ATV AFrame Manuel utilisateur

aFrame

electrorganic percussion

Reference Guide

Ver 2.01

Version 1.20 Revision

• The system edit menus were changed and added.

　　Changed: SYS: Save Project, SYS: Export TONE, SYS: Audio Output

Added: SYS: Del Project, SYS: Delete TONE

• GroupKeyLock function was added.

• [INST] Xtra Type parameter functions were expanded.

• [INST] Tune parameter function was added.

• [INST] DFM, PFM, PSC, Mute, and XtraD.Tap parameter functions were added.

• [EFFECT] algorithm Multi-Tap Delay was added.

• [EFFECT] DelayTime of DLY and Multi-Tap DLY can now sync to a set BPM.

• In total 40 new kinds of tone (factory presets A’ to D’) were added.

Version 2.00 Revision

• The system edit menu was added.

SYS: Load LdP2B, SYS: TnDest.

• [INST/EFFECT] The function to selectdata was added.

• [INST] SC parameter function was expanded (5th, Octave, Chrmtic).

• [INST] pressure control was added.

• [INST] Mixer section MASTER MIX BUS SW was added.

• [EFFECT] Compressor effect was added.

• [EFFECT] Ambience, SpaceR/SpaceZ effects were added.

• [EFFECT] FxMtrx function was added.

• [INST/EFFECT] A randomizing function for parameter values was added.

• In total 80 new kinds of tone (factory presets A to D’) were added to INT.Memory2.

Editing the parameters

Here's how to edit the parameters of the currently selected instrument or effect.

1. Simultaneously press the following buttons to enter the edit screen.

EDIT BUTTON

Instrument [1 PITCH] button and [2 DECAY] button

Effect [3 BEND] button and [4 VOLUME] button

2. Press the [1 PITCH] button or [2 DECAY] button to select the parameter that you want to edit.

　　　To view the list of editable instrument parameters, please refer to the Instrument edit parameters tables (p.69-75)

　　　To view the list of editable effect parameters, please refer to the Effect edit parameters tables (p.76-85)

Memo

• Use the [3 BEND] button or [4 VOLUME] button to move between chapters (the rst item in each chapter) of

parameters.

• To fast-forward through parameters, hold down a [1 PITCH] - [4 VOLUME] button.

3. Turn the encoder to edit the value of the parameter.

When you edit a parameter, the ":" (colon) following the instrument or effect number changes to an "*"

(asterisk), and the FNC button lights.

If you turn the encoder while pressing it, the value changes as follows.

Frequency parameters: 1 Hz steps

Other parameters: Values up to 100: 10x units

Values above 100: 1/100 units

Renaming

Here's how to rename an instrument or effect.

1. Hold down the [1 PITCH] button or [2 DECAY] button until the following display appears.

2. Use the buttons to move the cursor to the character that you want to edit.

　Turn the encoder to change the character.

　To insert a character, press the [3 BEND] button; to delete a character, press the [4 VOLUME] button.

　Characters are shown up to the " " character. If you enter a " " character, that character and

　subsequent characters are not shown.

When you've nished editing the name, press the [1 PITCH] button or [2 DECAY] to return to the parameter select screen.

Instrument and effect parameters

Comparing with the unedited sound

Here's how to compare the edited sound with the unedited sound.

1. Edit an instrument or effect.

Once you edit a parameter, the FNC button lights.

2. Press the FNC button.

The FNC button and the encoder blink; your edits are temporarily cancelled, and you can hear the unedited

sound.

During this time, the display shows the following.

3. If you want to continue editing, press the FNC button, you'll return to the sound as it was before you pressed the

FNC button in step 2.

If you want to cancel editing and return to the unedited sound, press the encoder.

Auditioning the sound of each timbre (instruments only)

Here's how you can listen to the individual timbres within an instrument.ca

An instrument consists of four components called "timbres."

One timbre is assigned to each of the [A] - [D] buttons.

Button Timbre

A Main timbre

B Sub timbre

C Extra timbre

D Dry timbre

While in Instrument edit mode, each time you press one of the [A] - [D] buttons, the corresponding timbre turns on

(lit green; the timbre is heard) or off (lit red; the timbre is not heard).

This lets you hear the sound of each timbre individually, or mute only the sound of specic timbres.

These on/off settings are ignored in Play mode. In Play mode, all timbres are always on.

Instrument and effect parameters

Saving an edited sound

Here's how to save the parameters you've edited.

1. Press the [5 EFFECT] button. The encoder blinks red.

2. Use the buttons to select the save-destination number.

3. Press the encoder. The changes are saved to the number that you selected in step 2, and you return to Play

mode.

Cancelling your edits

If you decide to stop editing without saving your changes, long-press the [5 EFFECT] button.

The sound returns to the unedited state, and you'll be back in Play mode.

Instrument and effect parameters

If you want to continue editing :

In step 3, hold down the [5 EFFECT] button and press the encoder; you'll return to the parameter edit screen

instead of returning to Play mode. This is convenient when you want to continue editing.

Initializing system settings and factory presets

The following procedure assumes that you have already updated your aFrame with rmware version 2.0.

With the aFrame powered down, long-press the power button with the encoder pressed. The display will read:

Press the button to the right of the display [Yes] to execute system initialization. A progress indicator will display and

when the system has been initialized, the message

‘Init Sys/Project Done!’ will briey display. The system will then boot into play mode as normal.

Initializing the system loads two sets of factory presets into the aFrame’s two internal memory locations:

INT. Memory 1: Factory Presets 1 (version. 1.20 rmware)

INT. Memory 2: Factory Presets 2 (version 2.0 rmware)

By default, Factory Presets 1 is loaded into working memory. These include the 40 new tones created for version 1.20.

To load Factory Presets 2, use the system menu function ‘SYS:Load Project’. Select INT.Memory 2 as the source. 80 new

tones created for version 2.0 will be loaded into working memory.

Assuming that you do not overwrite the data stored in INT.Memory 1/2 with your own project data, you can reload

Factory Presets 1/2 by using the ‘SYS:Load Project function and selecting INT.Memory 1/2 as the source.

It is recommended that you create and save a backup project for both sets of factory presets and store these on your

SD card.

Instrument and effect parameters

[ INST ] Xtra Type

With rmware version 1.20, the number of generative processing algorithms for the Extra timbre was expanded. The

parameter XtraType is used to select between the different processing algorithms.

Depending on the processing algorithm selected, different parameter sets are activated and can be adjusted.

There are four different categories of algorithm. Each category has several type variations.

Algorithm Variations/Types

Noise 4

Jingle 3

Click 4

JingleX 9

Please refer to the Extra Type list on p.12 and the Extra timbre OSC Algorithm signal flowchart on p.73. The signal

owchart shows how the different algorithms generate the sound as well as which parameters are activated when you

select a particular algorithm.

In rmware release 1.20, two new versions of XtraType ‘Click’ were added. Click 3 generates a wooden attack sound.

Click 4 generates a metallic attack sound.

If Click* was selected,XtraFltQ was set by DecayTime atutomatically, so FilterQ cannot be controlled directly(Just like

Main/Sub's FilterQ).

JingleX

JingleX implements a 2DCO (Digitally controlled oscillator) X-FM / Ring Modulation synthesis algorithm.

When one of the nine variations of JingleX is selected (Jx***) in XtraType, additional parameters used to control the

synthesis algorithm are activated. These parameters are shown in the table below. Please refer to the Extra Parameter

table (p.70) for brief descriptions of these parameters.

XtraType:

Jx***

Activated Parameters

XtraJxF.Type, XtraJxFR,

XtraJxMR, XtraJxXFMod,

XtraJxCarLev, XtraJxModLev, XtraJxRingLv

The XFM synthesis processing includes a controllable lter to help shape the generated sound.

The parameter XtraJxF.Type enables you to select between three different kinds of lter: LPF (Low pass lter), HPF (High

pass lter) and BPF (Band pass lter).

The parameter XtraJxFR determines the frequency of the selected lter type. This parameter can adjusted as a frequency

value in Hz, or as a ratio of the Carrier Oscillator frequency (set by XtraTune). To switch between the frequency value and

ratio value modes, press the left and right buttons either side of the display. To change the input value, turn the

encoder wheel as normal.

Instrument and effect parameters

The parameter XtraJxXFMod controls the depth of modulation, or the level of frequency modulation that is applied

to the Carrier Oscillator signal. This is a key timbre control parameter as it directly affects the generation of audible

sidebands. In general, higher values (+ or -) will increase the number of sideband frequencies, thus generating a fuller

and often noisy sounding timbre.

When XtraJxXFMod is adjusted in the positive range (0 to 100) the XFM synthesis algorithm targets the signal after

envelope processing. The result of this is that the modulation depth level is dependent on your playing dynamics – or

how hard you strike. This is an interesting way to expressively and dynamically control the timbre. The harder you hit the

more audible sideband frequencies are generated.

When XtraJxXFMod is adjusted in the negative range (0 to -100) the XFM synthesis algorithm targets the signal before

envelope processing. In this case, there is no dynamic change in the output timbre in terms of the audible sidebands

generated.

The parameter XtraJxCarLev is used to adjust the signal level of the Carrier Oscillator. The parameter XtraJxModLeV

is used to adjust the signal level of the Modulator Oscillator. Adjusting both of these parameters will also affect the

generation of sidebands and the timbre of the synthesized sound.

In addition to XFM synthesis processing, JingleX also runs a parallel ring modulation process between the Carrier

Oscillator and Modulator Oscillator. The parameter XtraJxRingLv can be adjusted to mix in the signal output of the ring

modulation synthesis process. This is particularly effective when you wish to add more inharmonic sidebands and color to

the timbre.

Instrument and effect parameters

Sound Design Tip:

With XFM synthesis, making small changes to the depth of modulation can result in signicant differences in output timbre.

This is because the strength of carrier signal frequency modulation determines the generation of audible sidebands. To

explore the sound design possibilities for creating timbres using XFM synthesis, you could try out the following experiment.

Choose any tone that uses the Extra layer. In edit mode, turn off all other instrument layers, so you can just hear the Extra

Layer.

Adjust the parameter values to the settings listed:

Parameter Value

XtraType Jx RxS

XtraTune C2 /+00

XtraDcay 3000ms

XtraHold 500ms

XtraFltQ 0.5

Xtra DQM 0

Xtra DFM 0

Xtra PFM 0

Xtra Mute OFF

Xtra Delay 0

XtraD.Tap 0

XtraJxF.Type HPF

XtraJxFR 0.10

XtraJxMR 4.00

XtraJxXFMod 0

XtraJxCarLev 100

XtraJxModLev 100

XtraJxRingLv 0

XtraSC OFF

XtraBoost 0

Starting with these settings you will hear a typical synth bass tone with a long sustain. The timbre has a low fundamental

frequency (C2) with some higher harmonic sidebands.

Now select XtraJxXFMod and slowly increase the value from 0 to +100 as you play. As you increase the value you should be

able to hear the timbre change as more audible sidebands are generated. Next try changing the value in the negative range,

0 to -100 and the resulting timbres sound different, particularly in the upper value ranges.

This experiment, although not particularly musical, does show the sound design possibilities for generating timbre variations

using XFM. Once you have a setting you like the sound of, try experimenting further by switching between the different

variations of JingleX. Also use the filter parameters (XtraJxF.Type, XtraJxFR) to shape the generated tone and attenuate

sideband frequencies. Using the lter will help to soften the sound and reduce the inharmonic frequency content.

With a little practice you will quickly start designing some very interesting sounding electronic tones to mix with the Main,

Sub and Dry timbre layers.

Instrument and effect parameters

Extra Layer Variable Envelope Generators for Tap Delay

The Extra layer implements two types of envelope generators to give you sophisticated control over the onset of the

sound and tap delay effects. Please refer to the diagrams on the page titled ‘aFrame Extra Timbre Envelope Generator’

(p.13)

The rst type, Envelope Generator 1 is activated when the parameter XtraD.Tap is set between the values +0 and +8.

As the diagrams show, the parameters XtraDcay and XtraHold function in a standard way to change the envelope of the

sound. When relating this to standard ADSR envelope terminology, we might describe XtraHold as the sustain part of the

envelope, and XtraDcay as the release part.

The parameters XtraDelay and XtraD.Tap produce some interesting rhythmic delay effects when adjusted in combination.

To hear these effects clearly, start with the following settings:

Parameter Value

XtraType 500ms

XtraHold 250ms

XtraDelay 200ms

XtraD.Tap +0

Striking the drum you will hear one sound at the instant you strike. With these settings you should be able to hear the

longer hold and decay of the sound’s envelope. Now increase XtraD.Tap to +1 and there will be a 200ms delay after the

strike before you hear the sound. This delay of the onset of the generated sound can add an interesting rhythmical effect

when combined with other instrument timbre layers.

Increase the value of XtraD.Tap to +2 and you will hear two distinct sounds. The rst occurs at the instant you strike. The

second tap sound is longer in duration because the XtraDcay and XtraHold envelope values are applied to the second

tap sound. Keep increasing the value of XtraD.Tap up to +8 and you will hear the increased number of taps and also a

rhythmic pattern change. In each case, the last tap sound has the envelope set by XtraDcay and XtraHold.

The second envelope type, Envelope Generator 2, is activated when the value of XtraD.Tap is adjusted in the range -1

to -3000

This also activates additional parameters used to control this envelope type.

Activated when XtraD.

Tap is adjusted to minus

values

Parameter name

XtraD.Fluct,XtraD.Atck,XtraD.Dcay

Instrument and effect parameters

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