Fantom Tweakbook e5

Fantom TweakbookArtemiy Pavlov Getting the most out of the Roland Fantom-S, Fantom-X, Juno-G and SonicCell synthesizers 5th edition Fantom Tweakbook This book is intended for people who want to explore the deepest corners of their Fantom-S, Fantom-X and Juno-G synthesizers from Roland. It opens many invaluable sound design secrets in form of deep but easy-to-read, illustrated articles on synthesis, effects processing and sampling. Additionally provided are lots of example patches, templates, raw sample materials and audio demonstrations. The Fantom Tweakbook covers an overwhelming amount of topics, including subtractive, additive and vector synthesis, ring modulation, analog sound replication, envelope, LFO and matrix modulation, using effect processors as synthesis blocks, sampling and re-sampling, advanced processing of internal and external sounds, using in conjunction with other gear and much beyond. Combined with featured dictionary and parameter map, it is a great knowledge resource for both newbie and hardcore Roland users. Copyright All contents and materials of this book are copyright 2004-2008 Artemiy Pavlov, all rights reserved. Redistribution or publishing of this book in whole or part, in any form, without an agreement with the author is strictly prohibited and is subject to prosecution by law. About The Author Artemiy Pavlov was born in 1981 in Kharkov, Ukraine, in a family of an electronics engineer and a math teacher, both of which were also musicians. He naturally paid a lot of interest in sound both as an art and as a physical phenomenon, and nowadays it’s both his passion and profession. In the field of sound design and development, Artemiy worked with companies like Roland, Native Instruments and Spectrasonics, and created a number of successful products for his own Sinevibes, such as books, sound libraries and software plug-ins. He also is a PhD student at the Kharkov National University of Radioelectronics, doing research in the field of electromagnetism and artificial structures. Artemiy is married since 2001, with two daughters born 2004 and 2007. You can read more about Artemiy Pavlov at these sites: ‣ www.artemiypavlov.com ‣ www.sinevibes.com ‣ www.sineshine.com 2 Contents Introduction Everything Out Of Nothing Unisonic Wave arithmetics, part 1 Addi(c)tive synthesis Delayed tones Flange ensemble Ring the bell Low modulator Lord of the ring (modulator) What's that noise? Wave buster Syncopea The steeper, the better Count to 303 A different filter Can you see a DC? Selfish oscillation Buenos notches Stereotonic Modulation Magic Pitch envelope vs. TVF/TVA envelopes Shaping envelope and LFO forms Get clicky Deeper pitch slides Retro beatbox Sequential world Wave arithmetics, part 2 Controlled time stretching Freeze, froze, frozen Left plus right Vectorize LFO by LFO Envelope’d LFO Vari-filter Velocity games, part 1 Velocity games, part 2 Monster FX 5 7 7 8 9 10 11 12 13 13 15 15 17 18 19 20 22 23 24 25 26 26 26 27 28 29 31 32 34 35 36 37 38 39 40 41 42 44 3 Sample.A fat recipe Acid empire Talking synth Monster filter Triple notch Time machine Moving shadows Be shifted True Lo-Fi Infinity Effected tail Six voices Tweak. they are everywhere!” Han Solo D-tune Feedback wizardry Synthisphere Antiverb Partially processed COSMic Synthesis COSMic filter LFO to MFX Phase control Retro Sci-Fi Key gate Recording Trick-o-logy Rock your Fantom Sound multiplication External processing External vocoding Dictionary Parameter Map Acknowledgements 44 44 45 46 48 48 49 50 51 52 52 53 54 55 55 58 58 59 61 61 62 62 64 65 66 68 69 69 70 70 71 73 74 77 4 . Repeat “Doctor. pink and white noise. and DC (“direct current”. ‣ MIDI file: copy it to the /ROLAND/SEQ/SNG folder of either user or card area of your synthesizer. 1217-1219 455-463 560-567. square. Waveforms In many of the articles we will be using the so-called "basic" waves to synthesize sounds. which basically is an eternal pulse). In the wave ROM (bank A) of Fantom-based series there is a vast selection of basic waves. 1262 60-63. triangle. To help you out. “LFO” and “filter” are in your vocabulary. you need to be familiar with the patch. 1223 574-577. simply open up the Solo Synth editor screen and enter the parameters from the table. as well as a Parameter Map at the end of the book. Also. In general.Introduction Get prepared To be able to read and understand this book in full. saw. Example patches and templates The example patches and templates for this book come in three different formats. and then play it back. ‣ SVD format: copy the SVD file to the /ROLAND/SND folder of either user or card area of your synthesizer. otherwise you may loose some important work. To recreate the Solo Synth patches. launch the Librarian software and transfer all or select patches from the Librarian file to the user area. it is assumed that words and abbreviations like “envelope”. the basic waves are: sine. Before you start creating a patch by following the steps described in a given article. 1263 1-19. but derive from different sources and have their own unique spectrum and character. with lots of variations per wave (for example. pulse. Please remember to back up your data before loading these patches. there is a little Dictionary. ‣ Librarian format: connect your Fantom or Juno-G to your computer in USB MIDI mode. 1222 Number (Juno-G) 64-66. you must first clear (initialize) it. and you can choose the one that’s most appropriate for you. effects and sample editing modes of your synthesizer. 1256-1258 20-28 36-50. 1261 5 . so that all parameters get reset to their default values. 1224 546-558. Waveform Sine Triangle Saw Super Saw (unison saws) Square Number (Fantom-S/X) 578-579. there is over a dozen saw waves). Wave variations are similar in shape. S=0. Note that not all synths offer the ADSR shortcuts. 1259-1260 91. but for simplicity it is omitted from the structure drawing(s). "slow" or "rising". 1265 90. R=5 Rising A=35. respectively. For example. TVF. such as "falling". Time3. LFO) which take an active part in creating a given sound. for the shown synthesis blocks and effects units. S=127. the TVA.it certainly does. Release time) for creating such envelopes. S=100. Falling A=0. D=30. In order to make things more simple. R=5 Slow A=70. 6 . Decay time.g. you'll read about different kinds of envelopes. S=0. 1226 595. R=70 Patch structures Most of the articles in this Tweakbook include drawings of patch structures that help you understand what's going on. for instance. D=35. only those parameters are given which have values different from the default. D=15. Sustain level. TVA. 1225 1227 51-59. 1264 1266 Envelope forms In many of the articles. R=5 Falling and rising A=30. when we use just a wave and a filter. Also. the structures include only those blocks (e. WG. so you should know these correspond to envelope parameters Time1. below are the approximate ADSR values (Attack time. which synthesis block is doing this or that function. S=127. This doesn't mean that. 1220-1221 596. For further convenience. Level3 and Time4. R=30 Pushing A=0. LFO and other "bricks" are not pictured because their settings are left default.Pulse Pink noise White noise DC 568-573. D=0. D=0. TVA doesn't take part in synthesis of this given sound . route it into a tempo-synched delay processor and tweak the filter cutoff while you play it. a generator starts playing a sample only when you press a key – thus. let's do a little research. In analogue and virtual analogue synthesizers. ‣ Copy tone 2 to 3 and 4. Fortunately. this way you can create many analog-type synths. As you may know. there will be no weakening effect at the beginning. Do you hear that the very beginning of the sound is kind of weak? Why is that? The thing is that in analog synthesizers. Start away and create a simple unison sound: ‣ Set the waveforms of tones 1 and 2 to saw. and they are always out of phase. there is not much detuning happening and the sound is not as rich as we'd want it to be. and hear how the resulting sound changes as the frequency ratio grows. square and other basic waveforms. But. it is also called a "unison" mode. there is a way to go away from this: Roland engineers put multiple variations of saw. ‣ Increase the Fine Tune of tone 2 slowly while auditioning the patch. the thicker and more pulsating the sound gets. For instance. with very same waveforms being detuned. and since they all have different spectral characteristic. +15 and +40. -15. and detune all four partial tones by setting the Fine Tune to -40. not only in a Ring Modulator). But in PCM-based synthesizers like the Fantom. you can get a wide variety of classic analog-type sounds. respectively This is the most simple unison sound. let's make a classic 3-oscillator bass sound with two detuned saws and a square one octave down: 7 . Just by adding a filter with an envelope.Everything Out Of Nothing Creating great new sounds with simple tools. and the most simple way to create a new sound. Unisonic The first thing we will do. the first few cycles appear to be almost in phase. detuned waves cause the so-called "beating" effect that adds amplitude modulation to the sound at a frequency equal to the difference of the detuned waves (this effect appears anywhere two waves oscillate. Basically. especially if you add a low-pass filter with medium resonance. basses and pads. The more waves you mix up and the more widely you detune them. is mix and detune several different waveforms. oscillators always generate sounds. yet it can be used as a classic trance synth. when two or more waves are detuned. ‣ 244 TempSuperSaw will help you get started. and a classic synth bass is ready ‣ Take a square wave for tone 1. S = 0. add a falling filter envelope (A = 0. D = 25. the product of mutually inverted saw waves would be silence. another tweak-worthy thing is to mix two of the same waves. you can recreate a large part of the whole spectra of classic analog synthesizer sounds. Listen to Trance Saw (Same). ‣ Add two different saw waves on tones 2 and 3 and detune them (set Fine Tune to about -10 and +10.mp3 is an example of what can be done if you layer several unison patches. 8 . part 1 As you understood from the previous article. 184 Bass Phat (demo in Bass Phat. respectively. Wave arithmetics. ‣ Press a key. Cutoff to 75-80.Just three oscillators. R = 25) with Env Depth set to +15.mp3 and Trance Saw. your Fantom has two mutually inverted saw waves in the ROM – they are “Calc Saw” and “Calc Saw Inv”. However. set Filter Type to LPF. at different pitches. using this technique.simply because the two base tones are phase-inverted. And a fat. rich synth bass sound is ready! As you will see in further. SupaSynth. and a few tricks you'll learn in the next articles. You can layer several unison patches in performance mode and have several dozen detuned oscillators for a really huge sound. respectively). one usual and one phase-inverted. ‣ Set tone 1 and tone 2 to saw and inverted saw waves. three filters.mp3) is a simple but fat analog-style bass.mp3 to hear what difference it makes when you detune same saw waves or several variations. mixing and detuning waves can produce some interesting results. You can play this patch and hear a very silent saw wave – in an ideal situation. ‣ 001 Trance Saw is a classic trance synth. and start detuning one of the tones with Fine Tune while hearing what an interesting morphing saw you get . Let's hear and see what happens if you detune them. Luckily. ‣ For all tones. It's sound. Summing differently-pitched phase-inverse saw waves can give some interesting results (note that ROM waveforms all start from 0 amplitude value) ‣ The 155 Juno Lead patch is just a “sum” of a saw wave and inverse saw wave one octave down. one of the most widely-used sounds on a sample-based synthesizer like Fantom or Juno-G is Hammond organ (like that of the famous B3 model). a so-called “percussion” section also added a short sound tuned at a fifth an octave or two above the first drawbar. with some additional fine-detuning and vibrato added by LFO1. D = 25. ‣ Now route this patch to Rotary MFX and you're done. was formed using what is now called “additive synthesis” .the tone wheels generated signals close to sine waves and then several of them pitched at different frequencies were mixed with the “drawbars” to get the final sound. At the beginning of each key press. but it is possible to create a very convincing B3 organ emulation using your synth. in a nutshell. S = 30. +24 and +19. form your own Hammond organ sound.. a bunch of sine waves! ‣ Set all tones to sine waves. Try different tone levels and coarse tune settings to get other variations of this sound. and all you need is.mp3.. and set Coarse Tune of tone 2 to -12. +12. 9 . ‣ Tone 4 will be used as a percussion generator but also will sustain to be the fourth tone wheel. ‣ Set their Coarse pitches to 0. R = 10.‣ Reset the Fine Tune back to 0. ‣ 256 Temp Juno is a useful start for a Juno-like bass sound. So create a falling envelope with a little sustain for it: A = 0. you got a very realistic Hammond organ. you guessed. As you hear now. ‣ Using the TVA Level parameters of the tones as the drawbar sliders. What you hear now can remind you of a sound common to the Juno series synths from Roland – and you can view the new waveform you've just created below. You may not know it yet. Addi(c)tive synthesis Without any doubt. Audition this patch in JunoLead. Cutoff to about 65. ‣ Now copy this tone to tone 2 and reverse both envelopes by swapping their Decay and Attack parameters. also pitched/filtered in different ways. namely Tone Playback Mode and Tone Delay. S = 0. Roland's PCM-based synthesizers featured tone playback parameters. D = 40.mp3) is a nice emulation of the all-time classic Hammond B3 organ sound. ‣ Finally set Tone Playback Mode to OFFN (KEY-OFF-NORMAL) for tone 2. R = 35) with a depth of +15. ‣ Set Filter Type to BPF. Delayed tones Since the middle 1990s. add a falling envelope (A = 0. and the second allows for creating delay effects right on patch level (plus it can be synchronized to the MIDI clock).‣ 181 It's a B! (demoed in It's a B. and they are still here in the Fantoms. Filling the gaps with a “reversed” tone One interesting trick with Tone Playback Mode is making one tone with a falling filter and amplifier envelopes playing normally. D = 35. R = 40. The first one lets you set up a tone play on key release instead of playing on key press. it is possible to create sounds with delay effects not possible otherwise – like having different waveforms on different delay taps. another tone with reversed envelope times and set to play on key release: ‣ Set tone 1 waveform to a super saw. 10 . Let's see how these can be used. S = 0. ‣ Create a slightly longer falling TVA envelope: A = 0. By using two or more tones mutually delayed with Tone Delay time. ‣ 243 Temp Hammond will help you get started with creating nice additive organ patches. but the “flanger” effect essentially is a delay line whose delay time is controlled by an LFO. you should simply use an LFO to detune one of the tones cyclically. set a triangle LFO with a Rate of 30-40 and Pitch depth of about +3. ‣ 242 Temp Reverse and 241 Temp Echo are good templates for further experiments. add some delay and reverb. As you keep holding the key. 185 Mega Synth adds delayed and release-triggered reversed tones results in a massive sound without any effects used. you will already hear a flange-like effect – this is due to the fact that one of the samples is played back slower and thus it appears that each portion of it sounds delayed compared to the first sample that is faster. It produces periodic spectral changes because the original signal and the one delayed appear out of phase (and eventually with inverse phases). assign it to two tones and then slightly detune them. Flange ensemble You may not know this yet. but not using the tone delay feature.mp3) is a very simple patch showing how a little trick can result in an interesting and very handy effect. S = 100. One of the many secrets Roland's PCM synths hide is that you can create a very similar effect on the patch level. ‣ For tone 2. ‣ 173 D-laid uses four saw-based tones with different coarse tune and filter settings to create an interesting patch. and tone 2 when you release them. ‣ 244 Temp Flange has this trick set up for you for an easy start. 11 . or a percussion loop. the delay time will increase and after a few seconds the flange effect will go away leaving you with a usual delay effect. Not much on the picture. R = 80). but quite some in your ears ‣ 174 Flangy Ens (demoed in Flangy Ens.Try this patch and you will hear tone 1 when you press the keys. If you take a waveform with a rich spectrum. But to make it work like a flanger. like a super saw synth. creating a simple synth sound using this trick takes just two steps: ‣ Set tone 1 and 2 to a super saw waveform. The patch 202 Bell Strums quickly plays several bell sounds as a strumming sound. D = 0. Just make slow TVA envelopes for both tones (A = 60. making it a really interesting and fun realtime performance. For example.and you have a wonderful pad sound ready. the resulting spectrum contains many high-frequency harmonics not present in any of the input sounds. set TVA Level to 70-80. Two sine waves and a ring modulator: all you need to create metallic bell sounds 12 . bell-like sounds. you got a metallic sound out of just two sine waves. So. ‣ Set tone Structure Type to 7. Since the Ring Modulator applies amplitude modulation to one input signal using another. ‣ Tweak the TVA Level of tone 2 to vary the amount of modulation in applies to tone 2 and notice how the sound can change from smooth metallic to distorted. ‣ Adjust pitch Coarse Tune of tone 2 to about +15. Let's see how really simple it is. you can create a really wide variety of melodic and non-melodic bell and metallic sounds. For smooth bell sounds. and you have a simple yet nice and fresh synth bell sound ready.20. ‣ Set tone 1 and 2 to sine waves. the common concept for creating bell sounds is to use a middle-frequency sine (which be the base-frequency signal) and a high-frequency sine (to add a metallic sound).. Increase the Coarse Tune of tone 2 while listening to the sound and hear how the resulting sound changes. and rehearse the sound – thanks to Ring Modulator. from tubular bells and various percussion sounds to electric pianos and beyond. ‣ Create a falling TVA envelope for tone 2 (with decay time equal to release).Ring the bell I believe you have read or heard many times that the main purpose of the Ring Modulator is creating metallic. By setting the TVA Level of tone 1 and Coarse Tune of tone 2 to different values and also using different filters for tone 1 and 2. like "Low Sine" and "Low Saw". Lord of the ring (modulator) The Ring Modulator can go far beyond bell sounds. When Wave Gain for Tone 1 is set to +6 or +12 dB. set Wave Gain to +12.mp3 and Syn Tubular. now let's create a simple ring-modulator-based sound with a low-frequency sine wave. the amount of modulation tone 1 applies will decrease with time (since this TVA resides before the ring modulator in this structure). even more modulation is applied to Tone 2. In the previous article you heard what the high-frequency waves can do with a Ring Modulator. and the TVA Level of Tone 1 can be used to go from soft bell to really harsh metallic sounds.they have been created using the techniques described above (demos are in Ring EP. The MoonlitePad.mp3 file is a short demo of this patch.If you add a falling TVA envelope to tone 1 as well. Detuning two waves with fine and/or coarse tune will give 13 . ‣ Set the LFO1 Wave Form of tone 1 to Chaos and it's Pitch Depth to +63 (no need to touch the Rate parameter since it doesn't affect the Chaos LFO waveform). Chaotically-controlled Ring Modulation can lead to beautiful sounds ‣ The patch found in 127 Moonlite Pad is simple in structure. ‣ 253 Temp Ring 1 is a ready-to-tweak RM-based bell sound. ‣ Set the tone Structure Type to 7 (the one that has TVF 1 before and TVF 2 after a Ring Modulator). ‣ Select a Low Sine for tone 1. ‣ Listen to and examine the patches 031 Ring EP and 032 Syn Tubular . Low modulator You probably wonder what are those "low" waves are included in the ROM for . You can also set an LFO to control the TVA level if tone 1 to add cyclic variations to the sound's character. What you now have is a beautiful and tender pad. yet it is a very distinct pad sound. especially when you use waves with more complex spectrums and also detune them.mp3). and the sound will change as the envelope falls. ‣ Adjust the Attack and Release times of both TVA envelopes to 60-70. ‣ Select a Sine for tone 2. leave Wave Gain at 0. You can now hear that the tone 2 is amplitude-modulated by tone 1. mp3. set Coarse Tune of tones 1 and 2 to 0 and -12) and you instantly get a tube-sounding synth bass. Also.a very rich pulsating sound that resembles a pulse-width-modulated synth a bit. ‣ Press a key.mp3 and Ring Pad.g. The Ring Modulator takes most of the input signals' component frequencies out of the audible range. Also. 019 Ring Pad (demos in Techy Lead. What do you hear? Almost nothing. 018 Tube Bass. ‣ Choose a square wave for the wave generator for tones 1 and 2. ‣ 025 Techy Lead.this is the result of "frequency shifting magic" produced by the RM. With slightly less fine detune and slow filter and amp envelopes you instantly get a warm pad or PWM-like synth strings.mp3. Try picking pairs of different basic waves routed into a ring modulator and detuning them both with Fine and Coarse Tune. Creating rich sounds with RM is simple Just add a low-pass filter with a falling cutoff envelope and you have a very powerful synth sound ready. respectively. and then set Tone Structure to 7. but it was created with two detuned square waves. respectively) are three really great examples of the magic you can do with two detuned squares and a ring modulator. set the Fine Tune of the tones to about -20 and +20.you thousands of unique sounds. simply pitch tone 1 an octave above (e. Here is a plain example with two square waves. 14 . You can hear that you made an absolutely new wave . You'll be amazed with the amount of new sounds that can be created this way. ‣ 254 Temp Ring 2 and 240 Temp PWM are two template patches for creating lush synth sounds based on the tricks described above. ‣ Now. you can hear that the resulting wave is pitched one octave lower than the original waves . Tube Bass. starting with the same example as above. ‣ Now set the Tone Structure to 9 (both filters before the Ring Modulator). Wave buster We've already discussed many wonderful applications of the ring modulator. if you want ‣ For tone 1.. for instance. Let's start with a simple example: boosting two detuned waves. 15 . You can hear this patch in the ElectroNoiz. tweaking the LFOs and HPFs. choose a saw wave for the wave generator. you can create different interesting noises ‣ 144 ElectricNz1: is a patch created using the techniques described above. it amplifies the sound according to it's gain setting (6. the Ring Modulator veils many possibilities. The high-pass filter here helps leave only high-frequency portions of the waves before they reach the Ring Modulator and thus give us only clicks. with Cutoff of 127 and Resonance to 15. ‣ Set LFO 1 Wave Form to Chaos and Pitch Depth to about +24. and then set it's TVF Resonance to 0. a triangle wave turns into a trapezoid one). you can also make some good noise with it. This basically means the following things: since the booster strongly amplifies the signal it is very sensitive to any changes in sound's dynamics and spectrum. Now you can rehearse the resulting sound – a very rich noise that resembles electric shot noise or vinyl noise. It has two pairs of tones with randomly-controlled pans. Let's try controlling the pitches of the waves using chaotic LFOs. RM-based sounds can be very noisy. By changing the wave form to triangle or square. ‣ Copy this tone to tone 2. 12 or 18 dB) and then hard-limits the signal. But what can you do with those two structures (3 and 4) which contain a signal booster? The booster basically does two jobs: first. Since the resulting sound depends on the variations in both input waves.mp3 audio file. ‣ Set TVF Filter Type to HPF. “cutting” wave's amplitude and producing high harmonic distortions.What's that noise? As you see now. and it also shapes the wave to a more rectangular form (with the latter. especially with a bit of resonance and envelope/LFO modulation will be distorted and turn into a screaming acid lead. . D=45. ‣ Set the filter of tone 1 to LPF with Cutoff: 65. an octave or two down etc. ‣ Now. ‣ Set tone Structure Type to 3 and waves of both tones to saws. it's possible to gain a wide variety of sonic heights and produce anything from fat vintage basses to dense but warm synth leads and even lush synth strings and pads – just use slight fine detuning. LFO. leaving the resulting wave you like. set Fine Tune to about -15 and +15 – you get a much more pulsating sound compared to clean detuned saws! Also. And now let's go further and think: what can be done if you have a filter before the booster? A filtered sound. you get a steep -24 dB/octave filter). and set them to saw waveforms.. velocity etc. With this method.Distorting two detuned waves is a yet another wave to create new waveforms ‣ Switch tones 1 and 2 on. Resonance: 20 and add a falling envelope (A=0. set the filter of tone 1 to LPF with Cutoff: 50.this will give you very nice “roaring” waveforms. S=0. a bit of Analogue Feel and slight LFO pitch/level modulation to add more life to your creations. to create deeper filtering (when you connect two -12 dB/octave filters in series. Resonance: 60 and create a falling envelope (A=0. R=45) with a Depth of about +15. you can set Coarse Tune of one of the tones to a fifth above. Note that since in the booster structures the TVA of tone 1 is placed before the booster. You can also duplicate the parameters and the envelope of this LPF to tone 2. ‣ Now try detuning the tones a bit. you created a new interesting synth sound based on a distorted waveform. 16 . S=0.). That's it. D=30. ‣ Set tone Structure Type to 4 and then play this patch and listen to how the sound changes while you increase Wave Gain for both tones and Booster gain in the tone structure.7. R=30) with a Depth of +4. you can change the amount of distortion with this tone's TVA Level (as well as add slight tonal changes with an envelope. D = 30. 168 Razor Lead is a pretty well-known acid sound based on a saw wave fed into a resonant LPF and then boosted. you will get those typical sync sweeps which sound quite realistic. pretty over-used in many musical genres. ‣ Create a falling envelope for TVF: A = 0.5. set tone Structure Type to 3 and adjust Booster gain to +18 dB.mp3. A boosted resonant peak will be the key part of this emulation.Booster is the key to those classic distorted acid sounds What you have is that classic boosted acid saw sound. ‣ Finally. SeaPad. and set them to saw waveforms.mp3. it is possible to emulate sync-based sounds by routing a wave processed with a high-resonance filter into a booster. But you can try different filter types for both tones and create various acid sounds. ‣ A good template for a booster-based acid patch is contained in 250 Temp Booster. And then if you send an envelope or LFO to filter cutoff. and BPF cutoff keyfollow needs to be set to +100 so it follows the keyboard the same way the tones' pitches do (this on alone will give you nice “crunchy” leads). ‣ Switch tones 1 and 2 on. What you can hear now is a very convincing emulation of a sound based on oscillator sync. Cutoff to 80. Resonance to 80. from light to fuzzy. ‣ 166 MiniMe and 161 Sea Pad are two vintage-sounding patches created by feeding two detuned saw waves into a booster and then filtering the result with an LFP. R = 0 and set it's Depth to +3. Syncopea Although the main synth engine of the Fantoms doesn't feature oscillator synchronization. 17 . route it to a highly-resonant low-pass filter and then to booster (structure 3) and then play it while tweaking the filter and you'll be blown away. ‣ Set tone 1 filter to BPF. These patches are demoed in MiniMe. ‣ Now set this filter's Cutoff Keyfollow to +100 – a key point to make this “a-la sync” patch sound realistic across all keys.. The booster can also be used for “busting” drum and phrase loops – simply assign a sample as a wave.mp3 and RazorLead. as usually both sync'd oscillators follow the pitch on the keyboard. S = 0. You can also hear it demoed in JP8Sync. And of course you can create more complex filter slopes if the two serially-connected filters are of different types and/or have different parameters for cutoff and resonance. The steeper.15. D=40. S=0. vintage-sounding patches. feature filters with -12 dB/octave slopes.mp3..From this point. But thanks to the tone structures which let you set two TVFs in series. Note that the COSMic filter article in the COSMic Synthesis section describes how to use the MFX Super Filter instead of the TVF – the Super Filter features -12. Resonance to about 20. you can easily create a deeper -24 dB/octave filter provided that they have same cutoff/resonance values. like all previous XV. the Fantom series. That's it. you can also add an LPF with a falling envelope with tone 2 and also beef it up with a plain sine wave on tone 3 – you'll get a cool bass sound. XP and JV synthesizers. And since -24/octave filters are more typical to analogue synthesizers. Cutoff to 50-60. ‣ Set TVF Filter Type to LPF. ‣ Copy tone 1 to tone 2 and then set tone Structure Type to 2. -24 and even -36 dB/octave slopes. Simulating oscillator-sync sounds with high-resonance BPF and booster ‣ 034 JP-8 Sync is a patch closely simulating a classic sound based on oscillator sync. this lets you create very warm. play this patch while simultaneously adjusting parameters of both filters and notice how deeper it sounds compared to if you switch tone 2 off and thus disable the second filter. ‣ Now create a falling TVF envelope (A=0. the better As you may know. R=40) with a Depth of +10. Try also creating a -24 dB/octave HPF or BPF by connecting two of such filters in series. 18 . ‣ Set tone 1 to some rich synth waveform like square or saw. D=25. you can simulate this slope using two serial LPF's. This means you need to route the filter envelope to the resonance parameter as well . ‣ Create a falling TVF envelope with short attack (A=2. It's really great that the Fantom's and Juno-G's ROM includes the original raw saw and square waveforms from this legendary synth. ‣ Set TVF Filter Type to LPF. ‣ Two low-pass filters are already chained in the template named 255 Temp -24dBLP. let's create a square wave TB-303 acid bass sound keeping in mind all the properties listed above: ‣ For tone 1. and second without resonance and with it's cutoff frequency slightly shifted up. yet this little beast is still among the most beloved pieces of gear for many musicians including your truly – of course for it's signature squelchy sound. set waveform to "TB Square HD". ‣ TB's filter envelope also has a slight attack which gives the sound a little more “squelchiness” .mp3) – it is just two square waves processed with serially-connected low-pass filters.this can be done via Matrix Control. you should set up the filter's envelope velocity sensitivity (F-Env V-Sens) to around +25. one with resonance. you have to take into account some of it’s other unique properties and recreate them on the Fantom accordingly: ‣ TB-303's filter is -18 dB/octave low-pass. ‣ TB-303 has an “Accent” parameter which increased filter cutoff and resonance modulation depth by the envelope generator. So. And now. set it's Depth to 19 . However.on the Fantom. this corresponds to envelope Attack value of 2 and should also be compensated with an Attack of 1 for the TVA envelope.30.. but nevertheless sounds like a real analogue synth bass. ‣ The filter envelope modulates not only the filter cutoff but also the resonance. Resonance to about 40.Creating steeper filters by connecting two of them in series ‣ Check out the patch 171 Deep Bass (demo in DeepBass.45. Count to 303 Roland's TB-303 Bassline made in early 1980's is a very simple monophonic synthesizer with a sequencer. On the Fantom. R=10). Cutoff to 75.. S=0. in order to closely emulate the original TB-303 sound. and set portamento time to about 10 – you are ready to create really convincing TB-303 basslines. with accents and slides just like on the original.6 and F-Env V-Sens to +25.mp3) is a very realistic emulation of the TB-303 square-based acid sound. but leave in ON only for tone 1. portamento and legato on. set Source to TVF ENV. ‣ Set TVA envelope Attack to 1. A different filter A usual low-pass or band-pass filter has one resonant peak in it's frequency response. to finalize this patch.30. Their sound is typically associated with a human voice. which add a more distinctive character to the sound.. ‣ Now copy tone 1 to tone 2. some of them are the so-called “formant filters”. Destination to RESONANCE and Depth to around +20. and you get a classic distorted 303 acid sound. ready to create squelchy basslines. and for tone2 set the TVF Cutoff to 95 and Resonance to 0. But there are filters which have several of them. ‣ Set tone Structure Type to 2 (serially-connected filters). read the Acid empire article in the Monster FX section to find out how to create fantastically exciting acid sounds by processing 303-like patches with effects algorithms such as Guitar Amp Simulator and LoFi Radio. You can set the structure type to 3. 20 . set the mono/poly switch to mono. Increase the booster gain and resonance to make it scream.+5. which has a booster between the filters. A truly close TB-303 emulation Now.. ‣ Finally. And don't forget to tweak the filter cutoff and resonance in realtime – it's very good for your health. ‣ 005 True TB-303 (audio demo in True TB-303. in Matrix CTRL1. Also. then set boost to +6 dB. A simple talkbox-like synth is a few easy steps ‣ 188 Talkbox Saw (demoed in Talkbox. so that the resulting spectral picture looks like below: Low-pass and band-pass to join their resonant peaks With an example below. On your Fantom. S = 0. throat and mouth act as filters and add resonant peaks here and there. ‣ Copy this tone to tone 2. Cutoff to 60 and Resonance to 40. with the latter having a cutoff frequency shifted slightly to higher frequencies.simply because the latter is formed in a similar way – vocal folds serve as an oscillator. 21 . for a deeper formant filter effect. a simple saw wave will begin to sound like a “talkbox”: ‣ Set generator on tone 1 to a saw wave. ‣ Create a “ducking” filter envelope (A = 10. D = 30. switch it's Filter Type to BPF and shift the Cutoff to 75. another with BPF). it is possible to create a very formant-like filter by using parallel low-pass and band-pass filters. ‣ Set TVF Filter Type to LPF. but chest.mp3) has two pairs of tones with serial filters (one filtered with an LPF. You can also use a downwards saw LFO instead of the filter envelope to create a pulsating talkbox synth. R = 10) with Env Depth of about +10. set Wave Gain to +12. as the filter cutoff cannot be tuned very precisely. This is the starting point of LPF's selfoscillation. it's a very pure tone. ‣ Select a DC wave for the generator. and then keep on pressing a key while increasing the Resonance. a virtually perfect sine. ‣ Now set the TVF Filter Type to LPF. to trigger the filter self-oscillation. which basically is an eternal pulse. The latter implements the PWM-like trick described above. it may not be pitched exactly at the same scale with the usual waves. for instance for organ and bell sounds as described in the Addi(c)tive Synthesis and Ring the Bell articles. 089 Organic DC and 090 DC Strings are three patches made using DC waves. This DC-triggered sine also has a nice attack to it which is even better for bell and electric piano type sounds.2 octaves. and obtain a pure sine wave.Can you see a DC? While tweaking the patches you made with the previous examples. set it's Rate to 0 and then use it's TVF Depth to fine-tune the filter cutoff. Meet your very own sine wave You probably are already asking yourself what this custom sine wave can be used for? First thing is that since it's generated by a self-oscillating filter. ‣ Keep on increasing the resonance until you reach the maximum value of 127 and hear an everlasting sine wave. You may note that when you use a self-oscillating filter to generate a sine wave. unlike the pitch of a PCM generator which is limited to +/. But more important is that the filter's cutoff can be changed in realtime in the whole range. great for string sounds.mp3. ‣ 087 DC Bell. modulating the level of the first tone in the 110-127 range will give a nice PWM-like effect. self-oscillating filters and the ring modulator. there is an easy workaround: take a step LFO with all it's steps set to +1. But as always. Now you can use such custom sine oscillators in the same way you'd use PCM sines. then set Cutoff Keyfollow to +100 and you can play this sine as it is pitched across the keys. Starting from the resonance value of 60-70 you will hear a sound that will remind you of a decaying sine wave. One really wonderful thing is you can use a DC wave. Cutoff to 70-80. Audio demos of these are in DC Bell. And one more idea: if you use a two-tone ring modulator structure with two such sine waves. This means you can do very “far” pitch tweaks and portamento slides much like on an analog synthesizer. DC Strings. I bet you heard how the filter can “whistle”. This is because the filter starts to resonate so much that in generates a continuous sine wave: this is called “self-oscillation”.mp3 and 22 . ‣ In 246: Temp DCSine you will find a ready-to-use sine tweaked out of a DC wave. etc. when the filter is resonating but is not yet in self-oscillation. filter cutoff/resonance and LFO pitch/filter depth settings (with some tweaks and a rotary effect it can be a really decent Hammond organ emulation). ‣ Set TVF Filter Type to LPF. But also. All you need to do in order to use it is tune the Cutoff to the base pitch (or an octave or fifth below/above. This will make the filter slope more steep and the sound will get softer. Use the tip from the Can you see a DC? article to fine-tune the filter cutoff with a stopped LFO when needed. Demos of these patches are available in the SynHammond. and this new added tone shifts with the keys thanks to the set Cutoff Keyfollow parameter. You can also check out the 033 Syn Steel Dr patch which uses two saw waves and two resonating LPFs to emulate a steel drum. it doesn't mute the original signal and basically presents an additional generator. Resonance: 90-110.mp3 audio files. You can turn this sound into a nice retro organ or a very warm synth pad. Selfish oscillation As you have learned from the previous article.mp3 and SynSteelDr.) and set Cutoff Keyfollow to +100). A filter can do much more than "wow" Now try out your creation. depending on TVA envelope. Cutoff Keyfollow: +100. a self-oscillating filter can be used as a sine wave generator. and second one to add more upper harmonics. With the Cutoff of 84. then set Tone 1 TVF Resonance to 0-20 (otherwise you'll have way too much “whistling”). when you press C4. Let's see how easy it is to turn a saw wave into a nice Hammond-like organ sound. 23 . ‣ Check out the patch 008 Syn Hammond: it was created with two couples of tones: first one for the base tone. What this technique means is that you can do additive synthesis with 8 generators within one patch – 4 from the waveform generators. ‣ Now adjust filter parameters: Cutoff: 84. ‣ Select a saw wave for tone 1. the resonating filter emphasises the frequencies around the frequency one octave above this key. Copy tone 1 to tone 2 and set a double-filter structure (2). and 4 additional from the self-oscillating filters.Organic DC.mp3. you can get a narrow or wide gap in the spectrum. Creating a custom notch filter with parallel LPF and HPF Voila. not possible with to a usual notch filter. you have your very own notch filter ready. If you want to add such a custom notch filter to more complex patch based on two-tone structures. Depending on the difference between the cutoff frequencies of the low-pass and high-pass filters. if you raise the resonance of one or both of the filters. Play this patch while tweaking the filter cutoff with a knob.which is the same thing you'd get with a notch filter. To create a steeper-shaped notch filter. and with properly set cutoff frequencies you will have the resulting spectrum with a gap in the middle . But also. Also. and hear how great it sounds.Buenos notches As you know.mp3 contains a drum/phrase loop. not only you can adjust the frequency gap width. use all 4 tones with structure types set to 2 (serial filter connection) and then set filter to LPF on tones 1 and 2 and to HPF on tones 3 and 4. but you can make the edges resonant. 24 . as you can create a notch filter yourself! Simply combine the same wave processed with a low-pass and a high-pass filter. ‣ For tone 2.mp3) is a pad patch created simply by processing a unison saw wave by parallel LFO-controlled LPF and HPF. NotchLoop. you can create a much more interesting effect. For very deep morphing sounds. ‣ 150 Notch Pad (audio demo in NotchPad. firstly processed with a wide custom notch. there is really nothing to feel sad about here. thanks to the gap between the LPF and HPF spectrums. the notch filter is not available in TVF. you can also apply synchronized LFOs to LPF/HPF cutoff frequencies . set TVF to HPF with Cutoff of 100. However. ‣ For tone 1. set TVF to LPF with Cutoff of 70. you can duplicate tone 1 and 2 to tones 3 and 4 (respectively) and then form a notch with LPF and HPF on tones 2 and 4. and then with a narrow notch with resonant gap edges. Spectrum of a Notch filter virtually is a sum of LPF and HPF spectrums ‣ Select the same wave or sample for tones 1 and 2. they are treated as left and right channels of one stereo tone.this is especially great when you want your patches to sound more lush and massive (though. And the best thing about it is that there are no delay or detuning effects which you’d get with a “pseudo stereo” or a chorus processor .the typical candidates for when you want to turn a mono sound into a stereo one. This is typically used for waveforms and samples which have been recorded in stereo. each tone consists of up to two waveforms.mp3) is a good example of how stereo tones can be used to create lush patches without the help of any dedicated effects processors. make sure to remember that each stereo tone eats two polyphony voices). ‣ Set the Wave L and Wave R parameters to different variations of the same waveform (the waveform list will help you). Wave L and Wave R (left and right waveforms). And there is no reason why you can’t use totally different sounds for the left and right waveforms . ‣ Turn all effects off. setting Wave L and Wave R to the waveforms that are only slightly different will result in an extension of the stereo field. And that’s basically it. As you might have guessed. ‣ The patch 190 Stereo Saws (demo in Stereo Saws. when both waveforms are used. It is a simple “dry” patch with 8 detuned saws for 4 stereo tones. To test this simple technique: ‣ Select any synth or synth bass patch. you can hear right away that this patch got a wide stereo field. However.Stereotonic In the Fantom’s patch. 25 . If you also send the pitch envelope to control pitch.+63). It can generate both positive and negative values (-63. you can easily create sound effects such as an airplane pass-by.. With TVA and TVF envelopes. TVF/TVA envelopes The pitch envelope generator slightly differs from TVA and TVF envelopes. What does this mean? Sometimes you want to modify a certain parameter "up and down" from it's original value. This process is often called “recursive modulation” and is used to make the envelope/LFO forms more convex (when self-modulation is positive) or concave (if self-modulation is negative). you can almost instantly use it as a pan envelope: ‣ Select any desired waveform for the generator. but leave the envelope depth at 0. ‣ Create a falling pitch envelope. it is possible to increase and decrease the parameter value from it's original setting. and thus change it's shape. Shaping envelope and LFO forms Have a look at the list of available destinations in Matrix Control: you see such ones as TVA ENV D-TIME.such a trick would not be possible with TVA/TVF envelopes. ‣ Go to Matrix CTRL 1. Pitch envelope vs. you can only increase or decrease the value. and then add a raising/falling TVA envelope. and be able to change the parameter up and down of this value . Destination to Pan. and Sens to +63 Done: the sound flies from left to right and back just as you control it with the pitch envelope. but more interesting is that you can route an envelope or LFO to modulate itself. Pitch envelope TVA/TVF envelope Difference in generated output values of pitch and TVA/TVF envelopes The positive/negative value control range of the pitch envelope sometimes can be very handy mostly when you want to be able to start from or end at the original parameter value (0 level of the envelope). Thanks to the ability of the pitch envelope to generate both positive and negative values. with pitch envelope. set Source to PITCH ENV. However. Some of the applications are making drastic parameter changes to produce “snappier” sounds. etc. It becomes obvious that you can assign envelope times to be controlled by velocity or modulation lever. TVF ENV A-TIME. while TVA and TVF envelopes can only have a single polarity (0. more typical to 26 .127).Modulation Magic Advanced usage of envelope and LFO generators.. Try the same for the filter envelope. By these means. It gets more convex as the self-modulation depth falls below zero. and hear in what changes this results. The more it raises above zero. ‣ Create a short falling TVA envelope (A=0.the TVA envelope modulates it's own decay time which is set to 40. and Sens to about -10. Now let's make the TVA envelope modulate it's own delay time and hear what this gives. R=5). -18 -8 0 +8 +18 Self-modulated envelopes (approximate Matrix Control Sens values are shown below the images) In order to make it even more clear. You can see an example of how the decay of the envelope can change. Below are the approximate graphs of the envelope shape changes with positive and negative values of the Sens parameter (positive/negative self-modulation). Destination to TVA ENV D-TIME. ‣ In Matrix CTRL 1. the TVA envelope will be modulating it's own decay time. All you have to do is set the Matrix Control Source to LFO01/2 and Destination to LFO1/2 TVA/TVF/Pitch depth (depending on what parameter you want to be changing in a non-linear way). here are the wave graphs of a saw wave played at C4 . Get clicky While the self-modulation trick described above works great in many occasions.-15) are essential for creating snappy synth drum and percussion sounds. -18 -8 0 +8 +18 Saw wave modulated by a TVA envelope with slope form depending on selfmodulation depth The same technique can also be used to shape LFO waveforms. Play this patch while varying the control depth. as well as punchy synth bass and acid patches. set Control Source to TVA ENV. there is yet a no possibility to make Fantom's envelopes be “clicky” as you'd want it to be when creating really 27 .analogue gear which usually have exponential envelope curves. the more concave it becomes. Fast-falling envelopes (with Sens set to -18. Matrix Control modulation Sens values are shown.. D=40. Below the images. ‣ Choose a basic synth wave like saw or square. S=0. filtered square wave. But very often it's needed to modulate the pitch over a wider range of frequencies. set tone 2 to the same square wave and use it's filter to remove higher frequencies and make this click sound softer. dense analog-like bass patch. Level1: 0. ‣ You may set tone Structure Type to 2.from -12 to +12 semitones. Cutoff to about 10. Time2: 0. Level3: 0. and this is easily possible if you send the pitch envelope to control the pitch using Matrix Control as well: 28 . Level2: 127. Now you hear a click sound followed by a decaying silent. Deeper pitch slides The pitch envelope lets you sweep the pitch over two octaves maximum . add a saw or square waveform routed to a low-pass filter (Cutoff: 60) with a falling envelope (Env Depth: +15) and you have a very warm. What you should do is: ‣ Select a square wave for tone 1 generator (works best because it has an attack portion almost equal to a DC wave). and set Env Depth to around +20.mp3) has this click trick implemented on tones 1 and 2. But your Roland synthesizer never lets you down.punchy synth bass sounds for example. This sound now can be used to add “snappyness” to a bass or lead patch. ‣ Set the filter to LPF. Note that this is different from using the ROM “TVF click” or similar waveform because you can shape the resulting sound to fit your target patch. and adds a filtered square on tone 3 to create a very good analog-like synth bass sound. Creating an envelope click sound typical for analog synths ‣ 080 Square Vibe 1 (demoed in Square Vibe. and there is yet another trick of creating a clicky envelope. For example. ‣ Create a “click” envelope for the filter – Time1: 0. Offset: -100. and set all of the steps' values to -36. especially drum/phase loops .mp3 and AllStop. you need one LFO to create "pulses" of the selected wave. Press a key and you'll hear a 4/4 beat. ‣ Now go to Matrix Control 1. just as an example) for the wave generator. ‣ Choose a sine wave (not obligatory. and this is also a very good way to tweak samples. By using two LFOs that are available per tone. To achieve this. Rate: whole note. Programming such a "beat box" resembles the TR-style programming method (used in Roland's TR-series rhythm machines). Level 1. ‣ Now set up LFO2: Wave Form: Step. Key Trigger: ON. Now set some of the steps. ‣ Create a falling pitch envelope: Time 1: 40. Retro beatbox One of the most interesting ways of using tempo-sync'd LFOs is to create rhythmical pulsating sounds. Pitch depth: + 63.‣ Set wave generator to saw or sine wave.. and you can mute and un-mute different steps as you want. However. 5. Audition the patch – the pitch sweeps over two octaves. 1. set Source to PITCH ENV.g.. Offset: -100. it is very easy to create various rhythmic loops. Key Trigger: ON. say. Increasing pitch envelope depth with Matrix Control This way you can create interesting synth effects with fast and deep pitch changes. ‣ The patch named 050 Sweet 909 (demo in Sweet909. each of the 16 steps represents one of the 16 steps of the bar. TVA depth: +63. you can add precise and lively accents to these rhythmic patterns. TVA depth: +63. Destination 1 to Pitch and Sens to +63. The pitch sweeps over a range of around 4 octaves.mp3) is a very nice TR-909-like kick drum sound synthesized using a wide-range pitch envelope applied onto a sine wave. like blips/zaps. and a step LFO to mute and un-mute these pulses (or steps).hear the examples.mp3 were created with up.4: -63. e. Time 2.4: 0. 9 and 13 to +36. steps of this synth drum sound. it can be much more than just muting/un-muting sounds in time . un-mute and accent the "pulses". In the step LFO editor. ‣ Make the following settings for LFO1: Wave Form: SAWD (downwards saw). The next drawing will make things clearer for you. The additional demos named AllStart. This is where to start from: by adjusting the selected steps' levels you can mute. Rate: 16th note. ‣ Go to the step LFO editor. 29 ..+36). Level 0: +63.and downpitch-sweeping of a sampled portion of a drum/phrase loop. and set it's Depth to +63.since the step LFO has 73 different level values per step (-36. creating very interesting rhythm loops. Kick Sine or triangle wave. Here are some example parameters for creating different synth drum and percussion sounds..+60 White or pink noise. BPF with Cutoff: 60.50 White noise. play with pitch. filter and pan depths of both LFOs . deep FXM. try peaking filter with Cutoff: 70.Using two LFOs for creating rhythmic modulation patterns Using the described techniques.80.127) Sine wave. For example. when using a white/pink noise as a wave.50.+50 Snare Hi-hat Claves. congas.. HPF or BPF with high Cutoff (110.. toms FX and other percussion The double-LFO heart of pulsating sounds To achieve even more interesting results.set them to high and low. Resonance: 0... TVA.100. you can synthesize and layer different drum and percussion sounds. positive and negative values. Resonance: 0.90.. saw and noise square waves.. try LFO1 Pitch depth: +20.. LPF or peaking filter with Cutoff: 40. BPF with a Cutoff: 70. slight FXM..70 Sine. you can combine an LFO-modulated pitch with an LFO-modulated self-oscillating 30 . try LFO1 Pitch depth: +30. filter to create interesting kick drums and various blips/zaps. hides in the pitch depth used for the step LFO. ‣ Select a rich basic wave for the wave generator. Also. set Wave Form to downwards saw (SAWD). you can create various looping synth sequences by using a combination of pulsating and step LFOs. ‣ For LFO1. All of them are fourtone patches . etc.mp3. Rate to 16th note. if the base note is C4. and 36 divided by 12 is 3. Since we have 12 semitones in an octave. closed and open hats) which you can instantly use to program custom patterns. set Wave Form to Step. Sequential world In the same fashion with rhythmic drum and percussion patterns. ‣ In the template 252 Temp BBox you will find four drum/percussion tones (kick. This way we create our base pulsating synth sound. drastic or smooth pulsations (see the Shaping envelope and LFO forms article for more details). so if you press C4. the value of -36 of the step will give you C3 and +36 will make a C5.103 (named Retro Box 1. ‣ For LFO2. you can set the base pattern (saw or whatever) LFO to modulate it's own TVA depth and produce much more interesting. such as saw or square.. 31 . or hi-hat and snare sounds (just use an HPF for a noise wave and add TVF depth modulation in addition to TVA depth). a step value of +15 will produce F4. Several of these patches are demoed in RetroBox. create closed and open hi-hats using a single tone. the magic number: set LFO2 Pitch depth to +51. and +27 will give you A4. With Matrix Control. This way the step LFO will control the pitch in a range of two octaves. increasing or decreasing the value of a LFO step by 3 will walk higher or lower by one semitone. Rate to whole note. snare. 2. Offset to 0. try routing LFO2 to control LFO1 TVA depth this way you can control the length of each pulsation (rhythmic event) and add stunning variations: like for example.). Offset to -100 and TVA Depth to +63.each tone simulates a drum or percussion sound. ‣ And now. ‣ Now draw some interesting step LFO pattern and you have your step-LFO-based synth line ready. As an example. not just random psychedelic synth lines. ‣ You can check out the patches 097. The main trick with creating really harmonic. so that the resulting patch sounds like a retro-analog beat-box rhythm. you can create complex modulation patterns that would not be possible to be created by other means. ‣ Then you need to think how the rates of the LFOs should relate. quarter note. Experiment with sending one or both LFOs of the tone to control TVF.mp3 and ModLine. you have to first calculate the rates of the LFOs.Creating synth sequences and lines with two LFOs You can create several tones within a patch. part 1 article from the Everything Out Of Nothing section. if you play different keys legato (releasing the previous key only after pressing the next one). portamento and portamento legato for LFO-based synth lines. eighth. step LFOs control pitch and filter cutoffs of both tones. etc.5 bars and 2 bars you can create very interesting melodic loops. it can be a sixteenth. ‣ 252 Temp Arp will help you get started with making such melodic lines. The 093 Retro Sonic 1 patch has four tones with pitches. legato. summing waves with different frequencies and phases can give some new interesting forms.mp3. in order to “engineer” a new modulation waveform. and here's how. ‣ The 114 Mod Line 1 patch was created by combining two detuned square waves. each playing a different melody. you have to multiply R2 by the measurement unit to get LFO1 rate 32 .since the LFOs are tempo-sync'd. Basically. by changing the rate of the step LFOs to different values such as one bar. you will get a wonderful effect of the pitch gliding from one note to another. The filtertweaked demos of these two patches are available in RetroSonic. With such a patch. 1. pan. If you apply these techniques to the LFOs. If rates should relate as R1 to R2 (LFO1 to LFO2). This way you can have a whole 4-part arpeggiating synth orchestra at a press of a key. level. ‣ First you need to think about how fast the resulting pattern should be and determine a single rate measurement “unit” . all you need is two key-triggered LFOs that should also be tempo-synchronized – so you can precisely set their rates to related values. TVA and TVF modulated by different step LFO patterns. Use mono. However. Also. Wave arithmetics. even with a step LFO. for instance. to get much more interesting tonal variations in time. etc. part 2 As you learned from the Wave arithmetics. which is great for creating lush synth parts by playing chords. let the measurement unit be an eighth note. it's Rate to dotted quarter note and TVF depth to -30 (a negative sign for modulation depth is equal to inverting the LFO wave's phase). For example. then LFO1 rate should be equal to half note and LFO2 rate should be equal to dotted quarter note. Cutoff: 70. In the example above it will be 3 x 4 = 12 eighth notes (e. and rates relate as 3 to 4. As you can hear now.g. Let's set up a square LFO to control modulation depth (Pitch depth. there are more interesting waveforms awaiting for you if you not sum two waves. Resonance: 30. TVF depth. Summing saw and inverted square waves rates related as 3:4 However.and R1 by the unit to get LFO2 rate. etc. ‣ Set TVF to LPF. 1. ‣ Set LFO1 to downwards saw (SAWD). and the resulting modulation wave form you got by summing saw and inverted square LFO waves is depicted below. you got a very interesting pulsating sound. ‣ The length of the resulting wave form in the measurement units can be calculated as R1 multiplied by R2.5 bars). it's Rate to half note and TVF depth to +30 ‣ Set LFO2 to square.) of a saw LFO. but use the Matrix Control to set one LFO to control the parameter modulation depth of another. ‣ Set tone waveform to saw or square wave. ‣ Don't forget to switch the Key Trigger parameter of both LFOs to ON. 33 . Now let's start by creating a patch with new modulation waveform created by summing a saw wave and an inverted square wave. The resulting modulation wave. in the negative semiperiod. However.mp3) – it has been created by controlling two serially-connected LPFs with saw LFO waves whose cutoff depths are modulated by square LFOs (LFO rates relate as 4:5). ‣ Check out the patch 157 Movin' Keys (demo in MovinKeys. and use the step LFO to control the saw LFO filter depth – this will let you program rhythmic upward and downward filter sweeps of different depths. Controlled time stretching One of the most wonderful modulation destinations of Matrix Control is TIME . the square wave makes the saw wave depth inverted. when the square wave is in it's positive semi-period. appears to be quite a pretty-looking one! “Mirroring” a saw wave with a square wave of a different rate This technique also gives interesting results if you use a saw LFO and a step LFO with evenlyrelated rates (16th and whole note. the saw wave is not changed.Creating new LFO forms by controlling LFO1 modulation depth with LFO2 As you see from the picture below. if drawn.this lets you 34 . for example). literally “mirrors” it. it's parameter modulation depth is positive. Controlling time-stretching amount with an LFO To go into more advanced tweaking. To go even further. then route them to TVF. A very exciting thing is that when you use a controller to turn the TIME down to it's minimum value (-63). adjust their cycle rates. it is possible to create really interesting sounds. and the Fantom's sound engine adjusts the time stretching to match the current sequencer tempo in realtime. with Rate of 90 for LFO1 and 110 for LFO2. LFOStretched2. Yet even more exciting is 35 .mp3 demo is a drum loop whose pitch and time stretch have been controlled by random LFOs. Remember. which leads to unique effects. Rate: 1/8 note. Key Trigger: ON. the sample wave freezes – the sound engine plays a single grain of the sample (grain length depends on the time stretch type set in sample parameter properties). ‣ LFOStretched1. etc. Pitch Depth: +63.change the amount of time stretching applied to a sample. froze. Now.mp3 is the same patch with a second square-wave LFO that controls loop's pitch. ‣ Assign a drum loop or a phrase sample to a patch with Wave Tempo Sync set to ON. we discussed controlling the real-time time stretching with LFOs. ‣ Set LFO1 to a square wave. set Source to LFO1. Now you can play the patch and hear how time stretching is cyclically controlled by the LFO. By modulating this parameter with an LFO. MadTime. you can use a step LFO to control time stretching amounts and/or pitch for each of the drum hits of a drum loop.mp3 is a drum loop time-stretch-controlled by a square-wave LFO. TVA. you get much more drastic pitch/time changes which result in tons of new sounds. With random LFOs. let's see what can be done by assigning the TIME parameter to a physical controller. you can change LFO waveforms to saw or triangle. To add more radical changes to the loop. Destination to TIME and Sens to +63. Key Trigger to ON. ‣ In Matrix CTRL 1. pitch affects the sample's tempo. Freeze. set LFO 2 to control the pitch: LFO2 Wave Form: square. frozen In the previous article. Rate to 1/4 note. There's a lot more interesting sounds to hear if you use random LFOs: you can set both LFOs to Random. Try chaos LFOs too. ‣ In the Frozen. Left plus right As you already know. the Fantoms' sound engine treats stereo samples as a combination of left and right channels. you can program interesting modulation patterns in the sequencer simply by putting maximum controller values for the controller when you want to freeze the sample and minimum values to unfreeze it. and experiment with the modulation lever to slow down the wave. Despite what you may think against. let it go. The first example here shows how you can create wonderful stereo-filter effects by applying phase-inverse LFOs to TVFs separately affecting left and right waves of a sample loop. ‣ In Matrix Control.mp3 has been created by freezing/unfreezing and pitch-bending a drum loop by putting control change messages in the sequencer. adding cool sound variations. If you freeze and let it go fast. assign CC01 (modulation) to TIME. If you assign a controller of choice to TIME. ‣ Assign the left wave of this sample to tone 1 and the right one to tone 2 and set Wave Tempo Sync to ON if needed. 36 . ‣ Set Wave Tempo Sync to ON. Of course. ‣ Now play the sound. this really gives many advantages over having a stereo wave as one whole – simply because you can manipulate left and right channels independently. with a Sens of -63. creating interesting effects that wouldn't be possible otherwise. for instance. you can. your wave will still keep up with the beat. freeze a beat or phrase loop at certain moments. FrozenSeq. such as a phrase or a drum loop.that if you manipulate a beat or phrase loop this way. the sound engine will keep it up with the beat as you freeze and “let go” the sample – this has to be heard to be believed. Processing left and right channels separately ‣ Select a sample.mp3 demo you can hear a drum/phrase loop being time-stretched and frozen in real time. ‣ Assign a beat or phrase loop to a patch. depending on the waves you have on these tones. you can use these techniques to create sounds based on usual waves. you can easily create a patch that would cross-fade between two. three or four tones – this. All you need as a start is a single tone with a continuous step LFO controlling it's level: Single element (tone) of a vector cross-fade emulation sound ‣ Select a looped bell or basic synth wave for tone 1. To go into more advanced channel-split processing. you may set up a performance with left and right waves played from two different parts. just as they can add a magic final touch to any synth lead. it's time to copy it to other tones. Vectorize As you may know. select different synth waveforms for them and draw mutually cross-fading LFO forms. vector synthesis is basically a method of creating sounds based on crossfading between multiple waveforms. you can do basic vector synthesis with the Fantoms too! Thanks to the step LFOs which can be set to continuous mode. like Phaser or Flanger. ‣ Check out the audio demo LR-Filter. resulting is an interesting filtering effect that floats between the channels. Key Trigger: ON. Offset: -100. and then route these to two differently-modulated MFX. can result in really great dynamic sounds. Of course. ‣ Set TVFs of both tones to HPF. respectively. TVA depth: +63. Now you have your basic element ready. Without any doubt. Let's go further and create a patch with three cross-fading tones: 37 .‣ Pan them left and right by setting the TVA Pan parameter of the two tones to -63 and +63.mp3 which is a nice examples of processing a drum/ phrase loop with the techniques described in the article. ‣ Now set LFO1 of both tones to triangle (TRI) with a Rate of a quarter note and then adjust TVF Depth to -40 and +40 (respectively for tone 1 and 2). ‣ Now set up LFO1: Wave Form: Step. Rate: 35. What you have now is two LFOs controlling the TVFs of the left and right channels with an inverse phase. Two inversephased LFOs set to control filters can make any lush pad sound truly fantastic. ‣ Go to step LFO editor and set Step Type to TYPE2. then adjust Cutoff to 65 and Resonance to 60. you can check out the example drawings for the needed LFO forms below. to vary it's filter modulation depth. Also. you have a sound that is created by cross-fading between three waveforms. plus an additional sine wave on the fourth tone. ‣ Select different synth waves for tones 2 and 3. One of them that we'll discuss now is using a sample and hold (S&H) LFO with a zero rate and Key Trigger set to ON to generate a random value on each key press. You can switch the Key Trigger on step LFOs off – they will not be restarted on each key press.... 38 . ‣ The patch 149 Vectorise is a sparkling pad sound created with three bell/glass waves crossfading between each other by means of synchronised step LFOs. let the tones cross-fade as 1-2-3-2-1-2-3-2. Three synchronised step LFOs set up to cross-fade three waves (tones) As you hear now. since you have one unused LFO per tone. ‣ Go to step LFO editor and create LFO forms that would cross-fade the tones between each other. With slow TVA envelopes and glassy waves you can instantly have a superb sparkling pad sound. For example. via Matrix Control. you can assign different basic synth waves to the tones and apply LFOs on the filter's cutoff and resonance parameters – this can can be used to create really thick. until now. Then. And if the destination LFO is in one-shot mode. it's like having a filter envelope with a random cutoff frequency modulation depth – something you might have thought only modular synthesizers can do.‣ Copy tone 1 to tones 2 and 3. evolving synth textures. you can use this value for another LFO – for example. and all the notes and chords you play will change continuously (allowing polyphonic legato performances). You can also give a listen to 151 SQR Morpher which is a patch based on four cross-faded square/pulse waves with LFO-modulated filters.. . Vectorise. LFO by LFO Modulating LFO properties by another LFO can yet give more interesting possibilities than we discussed above.mp3 is a demo of this patch. ‣ LFO1 . ‣ Set tone 1 to any synth waveform. Depth: +30. set Source: LFO2.mp3) is a meaty motion synth which has two tones with different filter types and LFO1 rates. 187 Randomized uses one cycle of a saw LFO1 to create a random-depth filter envelope. Rate: 0. ‣ Create a falling TVF envelope (we will use it only for modulation purposes): Attack to 0. What it would give us. 39 . ‣ 186 Lush Mod (demo in Lush Mod. Offset to -100 and TVA Depth to +63. we can control an LFO with an envelope. ‣ For it’s LFO1. Key Trigger: ON. or to vary it's modulation depth in time.‣ Set the waveform to any basic one (super saw. set Wave Form to SQR. ‣ LFO2 – Wave Form: S&H. ‣ And now the core trick: in Matrix CTRL1. Rate to 83. This will apply cyclic level modulation to the sound. is a possibility to bring the LFO speed up or down. giving you a really interesting sound. you will get a different filter modulation depth from LFO1. Envelope’d LFO In the same way an LFO can modulate some parameters of another LFO.Wave Form: SAWD. Add one or more tones to this patch with different filter settings and LFO1 rates to create massive pulsating synths. Sustain to 0 and Release to 65. ‣ Set Filter Type to BPF with a Cutoff of 70. Play this patch polyphonically and each note will sound differently. Modular-synth style usage of LFO generators On each key press. for example. Rate: 1/4 note. Destination: LFO1 TVF DEPTH. for instance). Decay to 65. Rate to whole note. This will sound like you’re quickly changing the filter characteristics. Try this trick out with three tones having same waveforms and different filter types: ‣ Switch the first three tones on and set them to the same basic waveform like saw or square. with Cutoff values of around 50. The two latter parameter settings will allow us to use the step LFO as an on/off switch.mp3) is a supersaw-based patch with a slowing-down LFO and filter modulated with the same envelope. route the TVF envelope to the LFO1 RATE parameter with a Sens of about +25. you have learned a lot about complex sound animation.‣ For Matrix Control slot 1. and here is another idea for making rhythmically-modulated patches. Controlling LFO speed with an envelope As you can hear now. ‣ 198 Storm Pad (Storm Pad. ‣ Set their filter types to LPF. the LFO slows down as you hold down a key. Envelope control of LFO speed is also useful for creating sound effects (such as a helicopter fly-by and so on). Key Trigger to ON. respectively. Offset to -100 and TVA Depth to +63. which is definitely even more interesting than just modulating the cutoff and resonance. 80 and 110. ‣ Finally. create three such patterns so that only one of them has a 40 . filter cutoff or LFO modulation depth to create more synchronous changes to the sound. in the step LFO editor. BPF and HPF. Yet the possibilities of the step LFO are endless. You can cross-fade (in smooth step LFO mode) or switch (in step mode) between several tones which have the same waveforms but are routed into different filter types. Vari-filter In the Sequential world and Vectorize articles. ‣ Now set the LFO1 of all three tones to STEP. You can also apply this TVF envelope onto pitch. value of +63 at the same time, with others set to -63. As you hear now, at each step of the LFO you get a sound with a different filter type. Note that each filter will react to the realtime cutoff and resonance tweaks in a different way, which sounds even more interesting. Also, if you combine this filter switching with additional modulation from LFO2, you can come up with really complex rhythmical synth and bass lines. ‣ The patch 191 FilterGroove (demo in FilterGroove.mp3) is a very interesting Velocity games, part 1 Velocity is a special controller whose value corresponds to how hard you press the keys. It’s individual for each key, therefore it’s polyphonic. The typical uses of velocity is to apply it onto the sound level (the harder you play, the louder the sound), or onto the filter cutoff frequency (the harder you play, the brighter the sound). But thanks to Matrix Control, there are numerous other ways to make a patch respond to velocity. One example of unusual use of velocity is creating a sound which would have a long attack and decay at low velocity levels, and become shorter and more percussive as the velocity increases. Here is a quick tutorial: ‣ Set any waveform for tone 1. ‣ Create a rising and falling envelope for TVA: A = 50, D = 50, S = 0, R = 50. ‣ In Matrix CTRL1, set the Source to VELOCITY, and set up two Destination slots to go to TVA-ENV-ATK with a Depth of -25 and to TVA-ENV-DCY with Depth set to -20. ‣ Finally, to make this sound playable as a percussive instrument, set the Tone Env Mode to NSUS (no sustain). Also, with velocity as a controller you can make the modulation faster the harder you press the keys. Let's try this with the filter cutoff: ‣ Set the wave of tone 1 to any basic form. ‣ Set the TVF Filter Type to LPF with a Cutoff of 50..60. 41 ‣ For LFO1, select a triangle Wave Form with Rate = 40..50 and TVF Depth = +20..25. ‣ Finally, for Matrix CTRL1, set the Source to VELOCITY, Destination to LFO1 RATE and Depth to +20..25. One other very interesting use of velocity is creating a mutual crossfade between two sounds. This is done by setting the TVA Level of two tones to 0 and 127, respectively, and then routing the velocity to LEVEL with a depth of +63 and -63. As you play the patch from low to high velocities, you can hear the first waveform crossfade into the second one. ‣ The patch 194 PlayMeHarder (demo in PlayMeHarder.mp3) reacts to the playing velocity in a special way: the faster you play, the shorter the sound. ‣ 238 Temp VeloEnv is a patch template with velocity-sensitive envelope attack/decay times. Velocity games, part 2 Continuing from the previous article, not only Matrix Control can make advanced use of the velocity value. The Tone Mix Table (TMT) allows you to define at which velocity range each patch tone will play, and this is usually called “velocity switching”. The Velocity Range Lower and Velocity Range Upper parameters define where the velocity range starts and ends, respectively, for each tone. An example of velocity switching between four patch tones Most frequently, velocity switching is used to re-create the nuances in instruments by sampling them at several different velocities. And you can try to use this technique to switch between totally different sounds. ‣ Set all four tones to different waveforms. ‣ Using the TMT, set their velocity ranges to 0-60, 61-80, 81-100 and 101-127, respectively. Now, when you play this simple patch, you will hear one of the four different waveforms depending on the velocity at which you press each key. But of course there are even more interesting tricks possible. For example, why not perform velocity switching on several tones that have different pitches? ‣ In the patch you’ve just created, set the pitches of the tones to -5, 0, +7 and +12 (fifth and octave detunes always give musical results when you mix them). 42 ‣ 193 VelocityBell (audio in VelocityBell.mp3) shows you the advanced usage of velocity switching. Only 5 keys are played in the demo, but thanks to the tricky response to the velocity you hear a really complex but musical performance. ‣ The template 239 Temp Velo Sw has four velocity-switched tones to get you started. 43 to turn this quite simple patch into a massive hoover synth. Simply route such a loop into a chorus. and it has been featured on the very most of them since early 1980s. And that is how to avoid your bass or synth lead sounding “cheesy”: make sure Filter Type is HPF and Cutoff Freq is at 600-800 Hz – this applies the chorus on frequencies above the low-mid range. Depth: 20-22. ‣ 169 OldSkul Lead and 172 Trancy Lead (demo in TrancyLead. set Rate: 7-7.5 Hz. What the chorus basically does is mixing the original sound with a few of it’s delayed and detuned copies. Balance: around 50% (D50:50W). ‣ Now. Depth to 100-127 and Balance to D0:100W and you will hear yourself. and now we'll learn how to avoid this and also use chorus as a very interesting creative tool.Monster FX Getting the most out of the effects processors. set Rate to 8-10 Hz. ‣ Route it to MFX (or to the the system chorus unit) set to Chorus. ‣ You can see that the Chorus has a pre-effect filter. and even turn them from mono to stereo.mp3) show you two classic but very powerful and spacious leads. both based on the above-described techniques. It has also been used in analogue string machines to turn singleoscillator sounds into a lush ensembles. A fat recipe Chorus is probably the most widespread effect on synthesizers. which lets you apply the chorus effect only to a certain frequency range of the input signal. ‣ Select a patch such as a simple saw-based synth lead (the best would be the one based on two detuned saw waves). Acid empire The now-traditional distorted acid sounds were born in middle 1980s when techno musicians 44 . turn it from mono to spacious stereo. But using chorus is not as simple as you may think! It is very easy to make any patch sound “cheesy” with it. Classic sound fattening based on high-rate chorus A fast-rate chorus can also be used for making interesting backing drum/percussion loops. Traditionally it was (and is) used to fatten up the sound. respectively.used to process their TB-303 synths and the like through guitar overdrive/distortion pedals. and by changing the frequency of this modulator wave with the Radio Detune parameter you can make it sound like you are tuning a radio. But since this effect also degrades the sampling frequency. ‣ Adjust other parameters to get a moderate overdrive effect: Pre Amp Level: 60-80 (this controls signal gain before entering the amp and thus varies the amount of overdrive).mp3 and TB303OD1. 45 . The very exciting fact is that with your Fantom you can do this too and even go beyond . Pre Amp Master: 100 (this adjusts the amp output level). screaming acid lines. ‣ Pick one of the TB-303-like acid synth bass sounds you've created while learning the Count to 303 article in the Everything Out Of Nothing section. ‣ Route it to MFX unit set to Guitar Amp Simulator and set Pre-Amp Type to JC-120 as a starting example. with such a combination of two effects it can produce vocal-like artefacts in certain input signals. whatever you desire.since it features a unique Guitar Amp Simulator MFX algorithm which includes pristine-quality COSM models of vintage amplifiers (including Roland JC-120 and Marshall combos) and guitar overdrive/distortion pedals (like Boss OD-1 and OD-2 Turbo). and (optionally) set Speaker Sw to OFF to get a clean sound out of the amp without speaker cabinet simulation. ‣ 163 TB303->JC120 and 165 TB303->OD1 (demos in TB303JC120. Talking synth The LoFi Radio MFX algorithm adds amplitude (ring) modulation by a high-frequency sine wave making your patch sound like it’s coming from an AM band of a radio receiver. fuzzy distorted leads. Use it to create slightly overdriven fat bass parts.mp3) are very good examples of classic overdriven acid sounds. ‣ You can also play with Pre Amp Gain and Bass/Middle/Treble controls to shape the sound – note that this built-in EQ works before the amp stage and thus not only affects the sound's spectrum but the character of the overdrive/distortion effect. Make your synth sounds roar with Guitar Amp Simulator Try different synth bass and acid sounds and use different amp models while altering their parameters and you will realise that the Guitar Amp Simulator is a really amazing and flexible tool for sound design. based on saw and square waves. Increase the Pre-Amp Presence parameter to emphasise the subtle levels of the sound. . ‣ Now pick up some synth sound or drum loop and assign it to part 1. you may also use a slow continuous LFO to modulate the filter and get interesting vocal-like morphings as you play the patch. Slope: -36 dB.Creating gritty “talking” sounds with LoFi Radio The best way to obtain this kind of sound is to feed the LoFi Radio with a resonant synth sound which also has a filter modulated by an envelope. ‣ Set the Radio Noise level to 0 to get a clean sound. Destination to Filter Cutoff. turn the “eaw” phrase into “wea”. Hold your breath. Alternatively. etc. initialise it. Sens to +35 and MFX Control Channel to 1. This patch is also available as an audio demo in TalkingTB. with a nice gritty character thanks to the LoFi processor. Filter Type: BPF. ‣ Set all three MFX to a serial connection (structure type 11). set the algorithm to Super Filter. Monster filter Ask yourself a question: what if you connect three -36 dB Super Filters in series? Simple math gives the exact answer: you will get an enormous and super-steep -108 dB/octave filtering monster which will radically alter the sound's spectrum. Gain: +4 dB. ‣ For each of the three MFX Controls. producing vowel phrases such as “eaw”. then play the patch while increasing Radio Detune up to the max – you will hear the sound starts “talking” when you reach the value of 50-70 and above. Cutoff: 50. ‣ Create a saw-based TB-303-like patch and make sure it has filter Resonance set to about 40-60. press a key and tweak the modulation lever. ‣ Switch to performance mode. ‣ Route this patch to MFX unit set to LoFi Radio. for instance. Resonance: 0. set the control 1 Source to CC01: MODULATION. Change the polarity of the filter envelope to reverse the resulting effect and thus. ‣ 164 Talking TB has been created by routing a saw-based acid patch into a LoFi Radio MFX unit with a high Radio Detune value.mp3. ‣ For each of the three MFX units. 46 . However. Set control channels of the MFX units to 1. so they only control the MFX and produce no sound. You probably wonder if it's possible to use Matrix Control to assign an envelope or LFO of a patch to control these three filters simultaneously. 2 and 3. ‣ Route part 1 to MFX 1. respectively.Super-deep -108 dB/octave BPF filter clean single BPF double BPF (-72 dB/oct. So now you have a single -108 dB/octave filter which is controlled by an envelope and/or LFO 47 . ‣ Layer these three parts. ‣ Set performance parts 1. then turn the levels of parts 2 and 3 down to 0. 2 and 3 to this patch. and Matrix Control assigned to these envelopes/LFOs as sources and MFX CTRL 1 as destinations. so they still work as a single "monster filter". A little problem (that can be solved) is that from a given part. Even if you set Control Channel to 1 in all three MFX units. there is a simple workaround.) triple BPF (-108 dB/oct. ‣ Prepare a patch with wanted envelope/LFO settings.the unit that this part on channel 1 is routed to. only one MFX unit will "listen" to the Matrix Control on channel 1 . you can only use Matrix Control to control the MFX unit this patch is assigned (routed) to. part 2 to MFX 2 and part 3 to MFX 3. and the final -108 dB filter slope is really steep. The resulting band is getting more narrow.) Spectrograms of a white noise On the spectrograms above you can easily see how the spectrum changes as we stack on another -36 dB/octave band pass filter. lush pads. basses and many other sounds. This means that with varying the delay time in real time.and is processing part 1. The resulting effect may remind you the sound of a multi-stage phaser.Time Control Delay and Long Time Control Delay. ‣ Route a drum loop into a Long Time Control Delay MFX algorithm with Delay Time set to 0 and a Feedback of 90. synths. you can get a very cool morphing sounds. and by setting modulation rates of all three MFX filter units to different values. 50 and 70. and this can be accomplished if you set all three filters to NOTCH and set their cutoffs to about 30. parts 2 and 3 serve only as control sources. which leads to interesting speed effects. The Acceleration parameter specifies how fast the delay time will "catch up" with real-time control. filtered with a triple -36dB/octave BPF MFX setup. You can also use the modulation LFOs (available right in the Super Filter algorithm) to add cyclic changes to cutoff frequencies.mp3 is a drum/phrase loop processed/tweaked with three notch filters with different cutoff frequencies.mp3 demonstrates how well this combination on filters works for creating beautiful. respectively.mp3 and -108dBBPFSynth. 3xNOTCHPad. just like on an old tape delay system . ‣ You will find two demos called -108dBBPFLoop. The lesser it's value. Time machine There are two MFX delay algorithms that let you change delay time in real time. Triple notch Let's go a little bit further from the previous example: we can create an interesting filter which will have three gaps in it's spectrum. respectively.mp3 . By adjusting the cutoffs and resonances to your liking. you can also change the pitch of the delayed sound.these are a drum/phrase loop and a synth patch. Radically-shaping. the slower delay time changes over 48 . you get a really good processing method to radically shape the spectrums of your drum loops. triple notch filter ‣ 3xNOTCHLoop. set Pre-Delay: 0. One of the most interesting ways to add a “shadow” to your drum/percussion part is to “chop” it's Gate Reverb tail (which is rhythmic already if Gate Time is short enough) with a Slicer and then beef it up with an effect like Phaser. It can be some rhythmic noise or high-pass-filtered distorted percussion loop . 49 . Moving shadows You might have heard of the term “shadow loop” . Gate Time: 100 ms. Set Acceleration to the maximum value of 15.time as you control it. so that it increases the stereo base and fills the gaps in time and frequency domains.mp3 and TimeCtrl2. Now play the sound while rapidly changing the delay time with the modulation lever: this techniques can be used to create very interesting scratchy sounds and effects.it basically means a sample loop that is used to add some space to your mix. route a tempo-synchronized drum loop to MFX 1 and: ‣ Set up a serial MFX connection: MFX Structure type 11.mp3 are two demos of "scratching" a beat loop. ‣ In MFX Control. set the modulation lever (CC01) to control Delay Time with a Sens of +30. both in terms of dynamics and stereo picture. ‣ Set MFX 1 to Gate Reverb. to be able to vary the Delay Time rapidly. Speed control with Time Control Delay ‣ TimeCtrl1. Creating “moving shadows” by slicing and phasing gated reverb tails ‣ So.basically with a wide stereo base and soft dynamics. and then set Balance to D0:W100 so that you only hear the reverberations. and due to the way pitch shifters work each next sound becomes more distorted in a way very pleasant to the ear. R = 50. Pitch 1 Feedback: +40%. a simple but very magic-sounding bell sound that fades and shifts away. In Roland's Fantoms. In the example below. ‣ Choose Phaser. Pitch 1 Delay: 1/8 note. ‣ Select a sine wave for the generator. adjust Attack to 10-20 and draw some level pattern. Pitch 2 Coarse: +9. we will use a 2-voice Pitch Shifter algorithm which basically incorporates two separate shifter+delay effects and allows you to set delay times.mp3 is a drum loop created using the techniques described above. ‣ 189 Shifted Drops (demo in ShiftedDrops.mp3) is a very simple patch that relies on a pitch shifter and an additional delay effect to produce a really cosmic bell sound. ‣ You can also pan both shifted sounds left and right . Pitch 2 Delay: 1/8. note. simple structure doesn't means simple sound And here it is. Check out how it easy to create a nice sound using just a sine wave and a pitch shifter.‣ Select Slicer for MFX 2. And what makes it really interesting is a delay feature – since the shifted signal is delayed and sent back to the input. Pitch 2 Feedback: +40%. Pitch 2 Pan: 63R. ‣ Reverb808.Pitch 1 Pan: 63L. D = 50. 50 . it gets shifted and shifted again according to the specified amount. S = 0. ‣ Create a falling envelope for the TVA also with a slight attack to soften the sine generator: A = 1. feedbacks and pans for each of the shifted voices. Multi-Stage Phaser or Infinite Phaser for MFX 3 and then play your loop and hear how wonderfully it transformed into a “breathing” pattern. Be shifted Pitch Shifter is an effect algorithm which uses realtime time-stretching to vary the pitch of an incoming signal. Route it to a delay and reverb to add more space. ‣ Set the MFX unit to 2-voice Pitch Shifter and set Pitch 1 Coarse: +7. you need to follow the same procedure sound engineers used back in those days. the sounds had to be rather short. and it has a pre-filter which also applies compression and adds a unique character to the sound. 51 . the source must first be processed with a low-pass filter. Therefore. when samplers were just starting to go into masses. ‣ Set the TVF Filter Type to LPF. ‣ Finally. and Cutoff to about 85. and new ones are being created with the so-called “lo-fi” effects..True Lo-Fi In 1980’s.95. it will be distorted. Recreating the Lo-Fi sampler sounds of the 1980’s ‣ Create a new or select an existing drum kit. Combined with a low-pass filter and short TVA envelope on patch level. to achieve a good final sound. let's experiment and make a 1980's-style drum kit. their technical possibilities were extremely limited by today’s standards. to recreate the lo-fi sounds from the early samplers. laughable bit depths and cramped memory gave birth to an astonishing amount of great sounds which are gaining their second life today. you can recreate all the above-mentioned limitations of the old samplers. ‣ If the highest frequency of the sound is higher than half of the sampling frequency. ‣ The low bit depth (typically 8 bits. But their low sampling frequencies. The LoFi Compress MFX algorithm has several settings for sample frequency and bit reduction. However. and later. The source sound needs to be compressed to overcome this. 12 bits) was putting limitations on the sound‘s dynamic range: the portions which were too silent would get the lowest resolution and sound very noisy. due to memory limitations. Now. ‣ 192 LoFi Kit (demo in LoFi Kit. ‣ Layer these parts by turning their keyboard switches on. from soft to harsh. and as you increase the Rate it will go from a very nice warbling sound to some mad ringing (especially when Resonance is closer to the maximum too). All this makes the Infinite phaser a really powerful creative tool. This technique can of course be used on all types of sounds to get that lovely 1980’s feel. assign the same synth sound to parts 1 and 2. Adjust the Balance to D0:100W so that you only get the delay effect and no original sound. for a filtering effect that is sweeping infinitely (hence the name). Infinity One of my most beloved effects of all times is the Infinite phaser MFX algorithm: it has such a wonderful. now MFX1 output will be routed into MFX2. One other example of the available routing flexibility is putting the same sound into different multi-effects processors in parallel. It’s also one of the most fun effects to work with in realtime. ‣ In performance mode. you can overcome this by setting up two parts with the same patch assigned to both. congratulations. Depending on it's Rate polarity (positive or negative). just use the respective context knob or assign the Rate parameter to a controller of your choice to tweak it as the sound plays. set it’s Pre-Filter Type to 6 and LoFi Type to 5. Even though you can’t have one part routed into two MFX processors at the same time. ‣ Send part 2 to MFX1. you’ve carefully re-created the limitations of the early samplers. snare and hi-hat samples processed with the technique described above. Effected tail It is no longer a secret that the Fantom synthesizers allow for rather complex effects setups on performance level. such as processing the “tail” of a delay or a reverb effect using a phaser or a filter. With it’s possibilities for anything from subtle jet sweeps to really wild cosmic filtering. fresh and "liquid" character that I wish I could listen to it forever.mp3 is example of how fun a guitar riff can sound if you route it into the Infinite phaser and play with it’s Rate parameter in realtime (especially when going from negative modulation to positive and back). the phaser will sweep up or down. ‣ Set the MFX algorithm to LoFi Compress. ‣ Infinite Guitar. and adjust the TVF Cutoff a bit to obtain a wider variety of lo-fi sounds. ‣ Set MFX structure type to TYPE02. This allows for some very interesting sound processing possibilities. Play with different Pre-Filter Type and LoFi Type values.mp3) is a simple old-school drum kit made using kick. with a slight hold after the attack portion: ‣ Set the Tone Env Mode to NSUS (no sustain). So.‣ Create a short falling envelope for TVA. and select the Modulation Delay algorithm. This effect algorithm works great for a wide variety of sounds. synth strings. Infinite phaser will surely become your favorite effect too. especially mellow ones like electric pianos. then the Post Filter Type to OFF. electric guitars. 52 . It sound like two phasers which are crossfaded between each other. Let’s try this trick out. ‣ Select the Infinite Phaser algorithm for MFX2. ‣ Select a soft pad sound.. the chorus effect can be used to thicken up synth sounds by mixing in several detuned copies of the input signal. it also has much more parameters to adjust: namely the so-called “deviation” parameters which. you can get a really beautiful effect. Let’s try the Hexa Chorus on a pad sound. In addition to an unusually lush and deep sound. A typical chorus algorithm features three voices (three detuned signals). ‣ While you play the patch. and experiment with reverbs too. in simple words. adjust the Depth Deviation to about +5.mp3) is an example how a few simple waveforms can become a great pad sound by means of the Hexa Chorus MFX algorithm. you can hear how drastically this six-voice chorus effect changes. ‣ In the demo Phasey Echoes. Hexa Chorus works brilliantly on pads. and the result is very interesting as you can hear.00. Now part 1 produces the dry (clean) sound.mp3 you can hear a synth patch processed as described above. There are lots of other fun things you can do with such parallel processing. Six voices As you have already learnt. Try processing this delay tail with an LFO-modulated Super Filter. as well as guitar and other soft sounds. Hexa Chorus can sound really lush As you increase the Depth Deviation and Rate. ‣ Set the Pan Deviation parameter to 0 so that all six chorus voices are mixed together and produce a thicker effect. bells. 53 . And when you put it into mono mode with all voices blending together.+10 and speed the modulation up a bit by setting the Rate to 1. ‣ 196 Hexa Crystal (audio in Hexa Crystal. ‣ Route it into an MFX processor set to Hexa Chorus with a Balance of D0:100W (here we want a pure chorus sound with no original mixed in).. define the pan and detuning spread between the six voices. turning into something really lush.1. while part 2 is used to form the delay tail which is then processed by a phaser. but inside the Fantoms hides the lovely Hexa Chorus with a whole of six voices. for example.50 Hz. Note that in order to avoid possible clicks when the sample loop restarts. Simple-cycle wave Amplitude-modulated wave Wave looping examples After finding the "perfect loop" points. Sample. the levels that sample start and end points are set to must be equal or at least very close. you can visually find the repeating portion of the sample. Wave looping techniques Several sound creation examples below require you to be able to find the "perfect" loop points in a sample. you may truncate the wave so that only a single cycle that is needed stays. ‣ Zoom horizontally to the minimum (1:1) and vertically to the maximum (1:128). The portion of the wave to loop is usually a single cycle of the wave itself (if the wave is very simple). Repeat Creative sampling and re-sampling techniques. On the images below are two example images of a plain wave cycle and an amplitudemodulated wave . and then save the wave. Note that you can also create new waveforms by selecting a non-perfectly-looping or even a random portion of some sample and looping it. of course). Now you can precisely set the start/end points to the values of zero level or close. ‣ If you still hear slight clicking even if you set the looping points correctly. periodic portion (periodic portions in more complex waves may be much harder to find.Tweak. loop start and loop end points in the sample parameter screen. you may finetune the sample start. approximately for now.see how it's easy to visually find the repeating. Set the sample start and sample end points to select this portion. or one cycle of the wave beating (this can be thought of as a real or imaginary LFO that modulates one or several sound parameters). 54 . The procedure of finding the looping portion of the wave basically consists of these two steps: ‣ While using usual zoom values. in order to create looped waveforms. Sample it and you can now see that is a square-like wave with many "teeth" that add very nice buzz to the main square wave. It is very easy to select and loop one cycle of such wave and instantly turn it into a cool bass sound. ‣ Chorus and reverb sends. You can view the diagram that represents the structure of the Solo Synth below. OSC2 level control. days and even weeks – so be careful! Here are some hints for how to find good sources of raw wave material. By looping single cycles of feedback waves you can create many simple but rich waves. and scrolling the frequency wheel will walk you through tons of delicious noises. If you plug one jack of a jack-to-jack cable into the line input and touch the other jack's tip. turn it on in the night when more signals are able to reach it. Also. The frequency of this feedback sound will depend on various conditions and equipment parameters.“Doctor. you will have a feedback effect due to the signal cycling from the microphone to the amplifier to the speaker and again to the microphone. But they just don't realize what they miss! The Solo Synth is nothing but a stand-alone analogue-like monophonic synthesizer that is capable of creating synth waves which are absolutely impossible to create using the sample-based engine of the Fantoms. and then create a feedback effect that would cycle through the effect . Feedback waves. ‣ OSC1 can be hard-synched to OSC2. By sampling various sources and then extracting short wave cycles out of it. This can even turn into a "wave hunt". AM radio.you'll be amazed by the results. If you have a receiver with short and medium ranges. You can also sample other hum sources . as I call it. Even the most simple radio receiver is the source of a whole universe of raw sound material. You can also use higher microphone input gain to create feedback with your headphones. ‣ LFO that can modulate pulse width and pitch of the oscillators. Han Solo Inside the Fantom-S/X boards there is a built-in Solo Synth that can only be played using the infra-red D-Beam controller. Solo Synth's features are: ‣ Two detunable oscillators with saw and variable pulse waves.every electronic device produces hum and noise. and so on. Many people think it's a child's toy and forget about using it right after the first try. You know that if you put a microphone close to the speaker that outputs the amplified microphone signal. and simply take you away for hours. they are everywhere!” Almost any sound you hear has a portion that you can loop and create a wave out of it. buzzes and beeps to sample. you can collect an unbelievably wide variety of raw waves that you can use to synthesize completely new sounds. you just have to raise the sampler's input gain in order to hear and sample such signals. ‣ Multi-mode (LPF/BPF/HPF/Peaking) filter with resonance. you'll hear a typical humming and buzzing sound caused by the grounding of your house’s power supply. you can route the external input to an MFX unit with some distortion or lo-fi algorithm. 55 . Analog hum. ‣ Resample this wave in mono mode. ‣ Before sampling. ‣ Create a desired sound with the Solo Synth (check out example patches below). ‣ Set the playback mode of this new sample to forward loop. Reverb: 0. so that your hand touches the synth's front panel: if the Range is set to 2OCT and Coarse tune is at -12. If you create a sound based on oscillator sync. The common settings for all patches are: Filter: OFF. it is possible to generate absolutely amazing and rich waveforms that can furtherly be used in the main synth engine to create really fresh sounds. Creating a synth wave and making a looped sample out of it is quite simple: ‣ Turn on the D-Beam's Solo Synth mode. Now you can assign this wave as the source wave in a patch tone. Range: 2OCT. if needed. on next page are several example Solo Synth patches to create various classic synth waves. from retro classic to cool new. enter the Solo Synth editor screen. then play the C4 key with it simultaneously with Solo Synth. not at all Using the Solo Synth. adjust the Fine tune of the Solo Synth to your ear so that there are no beatings heard between the two sounds. Note that if you want to make the Solo Synth tuned perfectly. 56 . you need make the Solo Synth's keep it's pitch constant. it will produce C4. To get you up and running. then find the looping portion of the wave. just create a sine wave patch. Level: 70. truncate and normalize it if needed. The easiest way to do this is to put your hand right on the D-Beam.Solo Synth: not a toy. you can turn OSC2 level down to 0 so you only hear the pure sound of OSC1 synchronized to OSC2. and. Chorus: 0. Patch name OSC1 Wave OSC1 PW OSC1 PWM OSC1 Coarse OSC1 Fine OSC1 Vib OSC1 Sync OSC2 Wave OSC2 PW OSC2 PWM OSC2 Coarse OSC2 Fine OSC2 Vib OSC2 Level LFO Rate Patch name OSC1 Wave OSC1 PW OSC1 PWM OSC1 Coarse OSC1 Fine OSC1 Vib OSC1 Sync OSC2 Wave OSC2 PW OSC2 PWM OSC2 Coarse OSC2 Fine OSC2 Vib OSC2 Level LFO Rate Simple PWM SQR 70 +63 -12 0 5 OFF 0 45 Dual PWM SQR 70 +63 -12 0 0 OFF SQR 30 -63 -36 0 0 127 45 Detuned Saws SAW 0 0 -12 -50 0 OFF SAW 0 0 -12 +50 0 127 Pure Sync SAW 0 0 0 0 +35 ON SQR 0 0 -36 0 0 0 45 Dual OSC 1 SQR 0 0 -12 0 0 OFF SQR 0 0 -24 0 0 127 PWM+Sync 1 SQR 0 +63 0 0 +20 ON SQR 0 +63 -24 0 0 127 65 Dual OSC 2 SAW 0 0 -12 0 0 OFF SQR 0 0 -36 0 0 127 PWM+Sync 2 SAW 0 0 -20 0 0 ON SQR 70 +63 -36 0 0 127 35 57 . then find the looping portion. this result in a new waveform (you already learned what this can give from “Wave arithmetic” parts 1 and 2). enormous pads – whatever you desire. plus the MFX Super Filter to create a truly analogue-sounding synth bass. it is indeed possible to recreate a simple comb delay line. copy it to all four tones and then detune them again. ClassicBass. and the final patch uses two octave-shifted tones (this gives 24 saw waves but only 2 polyphony voices per key). This is a type of a filter that. So. When the delay time is very short and the feedback is close to 100%. using lush unison sounds that span several parts is not that easy and they obviously will consume too much polyphony. we discussed creating various detuned (unison) sounds. can vary the harmonic content of the input signal.mp3 uses a wave based on Dual OSC 2 solo synth patch give above. ‣ Resample it. D-tune In the Unisonic article of the previous section. and since all these summed waves have different phases. using Fine Tune and also Coarse Tune to add tones shifted an octave or two lower/higher. ‣ SyncSynth.To create very thick sounds. you can “recycle” a unison waveform multiple times. since the Fantoms have delay effects. use both PWM and oscillator sync features of the Solo Synth. As you detune the base waves. with different pulse width. You can also easily recreate those famous “hoover” sounds originating from Roland's Alpha Juno series. ‣ Assign this newly-created unison wave to a patch. ‣ Resample this sound and repeat the procedure to create a yet thicker sound. Feedback wizardry You have probably heard of a term “comb filter”. fat leads. With this technique. PWM depth and LFO depth values on both oscillators.mp3 and PWMStrings. and this causes an effect similar to oscillator synchronization. ‣ Unisaw. you get two interesting effects: ‣ The original wave gets mixed with delayed waves. you can also process tones with filters resonating at different cutoffs. ‣ Delay repeats happen at a different frequency compared to the original wave's frequency. However. By using resampling.mp3 contains a demo of a very thick hoover sound which was created by “recycling” a 4-tone unison saw waveform three times. The resulting waveform bases on 12 saw waves. We will use the Time Control Delay algorithm as it gives us a possibility to set it's Time precisely 58 . ‣ Create a four-wave unison patch. A comb filter is often implemented as a delay line which has it's repeat rate close to the signal base pitch frequency.mp3 are demos of synth bass and synth string sounds synthesized using Sync and PWM-based Solo Synth waves. this will add more interesting character to the sound. it is possible to create really huge sounds and turn them into big basses. creating thicker waveforms that will not be that polyphony-hungry. given that it's frequency response notches are tuned in such a way. and the second one is the same wave processed with two envelope-controlled serial LPFs. ‣ Route it to MFX unit set to Time Control Delay with the following parameters: Time: 10. ‣ Now route the TVA envelope to MFX Feedback. You can also apply an LFO to pitch and/or filter to add more interesting pulsations to the sound.by a step of 1 millisecond and also has good feedback feature. set Source to TVA ENV. so that the delay unit actually starts to repeat and mix sounds when you press a key. ‣ Set the wave generator to a saw wave.mp3 contains some interesting sound effects based on the same tricks. press and hold a key. techno and drum and bass styles. ranging from very short (1-30 ms) to medium (50-200). try different wave and effect settings again. in order to produce different new waves with this method. As you hear. then release the key. FeedbackSynth. etc. Try different delay time values. in order to make things simpler. Destination to MFX CTRL 1 and Sens to +63.). Acceleration: 15. And.50. Use realtime pitch and filter tweaks to create really wild synth effects. and so on. FeedbackFX. Feedback: 0. which sound like sampled synth chords (short hits. Now. without having to manually adjust the Feedback from 0 to 99% and back. long atmospheres. you can create many new waves this way. set TVA envelope Attack to 50 and Release to 10. Synthisphere I believe you heard those rich one-key sounds typically used in house.. we will route the TVA envelope to delay Feedback. There are several ways of creating such sounds. Then go to MFX Control and set Destination 1 to “Feedback”. change the delay Time value. ‣ In order to prevent the drastic attack/release of the sound to cycle due to delay feedback.mp3 has two audio examples: one is a clean synth wave created with the aforementioned patch. 59 . Creating a comb filter with feedback delay line ‣ 153 FeedBack Syn is the patch described above. from roaring synths and oscillator-sync-like sounds to various bells and beyond. In Matrix Control 1. . and start sampling when you hear a sound you like. and you can do all this while tweaking the filter cutoff and resonance to add more motion. play some melodies. To make a more evolving sound. Remember to do all this in resampling standby mode. ‣ Set the Filter Type to LPF. If you also tweak the filter cutoff while you play some new notes into this “looper”. R = 80). can made made simply by playing a short 3. for instance. Modulation Delay or some other delay MFX algorithm. there will be even more interesting changes in the sound. 60 . Hear a demo of a atmospheric chord sound made out of fit: Synthisphere. You can then loop it to play like an atmospheric chord or a short synth chord/stab. S = 127.10000 Hz. then the same chord around C5 or C6. For instance.Hit-type sounds. ‣ Add a long TVA envelope (A = 70.or 4-note chord with bass notes added using a fat synth with a falling filter envelope. D = 0. and then sampling it. ‣ Send the MFX unit to the reverb processor set to SRV Hall with a tail Time of about 90-100 and make it a little darker with HF Damp set to 8000. ‣ Now route this sound to a 3-Tap Delay. and then playing many notes in a sequence (preferably forming a chord as you guess) – and then this repeating sound with many overdubbed notes can be resampled. See how easy it is to create these sounds: ‣ Set waveform to super saw. But more fun sounds can be created by routing a rich synth patch with a slow envelope into a delay processor with high feedback and also into a reverb with a long tail. play a minor 7th chord around C4. set Feedback to around 90% and Balance to D60:40W. Creating synth atmospheres is fun Now you are ready to go. ‣ 177 Cyclosphere is a good patch to start creating various atmospheric chords: a super saw wave with long envelope fed into a high-feedback delay and long reverb. then add C2 and C3.mp3. not long strings or pads) and drums. More than this.e. ‣ Resample the resulting sound. and then reverse it again. you just need to reverse an audio sample.mp3 you can hear a short track parts of which were processed using a filter and ring modulator by means of re-sampling and inserting the effected sample instead of the original portion.mp3 are two very good examples of how interesting the reversed reverb effect can sound. 61 . you need to follow these few steps: ‣ Resample the portion you want to put an effect on. the reverb sounds reversed and precedes each sound in a phrase. set the sample playback mode of the new sample to REV-ONE as well. while tweaking the effect in realtime (like opening or closing a filter or sweeping a ring modulator to the end of the phrase). ‣ Set the sample playback mode to REV-ONE (reversed one-shot). To achieve this kind of effect. with MFX or both. ‣ Antiverb Synth. ‣ Assign the sample to the keyboard. the reverb is exactly the opposite of a normal reverb: it’s tail sounds backwards and precedes each sound (note this is different from a reversed reverb. ‣ Take any rhythm or phrase. certain music styles even rely on heavy realtime and post-processing. composers and performers often process parts of their tracks with various effects to add transitions. and resample it. and route it into a reverb effect (the main reverb processor or an MFX processor with a reverb algorithm).Antiverb One interesting and widely-used trick with sampling through effects is creating reversed reverberation. ‣ Now. ‣ Resample this patch. In order to process a portion of the whole song with some effect. ‣ Insert this sample instead of the original non-processed portion of the song. since the latter still sounds after the audio). Partially processed In modern music. Now you can use all the mighty processing capabilities of your Fantom described in this book to add different variations to your music. breaks or fill-ins. You can try this with different reverb algorithms and tail lengths. adjust the tail length so it’s not too long. ‣ Assign this sample to a patch and apply the effects you wish. resample it through a normal reverb. and this trick obviously works great on nonsustaining sounds (i. As you can hear now. either on patch level. you can easily create lots of such tricks. On the Fantoms. ‣ In the demo Post-Processed. In the resulting audio.mp3 and Antiverb Drums. . Now press a key and check out your creation.COSMic Synthesis Using the MFX processors as synthesis elements. There is one TVF for each voice. COSMic filter As a first example. go to Matrix CTRL 2. Cutoff to 30-35 and Resonance to 50-60. The second reason is that the Super Filter sounds so much more warm and analoguish. but there is only a single MFX unit that filters all audio on it's input. The only area where TVF beats the MFX filter is filter polyphony. we will create a simple synth bass patch that will not use the usual filters inside the patch. in Matrix CTRL 3. S=0. To set cutoff keyfollow. leave them default. ‣ Select a square wave for the Wave Form parameter. Two TVFs in series will give -24 dB per octave. Filter Type to LPF. ‣ Create a short falling TVF envelope (A=0. Note that you need to lower the Super Filter cutoff a bit in order to compensate the deeper cutoff modulation now caused by both the TVF envelope and velocity. -24 and super-deep -36 dB falloff per octave. Destination to MFX CTRL 1 and Sens to +8.. ‣ The final and most important step. ‣ Set TVF Filter Type to OFF. D=30. 62 . Don't forget to set Analogue Feel to 30-40. and set Wave Gain to +12. while TVF can only give -12 dB. First is that it can have an envelope slope with a -12. halve the possible polyphony of the patch). R=18). not the TVF). but leave it's Depth at 0 (as we'll use it for controlling MFX. thus. The Super Filter is a much more rich filter compared to TVF. with more step curves and warmer sound. set Source to VELOCITY. Filter Slope to -36 dB.10. Destination to MFX CTRL 1 and Sens to +5. Sens to +18-20 and Destination to MFX CTRL 1. set the Source to KEYFOLLOW.6. Go to MFX Control and set the first control Destination to Filter Cutoff. you simply can't compare it's distinct sound to the TVF. You'll ask: why use the Super Filter instead of the TVF? There are two main reasons. In order to enable velocity sensitivity for filter cutoff. but will be routed through the MFX Super Filter instead and TVF envelope will be used to control this filter. There's no need to set the Source and Sens. but it's still not as steep as -36 dB and you will need to sacrifice one extra wave generator (and. It produces a very tasty filter effect. ‣ Set MFX1 type to Super Filter. set it's Source to TVF ENV. Go to patch Matrix CTRL 1. ‣ Set tone 1 LFO Wave Form: STEP. then go to step LFO editor. it is obvious that you can route an LFO to the Super Filter as well. ‣ Set tone 1 TVA level to 0 (we'll only need it as a modulation source). ‣ Have a listen at the patches 154 SH Bass 1. using the step-LFO-controlled Super Filter as a cool dynamic filter bank.mp3) – these are pretty classic yet very cool synth bass sound which would not be possible to create with a conventional TVF. ‣ Make sure that the MFX unit is configured as in the previous example. ‣ Check out the patch 125: HoldC2&Play and do what it's name says – one tone played from C2 controls the Super Filter with a smooth step LFO and the other tone is actually 63 . make sure that only one tone is sending it's envelope to MFX control (simply set CTRL switch to ON on all tones except one). Now press and hold C2 with your left hand and play some melody or chords with your right hand – you can hear what nice morphing parts can be created this way. 159 SH Bass 2 and 157 Bass 202 (demos in SHBass.Using the COSM Super Filter instead of a plain TVF Of course. you can create a wide variety of classic blips. set Source to LFO1. Destination to MFX CTRL 1 and Sens to +30.mp3 and Bass202. ‣ Set tone 2 to some synth wave.. let tone 1 play on C2 and tone 2 on all keys above. otherwise you will have the destination parameter over-modulated (since multiple envelopes will be sending control data to this parameter). and here is how you can advance to the next level of sound creation: ‣ Split two tones on the keyboard: for example. set Step Type to 2 (smooth) and draw some interesting LFO waveform. This way you can also process sample loops. Rate: whole note.40. If you create a fast envelope and then raise the Super Filter's resonance to the maximum. If you have a multi-tone patch that uses envelopes to control MFX. ‣ In Matrix CTRL 1. zaps and even drum/percussion sounds. Key Trigger: ON. LFO to MFX As you got from the previous example. set level to +36 at steps 1. In this example. and then adjust LoFi Type to 5 and Radio Noise Level to 60-70. we can use an LFO to do the same. ‣ Set Matrix CTRL 1 Source to LFO1. Controlling MFX LoFi Radio with a step LFO ‣ Set tone 1 TVA Level to 0 and route it to MFX.mp3 has some classic synth effects created based on the described techniques. 3. ‣ Turn on Tone 2. Once again. Rate: whole note. Offset: +50. so that you have a pulsating noise. 10. Press a key and hear the sound. TVA and Pitch depths to +63. ‣ Set LFO1 Wave Form to STEP. 13 and set other levels to -36. Now. 64 . Sens to +63. Set it's rate to be of a 16th note.filtered with the MFX filter (this patch is demoed in DFSynth. and you hear what interesting sound we got. Rate: whole note. note that we don't use any wave generator here for the patch tone . just as we used a TVF envelope to control MFX. we will control the Detune parameter of the LoFi Radio MFX algorithm with a step LFO. 5. Key Trigger: On. ‣ SuperFilterFX.mp3 is a drum loop processed with a step-LFO-controlled Super Filter. ‣ LFO1: SAWD (falling saw). ‣ LFO2: STEP.mp3). let's go further. ‣ Select LoFi Radio for MFX. ‣ Go to step LFO editor and draw some interesting pattern. Destination to MFX CTRL 1. Offset: -100.just the step LFO to control the LoFi Radio detune. Key Trigger: On. For example. Offset: -100. TVA Depth: +63. Key Trigger: ON. then in MFX Control set one of the Destinations to Radio Detune. DFLoop. 8. Go to the step LFO editor and draw some wave to create a rhythmic pattern. Set it's Wave to white noise and route the tone to MFX. set Manual (phaser's center 65 . ‣ 106 AM Line 1 (demo in AMLine1. But since a phaser is a comb filter by it's nature. ‣ Route this sound to a Phaser or Multi-stage Phaser MFX. it would be very interesting to tame it. and tone 1 also is a silent LFO-pulsating saw wave that adds a bit of growl.a bit changed step LFO line for AM radio. as you see. right? As always your great Fantom doesn't let you down . but a sine-wave bass line instead of rhythmic noise used for tone 2. and this is their classical usage. but. There is an additional demo named AMBreak..mp3) is similar . The patch 107 AM Line 2 (demo in AMLine2.in the same way with the previous example.mp3 which is a drum loop processed with an LFO-controlled LoFi Radio.Processing a rhythmic noise with an LFO-controlled Lo-Fi radio simulator There are only several MFX algorithms which offer you a built-in step modulator (like Step Ring Modulator and Step Pitch Shifter). ‣ Set LFO1 to a downwards or an upwards saw with a Rate of 1/4 note and Key Trigger switched ON. Phase control Phaser effects typically have simple triangle waveforms to modulate the position of their frequency bands. a step LFO used with Matrix Control can compensate this and you can add stepped changes to any effect type. with Matrix Contol you can use an LFO or envelope from within a patch to modulate a phaser's frequency bands and create stunning motion sounds. ‣ Select a super saw waveform for the generator.mp3) is a two-tone patch created as described in the latter example. a special part of it's algorithm that detects level peaks forming a low-frequency envelope of the incoming signal. You can also use a combination of two LFO's for more elaborate phaser modulations. in Matrix Control. set Source to LFO1. and the second one as the actual sound. this effect uses a so-called “envelope follower” . the control value soon gets saturated – so you cannot play this patch polyphonically. you hear the phaser is now controlled by a tempo-synchronized saw LFO. this is not the way it is in the Ring Modulator. However. Retro Sci-Fi There are several MFX algorithms in the Fantoms that can change their main parameters depending on the level of the incoming signal. as the frequency changes are of much slower rate – in sync with the rhythm of the loop. Destination to MFX CTRL 1 and Sens to about +20. ‣ 183 PhaseCtrl C2 (audio demo in Phase Control. following the level of the latter. note that since each key you press will send out control data to the phaser. Instead of direct modulation.mp3) implements the trick also with the tip in the last paragraph: play the patch normally – only tone 2 works and the phaser is stopped. 66 . ‣ In the MFX Control slot 1. the level-sensitive parameter would simply be modulated at the frequency of the input signal. If some effect algorithm would react on the signal level directly. and one of them is Ring Modulator. as you hear yourself. It is also important to know that an envelope follower has it's attack and release times that let it not react to peaks that still occur at high rates. Controlling a phaser effect with your own LFO Voila. However.frequency) to about 50 and cancel the internal LFO modulation by setting the Depth to 0. By routing sounds like like drum loops into it and then increasing the Sens parameter. keep playing and then press the C2 key – the LFO from tone 1 starts controlling the phaser. ‣ Finally. A workaround for this is split two tones on the keyboard: use one with a zero level as a modulation source. Let's dive a bit deeper and understand how this works and how can this be used. set Destination to Manual – this the connection spot to vary the phaser's center frequency via Matrix Control. you can hear how it's internal modulator wave changes it's frequency as the sound plays. This virtually lets you “extract” an envelope of any sound. when you press a key. you can also use Matrix Control to route the pitch envelope. each drastic rise/fall of these waves' pulses will “re-trigger” the envelope follower. As you see and hear. Level 2. Play with Frequency and Sens parameters. Creating Sci-Fi effects by triggering Rind Modulator MFX with a low-frequency square wave In order to create more dynamic sounds. but it also has the pitch envelope and key velocity routed to Frequency and Sens parameters of the Ring Modulator MFX unit. but there is another way of using the level sensitivity: if you route a very lowfrequency wave such as Low Triangle or Low Sine. ‣ Set waveform to Low Square and then adjust the Coarse Tune to +24.4: 0. But also if you use a Low Square or Low Pulse wave. Level 0: +63. ‣ In Matrix Control 1. ‣ Route the patch to Ring Modulator MFX and then set: Frequency: 30. Use the Polarity parameter of the Ring Modulator to specify whether the modulator frequency will go UP the signal level rises or DOWN.It is quite obvious that you can process various loops with the Ring Modulator to create rhythmic Sci-Fi sounds. Sens: 50. Now hear your new creation. Time 2.. set Source to PITCH ENV. Balance: D0:100W (so you only hear the ring-modulated sound without the original). giving you yet more interesting sounds. but so not stop here – let's apply a drastic pitch envelope to the wave generator: ‣ Create a falling pitch envelope (Time 1: 75. you can modulate the Ring Modulator frequency directly. keyfollow and/or velocity to the Frequency and Sens parameters of the Ring Modulator. Note that when you set this to DOWN. Destination to Pitch and Sens to +63.mp3.4: -63) and set it's Depth to +63. You can hear different Sci-Fi effects created with this patch in SuperSciFi. and also try different waves like Low Triangle and Low Saw to get a huge amount of various sound effects. 67 . in just a few simple steps you created a very cool Sci-Fi effect.127. respectively.. it is better to increase the Frequency to 90. ‣ The patch 160 Super Sci-Fi is basically the one described above.. mp3 is a drum loop processed through a Ring Modulator which is being MatrixControlled using three tones as per the tips in the paragraph above (on B2. Also. ‣ Ringulator. It's a lot fun to do this rhythmically against a drum or a phrase loop. and yet another to modulate a parameter with an LFO. you can define how quickly the switching will happen. as you play tone 1. ‣ Set the TVA Level of tone 2 to 0 and use Matrix Control to route it's TVA envelope to MFXCTRL1 with a Sens of +63. ‣ Finally..C2. respectively. ‣ Route it into an MFX processor. Sens: 0 and Balance: D100:0W. We will use the Ring Modulator algorithm as an example. But we haven't yet discussed one other simple but very useful trick: modulating the effect dry/wet balance to switch it on and off using a dedicated key. by adjusting the attack and release times of the TVA envelope of tone 2. another to sweep a parameter with a second envelope. it's possible to animate the MFX processors using the envelopes and LFO's from the patch . Bb2 and C3 keys). with Frequency: 65. Also. of course you can use several tones each modulating the MFX processor in a different way: for example. ‣ In the MFX Control screen. Setting this up is exactly the same procedure as we used in the Phase control article above: ‣ Set tone 1 to any synth sound or a sample (a drum loop would be best).you already know this very well.Key gate Using Matrix Control. set the Destination to Balance. An empty tone working as a “gate” for the MFX processor Now. one tone as an on/off switch. use tone 2 to switch the MFX processor on and off. 68 .C7 and C0. split the tones on the keyboard: set the key ranges of tone 1 and 2 to C#2. modulation slot 1. Use the patch 195 Ringlutator to assign a sample to tone 1 and experiment yourself.. Preamp Middle.. Rock your Fantom I think you already know that it's possible to process any external signal using your Fantom's effects processor. make sure the input type is set to microphone. Fuzz. ‣ Now. Below are four example patches for the Guitar Amp Simulator. to make the input sound more punchy before processing it. hold SHIFT and press INPUT SETTING).Recording Trick-o-logy Using your Fantom with external gear. the more distortion the preamp applies. Preamp Bass. The Preamp Volume parameter adjusts the input gain. OD-1. Make some sound with your guitar or synth. Now you are ready to rock! I suggest you switch the Speaker Sw off to get a clean. bass. they work great with both guitar and synth sounds: Sound type Preamp Type Preamp Volume Preamp Gain Preamp Bass Preamp Middle Preamp Treble Preamp Presence Soft drive OD-1 45 Middle 115 65 75 0 Bottom drive CLEAN TWIN 70 Middle 90 80 60 0 Hard drive OD-2 TURBO 90 Middle 75 90 70 60 Metal FUZZ 75 Middle 75 90 70 45 69 . rich sound of the preamp model first. ‣ Plug in a guitar into the line input. some other synth or anything else which makes sound and sample it through MFX. You can also use some other synthesizer (analog or analog modeling monsters preferred) with an acid/303 synth patch. chorus and reverb. the higher it is. switch on the handy “Input FX” unit and set it to Compressor. Play with the EQ (Preamp Gain. You can just plug a guitar. You will soon fall in love with this MFX algorithm if you haven't yet. ‣ Switch the MIX IN on (for Fantom-S series. select different models to see what a beast this effect is (Clean Twin. OD-2 Turbo. ‣ Hold SHIFT and press MIX IN to reach the input settings (for Fantom-S series. Let's have a look how you can make some really huge guitar sounds – thanks to Roland engineers who put the Guitar Amp Simulator algorithm which incorporates over a dozen fantasticsounding and highly tweakable models. There is also a 3-band EQ (bass. middle. treble) before the preamp to greatly shape the overdrive/distortion sound. just press INPUT SETTING). Preamp Treble) to apply the distortion to different parts of the input signal's spectra. and a speaker model . so many too choose from!).. ‣ Route the signal into an MFX unit and set it to Guitar Amp Simulator. which would result in virtual "multiplication" of the input sound You can do this easily with the 2-Voice Pitch Shifter MFX algorithm. simply by plugging it into the line input and routing into effects. Pitch1 Feedback to +20%. make sure the input type is set to microphone. Pitch2 Delay to 70-80 ms. and choose the Solo type – this allows you to play the internal patch (also with the sequencer if you need) which is routed to the external processor and sample the processed sound from the line input. Pitch2 Feedback to +20%. it is also possible to create quite realistic claps. you can use your board as a guitar or a bass guitar processor. ‣ Now route some patch (part) to output B. For example. delay times and feedback levels to get the sound you like. You can also switch to performance mode. tweak the Fantom's patch and create the sound you want. ‣ Connect Fantom's output B to external processor's input. Pitch1 Delay to 25-30 ms. set Pitch1 Coarse to +2. As you will hear. you can process Fantom's sounds with an external effects unit (be it a rack-mount processor. ‣ Go to sampling mode. then select/adjust some algorithm with the effect processor. or even another keyboard capable of processing external sounds). but it also can be used in many different way with other gear. ‣ Route the signal into an MFX unit set to 2-Voice Pitch Shifter. hold SHIFT and press INPUT SETTING). a guitar overdrive pedal. ‣ Hold SHIFT and press MIX IN to reach the input settings (for Fantom-S series. then set Pitch2 Coarse to -3. But another cool thing is that since Fantoms have two dedicated outputs. 70 . ‣ Switch the MIX IN on (for Fantom-S series. Now plug in a microphone and snap your fingers or clap your hands. External processing It should not be a secret for you that your Fantom is not only a great self-contained synthesis/ sampling workstation. then route the processor's out to Fantom's line input and sample it. snaps and other sounds on alone (with your Fantom of course): the basic idea is to add pitchshifted and delayed sounds to the original. and set two or three MFX pitch shifter units in series to get even more lush sounds (use the panning feature of the shifters to make the resulting sound stereo). just press INPUT SETTING).Sound multiplication When you are creating live sounds like hand claps and finger snaps. Adjust the tunings. it usually requires you to invite some other people to help you with this. ‣ For this MFX algorithm. this is a simple yet effective way for creating various sounds that otherwise would require additional people involved. ‣ Connect processor's output to Fantom's input. However. ‣ Plug in a microphone into the line input. 3 and 4). which lets you jump over the next sound barrier. right jack) to vocoder's modulator input. play some melodies and chords with this patch. 71 . ‣ Now the easiest way to get started is to route the patch part to output 3 (carrier) and rhythm set part to output 4 (modulator). Note that if you process sounds pre-recorder into the sequencer. left jack) to vocoder's carrier input and output 4 (output B. ‣ In the Acid MT-2. you can use your Fantom in conjunction with a vocoder. ‣ Connect vocoder's output to Fantom's input. go to sampling mode (Solo type) and record your new creation. even the oldest and dustiest one. while the rhythm plays. Use the Mix sampling mode to capture audio in such a configuration. ‣ When you get the sound you want. it can be brought into life again and help you create yet new sounds. External vocoding In a similar fashion with the previous example. you can also process the signal coming from the external processor with another MFX unit. sampled with the Fantom itself. and also make it's parameter changes synchronized to the tempo. then select a simple patch for the carrier and. ‣ Create a rhythm loop with the rhythm part.mp3 you can hear a TB-303 patch from the Fantom routed into a Boss MT-2 Metal Zone distortion pedal. a more interesting point is that when you use the output B in individual outs mode (two mono outputs. if you have any kind of sound effects processor lying around. you can make the Fantom generate both carrier and modulator signals. However. ‣ Connect Fantom's output 3 (output B.Using an external processor with your Fantom So. Fantom can serve as a source of both carrier and modulator signals You can also create a single patch with tones routed to outputs 3 and 4. This way both the carrier and modulator signals routed to the vocoder can change it's pitch following the keys and result in very interesting new melodic sounds. 72 . using a vintage analog vocoder.mp3 .this one was made with a polyphonically-played saw wave as a carrier and drum loop as a modulator (coming from the Fantom).When used with a vocoder. ‣ Listen to Vocoded Rhythm. Typically refers to a sound with a static shape (i. “Time Variable Amplifier” is an amplifier with it’s own envelope generator. “Time Variable Filter” is a filter with it’s own envelope generator. A parameter of a filter which specifies the frequency range it works in: which part of the spectrum it will pass through.e. A device that modifies the spectrum of the sound.Dictionary Envelope Filter Generator LFO Modulation Oscillator Resonance Sample Slope TVA TVF Waveform Cutoff Defines how a certain characteristic of some sound changes over time. A digital recording of some sound or music. Applies cyclic changes onto a certain characteristic of sound. plays back a sample). A device that produces the initial sound (for example. An effect of high amplification of a certain frequency range. and which it will attenuate. A process of one device controlling a parameter of another device. In a filter. removing a certain range of frequencies. a characteristic that tells how drastic the edges of the spectrum curve are. A generator that produces a certain waveform in realtime by means of analog circuitry or computer analog modeling. typically appearing in a device whose output signal is partially or fully fed back into the input. that doesn’t change in time). 73 . TVA Velocity Sens. Depth TVA Level. Tone Velocity Range Coarse Tune.. MFX/Chorus/Reveb send level Wave Form. Step 1 . Depth 74 . Booster Gain. Cutoff Keyfollow. Velocity Sens. TVA/TVF/Pitch/Pan Depth Step Type. Env. Portamento Type/Time Tone Delay Mode. Analogue Feel Wave Form. Fine Tune. 16 value Mono/Poly. Fine Tune. Pitch Bender Range Pitch Env. Tone Key Range. Env. Attack/Decay/Release/Sustain Tone Output Assignment. Pitch Keyfollow. Destination. Offset. Tone Key Range. Switch Pitch Pitch settings Pitch Env TVF Pitch envelope Filter settings TVF Env TVA TVA Env Output LFO1/2 Step LFO Solo/Porta Misc CTRL1/2/3/4 Filter envelope Amplifier settings Amplifier envelope Output. Attack/Decay/Release/Sustain. Resonance. Env. Booster Gain. Tone Velocity Range Wave Form. Pan TVA Env. Analogue Feel Structure Type.Parameter Map Patch edit (Fantom-S/X) Screen General Wave TMT Description Common patch settings Waveform settings Tone Mix Table Parameters Octave Shift. Coarse Tune. Attack/Decay/Release/Sustain. Pitch Bender Range. Tone Env Mode CTRL1/2/3/4 Source. Attack/Decay/Release/Sustain. Tone Delay Time. Tone Delay Mode. Depth. Cutoff. TVF Env. Legato Switch. Pitch Keyfollow. Env. effects sends LFO settings Step LFO editor Solo/Portamento Miscellaneous Matrix Control Patch edit (Fantom-XR) Screen GENERAL TMT WG Description Common patch settings Tone Mix Table Waveform settings Parameters Octave Shift. Rate. Depth Filter Type.. Wave Gain Structure Type. Pitch Env. Wave Gain. Tone Delay Time. Cutoff. Resonance.. MFX/Chorus/Reveb send levels Wave Form. Attack/Decay/Release/Sustain. Destination. 16 value CTRL1/2/3/4 Source. Depth. Cutoff. Depth Filter Type. Wave Gain Tone Key Range Tone Velocity Range Coarse Tune. Pitch Keyfollow Pitch Env. TVA/TVF/Pitch/Pan Depth Step Type.. Pitch Bender Range Tone Delay Mode. Step 1 . Env. Pan TVA Env.. Legato Miscellaneous Matrix Control Parameters Structure Type. TVA/TVF/Pitch/Pan Depth Step Type. Destination. Env. Tone Delay Time. Cutoff Keyfollow.TVF Filter settings Filter Type. Pan. TVA Velocity Sens. Offset.. MFX/Chorus/Reveb send level Wave Form.. Analogue Feel Wave Form. Env. Depth. Offset. Depth TVA Level. Rate. Velocity Sens. effects sends LFO settings Step LFO editor Portamento Mono/Poly. Env. Attack/Decay/Release/Sustain. Switch TVA OUTPUT LFO1/2 STEP LFO MATRIX CTRL1/2/3/4 Amplifier settings Output. Attack/ Decay/Release/Sustain Patch/Tone Output Assignment. Legato Switch. Tone Env Mode CTRL1/2/3/4 Source. Attack/Decay/Release/Sustain. 16 value Portamento Type/Time Mono/Poly. Fine Tune. TVF Env. Juno-G) Screen (top) COMMON WG PRM KEY RNG VEL RNG PITCH PCH ENV TVF PRM TVF ENV TVA PRM TVA ENV OUTPUT LFO1/2 STEP PORTMNT CTRL MISC CTRL1/2/3/4 Description Top patch edit screen Common patch settings Waveform settings Key Range Velocity Range Pitch settings Pitch envelope Filter settings Filter envelope Amplifier settings Amplifier envelope Output. effects sends LFO settings Step LFO editor Matrix Control Patch edit (Fantom-Xa. Resonance TVF Env. TVA Env. Booster Gain Octave Shift. Depth TVA Level. Step 1 . Switch 75 . Attack/Decay/Release/Sustain Tone Output Assignment. TVA Velocity Sens. Rate. Destination. Sens 76 . Destination. Destination. Control Channel Effects edit (Fantom-XR) Screen (top) STRUCT MFX1/2/3 MFX1/2/3 CTRL Description Top effects edit scren MFX structure MFX settings MFX Control settings Parameters MFX/Chorus/Reverb sends. MFX chorus/reverb sends MFX units interconnection Settings specific to the selected MFX algorithm CTRL1/2/3/4 Source. Sens. Sens.Effects edit (Fantom-S/X) Screen Routing MFX Struct MFX 1/2/3 MFX Control 1/2/3 Description Effects routing MFX structure MFX settings MFX Control settings Parameters MFX/Chorus/Reverb sends. MFX chorus/reverb sends MFX units interconnection Settings specific to the selected MFX algorithm CTRL1/2/3/4 Source. MFX chorus/reverb sends MFX units interconnection Settings specific to the selected MFX algorithm CTRL1/2/3/4 Source. Control Channel Effects edit (Fantom-Xa. Juno-G) Screen ROUTING STRUCT MFX 1/2/3 CONTROL Description Effects routing MFX structure MFX settings MFX Control settings Parameters MFX/Chorus/Reverb sends. I wouldn’t have done anything like this without you! Great respect to Roland Corporation (especially the whole MI team) for their ever-flowing innovations and fantastic instruments. Stephane Pigeon. Jeff Easley. James Graves. Lawrence Wilkes and Ace Yukawa. Dmitry Jans. Alexander Molnar. Dave Boulden.Acknowledgements I would like to sincerely thank my wife and daughters for giving me countless bright days which greatly inspire to explore and create. Nathan Sheldon. Personal thanks to (in alphabetic order): Ray Booker. Jun Okuyama. Gordon Reid. Eugene Korol. Manish Kurup. Apple Computer. Audiofile Engineering. Vyacheslav Cherkashin. Additional thanks to all those who sent me their warm comments about the book. HansJörg Scheffler. 77 . Roman Luchkovsky.