NONLINEAR LABS C15 Manuel utilisateur

The Synth Engine

2 3

Contents

C15 Synth Engine – Overview & Detailed . . . . . . . . . . . . . . . . . 4

Design Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

The Components in Detail . . . . . . . . . . . . . . . . . . . . . . . . 7

Oscillator A, B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Shaper A,B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Envelope A, B . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Envelope C. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Comb Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

State Variabe Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Output Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Output Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Cabinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Gap Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Echo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Revrb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Macro Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Harware Sources and Amounts . . . . . . . . . . . . . . . . . . . . 31

Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Part and Master . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

About FM and Chaos . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Synth Engine Evolution . . . . . . . . . . . . . . . . . . . . . . . . 37

The C15 Synth Engine compared to Kontour . . . . . . . . . . . . . . 38

The Synth Engine

4 5

Shaper A

PM FM

Shaper A

Dry

EectsSVFComb

Comb SVFBA

Wet

Shaper B

Env A

PM FB

Env Aʹ

Env Bʹ

Env C

KTVel KTVelKTVel

1PM Self

Env A Env C Gate

Env A

Env B

Gain

Env Aʹ Env Bʹ

Env B

Gain

Env B

Env C

Env C KTGate

Gate

Key Pos

Env C KT

Gate

PM B

Env A

PM FB

Env C

1PM A

Env C KT

Note On

Env B

PM Self

Env C

Gate

Master

Level

Shaper

Comb

Reverb

So

Clip

Pan Voice Mix

FB Mix

Mix

FB Mix

Mix

Shaper

Chirp

Filter

Chirp

Filter

Envelope A Envelope B Envelope C Gate

Shaper A

CabinetFlanger Echo Reverb

Gap

Filter

Feedback Mixer

Oscillator B

Oscillator A

Shaper B

Comb

Filter

State

Variable

Filter

Output Mixer

Self

A B

Comb

SVF

Eects

Reverb

Wet

Dry

Self

Env B Env C

Env Aʹ

Env A

Env Bʹ

Env B

Env C Gate

Env A

Env Aʹ

Gate

Env C Gate Env C

Env A

Env C

Env A Env C Env B

Env Bʹ

Gate

Env B

Env C

Shaper

FB Mix

Shaper

Envelope A

Oscillator A Shaper A

Comb

Filter

Envelope BEnvelope C Gate

Output Mixer (Stereo)

Feedback Mixer

State

Variable

Filter

Oscillator B Shaper B

Cabinet Gap FilterFlanger Echo Reverb

C15 Synth Engine – Overview & Detailed

The Synth Engine

6 7

Design Concepts

The design goal for Phase 22 was to take advantage of digital synthesis algo-

rithms in order to build an expressively playable instrument that has a strong

individual character. At the same time the set of parameters should be small

enough to be easily accessible.

The core structure is a phase modulation synth that is based on two sine oscil-

lators and two sine shapers only. Their signals can be passed through a comb

filter, a state-variable filter, and a chain of five eects.

The Comb Filter is a tool for complex spectral shaping and also works as a reso-

nator. The State Variable Filter can be applied flexibly for subtractive filtering.

The signal routing is determined by the settings of the Output Mixer and the

Feed- back Mixer. The feedback bus can be used to create feedback loops

between dierent function blocks.

The filters and eects have an important influence on the feedback behavior:

their amplitude and phase responses determine the frequencies where the

feedback can result in self oscillation.

The Components in Detail

Oscillator A, B

The two sine wave oscillators are the only signal sources. With a random

frequency fluctuation they can also produce tunable noise. They are equipped

with three phase modulation inputs for:

• self modulation

• modulation from the other oscillator

• modulation from the feedback (FB) signal

The oscillator signal for dierent amounts of self modulation:

Wave Form Audio Spectrum

The Synth Engine

8 9

Oscillator signal without self modulation and dierent amounts of fluctuation:

Oscillator signal with self modulation and dierent amounts of fluctuation:

Audio SpectrumWave Form

Shaper A,B

The signal of each oscillator is processed by a wave shaper. The shaping curve

is a sine function with adjustable foldback and asymmetry. The mix amounts

of the shaper signal can be adjusted individually for each phase modulation

branch and for the output.

The Shaper block also contains mixing points for the feedback signal and the

result of a ring modulation between the output signals of the branches A and B.

The diagrams on the following pages show the output signal depending on

Drive, Fold and Asymmetry.

The Synth Engine

10 11

The influence of the Fold parameter of the Shaper:

Drive: 12 .0 dB

Fold: 100 %

Asymetry: 0 %

Drive: 12 .0 dB

Fold: 66 %

Asymetry: 0 %

Drive: 12 .0 dB

Fold: 33 %

Asymetry: 0 %

Drive: 12 .0 dB

Fold: 0 %

Asymetry: 0 %

Input

Output

Input

Output

Input

Output

Input

Output

The influence of the Drive parameter of the Shaper:

Drive: 16 .8 dB

Fold: 100 %

Asymetry: 0 %

Drive: 12 .3 dB

Fold: 100 %

Asymetry: 0 %

Drive: 9 .0 dB

Fold: 100 %

Asymetry: 0 %

Drive: 6 .0 dB

Fold: 100 %

Asymetry: 0 %

Drive: 3 .0 dB

Fold: 100 %

Asymetry: 0 %

Drive: 0 .0 dB

Fold: 100 %

Asymetry: 0 %

Input

Output

Input

Output

Input

Output

Input

Output

Input

Output

Input

Output

The Synth Engine

12 13

Envelope A, B

These two ADBDSR envelopes are the control sources for:

• the output amplitude of the Oscillator-Shaper branch

• the Oscillators’ phase modulation depths

• the Drive (input gain) of the referring Shaper

This diagram shows the segments of the envelope:

0.0

Attack

Level

Peak Level

Breakpoint

Level

Sustain Level

Note On Note O

Decay 1 Decay 2 Release

The influence of the Asymetry parameter of the Shaper:

Drive: 3.4 dB

Fold: 50 %

Asymetry: 0 %

Drive: 3.4 dB

Fold: 50 %

Asymetry: 20 %

Drive: 3.4 dB

Fold: 50 %

Asymetry: 60 %

Drive: 3.4 dB

Fold: 50 %

Asymetry: 100 %

Input

Output

Input

Output

Input

Output

Input

Output

The Synth Engine

14 15

Envelope with Decay 1 as Hold Time:

Percussive Envelope:

Organ-style Envelope:

Peak/

Breakpoint

Level

0.0

Decay 2

Attack Decay 1 Release

Level

Peak Level

Breakpoint

Level

0.0

Decay 2

Decay 1 Release

Level

Peak/

Breakpoint/

Sustain Level

0.0

Decay 2

Attack Decay 1 Release

Level

Envelope Amount:

Envelope with multiplying eect:

Envelope with additive eect:

PM Self

Env A

Crossfade

Modulated Signal

Control Position

Multiplier

1.0

Env A

Decay 2Attack Decay 1 Release

Parameter

Factor

Amount

0.0

100%

75%

50%

25%

Amount

PM Self

Env A

75 %

50 %

130 st

– 20 st

Parameter

Value

Amount

Decay 2Attack Decay 1 Release

Pitch

Env C

–80.0 st

60.00 st

The Synth Engine

16 17

Envelope C

The third ADBDSR envelope has bipolar Breakpoint and Sustain levels. It can

modulate:

• the pitches and fluctuations of Oscillator A and B

• the feedback signal

• parameters of the Comb Filter and the State Variable Filter

Envelope C shapes with dierent polarities of the Breakpoint and Sustain levels:

Envelope C - “Retrigger Hardness” Parameter (in monophonic mode):

Peak Level

Breakpoint Level

(>0)

Sustain Level

(<0)

Note On Note O

0.0

Peak Level

Breakpoint Level

(<0)

Sustain Level

(>0)

Attack Decay 1 Decay 2 Release

0.0

Level

Note On Note On (Retrigger) Note ONote O

100%

Comb Filter

The Comb Filter contains:

• a precisely tunable delay (Pitch)

• a control for the Decay time of the impulse response

• a second-order Allpass (AP) filter

• a lowpass (Hi Cut) in the feedback loop

• a delay modulation by the Oscillator signals, similar to phase modulation (PM)

Block diagram of the Comb Filter:

AP Reson

Decay

Pitch AP Tune Hi Cut

Key Position

Env C

Key Trk

Env C

Key Trk

Gate

Key Trk

Env C

Key Trk

Env C

Note On/O

Delay Time

Control

Feedback Control

Center Frequency

Control

Cuto

Control

Delay 2-Pole Allpass 1-Pole Lowpass OutIn

from A-B

The Synth Engine

18 19

Basic frequency responses of the Comb Filter. Setting the Decay to negative values

has similar results like the inverted mix.

Non-inverted Mix:

Inverted Mix:

Magnitude

(dB)

Frequency

Ratio

0 dB

– 20 dB

1.0 2.0 3.0 4.0 5.0

– 40 dB

– 60 dB

– 80 dB

Magnitude

(dB)

Frequency

Ratio

0 dB

– 20 dB

0.5 1.5 2.5 3.5 4.5

– 40 dB

– 60 dB

– 80 dB

State Variabe Filter

The State Variable Filter has a variable 4-pole structure with:

• two internal 2-pole filters with splittable cuto frequencies (Spread)

• crossfade between serial and parallel modes (Parallel)

• crossfade between lowpass, bandpass, and highpass mode (L-B-H)

• cuto frequency modulation (FM) by the Oscillator signals

Here you see a block diagram of the State Variable Filter:

L–B–H

Reson

Parallel

from A-B

Cuto

Spread

Key Trk

Env C

Key Position

Env C

L-B-H 1

L-B-H 2

Cut 1

Cut 2

Cut 1 Cut 2

L-B-H 1 L-B-H 2

Cuto Control

L-B-H Control

2-Pole SVF

X-Fade

X-Fade Out

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