std/Hi

Off (aus), 3v, 5v, 7v, 9v

On/Off

Cent

Sekunden

100

ROLAND RAPTURE User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual