Cronox 3 Manual

Transcription

Cronox 3 Manual

Cro n o X 3 & Sophis t r y
Us e r Guid e
Co py ri g h t
Li n P l u g V i r t u a l In s t r u m e n t s
Al l ri g h t s r e s e r v e d .
Gmb H ,
20 0 7 .
Concept by
Instrument by
Graphics by
Sounds by
Peter Linsener
Peter Linsener and Pavol Markovič
Branislav Pakić and Sean Evans
Dubhad,
Frank “Xenox” Neumann www.particular-sound.de
Junebug – www.electronisounds.com
Marco Lehmann – www.marcolehmann.com
Nico Herz - www.bigtone.de
Philippe Favre
Sophistry Sounds exclusively by Frank Neuman of Particular Sounds
Manual by
Chris Share
Many thanks to the helping hands of David Albone, Fabio D. García,
Richard Hider, Jacky Ligon, Joakim Fahlström, Matthew Tyas, Kelvin
Russell, Michael Kjeldgaard, Patrick Anglard and Patrick Robert!
All technical specifications of the products specified in this manual may be subject to change without notice. The documents
may not be changed, especially copyright notices may not be removed or changed. LinPlug and all LinPlug product names
are trademarks of LinPlug Virtual Instruments GmbH. Mac and the Mac logo are trademarks of Apple Computer, Inc.,
registered in the U.S. and other countries. The Build for Mac OS X graphic is a trademark of Apple Computer, Inc., used
under license. The Audio Units logo and the Audio Units symbol are trademarks of Apple Computer, Inc. Microsoft® and
Windows® are trademarks of Microsoft Corporation, registered in the U.S. and other countries. Cubase and VST are
registered trademarks of Steinberg Media Technologies GmbH. All other trademarks are the property of their respective
owners.
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Welcome
Thank you for purchasing the CronoX 3 or the Sophistry Sample
Synthesizer. For this manual we always talk of CronoX though almost
everything is identical applicable to Sophistry.
The CronoX 3 is a fully professional, highly-flexible, easy-to-use, thirdgeneration VST (Virtual Studio Technology) software sample-synthesizer
designed for creating music on your personal computer. Sophistry is
basically the same instrument but with a large exclusive sound library by
Particular Sounds. In this manual we only speak of CronoX but everything
applies to Sophistry as well.
The CronoX 3's key features include a selection of high quality presets in a
wide range of styles, an easy-to-use interface, highly flexible generators
which include time sampling and loop sampling options, two userprogrammable stereo filters, an enormous range of processing and
modulation options including a powerful arpeggiator, as well as a
sophisticated effects section.
This manual describes all aspects of the CronoX 3 Sample Synthesizer and
is designed so that your use of this software is as efficient and as painless
as possible.
We feel that the CronoX 3 is an exceptional instrument because of its
unique audio processing capabilities. We hope you get a lot of pleasure
using the CronoX 3 sample synthesizer and that it becomes an integral part
of your music-making.
The LinPlug team, May 2007
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Table of Contents
Welcome...................................................................................................... 3
Installation.................................................................................................... 7
Features....................................................................................................... 9
Main........................................................................................................... 13
Generator............................................................................................... 14
Filter....................................................................................................... 15
Effects 1/2.............................................................................................. 16
Effects 3/4/5/6........................................................................................ 17
Preset Browser/File................................................................................ 18
Glide...................................................................................................... 19
Miscellaneous........................................................................................ 20
Chord (Chord Memory)...................................................................... 21
ECS (Easy Controller Setup)............................................................. 22
Volume.............................................................................................. 22
Keyboard (“Keys”).............................................................................. 22
Gen 1 + 2 and Gen 3 + 4............................................................................ 25
Generator Output................................................................................... 26
Oscillator Generator............................................................................... 27
Time Sampler Generator....................................................................... 28
Schrader Generator............................................................................... 31
Loop Sampler Generator........................................................................ 32
Settings Window................................................................................ 33
Waveform Window............................................................................ 34
Filters......................................................................................................... 36
Filter Type.............................................................................................. 37
S Filter............................................................................................... 37
F Filter............................................................................................... 37
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Cutoff / Resonance................................................................................ 37
Filter Envelope....................................................................................... 38
Effects........................................................................................................ 40
Delay...................................................................................................... 42
St (“Stereo”) Delay................................................................................. 43
Ping Pong (Delay).................................................................................. 44
Chorus................................................................................................... 45
Phaser................................................................................................... 46
Filter....................................................................................................... 47
Reverb................................................................................................... 48
Flanger................................................................................................... 49
Gator...................................................................................................... 50
Stereo Enhancer.................................................................................... 52
Parametric EQ....................................................................................... 53
Crusher.................................................................................................. 54
Modulation.................................................................................................. 56
Envelopes.............................................................................................. 57
LFO........................................................................................................ 59
Arpeggiator............................................................................................ 61
Mode ................................................................................................. 61
Retrigger ........................................................................................... 63
Step Display....................................................................................... 63
Length ............................................................................................... 64
Swing................................................................................................. 64
Velocity (Vel) ..................................................................................... 64
Step................................................................................................... 65
Octave............................................................................................... 65
Modulation Matrix................................................................................... 66
Settings...................................................................................................... 68
Registration............................................................................................ 69
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Library Location / Startup Patch............................................................. 70
Global..................................................................................................... 71
Signal Flow............................................................................................. 72
Optimizing CPU Usage............................................................................... 72
Glossary..................................................................................................... 73
MIDI Implementation Chart........................................................................ 75
Appendix A: Delay Sync Settings............................................................... 76
Appendix B: Stereo and Ping Pong Delay Sync Settings............................ 76
Appendix C: Flanger Sync Settings............................................................ 76
Appendix D: LFO Sync Settings................................................................. 77
Appendix E: Arpeggiator Clock Settings..................................................... 77
Appendix F: Modulation Matrix Sources and Destinations.......................... 78
Modulation Sources............................................................................... 78
Modulation Destinations......................................................................... 80
Appendix G: Using TUN files in the CronoX 3............................................ 83
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Installation
Installation on PC
The CronoX 3 comes with its own Installer. On the CronoX 3 CD you will
find a file named "CronoX3Installer.exe". Double-click on this file to begin
the installation process. The Installer will guide you through the installation
process. Make sure you choose the right directory, so your host software
finds the CronoX 3 instrument.
Refer to your host software's manual if you are unsure about where the host
software plug-in directory is located.
The instrument file "CronoX.DLL" and the sounds will be placed in the
chosen directory. The next time you start your host software the CronoX 3
will be listed in the VST Instrument list.
Installation on Mac
The CronoX 3 comes with its own Installer. On the CronoX 3 CD you will
find a file named "CronoX 3 Installer.dmg". Double-click on this file to open
the image, then double-click the installer program to begin the installation
process.
You will be guided through the installation process. The instrument files
"CronoX 3.vst" and “CronoX 3.component” and the sounds will now be
placed in the appropriate directories on your Mac. The next time you start
your host software the CronoX 3 will be listed in the VST or AU Instrument
list.
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Common to Mac and PC
After you've installed and opened the full version of the CronoX 3, go to the
instrument's Settings panel. The Serial Number section is located in the top
left corner. The Serial Number edit box will read "Enter here". Enter the
serial number you have received via email or which is printed in your
manual into the Serial Number edit box. If the serial number has not been
entered or it has been entered incorrectly, the full version of the CronoX 3
will not play any notes.
If you have any questions regarding the installation of CronoX 3 please
contact our support team at www.linplug.com/support/support.htm.
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Features
The CronoX 3 contains a range of features designed to make your musicmaking more efficient and enjoyable. These features include:
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4 Generator modules with 4 types of Generator. Generator
modules include Oscillator, Time Sampler, Schrader and Loop
Sampler. FM modulation and AM modulation options.
Analogue-modeled Oscillator Generator for analog-style
synthesis.
Time Sampler Generator with real-time control, separate timestretching and pitch-shifting.
Schrader Generator, a unique Generator that offers wavetable-like
operation using any sample.
Loop Sampler Generator with individually modulatable loop points
and start point.
2 analog-style multimode stereo filters with modulatable cutoff
frequency and resonance.
ADSFR-type envelope for controlling Amplitude and Filter Cutoff
as well as two freely assignable Modulation Envelopes.
4 independent LFOs with various waveforms and midi-sync
capabilities. LFO Waves have adjustable delay, attack and decay
time and waveform-symmetry.
Modulation Matrix which includes 10 routings with 30 sources and
56 destinations.
Fully recognizes Velocity, Aftertouch, Pitch bend , Modwheel and
various other MIDI controllers
A sophisticated effects section containing 12 effects including
various Delays, Chorus, Phaser, Filter, Reverb, Flanger, Gator,
Stereo Enhancer, Parametric EQ and Crusher.
Mono/Polyphonic Portamento/Glide featuring “Fingered” mode,
switchable constant Time/constant Rate and Auto-Bend Modes.
32-voice polyphony (CPU dependent).
Adjustable voice limit (1...12, all).
Onscreen keyboard incorporating control of MIDI velocity.
Operates under all AU and VST 2.0 hosts on PC and Mac OS X.
Supported audio formats include WAV and AIFF up to
24bit/96kHz.
Sample accurate timing, full automation and settings are saved
with your song.
Modular design for both Generator, Filter and Effects sections.
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Overview
The CronoX 3 is a 32 note-polyphonic VST sample synthesizer with some
extraordinary features. The instrument has a modular design that includes
various Generator, Filter, Effects and Modulation modules.
In order to understand how the CronoX 3 works it’s important to know how
the instrument’s various modules relate to one another. The block diagram
below shows the audio signal flow within the CronoX 3 sample synthesizer:
The design of the CronoX 3 can be divided into 4 main sections: Generator,
Filter, Effects and Modulation. The Modulation section contains the
instrument’s Envelopes, LFOs, Arpeggiator and Modulation Matrix.
Audio signals are created by a Generator that gets pitch information from
the synthesizer's MIDI input (either externally or from the onscreen
keyboard).
The CronoX 3 has 4 independent Generators offering a choice of 4 different
Generator modules—Oscillator, Time Sampler, Schrader and Loop
Sampler.
The output of the various Generators can be combined in any one of
several ways. The signals can be mixed together proportionately or the
outputs of Generator 1 and 3 can be used to modulate the frequency and
amplitude of Generators 2 and 4 respectively. This latter option increases
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the harmonic spectrum of the modulated Generator producing very
interesting, harmonically-rich results. At this point the signals can also be
detuned and thickened using the Spread control.
The output of the Generator section is then routed through the Filter
section. The filter modifies the harmonic spectrum of the output signal. The
Filter section includes an ADSFR envelope for controlling its cutoff
parameter.
Following the Filter section is the CronoX 3's Effects section which contains
6 independent effects processors (Effects 1 and 2 are in parallel, with Effect
1 following Filter 1 and Effect 2 following Filter 2, while Effects 3, 4, 5 and 6
are in series). A wide range effects processors are available including a
modulatable delay, a stereo delay, a “ping pong” delay, a chorus, a phaser,
a filter, a reverb, a flanger, a gate, a stereo enhancer, a parametric EQ and
a bit-reduction/sample-rate reduction distortion. Each effects processor is
described in detail later in this manual.
The audio outputs of the CronoX 3 are automatically connected to the input
of your host software's mixer. Here you can set the overall pan position of
the CronoX 3's output. If you are working in 5.1, and using a host program
such as Cubase SX3 or Nuendo, you can connect the output directly to a
5.1 channel.
At various points throughout the CronoX 3’s signal path you can modulate
the audio signal using the various controls found in the instrument’s
Modulation section. Available modulation controls include 5 envelopes, 4
LFOs, a Modulation Matrix “patchbay” and an arpeggiator. MIDI Controllers
can also be used to modulate any of the CronoX 3’s parameters.
If at any stage you are unsure about the internal structure of the CronoX 3,
a signal flow diagram is provided in the upper-right section of the Settings
panel.
Hopefully, this chapter has given you a brief overview of how the CronoX 3
works. More detailed information can be found in the following chapters.
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Controls
Most controls are changed by clicking and moving the mouse either
upwards to increase the parameter’s value, or downwards to decrease it.
Please note that even horizontal controls (like those used in the Effects
section) are operated vertically.
Holding down the ALT key while clicking on a control changes the selected
control's value a minimum step upwards (when clicking in the upper half of
the control) or a minimum step downwards (when clicking in the lower half
of the control).
Holding down the CTRL key while clicking on a control sets the control to its
default value (e.g. for Volume controls it sets the control's value to -6 dB).
The CronoX 3 features an “X-Y” type control. This control allows you to vary
2 different parameters simultaneously. One parameter (X) is controlled by
the horizontal position of the intersection of the two indicator lines. The
other parameter (Y) is controlled by the vertical position of the intersection
of the two indicator lines.
The CronoX 3 also includes a Circular Slider type control. This control
operates in the same way as a conventional slider, however it moves along
an arc of a circle.
All Controls can be controlled using external MIDI messages. To do this you
need to use the CronoX 3's Easy Controller Setup (ECS) which is described
in detail later in this manual.
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Main
The user interface of the CronoX 3 has been redesigned in order to make
using it easier and more streamlined. A major difference between the user
interface of the CronoX 3 and that of its predecessor the CronoX 2 is that
several of the most commonly used controls for the instrument’s various
sections have been grouped together on a single Main “easy edit” page.
The idea behind this is to give the user direct access to the instrument’s
most commonly used controls. It is important to remember however that
each section can still be edited in detail on its own respective panel.
The CronoX 3’s Main panel can be divided into 7 sections: Generator, Filter,
Effects 1/2 (“FX 1/2”), Preset Browser/File, Effects 3/4/5/6 (“FX 3/4/5/6”),
Glide and Miscellaneous.
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Generator
The Generator section is located on the upper left of the instrument’s Main
panel. The Generator section contains the most important controls for each
Generator. This section contains the following controls: X-Y Editor, Cent,
Power and Edit.
The X-Y Editor control is used to set the Filter-Balance (X) and the
Generator Volume (Y).
The Cent control is used to set the Generator's pitch in cents (a semitone is
equal to 100 cents). A range of -100 to +100 cents is available.
Inside the Cent control is the Power button which is used to set the status of
the Generator. This can be either On or Off. When the Generator is On, the
button is green. Clicking on the button switches the Generator on and off.
Clicking on the Edit button opens the Panel for the respective Generator.
This enables quick access to the Generator’s various parameters for more
detailed editing.
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Filter
The Filter section is located on the upper middle of the instrument’s Main
panel. The Filter section contains the most important controls for each
Filter. This section contains the following controls: Cutoff, Resonance,
Power and Edit.
The Cutoff circular slider is used to set the frequency of the filter.
The Resonance circular slider is used to set the amount of emphasis
around the filter’s cutoff frequency.
Inside the Cutoff/Resonance control is the Power button which is used to
set the status of the Filter. When the Filter is On, the button is green.
Clicking on the button switches the Filter on and off. Off means that any
signal routed to the respective filter passes through the section without
filtering being applied.
Clicking on the Edit button opens the Panel for the respective Filter. This
enables quick access to the Filter’s various parameters for more detailed
editing.
In the case of Filter 1, the output signal is sent to Effect 1, while in the case
of Filter 2 the output signal is sent to Effect 2.
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Effects 1/2
The Effects 1/2 (“FX 1/2”) section is located on the upper right of the
instrument’s Main panel. The Effects 1/2 section contains the most
important controls for the first two effects processors.
The Effect Type display shows the currently loaded effects processor and
also enables you to change the current effect. To change the current effect
click on the effect type and then select another effect from the pop-up list
that appears. For more information about the available effects processors
please see the Effects Panel section of this manual.
The Send circular slider is used to set the amount of signal sent to the input
of the respective effects unit.
Inside the Send controls is the Power button which is used to set the status
of the Effects processor. This can be either On or Off. When the Effects
processor is On, the button is green.
Clicking on the Edit button opens the Panel for the respective Effects
processor. This enables quick access to the Effect processor’s various
parameters for more detailed editing.
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Effects 3/4/5/6
The Effects 3/4/5/6 (“FX 3/4/5/6”) section is located on the lower middle of
the instrument’s Main panel. The Effects 3/4/5/6 section contains the most
important controls for the last four effects processors. This section contains
the following controls: Effect Type, Send, Power and Edit. These are
described below.
The Effect Type display shows the currently loaded effects processor and
also enables you to change the current effect just like for Effect 1 and 2.
The Send circular slider is used to set the amount of signal sent from the
output of the filter to the input of the respective effects unit.
At the top of each Effect is the effect’s Power button which is used to set
the status of the Effects processor to either On or Off.
Clicking on the Edit button opens the Panel for the respective Effects
processor. This enables quick access to the Effect Processor’s various
parameters for more detailed editing.
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Preset Browser/File
The Preset Browser section is located on the bottom left of the Main panel.
It consists of three separate control sections: the Preset Browser/File
section, the Voices section and the Precision section.
The Preset Browser consists of a two-part display. The upper part shows
the bank and the lower one shows the preset. Whenever a preset is loaded
using the file controls below these displays, the preset name is updated with
the name of the loaded preset and the bank name with the name of the
folder from which the preset is loaded.
By default the Preset Browser points to the factory presets installed with the
CronoX 3. Presets can be changed in four ways. A new preset can be
loaded with the file controls, either by clicking the load button or by clicking
the prev/next buttons located to the left and right of the load button. You can
select the desired preset from the lower display, which turns into a menu
when you click it. And you can send a MIDI program change command to
CronoX 3.
The current bank can be changed in three ways: by loading a preset from a
different folder; by selecting the desired bank from the upper display, which
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also turns into a menu when you click it; and by sending the instrument a
MIDI Bank Select message.
The File Controls are used for all File-related operations. The Load button
opens a dialog that lets you select a file for loading. The Previous and Next
buttons allow you to traverse a list of CronoX 3 presets. The Save button
allows you to save the current preset settings.
The settings of all sections are saved with the preset. The CronoX 3 loads
and saves all of its presets directly to hard disk so your computer's RAM
does not limit the number of available presets.
The Voices control is used to set the number of voices ("polyphony")
available. The maximum polyphony is 32. A variety of settings are available
for polyphony. These include "mono", "2" to "12" and "all". One thing that
may be confusing is the "mono" setting. It can be explained as follows. Say
that you hold down one key and then press and release a second key. In
the case of the "mono" voice setting, the first note will sound, and then the
second note sounds. When the second note is released the first note
sounds again. This creates a "pedal tone" effect.
The "Precision" control can be used to set the accuracy of the CronoX 3's
signal generation. When the "Precision" control is set to less than 100%
small inaccuracies are introduced into the waveform at various points in the
CronoX 3's signal chain. This is useful if you're trying to replicate the
warmth of an old analog synthesizer. Precision can be set in a range from
85% to 100%.
Glide
The Glide or "portamento" section allows you to set the CronoX 3's
portamento parameters. "Glide" continuously changes the pitch from one
note to the next, connecting the notes and letting you smoothly "glide" from
one to the other.
The Glide section has three controls: the Glide button, the Auto Bend
control, and the Time/Rate control.
The Time/Rate control has two settings: Time and Rate. These settings
determine the manner in which the pitch of one note moves to that of the
next note. When set to "Time", it takes a constant amount of time to move
from one note to the next. In this case it will take the same amount of time
to reach the destination pitch regardless of whether the preceding notes are
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a semitone apart or an octave apart. When set to "Rate", the amount of
time it takes to move from one note to the next depends upon how far apart
the two notes are. The further apart the notes, the longer it will take for the
pitch of the first note to reach that of the following note.
The Glide button has 4 values: Off, Bend, Held and On. The On and Off
functions turn "Glide" on and off. When "Glide" is on, the Time/Rate circular
slider is used to set the length of time it takes for the first note to reach that
of the second note. The "Held" setting works as follows. If notes overlap
then Glide is applied, however if they don't then the notes are played
without Glide. This makes it possible to apply Glide only to selected notes.
"Bend" allows you to apply a predetermined pitch bend to each note. The
bend range is set using the Auto Bend control. A bend range of -48 to +48
semitones is available.
Miscellaneous
The CronoX 3 contains several controls that perform general functions
within the instrument. These controls are located along the lower part of the
instrument’s user interface and are available from any of the instrument’s
panels. The controls include: Chord, ECS, Volume, 5.1 Mix/Keys, Keyboard
and LinPlug/CronoX logos.
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Chord (Chord Memory)
The Chord (Chord Memory) function allows you to record chords and
include them with the current preset. To access the Chord section click on
the “Chord” button which is located on the lower left of the CronoX 3’s front
panel. Clicking the Chord button opens a popup menu where you can
choose from the following options: “Off” (Chord memory is switched Off and
has no effect), “Learn” (Chord memory stores any notes (up to a maximum
of 8) that you play) and Play (any single note played will trigger the whole
chord that was entered in Learn Mode).
The Chord memory function is very useful when combined with the CronoX
3’s Arpeggiator. Note that the order in which notes are played in Learn
Mode is important: the first note is taken as the root or basic note and all
successive notes are stored by interval relative to this first note. For
example, if you "learn" the chord C-E-G by actually playing the E first, the C
is stored as -4 semitones and the G as +3 semitones. This means that if
you play a C note when in Play mode, the resulting chord will be G#-C-D#.
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ECS (Easy Controller Setup)
The ECS (Easy Controller Setup) section makes it simple to control the
CronoX 3 from an external MIDI controller (either hardware or software).
To access the ECS section click on the ECS button which is located on the
lower left of the CronoX 3’s front panel. Clicking on the ECS button opens a
popup menu containing the following items: Off, Learn, Clear, Clear All,
Load and Save.
To use the CronoX 3’s ECS feature, proceed as follows. Click on the ECS
button and then select “Learn” from the popup menu. Select a CronoX 3
parameter with the mouse and then send some MIDI messages to the
CronoX 3 from your MIDI source. Then click on “Off”. That's all there is to it!
From now on you can change the selected parameter with the chosen
controller. In addition to this, more than one controller can be defined to
change a particular parameter. In fact, you can define up to 128 parametercontroller-combinations. This does not depend on the type of controller you
have nor the particular MIDI Control Change messages it sends.
ECS settings can be saved and restored using the "Load" and "Save"
functions found in the menu that pops up when you click the ECS button. In
addition, a single controller assignment can be cleared using the "Clear"
menu entry. To do this, select “Clear” from the ECS popup menu (the ECS
light goes on) and move control that you wish to be cleared (de-assigning it
from the MIDI Control Change message it is currently controlled by). Don't
forget to switch off the Clear function by clicking the “Off” button after you
have finished!
The “Clear All” menu item clears all controller-parameter assignments at
once.
Volume
The "Volume" control sets the overall CronoX 3's volume. Volume can be
set in a range from -oodB to +6dB
Keyboard (“Keys”)
The CronoX 3 gives the user the option of displaying either the keyboard or
the control section for its 5.1 mixer.The CronoX 3 features a built-in 61-note
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piano keyboard that you can use to play the instrument if a hardware
controller is not available. The keyboard is displayed at the bottom of the
instrument when the Keys button is selected. The keyboard is “Velocity
Sensitive”. The lower (in the vertical screen direction) the position of the
mouse click on the keyboard note, the higher the note velocity.
5.1 Mix
The CronoX 3 contains a dedicated 5.1 Mixer that can be used in host
programs that support 5.1-format audio mixing. The 5.1 Mixer is displayed
at the bottom of the instrument when the 5.1 Mix button is selected.
The mixer enables 7 different signal sources to be positioned within the 5.1
sound stage. The available signal sources are: Generator 1, Generator 2,
Filter 1, Filter 2, FX 1, FX 4 and FX 6.
The 5.1 Mixer contains the following sections: Source, Volume, Left/Right,
Front/Rear, Center, LFE (Low Frequency Effects) and Display.
The heart of the 5.1 Mixer is the Display section located on the right of the
mixer. It shows a virtual “room” in which the source signals can be
positioned. Each source signal appears in the Display as a number which
can be moved left and right, and forwards and backwards within the room.
To show the current position of a signal source select the source in the
Source section at the far left of the 5.1 Mixer. The selected source will then
appear as a number in the Display.
Signal sources can be positioned in two ways. The first way to reposition
the signal source is to click on its number in the Display and then drag it to
a new position. The second way to reposition the signal source is to use the
“Left/Right” and “Front/Rear” sliders to the left of the Display.
The overall volume of the source signal can also be set using the Vol
(“Volume”) slider. This control acts independently of the other controls.
The “Center” control is used to set the signal level of the Center channel.
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The LFE (“Low Frequency Effects”) control is used to set the signal level of
the Low Frequency Effects channel. This channel is specifically designed to
handle low frequency signals.
Mixing for 5.1 audio systems is a complex topic, far beyond the scope of
this manual. For further information the following two books are
recommended:
Spatial Audio by Francis Rumsey
5.1 Surround Sound: Up and Running by Tomlinson Holman
When the 5.1 Mixer is used in a stereo environment only the X-axis
(Left/Right) is of relevance in terms of placing a signal in the stereo
panorama. The Center and LFE parameters should not be used in pure
stereo environment. Presets which are designed for 5.1 environments will
also play in a pure stereo environment. In this case, the Center and LFE
channel will be mixed to both left and right outputs.
HINT: When you are automating parameter changes it’s best to tweak
parameters from the main screen. This is because the amount of
automatable parameters may be limited in your host program. For
example, if you want to automate Filter 1 Cutoff, it’s best to do so from Main
panel rather than Filter panel.
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Gen 1 + 2 and Gen 3 + 4
The CronoX 3 contains 4 separate sound sources: Generator 1, 2, 3 and 4.
These can be used to produce a wide variety of sounds.
The controls for Generators 1 and 2, and Generators 3 and 4 are located on
two separate panels labeled “Gen 1 + 2” and “Gen 3 + 4”. The panels can
be accessed by clicking on the respective tab at the top of the instrument.
As these two panels are essentially the same, their descriptions have been
grouped together. The only difference between Gen 1 + 2 and Gen 3 + 4 is
that the Loop Sampler option is not available in Generators 3 and 4.
Four sound source types are available within the CronoX 3: "Oscillator",
"Time Sampler", "Schrader" and "Loop Sampler". In the case of the first
Generator, we've used the term "Oscillator" to describe waveforms that are
created in real-time much as in true analog synthesizers. To change
Generators click on the menu to the right of the Generator section's label.
Each Generator also has its own On/Off switch located to the left of the
module's menu.
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If you don’t want to use one of the Generators it's best to switch it off as this
conserves CPU resources. However, make sure that at least one Generator
is switched on, otherwise the instrument will not produce any output.
Each Generator operates in a different way and has a different set of
controls, however some Generator controls operate the same way in all
Generators. The controls that are “common” to all Generators are described
first, followed by those that are unique to their respective Generator.
Generator Output
The Generator Output section of the CronoX 3 is where the mixing and
output destination of the synth's four Generators is controlled. This section
is located on the left of each Generator section. Generators 1 and 3 contain
five controls: Mix, AM and FM buttons as well as Filter Balance and Volume
circular sliders. Generators 2 and 4 contain two controls: Filter Balance and
Volume circular sliders.
The Mix, AM and FM buttons determine the output destination of
Generators 1 and 3 (these buttons are only found on Generators 1 and 3).
When the Mix button is selected the output of both Generators 1 and 2, and
Generators 3 and 4 is combined. The AM (Amplitude Modulation) button
enables the amplitude of Generator 1 to be modulated by Generator 2. This
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type of modulation can be used to produce rich and complex waveforms.
The FM (Frequency Modulation) button allows the frequency of Generator 1
to be modulated by Generator 2. This type of modulation is great for
producing metallic, bell-like tones.
If a stereo sample is used in the Loop Sampler Generator as modulation
source, then only the left channel is used.
The setting of the Bal (“Filter Balance”) circular slider determines the
proportion of the signal that is sent to Filter 1 and Filter 2. Turning the “Bal”
circular slider all the way to the right sends all of the oscillator's output to
Filter 2, while turning it all the way to the left sends all of the output to Filter
1.
The Volume circular slider is used to set the output level of the Generator. If
the Generator is being used for either AM or FM then this also controls the
intensity of the modulation.
Oscillator Generator
The CronoX 3's Oscillator Generator module creates its waveforms in realtime. The Generator uses 64-bit internal resolution and allows full control
over all waveform parameters including pulse width. You can morph
between waveforms and use the continuous Pulse Width control. This gives
a wide range of classic analogue sounds. The CronoX 3's Oscillator
Generator contains the following controls: Waveform, Symmetry, Spread,
FreeRun, Track, Octave, Semitone and Cent. These are described below:
The Waveform circular slider sets the Generator's waveform shape. When
turned all the way to the right it outputs a pulse wave. When turned all the
way to the left it outputs a sawtooth wave. In intermediate positions it
outputs a waveform that is a combination of the two. Range:
Sawtooth...Pulse.
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The Symmetry circular slider affects the waveform's shape, expanding and
contracting it, as in the case of pulse width modulation. In this case
however, the waveform reshaping can be applied to any available
waveform. Range: 5%...100%.
It's quite common for synths to offer a Unison mode in which several or all
of the oscillators are simultaneously detuned to create extremely fat, rich
sounds. However, on most synths this mode has a major drawback: the
synth becomes monophonic. A special feature of the CronoX 3 is that it
allows polyphonic unison. That is, the detuning of Generators without the
loss of polyphony. The Spread circular slider is used to set the CronoX 3's
level of polyphonic unison. When moved from the leftmost position the
slider gradually detunes five of the currently selected Generators to produce
a thick and fat sound. This does not affect polyphony (however it does use
more CPU resources). Range: Off, 0...50 cent.
The FreeRun button is used for setting the starting point in the waveform’s
cycle when a MIDI note-on message is received. When the FreeRun button
is switched off, the waveform always begins from the starting point of the
cycle. For example, if the Oscillator is producing a sine wave then the
waveform generated will always begin from 0. When the FreeRun button is
switched on, the Oscillator runs continuously, so that the phase of the
waveform when a note-on message is received will be at a random point is
the cycle, not necessarily at the start of the cycle
The Track button determines whether the Generator tracks the pitch of
incoming MIDI messages. If Track is switched off the frequency of the
Generator depends on the Octave, Semitone and Cent settings.
The Oscillator Generator module contains several controls for generator
tuning. These include: Octave, Semitone, and Cent. Octave sets the
Generator pitch in octaves. A range of -2 to +7 octaves is available.
Semitone sets the Generator pitch in semitones. A range of -11 to +11
semitones is available. Cent sets the oscillator pitch in cents (a semitone is
equal to 100 cents). A range of -100 to +100 cents is available.
Time Sampler Generator
The Time Sampler Generator is one of the key features of the CronoX 3. In
some ways, the Time Sampler Generator is like a conventional sampler:
you load a WAV or AIFF file into the Generator and then trigger it. However,
the Time Sampler Generator is no ordinary sampler.
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It holds just one sample and there are no velocity splits or key regions.
Although only one sample is used as basic waveform for the Time Sampler
Generator, what you can do with this one sample is unique. You can timestretch it in real-time (time is available as modulation destination!). You can
pitch-shift it without affecting the duration. And you can use key tracking to
control the Time parameter, allowing you to create really weird samplebased sounds! Of course you can also reverse the sample, as well as use it
for amplitude and frequency modulation. The CronoX 3's Time Sampler
Generator contains the following controls: Sample, Start, Reverse, Track,
Spread, TimeTrack, Time, Octave, Semitone, Cent and Root. These are
described below:
The Sample control is used for loading and unloading samples. The Load
button (folder symbol) opens a dialog that lets you select a file for loading.
The Previous and Next buttons allow you to traverse a list of samples. The
Clear button (X symbol) is used to remove a sample from the Generator.
The Start control is used to set the start point of the sample. If set to 0 the
sample starts right from the file’s original start point. Higher values set the
start point to later in the file. Range: 0…99%.
The Reverse button enables you to play the sample in reverse so that it
plays from the end to the beginning. Range: On/Off.
incoming MIDI. If Track is switched off the frequency of the Generator
depends on the Octave, Semitone and Cent settings. Range: On/Off.
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The TimeTrack control enables you to set the duration of the sample
independently of its pitch. Let’s say for example, your sample's root note is
C3 and that it is 4 seconds in duration. What happens to the duration of the
sample when you play a C4? This is where Time Tracking comes into play.
If you set the Time Tracking control to 0, the sample duration remains at 4
seconds. If you set the Time Tracking control to 100%, the sample duration
will be reduced to 2 seconds (a doubling of the frequency results in a
halving of the duration, just as in the case of a conventional sampler). If you
set the control to 50%, the duration will be about 3 seconds, while with a
setting of -100% the sample is reversed and has a duration of 8 seconds.
Range: -100%...100%
The Time control enables you to continuously time-stretch the loaded
sample in real-time. As a result, you can shorten or lengthen the sample
independently of its pitch. For example, a value of 133 means that the
sample is 133% of its original length. If it was originally 3 seconds in
duration it becomes four seconds in duration. Range: 25...3200.
The Octave, Semitone and Cent controls are used to set the Generator's
pitch. Octave sets the Generator pitch in octaves. A range of -3 to +3
octaves is available. Semitone sets the Generator pitch in semitones. A
range of -11 to +11 semitones is available. Cent sets the oscillator pitch in
cents (a semitone is equal to 100 cents). A range of -100 to +100 cents is
available.
The Root control enables you to set the unity note of the loaded sample. If,
for example, you set Root to "C1" and play a C2 the sample will be played
one octave above its original frequency. In the case of the Time Sampler
Generator, if you wish to obtain the most natural sound then it's essential
that the sample's root note is set to the same note as the one at which the
sample was initially recorded. Otherwise the Generator will produce unusual
effects. In many cases however, it is precisely these effects that give the
CronoX its interesting and unique sounds. Range: CO...C6.
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Schrader Generator
The CronoX 3's "Schrader" Generator module uses a sample to generate a
wavetable. This Generator works best with samples that are both exactly in
tune and without regions of silence. The CronoX 3's Schrader Generator
contains the following controls: Sample, Start, End, Track, Spread, Speed
Track, Speed, Octave, Semitone, Cent and Root.
The Previous and Next buttons allow you to traverse a list of samples.
The Start and End controls (located below the Sample control) enable a
fraction of the sample to be selected as a basis for the wavetable. Range
0...100%.
The Speed Track circular slider determines whether the playback speed
gets faster with higher notes (positive tracking) or slower (negative
tracking). This can be used for achieving an effect similar to that found on
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conventional samplers where playback gets faster as pitch increases.
Range: -1...+1.
The Speed circular slider determines the playback speed of the wavetable
where 1.0 is the approximate speed of the original sample. Interesting
results are usually achieved with slower playback, rather than with faster
playback.
Range: 0.01...32.
available.
for example, you set Center to "C1" and play a C2 the sample will be played
one octave above its original frequency. In the case of the Schrader
Generator, to obtain clean wavetables it's essential that the sample's root
note is set to the same note as the one at which the sample was initially
recorded. Otherwise the Generator will produce rough, harsh sounds.
Range: CO...C6.
Loop Sampler Generator
The CronoX 3's "Loop Sampler" Generator is ideally suited to looping
samples. But again in a more creative way as you used to do.
The user interface for this Generator is divided into two parts: the Settings
window on the left and the Waveform window on the right. These two
sections contain a range of controls which are described below:
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Settings Window
The Settings window contains the following controls: Track, Release Loop,
Sample Bank Selector, File, Key, Velocity, Volume, Octave, Semitone, Cent
and Smooth.
The setting of the Release Loop button determines what happens in terms
of sample playback after a note is released. When the Release Loop
button is on, sample playback continues from within the loop even after a
Note Off message is received. This means that the segment of the loop
after Loop-End point never gets played. When the Release Loop button is
off, sample playback ends with the segment of the loop after Loop-End
point.
The Sample Bank Selector button array is located on the left of the Settings
window. It consists of 8 small square vertically-aligned buttons labeled from
“A” to “H”. These buttons allow you to choose between 8 screens, each of
which displays 8 sample "slots". The screen A displays "slots" one to eight,
while screen B displays slots nine to sixteen, and so on. If you're using a
multisampled instrument you may need more than eight "slots". In this case
you can switch to screen B to see "slots" nine to sixteen and so on up to
"slot" sixty-four on the eighth screen.
The File display shows the name of the currently loaded sample/s.
The Key setting is used to determine which note triggers a sample. If you
want the Loop Sampler Generator to play more than one sample, use a
different Key for each separate sample. In this way you can have sixty-four
different samples triggered by sixty-four different notes within one Loop
Sampler Generator. If you use velocity-split samples the Key for all samples
will be the same, however a different velocity range (see below) will trigger
each sample.
The Velocity setting determines the velocity range in which a particular
sample is triggered. Setting different velocity ranges for individual samples
allows you to create expressive multisampled instruments that respond
dynamically to MIDI input. For example, imagine that you have three
samples assigned to a single key. If you set the sample velocities so that
sample 1 is triggered in the 1 to 59 velocity range, and sample 2 is triggered
in the 60 to 89 velocity range you have what is known as hard velocity
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switching. If however, you overlap the two samples' velocities (for example,
sample 1 is triggered in the 1 to 80 velocity range while sample 2 is
triggered in the 50 to 100 velocity range) you create what is known as a
velocity crossfade. In the crossover region (50 to 80) the volume of one
sample is successively reduced, while the volume of the other sample is
successively increased until only one sample is heard.
The Vol (Volume) setting adjusts the volume of samples. This parameter is
useful when the samples used in a multisampled instrument have different
volume levels. Adjusting the Vol setting enables multisamples to be
matched to each other thereby producing a more realistic Instrument. The
Vol setting can also be used to adjust the volume of individual samples
within layered Instruments in order to make them sound smoother.
available.
The Smooth (“Smoothing”) setting determines the degree of loopsmoothing when loop points are used. The maximum setting is 99.9%. A
setting of 50% means that half of the loop's length is used for smoothing.
Depending on the loop length, a typical setting is between 5 and 20%. It's
best to use higher smoothing settings for shorter loops. Smoothing cannot
be applied when the loop start point is the same as the sample start point.
Range: 0.1...99.9.
Waveform Window
The Waveform window is used to load a sample as well as to control the
sample’s playback parameters. It contains the following controls: Waveform
Display Selector, Sample, Snap, Reverse, Root, Waveform Display, View
Slider and Magnification.
The Waveform Display Selector consists of a vertical series of triangular
arrows pointing to the right. It is located to the left of the Waveform display.
Each arrow displays the waveform for the corresponding sample slot.
The Previous and Next buttons allow you to traverse a list of samples. Once
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loaded, the sample’s name is displayed to the right of the Next button. The
Clear button (X symbol) is used to remove a sample from the Generator.
The setting of the Snap button determines whether sample loop points are
restricted to zero crossing points or not. When switched on, (the default
setting) sample loop points can only be set to a zero-crossing point within
the sample. This produces a smoother, more natural sound. When the Zero
Crossing button is switched off, sample loop points can occur from any
point within the waveform. This can be used to produce aggressive or
"clicky" sounds.
The "Reverse" setting determines the direction in which the sample is
played back. Normally, samples play from start to end. However, by clicking
on the R button sample playback is reversed.
for example, you set Center to "C1" and play a C2 the sample will be played
one octave above its original frequency. Range: C-2...G8.
The Waveform Display window shows the currently selected sample as well
as the loop's startpoint marker (a bright red vertical line), endpoint marker
(a darker red vertical line), and the sample's startpoint marker (a green
vertical line). The sample data in the loop region is also drawn in a light
green colour. To adjust these markers click on or near the vertical line. The
degree to which the Loop Startpoint and Loop Endpoint can be modulated
is adjusted by clicking near the top of the loop's startpoint marker (the first
red vertical line). The width of the small horizontal rectangle indicates the
maximum modulation range. These four parameters can also be adjusted
directly using the Start, Loop S, Loop E and Loop M numerical displays
below the Waveform Display window.
The scrollbar at the bottom of the display allows you to scroll the sample
sideways when it is too long to be displayed in the window. This, of course,
depends on the current magnification setting.
The Waveform display's magnification is set using the plus/minus buttons at
the bottom right of the display. The number to the left of the plus/minus
buttons shows the number of samples compressed into a single pixel's
width. For example, if the magnification is 1, then one sample is displayed
per pixel. If the display shows 16, then 16 samples are compressed into a
single pixel thus creating a display of the waveform that is compressed 16
times.
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Filters
The CronoX 3 contains two independent multi-mode filters. The controls for
Filters 1 and 2 are located on the panel labeled Filters. The panel can be
accessed by clicking on the tab at the top of the instrument.
The CronoX 3’s two filters are identical so they have only been described
once in this manual.
The CronoX 3 has 2 filter modules, each of which can be set to one of two
filter types: “S” and “F”. Both are multi-mode filters, each having a different
design. A lot of care and attention has been paid to the CronoX 3's filter
design in order to make them especially "musical" and to ensure that they
use very little CPU resources.
To turn a filter module on or off, select the "On/Off" button to the right of the
Filter 1/2 label. An important point to note is that when a filter is turned off
no filtering is applied so that the audio signal passes straight through it
without being affected.
The Filter section is divided into 3 parts: Filter Type, Filter and Filter
Envelope. These are described below.
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Filter Type
The Filter Type section is located in the middle of the Filter module’s user
interface. The currently selected filter type is shown by the status of the “S”
(“Standard”) and “F” (“Free”) buttons which are located on the top-right and
bottom-right of the Filter Type section. To change the filter type click on
either the “S” or “F” button.
S Filter
The CronoX 3's “S” or “Standard” filter contains 4 filter types: LP 12 dB
(Low Pass 12 dB/Oct), LP 24 dB (Low Pass 24 dB/Oct), HP (High Pass 12
dB/Oct) and BP (Band Pass 24 dB/Oct). The filter type can be selected by
clicking on the respective filter-type button.
F Filter
The CronoX 3’s “F” or “Free” filter is unique in that it is continuously
adjustable over a 360 degree range using a circular slider. The slider has
four “guide points” (“12.00”, “3.00”, “6.00” and “9.00”). When in the “12.00”
position, the filter operates as a Band Pass filter. Moving the circular slider
90 degrees in a clockwise direction to the “3.00” position changes the filter
type to High Pass. Continuing a further 90 degrees in a clockwise direction
to the “6.00” position changes the filter type to Band Reject. Continuing a
further 90 degrees in a clockwise direction to the “9.00” position changes
the filter type to Low Pass. Finally, moving a further 90 degrees in a
clockwise direction restores the filter to its original Band Pass setting.
The CronoX 3's “F” or “Free” filter contains 2 filter types: 12 and 24 dB. The
filter type can be selected by clicking on the respective filter-type button.
Cutoff / Resonance
This section is located on the left of the Filter module’s user interface.
Controls are available for the following parameters: Sat (Saturation), Cutoff
and Resonance.
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Each filter has its own "Sat" (Saturation) circular slider located on the far left
of the filter section. The Sat circular slider is used to overdrive the CronoX
3's filters creating a warm, distorted sound.
Cutoff is used to set the frequency (in Hz) above which frequencies are
filtered out of the signal. When using the Low Pass filters higher settings
produce brighter sounds while lower settings result in darker sounds. When
using the High Pass filters higher settings produce thinner, brighter sounds,
while lower settings produce fatter, darker sounds. The value of the cutoff
frequency can be changed in any one of three ways: by changing the X
parameter of the X-Y controller, by moving the Cutoff circular slider, and by
clicking and dragging on the value in the Cutoff display.
Resonance is used to set the amount of emphasis around the cutoff
frequency. Higher settings create a more pronounced peak in the signal
while lower settings produce a flatter response. The value of the
Resonance can be changed in any one of three ways: by changing the Y
parameter of the X-Y controller, by moving the Resonance circular slider,
and clicking and by dragging on the value in the Resonance display.
Filter Envelope
The Filter Envelope section is located on the right of the Filter module’s
user interface.
The Filter Envelope section contains several parameter controls. These are:
KeyTrack ( Key Tracking), Env Amt (Envelope Amount), Envelope
Direction, ADSFR controls for each envelope parameter, a Lin/Log control,
a Pan control and a Volume control.
Clicking on the “Env” label at the top right of Filter Envelope section opens a
popup menu containing the following functions: “Copy”, “Paste” and “Init”.
The “Copy” and “Paste” functions allow current Envelope settings to be
copied and pasted into any Envelope module. The Init (“Initialization”)
function restores the Envelope module to its default values.
Key Tracking is used to control the degree to which the filter tracks the MIDI
note's frequency.
Envelope Amount is used to set the degree to which the filter's envelope
affects the signal. Setting Env Amt to 0.00 means that the envelope has no
effect on the filter while 1.00 means that the filter is modulated by the
envelope's full range.
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The Envelope Direction button is used to set either a positive or negative
envelope shape. This can be used for a range of effects including opening
the filter when a note is released (this is impossible with a non-inverted
envelope).
The CronoX 3's filter cutoff frequency can be controlled via an ADSFR
envelope which consists of controls for Attack, Decay, Sustain, Fade and
Release.
The Attack slider setting determines the length of time (in seconds) it takes
for the filter cutoff frequency to reach the full envelope depth. For example,
if the Attack slider is set to 0.100 seconds, the filter cutoff frequency will
move from zero to full volume within 100 milliseconds. Range: 0.001
seconds...10 seconds.
The Decay slider setting determines the length of time (in seconds) that the
filter cutoff frequency takes to move from the Attack peak frequency to the
Sustain frequency. Range: 0.001 seconds...10 seconds.
The Sustain slider setting determines the filter cutoff frequency after the
initial Attack/Decay phase has been completed. Range: 0.000...1.000.
The Fade slider is used to set the rate at which the filter cutoff frequency
moves from the Sustain frequency to either 0 (for negative Fade values) or
full range (for positive Fade values). A Fade setting of 0 means that the
filter cutoff frequency remains at the Sustain level until the key is released.
Higher values result in a faster fade towards the respective destination.
Range: -10...10.
The Release slider is used to set the length of time (in seconds) that the
filter cutoff frequency takes to move from the current level to 0 after the key
is released. Range: 0.004 seconds...10 seconds.
The setting of the Lin/Log buttons determines the way that the envelope
moves from one value to the next. In the case of Lin (“Linear”), the
envelope follows a straight line while in the case of Log (“Logarithmic”), the
envelope moves from one value to the next following a logarithmic curve.
Each filter also has its own Pan circular slider. This is used to position the
filter's output signal within the stereo field. Finally, the output volume of the
respective filter can be adjusted with the Vol (“Volume”) circular slider. The
output from Filter 1 is always sent to Effect 1 and the output from Filter 2 is
always sent to Effect 2.
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Effects
The CronoX 3 has 6 independent, simultaneously-available stereo effects
modules. Effects modules 1 and 2 can be set to one of 12 different effects,
while Effects modules 3 to 6 can be set to one of four different effects from
these 12 (the same effect cannot be used twice in effect modules 3 to 6).
All 6 effects modules are identical so they will only be described in this
manual once. The Effects panel can be accessed by clicking on the tab at
the top of the instrument.
Each effects module can act as many possible effects: Delay, Stereo Delay,
Ping Pong Delay, Chorus, Phaser, Filter, Reverb, Flanger, Gator, Stereo
Enhancer, Parametric EQ and Crusher. To change the effect type click on
the menu to the right of the Effect label. All effects modules can be set to
either "On" (Green) or "Thru" (Grey) using the button to the left of the effecttype menu.
To the right of each effect module is an Effect Send slider labeled “W”
(“Wet”). This is used to set the amount of signal sent to the input of the
respective effects module. For example, the setting of the Effect Send slider
to the right of effect module 1 determines the amount of signal that is sent
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to the input of effect module 1. The Wet control has no meaning for the
Parametric EQ effect which functions as an insert effect.
The CronoX 3’s effects are connected as follows: Effects modules 1 and 2
are in parallel, while effects modules 3, 4, 5 and 6 are in series. Effect
module 3 is directly after effects modules 1 and 2. If you are unsure about
the signal flow in the effects modules, a diagram on the CronoX 3’s Settings
Panel shows how the effects modules are connected.
Each effect's controls differ. All effects are described in detail below.
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Delay
The Delay effect can be used to create "echoes" and other related effects. It
features controls for “Time”, “Feedback”, “Filter”, “Mod Rate”, “Mod Depth”
as well as 2 “S” (“Sync”) controls.
The Time slider is used for setting the delay time (in milliseconds). This can
range from 1 ms to 680 ms.
The upper Sync popup menu can be used to sync the delay time with the
current tempo (see Appendix A for the range of possible sync settings).
The Feedback slider allows you to set the number of times the signal
repeats or "echoes".
Also included in the Delay section is a variable low pass/high pass 6dB/Oct
filter which is adjusted with the Filter slider. Negative values means a low
pass filter is applied, while positive values mean a high pass filter is applied.
The higher the absolute value of the Filter slider, the more the filter will
modify the delayed signal.
The Mod Rate sets the rate (in Hz) at which modulation takes place. As an
example, when you set the Mod Rate to 0.5Hz you get a complete sweep
from 50ms (using the example below) to 150ms and back to 50ms in 2
seconds.
The lower Sync popup menu can be used to sync the modulation rate with
the current tempo (see Appendix A for the range of possible sync settings).
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The Mod Depth slider is used to set the depth to which the delayed signal is
modulated, while the Rate slider determines the modulation speed. For
example, if you set a delay time of 100ms and a depth of 50%, the amount
of modulation is 50% of 100ms (50 ms). In this case you'll get a delay time
that varies from 100 - 50ms (50ms) up to 100 + 50ms (150ms).
When modulation is applied a stereo effect is created because both
channels are modulated in opposite directions.
St (“Stereo”) Delay
The St (“Stereo”) Delay features controls for: Time Left, Time Right,
Feedback, Highpass, Lowpass, Link L+R, and S1/S2.
The “Time Left” and “Time Right” sliders are used for setting the left and
right channel delay times (in milliseconds). This can range from 1 ms to
1300 ms.
The "Feedback” slider allows you to set the number of times the signal
The "Highpass" (High Pass Filter Cutoff Frequency) slider is used to set the
frequency (in Hz) below which frequencies are filtered out of the signal.
Higher settings produce thinner, brighter sounds, while lower settings
produce fatter, darker sounds.
The "Lowpass" (Low Pass Filter Cutoff Frequency) slider is used to set the
frequency (in Hz) above which frequencies are filtered out of the signal.
Higher settings produce brighter sounds while lower settings result in darker
sounds.
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The “Link L+R” button (located beneath the Lowpass slider) is used to
automatically match the feedback amount of the shorter delay to that of the
longer delay. For example, if you set the left channel delay time to 10 ms,
the right channel delay time to 100 ms and feedback to 90%, you will hear
the left channel delay fade out much more quickly than the right channel
delay (this is what you would expect!). However, when you press the Link
button the feedback of the channel with the shorter delay time is adjusted
so that the signal fades out in the same amount of time as the longer delay
(thus the feedback for the shorter time is increased).
The left and right channels of the delay's output can be independently
synced to the song's current tempo using the Sync menus located beside
the Time Left and Time Right sliders (see Appendix B for the range of
possible sync settings).
Ping Pong (Delay)
The Ping Pong (Delay) features controls for: Time Cen, Time Left, Time
Right, Feedback, Bal Cen/LR, Pan Left, Pan Right, and S1/S2/S3.
The Ping Pong (Delay) functions as follows: the input signal is first delayed
by “Time Cen” amount, then it’s delayed by “Time Left” amount and finally
by the “Time Right” amount. If Feedback is applied the “Time Right” signal
is fed back into the left delay line, so that an alternating left-right delay is
produced.
The “Time Cen”, “Time Left” and “Time Right” sliders are used for setting
the centre, left and right channel delay times (in milliseconds). This can
range from 1 ms to 1300 ms.
The "Feedback” slider allows you to set the number of times the signal
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The “Bal Cen/LR” slider is used to set the balance between the centre delay
and the left and right delays.
The “Pan Left/Pan Right” sliders are used to set the pan position of the left
and right delays.
Hint: If you want the delayed signal to appear on the right side first, use the
Pan controls to exchange left and right positions.
S1/S2/S3: The left, centre and right channels of the delay's output can be
independently synced to the song's current tempo using the Sync menus
located beside the Time Cen, Time Left and Time Right sliders (see
Appendix B for the range of possible sync settings).
Chorus
The Chorus effect can be used to "thicken" a single sound creating the
impression that it contains multiple voices. The Chorus works by mixing
delayed signals with the original signal. The CronoX 3's Chorus features
controls for "Time", "Rate", "Time Spread", "Rate Spread", “Dry” and
“Stereo”.
The Time slider is used for setting the delay time (in milliseconds). Longer
times produce a "chorusing" effect while shorter times create a "flanging"
effect.
The Rate slider sets the rate at which the signal is modulated.
A unique feature of the CronoX 3’s Chorus are its Time Spread and Rate
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Spread parameters. Basically, "Spread" makes the chorus sound fatter by
adding random deviations to the Time and Rate parameters. The degree of
"randomness" depends on the spread Time and Rate parameters; setting
the Spread Time and Rate to 0 cancels the effect; increasing the value of
the Spread Time and Rate parameters adds additional richness and
fullness to the sound. It can also make the effect sound more natural.
The Dry slider allows you to reduce the level of the original unprocessed
"dry" signal. This is sometimes useful in achieving a fatter sound.
The Stereo slider is used to adjust the width of the stereo image. To create
the maximum stereo effect move the slider all the way to the right. Note that
when used in combination with other stereo enhancing effects (such as the
ping pong delay) it might be desirable to set the Stereo slider to a lower
value.
Phaser
The CronoX 3’s Phaser can be used to create "swirling" dynamic movement
in sounds. The Phaser effect is created by automatically sweeping a series
of equally spaced frequency notches up and down the audio spectrum. The
CronoX 3's Phaser features controls for "Rate", "Depth", "Feedback",
"Center", "Stages", "Stereo" and "Inv" (Invert).
The Rate slider sets the rate at which the signal is modulated.
The Sync popup menu can be used to sync the modulation rate with the
The Depth slider is used to set the depth to which the signal is modulated.
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The "Feedback” slider is used to set the amount of internal feedback
employed within the phaser. More internal feedback produces increasingly
pronounced resonant peaks.
The Centre slider is used to set the frequency around which modulation
occurs.
The "Stages" slider sets the number of stages in the phaser. Each phaser
stage shifts the signal's phase by 180 degrees. The higher the CronoX 3's
Stages setting, the more frequency notches there are in the signal and so
the more pronounced is the phasing effect.
Use the Stereo control to widen the stereo image. If it's set full left the
modulation on the left and right channel will be in perfect synchronization. At
full right setting the left and right channel will be completely out of phase,
creating an extreme stereo effect. The best (rather subtle) stereo effect is
achieved with settings around the mid mark.
The Inv (Invert) button allows you to invert the signal that is used to create
the phasing effect.
Filter
The CronoX 3’s Filter features controls for: Drive, Cutoff, Resonance, Mod
Depth (Cutoff-Mod Depth), Mod Rate (Cutoff-Mod Rate) and Filter Type.
The Drive slider (Saturation) enables you to set the amount of filter drive or
distortion. This can be used to create a warmer, fatter sound.
The Cutoff slider is used to set the frequency (in Hz) above which
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frequencies are filtered out of the signal. Higher settings produce brighter
sounds while lower settings result in darker sounds. Range 40 Hz...20 kHz.
The Resonance slider is used to set the amount of emphasis around the
cutoff frequency. Higher settings create a more pronounced peak in the
signal while lower settings produce a flatter response. Range: 0%...100%.
The filter's cutoff frequency can be controlled using the Mod Depth (CutoffMod Depth) and Mod Rate (Cutoff-Mod Rate) controls. The Mod Depth
(Cutoff-Mod Depth) control is used to set the depth to which the filter's
cutoff frequency is modulated. A setting of 0% means no modulation
occurs.
The Mod Rate (Cutoff-Mod Rate) slider allows you to set the rate (in Hz) at
which the filter's cutoff frequency is modulated. Range: Depth (Cutoff-Mod
Depth) 0%...100%, Rate (Cutoff-Mod Rate) 0.04 Hz...4.00 Hz.
The Sync popup menu can be used to sync the modulation rate with the
The Filter Type button allows you to select one of four 12 dB filter types:
LP12 (Low Pass 12 dB), HP12 (High Pass 12 dB), BP12 (Band Pass 12 dB)
and BR12 (Band Reject 12 dB).
Reverb
The Reverb effect is used to add ambiance to sounds. It features controls
for: Roomsize, Predelay and Damp (Damping).
The Roomsize slider is used to set the size of the simulated room. The
Roomsize varies from a small chamber up to a huge hall. Range: 0.1
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seconds...10 seconds.
The Predelay slider enables you to delay the processed signal by a given
amount (in milliseconds) so as to achieve a more natural reverberation.
Normally, shorter predelay times are applied in the case of smaller room
sizes while longer predelay times are applied in the case of larger room
sizes. Range: 0 ms...125 ms.
The Sync popup menu can be used to sync the predelay time with the
The simulated room's wall materials can be adjusted with the Damp
(Damping) slider. This parameter ranges from practically loss-free reflecting
walls (0% damping) up to very absorbent walls (90% damping). In practical
terms, the amount of damping determines the amount of higher frequencies
that are contained in the processed signal: The higher the Damp (Damping)
setting, the more that higher frequencies are removed from the processed
signal. Range: 0%...90%.
Flanger
The CronoX 3’s Flanger can be used to create the classic flange effect
produced by using two analog tape machines playing back the same signal
but with small (and changing) differences in the playback speed of the
machines. The CronoX 3's Flanger features controls for "Time",
"Feedback",”Invert”, “Mod Rate”, “Mod Depth", and "Pan Depth" and “Sync”.
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The Time control defines the length of the delay line, representing the delay
between the original (tape machine 1) and the delayed / wet signal (tape
machine 2).
The Feedback control feeds the processed signal back to the input of the
effect producing a more pronounced and richer effect.
The Invert control inverts the processed signal's phase against the original
signal, giving a subtly different sound.
The Mod Rate control sets the speed of the flange effect (the speed of the
cyclic changes of the two tape machines). This setting can be either made
with the slider or set as a fraction of the song tempo using the “Sync” popup
menu. The Mod Rate can be synced to the song tempo using the sync
popup menu (see Appendix C for the range of possible sync settings).
The Mod Depth control is the key parameter for determining the depth of
the flange. The higher the setting, the more pronounced the effect.
The Pan Depth control is unique to the CronoX 3 and not normally found on
flanger effects. This control allows the stereo position of the flanged signal
to be modulated according to the setting of the Rate parameter.
Gator
Gator effect is a step-controlled audio gate that can be used to create
rhythmic, stuttering and pulsing effects. The effect is unique in that it
separates the input signal into left and right components, each of which can
be gated independently.
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The Gator effect contains five controls: These are: "Smooth", "Steps", "Link"
and "Sync”. These controls are described below:
The Smooth control sets the envelope shape of the gate for each step
value. A lower setting of the Smooth control creates a sharper envelope
shape that produces a more pronounced gating effect. Increasing the value
of the control “smoothes” the envelope creating a more pulsing, tremolo-like
sound.
The Steps control consists of two rows of sixteen “buttons”, one for each
rhythmic step of the pattern. When a button is on, the signal is passed
through the effect. Alternately, when a button is off, the signal is gated. The
duration of each step depends on the setting used in the Sync control
(described below).
The Link control is used to set the way that the Gator’s step buttons
respond to user input. This control has three settings: Off, Link and XLink.
When set to “Off”, each step button can be switched on and off
independently of any other button. When set to Link, the step buttons for
the left and right patterns are linked together so that switching either button
turns both buttons on or off. When set to XLink, the step buttons for the left
and right patterns are linked together, however in this case they work in a
complementary manner—when one button is on, the other will be off. In this
case only one of the two left and right channel buttons can be switched on
at the same time.
The Sync control sets the duration of each step. For example, a setting of
1/16 means that each pattern step is equivalent to a 16th note. Note that the
overall tempo at which the Gator effect operates is set in the host software.
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Stereo Enhancer
The CronoX 3’s Stereo Enhancer can be used to increase the width of the
instrument’s stereo image. The processor features two controls: Room and
Width.
The Stereo Enhancer’s Room parameter operates somewhat like a reverb
adding depth to the sound. This is a difficult effect to describe so try it and
see what effect it has on the sound.
Width increases the instrument’s stereo separation, widening the signal.
Hint: The Stereo Enhancer works best with natural stereo samples. If
applied to a signal with very strong stereo separation (for example, a signal
processed with the Ping Pong delay) the Stereo Enhancer may not widen
the stereo image but instead may narrow it.
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Parametric EQ
The CronoX 3’s Parametric EQ (“Equalizer”) effect contains 2 independent
parametric equalizers. Each equalizer contains the following 3 controls:
Freq (“Frequency”), Gain and Q (“Quality”).
The Freq 1/Freq 2 (“Frequency 1/Frequency 2”) controls are used to set the
frequency at which the EQ operates. A range of 20 Hz to 11 kHz is
available.
The Gain 1/Gain 2 controls set the amount of gain that is applied to the
selected frequency. Note that the gain can be positive or negative. A
positive gain corresponds to boosting the signal while a negative gain
corresponds to cutting the signal. A range of -18 dB to +18 dB is available.
The Q 1/Q 2 (“Quality 1/Quality 2”) controls set the bandwidth of the
boost/cut. A large value means that a wider bandwidth is affected by the
filter. A range of 0.33 to 12 is available.
The two equalizer stages are in series with the second equalizer stage
(“Freq 2”, “Gain 2” and “Q2”) located after the first equalizer stage (“Freq 1”,
“Gain 1” and “Q1”).
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Crusher
The CronoX 3’s Crusher is a distortion effect that combines bit-depth and
sample-rate reduction with “smoothing” algorithms allowing the resolution of
the signal to be decreased, thereby making the sound rougher and noisier.
This effect processor also includes a filter. This effect has the following
controls: Bits, Cutoff, Filter Type, Resonance, Divider, Divider Type, Fil Post
Div and Smoother.
The Bits (BitCrusher) control enables you to reduce the bit depth of the
output signal from oo bits (the signal is not changed) to 1.00 bits. Reducing
the bit depth adds a harsh, noisy quality to the sound.
The Cutoff slider is used to set the frequency (in Hz) above which
frequencies are filtered out of the signal. Higher settings produce brighter
sounds while lower settings result in darker sounds. Range 40 Hz...20 kHz.
The Filter Type popup menu allows you to select one of four 12 dB filter
types: LP12 (Low Pass 12 dB), HP12 (High Pass 12 dB), BP12 (Band Pass
12 dB) and BR12 (Band Reject 12 dB).
The Resonance slider is used to set the amount of emphasis around the
cutoff frequency. Higher settings create a more pronounced peak in the
signal while lower settings produce a flatter response. Range: 0%...100%.
The Divider slider controls a sample-rate divider that divides the current
sample-rate by the current slider setting. For example, if the current
sample-rate is 44.1 kHz, then setting the Divider slider to 2, halves the
sample-rate to 22.05 kHz. Ranges from 1 to 32.
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When the Divider slider (described above) is set to a value other than 1, a
new output sample value must be created for each group of samples in the
input audio stream. For example, if the Divider slider is set to a value of 4,
then four (possibly different) samples in the input stream are replaced by
four samples with a single value in the output audio stream. The Divider
Type popup menu determines how the output sample value is created from
the input samples. Three options are available: “AVG”, “STP” and “SLD”.
The “AVG” (“Average”) option calculates the average of the input samples
and uses this as the output sample value for each of the input samples. The
“STP” (“Step”) option takes the first sample in each group of input samples
and uses this as the output sample value for each of the input samples. The
“SLD” (“Slide”) option takes the first sample in each group of input samples,
interpolates between them and uses the interpolated value as the output
sample value for each of the input samples.
The Fil Post Div (“Filter Post Divider”) button is used to set the position of
the Crusher’s Filter with respect to the Divider. By default, the Filter is
before the Divider in the signal path. Switching this button on moves the
Filter to after the Divider in the signal path.
The Smoother button allows a compressor/expander to be switched into the
signal path. This reduces the overall effect of the Crusher making the sound
less harsh and more “musical”.
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Modulation
One of the key features of the CronoX 3 is its sophisticated modulation
capabilities. The instrument contains 5 independent ADSFR envelopes, 4
independent LFOs (low frequency oscillators), an Arpeggiator, and a
Modulation Matrix that is used to control modulation routing. The Modulation
panel can be accessed by clicking on the Modulation tab at the top of the
instrument.
The Envelope, LFO, Arpeggiator and Modulation Matrix modules are
described below.
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Envelopes
The CronoX 3’s Envelope module is located on the top-left of the
instrument’s Modulation panel.
To select one of the Envelopes click on one of the five tabs ("Gen 1", "Gen
2", "Mod 1", "Mod 2", “Amp”) in the top-left of the Envelope section.
Clicking on the Envelopes module’s title opens a popup menu containing
the following functions: “Copy”, “Paste” and “Init”. The “Copy” and “Paste”
functions allow current Envelope settings to be copied and pasted into any
Envelope module. The Init (“Initialization”) function restores the Envelope
module to its default values.
Each of the five envelopes modulates a different point in the CronoX 3’s
audio signal path. The "Gen 1" and "Gen 2" envelopes control the
amplitudes of Generators 1 and 2 respectively. The “Mod 1” and “Mod 2”
envelopes are general-purpose modulation sources that can be used to
modulate a range of destinations which can be set using the CronoX 3’s
Modulation Matrix (see below for more information about the CronoX 3’s
Modulation Matrix). The "Amp" envelope controls the overall amplitude of
the instrument.
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The CronoX 3's envelope parameters are set using an ADSFR envelope
which consists of controls for Attack, Decay, Sustain, Fade and Release.
The Attack slider setting determines the length of time (in seconds) it takes
for the envelope parameter to reach the full envelope depth. For example, if
the Attack slider is set to 0.100 seconds, the envelope parameter will move
from zero to full value within 100 milliseconds. Range: 0.001 seconds...10
seconds.
The Decay slider setting determines the length of time (in seconds) that the
envelope parameter takes to move from the Attack peak level to the
Sustain level. Range: 0.001 seconds...10 seconds.
The Sustain slider setting determines the envelope parameter after the
initial Attack/Decay phase has been completed. Range: 0.000...1.000.
The Fade slider is used to set the rate at which the envelope parameter
moves from the Sustain level to either 0 (for negative Fade values) or full
range (for positive Fade values). A Fade setting of 0 means that the
envelope parameter remains at the Sustain level until the key is released.
Range: -10...10.
The Release slider is used to set the length of time (in seconds) that the
envelope parameter takes to move from the current level to 0 after the key
is released. Range: 0.004 seconds...10 seconds.
The setting of the Lin/Log buttons determines the way that the envelope
moves from one value to the next. In the case of Lin (“Linear”), the
envelope follows a straight line from one value to the next. In the case of
Log (“Logarithmic”), the envelope moves from one value to the next using
logarithmic interpolation. In general, a logarithmic envelope will sound more
natural, particularly for note releases.
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LFO
The CronoX 3’s LFO (“Low Frequency Oscillator”) module is located on the
top-right of the instrument’s Modulation panel.
An LFO is an oscillator that generates low frequency signals that can be
used to modulate another signal. The CronoX 3 contains 4 separate LFOs
each offering 9 user parameters. These are: Wave, Freq (Frequency), Sym
(Symmetry), Phase, Delay, Attack, Decay, Sync and Mono.
To select one of the LFOs click on one of the four tabs ("1", "2", "3", "4") in
the top-left of the LFO section.
Each of the four LFOs can be used to modulate a range of destinations
which can be set using the CronoX 3’s Modulation Matrix (see below for
more information about the CronoX 3’s Modulation Matrix).
To select one of the LFOs waveforms click on one of the waveform buttons
at the bottom left of the LFO section. Six LFO waveforms are available:
Sine, Triangle, Ramp, Square, Noise and Sample and Hold. It should be
noted that when the Noise and Sample and Hold waveforms are synced to
tempo, they run at a faster tempo than the other LFO waveforms. For
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example, if you set sync to 1/1, use a tempo of 120 bpm and play a whole
note (4 beats), the duration of one cycle of the regular waveforms (Sine,
Triangle, Ramp, Square) will be 2 seconds. However, the Sample and Hold
and Noise waveforms will change their state within 1/8 of 2 seconds or 0.25
seconds.
The "Freq" (Frequency) parameter determines the LFO's frequency (in Hz).
This parameter has no function if Sync is used (see below).
The "Symmetry" parameter can be used to distort the waveform's shape,
stretching it or compressing it as required.
The "Phase" parameter sets the point in the waveform cycle at which
modulation begins.
You can also apply an envelope to the LFO using the Delay, Attack and
Decay dials.
Hint: The Phase, Delay, Attack and Decay parameters do not function if the
LFO is set to Mono mode (this is because it’s permanently running).
The "Delay" parameter sets the amount of time (in seconds) before the LFO
begins modulating the signal. A Delay setting of 0 means that the LFO
begins operating immediately.
The Attack dial setting determines the length of time (in seconds) it takes
for the LFO to reach the full modulation depth. This can be used to slowly
increase the amount of modulation applied to the signal. A setting of 0
means that modulation commences immediately.
The Decay dial setting determines the length of time (in seconds) that the
LFO modulation depth takes to move from the Attack peak amount to 0.
Setting this parameter to oo (infinite) means that modulation is applied for
an infinite amount of time, that is, the full duration of the signal.
Finally, you can use the Sync menu to sync LFO triggering with the current
tempo (see Appendix D for the range of possible sync settings).
The Mono button enables one LFO waveform to be applied to all synth
voices simultaneously. When the Mono button is off the LFO waveform is
applied to each voice individually. Alternatively, when the Mono button is on,
a single LFO is used for all voices and runs permanently.
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Arpeggiator
The CronoX 3's Arpeggiator allows you to create user-defined arpeggios.
Arpeggios are chords that are played as separate successive notes or
"broken chords". With the CronoX 3's Arpeggiator you can control the way
the arpeggio is played in numerous ways.
Clicking on the Arpeggiator module’s title opens a popup menu containing
the following functions: “Load”, “Save”, “Copy”, “Paste” and “Init”. The
“Load” function allows saved Arpeggiator settings to be loaded into the
Arpeggiator module. The “Save” function allows current Arpeggiator
settings to be saved. The “Copy” and “Paste” functions allow current
Arpeggiator settings to be copied and pasted into the Arpeggiator module.
The Init (“Initialization”) function restores the Arpeggiator module to its
default values. The “Load” and “Save” functions make it easy to transfer
Arpeggiator settings to other CronoX 3 presets. You can even build an
entire library of your own Arpeggiator presets if you wish.
The parameters available with the CronoX 3’s Arpeggiator are:
Mode
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The Arpeggiator Mode defines how the Arpeggiator functions. Several
options are available:
§
Off: Switches the Arpeggiator off.
§
Mod-Only: In this mode the Arpeggiator is Off and does not influence
chords (or single notes) being played. However, the Arpeggiator is
available as a Modulation Source in the Modulation Matrix as if it were
switched on. Using the Arpeggiator in the Modulation Matrix is like
having an LFO with up to 32 individually definable steps.
§
Up, Down, Up/Down, Up/Down+, Down/Up, and Down/Up+: These
modes play typical arpeggiator patterns or arpeggios which, as
described above, are the notes of the chord played successively
instead of simultaneously. In Up mode the chord notes are played in
ascending order starting from lowest note. In Down mode, the playback
sequence is reversed with chord notes being played in descending
order starting from highest note. In UpDown mode chord notes are
played from lowest to highest and then from highest to lowest. In
DownUp mode this pattern is reversed. A “+” sign after the mode type
indicates that the highest and lowest notes of the chord are played
twice. For example, in the case of UpDown mode the chord C-E-G
would be arpeggiated as C-E-G-E and then repeated. In the case of
Up/Down+ mode, the chord would be arpeggiated as C-E-G-G-E-C and
then repeated.
§
Random: In this mode the notes of the chord are played in a random
order.
§
Chord: In this mode the Arpeggiator does not play the chord as
separate notes but instead plays the chord in rhythmic phrases defined
by the other parameters.
§
AsPlayed: In this mode notes are played by the Arpeggiator in the order
that the Note On messages were received by the instrument, or more
simply, in the way that the chord was actually played. As MIDI data is
transmitted sequentially, MIDI Note On messages are always received
sequentially. This order determines the order that the notes are played
by the Arpeggiator.
Clck (Clock)
The Clck (“Clock”) popup menu allows you to set the note subdivision of the
individual arpeggiated notes. For example, when Clck (“Clock”) is set to
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1/16, playing a C-E-G chord in Up mode will play all the chord’s notes at
1/16th note subdivisions. See Appendix E for a list of all possible Clock
settings.
Retrigger
The setting of the small Ret (“Retrigger”) switch to the right of the Clck
(“Clock”) popup menu determines whether or not a new chord will restart
the Arpeggiator. If Retrigger is activated and there is a gap between two
consecutive chords, the Arpeggiator will restart when the second chord is
played. If Retrigger is deactivated the Arpeggiator will continue onto the
next step when a new chord is played.
Step Display
The Step Display contains the Arpeggiator’s 32 step values and is the heart
of the module. This is where the rhythmic patterns of the Arpeggiator are
defined.
As we said above, the CronoX 3’s Arpeggiator breaks a chord into separate
notes of equal length (defined by the Clck (“Clock”) parameter) and plays
them sequentially. In the Step Display each note step can be given a
different velocity value, rests can be inserted into the pattern and notes can
be tied together to form notes with a different length.
Within the Step Display, each step can have its own velocity value ranging
from 1 to 127. The values "Off" and “Tie” are also available. “Off” means
that no note value is defined for the step so that a gap or “rest” is created in
the arpeggiator pattern. "Tie" means that consecutive steps are bound
together creating a longer note duration.
Returning to the C-E-G chord example presented above, step values of
127, 127, Off, 100, Tie, 30, Off, Tie would result in the following sequence
of notes (assuming a 1/16 Clck (“Clock”) setting and the Arpeggiator being
in Up mode): Firstly, note C would be played with maximum velocity and
duration 1/16th. Then note E would be played with the same parameters as
the previous note. Next there would be a 1/16th duration rest, followed by
the note G played with a velocity of 100 and a note duration of 1/8th (as the
following step is tied to this step). Then the note C would be played with a
velocity of 30 and a duration of 1/16th length. Finally, there would be a 1/8th
pause. Note that a "Tie" after an "Off" is the same as placing an "Off"
behind an "Off". Both result in a longer pause.
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Also note that the arpeggio will vary so that when it returns to step one it will
now play an E with velocity of 127 and 1/16th duration; that's because the
chord has 3 notes while the pattern contains 4 steps. In this case the
arpeggiator will play C-E-G-C followed by E-G-C-E and then G-C-E-G
before starting with the first pattern again.
Length
The setting of the Length circular slider defines the actual duration of each
note. As described above, the Clck (“Clock”) setting determines the time
subdivision of each arpeggiator step. The Length parameter determines
how much of this time subdivision that the note is on and how much it is off.
For example, with the Len circular slider turned fully clockwise the note
duration is the full step length. A middle setting means that the note plays
for half of the Clck time (for example if the Step parameter was set to 1/16th
then in this case the note would have an actual duration equivalent to a
1/32nd note). The more the circular slider is turned in an anti-clockwise
direction, the shorter the note duration. The effect is most prominent with
sounds that have a short release time.
Swing
The Swing control adds a rhythmic “swing” effect to the arpeggiated notes,
lengthening the odd steps and shortening the even ones (or vice versa
depending on the setting). This creates a “shuffle” rhythm that is based on
dotted-note durations and an underlying triplet rhythm. The effect is difficult
to explain but becomes readily apparent when heard. Try creating a pattern
of 4 1/8th notes and then varying the Swing parameter. The effect will be
quite clear.
Velocity (Vel)
Above it was said that the Step setting determines the velocity at which a
particular arpeggiator steps are played. However, this is only half the story.
In most cases, each note within a chord will have different velocity. The Vel
(“Velocity”) control enables the velocities of individual chord notes to be
retained, so that the arpeggiated notes are played with their original velocity.
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This is achieved by setting the Vel (“Velocity”) circular slider fully clockwise
(the “K” stands for keyboard), in which case the velocity of each step in the
arpeggiator is overridden (but Off and Tie keep their meaning).
Alternatively, when the Vel (“Velocity”) circular slider fully anticlockwise the
velocity of the notes is determined only by the arpeggiator settings.
Intermediate settings combine the velocity variations of the steps with the
expressive characteristics of the chord as it was played.
Step
The Step circular slider allows you to define how many of the available 32
steps are actually used for a particular arpeggio.
Octave
The 4 Octave buttons to the left of the Step Display extend the arpeggiated
note range regardless of the octave in which the note was originally played.
For example, setting the Octave to 2 means that the notes of the chord will
be played in the octave in which the chord was originally played, and also in
the octave above. This can be extended up to 4 octaves.
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Modulation Matrix
The CronoX 3's Modulation Matrix allows you to create 10 user-defined
modulation routings. 56 modulation destinations are available for
modulation by 30 modulation sources (see Appendix F for a listing and
description of all modulation sources and destinations).
Modulation sources are shown in a column on the left of the display, while
the destinations are shown on the right. The modulation amount is
displayed in the middle. To change a routing click on the source or
destination that you want to change. A menu will appear which lets you
select the new source or destination. To remove a modulation source or
destination select the "- - -" entry in the menu. Each modulation routing can
be switched on and off by double clicking on the modulation depth.
To change the modulation depth click on the amount display and move the
mouse (while keeping the mouse button pressed) upwards or downwards
(increasing or decreasing the value) until the desired amount has been
reached. A negative modulation depth inverts the waveform of the
modulation source.
The modulation of Main Pitch has a special display for modulation depth.
The example below shows a modulation depth of "0:42" (see last row of the
Modulation Matrix). This means that the main pitch is modulated to a depth
of 0 semitones and 42 cents (or 0.42 semitones) more than usual by the
LFO 1 when the Modulation wheel is turned all the way up. This is also a
good example of indirect modulation as this line refers to the modulation
depth of slot 1 (the topmost modulation slot). In this slot the main pitch is
Crono X
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modulated by LFO 1 with a depth of 2 cents.
The three circular sliders on the left of the Modulation Matrix are used to
determine 3 default modulation settings: the Amplitude ("Amp") by the MIDI
key velocity, the Filter 1 Cutoff Frequency ("Filter 1") by MIDI key velocity
and the Filter 2 Cutoff Frequency ("Filter 2") by MIDI key velocity.
The two buttons ("WHL" and "CH VOL") on the bottom of the Modulation
Matrix are used to select two default modulation settings: pitch modulation
by the pitch wheel ("WHL"), and Patch volume by the MIDI channel volume
("CH VOL"). The amount of pitch change caused by the pitch wheel can be
set on the CronoX 3's Settings panel (see below for more information about
the CronoX 3's Settings panel).
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Settings
The CronoX 3’s Settings panel can be accessed by clicking on the Settings
tab at the top of the instrument. The Settings panel contains various
controls for setting global parameters as well as several other
miscellaneous controls. Several master controls have been located here to
make the other panels less crowded, and also so that they are not changed
accidentally while the CronoX 3 is in use. The Settings panel contains 3
modules: Registration, Global Settings and Signal Flow. These are
described below.
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Registration
The Registration module is located at the upper left of the Settings panel.
The Registration module is used during the instrument’s registration
process. This module displays the version of the instrument and provides
an edit box into which the instrument’s serial number is entered. Once the
instrument is registered the serial number edit box is no longer editable but
shows “Valid” as in the example above.
Note: For security reasons the serial number is not displayed after the serial
number has been accepted. Please keep your serial in a safe place as it’s
your primary proof of ownership and may be required for updates and
special offers.
If you purchase the CronoX 3 from a music store please register at
http://www.linplug.com/Support/Register/register.htm
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Library Location / Startup Patch
When you install CronoX the Library (presets consisting of the parameter
settings and the samples) are placed in a default location. On PC that's in
the same folder where you installed CronoX, on Mac its “/Library/Application
Support/LinPlug”.
However. If you for some reason want to place the library in a different
location you can do so and point CronoX to the library manually by choosing
a preset from the new location:
Click on the Load button next to the Startup preset name and navigate to a
preset that CronoX should load upon startup. This not only defines your
initial patch that is loaded when you open a new CronoX but also defines at
which location CronoX should look for the rest of the factory library.
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Global
The Global module is located in the upper middle of the Settings panel. The
Global module contains several controls used to set global parameters.
Statup is used to define a preset that is loaded upon startup of CronoX.
This can also be used to point CronoX to a different location for its sound
library. Attention: It is not recommended to use this features after you
already made some songs as it might break existing songs to move around
the preset library.
Master Tune is used to set the overall tuning of the CronoX 3 if no
microtuning file is loaded. Tuning can be set from 415 Hz to 466 Hz.
Bend Range Up is used to set the CronoX 3's response to pitch bend
messages in the upwards direction. Bend Range can be set from 0 to 24
semitones.
Bend Range Down is used to set the CronoX 3's response to pitch bend
messages in the downwards direction. Bend Range can be set from 0 to 24
semitones. Note that if the “link” setting is chosen, the Bend Range for
downwards bending is the same as for upwards bending.
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The Velocity Curve circular slider is located on the right of the MasterTune
control. This control allows one of ten different velocity responses to be set.
These range from linear through to an extreme exponential velocity
response.
The Scale control enables the CronoX 3 to be tuned to tunings other than
Equal Temperament. See Appendix G for a complete description of how to
use TUN files to set the CronoX 3’s scale tuning.
The status of the “Change on Dir Save” button determines what happens
when a preset is saved to a directory other than the current directory. If the
Change on Dir Save button is off, then when a preset is saved in a directory
other than the current directory, the File Browser remains located at the
current directory. Alternatively, if the Change on Dir Save button is on, then
when a preset is saved in a directory other than the current directory, the
File Browser moves to the directory in which the preset was saved.
Signal Flow
The Signal Flow module is located in the upper right of the Settings panel.
This module displays a diagram showing the internal routing of the
instrument. This diagram is for display purposes only and is not editable.
Optimizing CPU Usage
Software synthesizers are highly CPU-intensive. The real-time calculation of
audio waveforms, filters, effects and modulators places a significant load on
the host computer's CPU.
As such, the main limiting factor in software synthesizer performance is
CPU processing power. Each additional oscillator, filter, effect and
modulator that is included in an instrument adds to the CPU load. As a
result, it's best to switch off any unused units within the CronoX 3 to
conserve CPU resources.
It may also be useful to use the send effects of your host’s mixer instead of
CronoX 3's effects as they are shared among all instruments.
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Glossary
AM:
AM or "Amplitude Modulation" is a process where the amplitude of
one generator (the carrier) is controlled by another (the
modulator). When the frequency of the modulator is
periodic and below the audio range (less than 20 Hz)
tremolo is produced. When the modulation frequency is
within the audio range, Ring Modulation is produced.
Amplifier:
A signal processing device that changes the amplitude, and
hence the volume, of a signal.
Effect:
A signal processing device that changes some aspect of
the input signal. An enormous number of different effect
types are available. These include Chorus (which produces
a thickening of the signal), Delay (adding echoes to the
signal) and Distortion (which changes the shape of the
waveform usually adding overtones).
Envelope:
A time-varying signal used to control the development of
another signal after it has been triggered. Envelopes are
most often used for controlling a signal's amplitude. The
shape of the envelope is determined by the number of
control parameters. Usually four parameters are available:
Attack Time, Decay Time, Sustain Level and Release Time.
Filter:
A signal processing device that suppresses or "filters" out
specific parts of a signal's frequency spectrum. Numerous
types of filter are used in audio synthesis. These include
Low Pass, High Pass, Band Pass and Notch. The tone
controls on a stereo amplifier are one example of an audio
filter.
FM:
FM or "Frequency Modulation" is a process where the
frequency of one oscillator (the carrier) is controlled by
another (the modulator). When the frequency of the
modulator is periodic and below the audio range (less than
20 Hz) vibrato is produced. When the modulation frequency
is within the audio range, Frequency Modulation is
produced.
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LFO:
An LFO or "Low Frequency oscillator" is a periodic signal
source (usually below audio frequency range) used to
modulate another signal parameter. An LFO can be used
for a variety of effects including vibrato (by modulating the
pitch) and tremolo (by modulating the volume).
Microtuning:
See Appendix G for a detailed description.
Modulation Matrix:
A signal "junction" where a source signal can be
patched so that it controls a destination signal. The CronoX
3's Modulation Matrix is used for tasks such as modulating
a generator's amplitude by an LFO.
Generator:
A signal source that generates a waveform at a given
frequency.
Ring Modulation:
The process of combining two audio signals by
multiplication. Ring Modulation produces sidebands but
suppresses both the carrier and modulating frequencies.
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MIDI Implementation Chart
Product:
Manufacturer
LinPlug CronoX
Version 3.x
Date: 4.May 2005
LinPlug Virtual Instruments GmbH
Function
Transmitted
Recognized
Basic Channel
Default
Changed
no
no
no
no
no
no
Omni
no
True Voice
no
no
yes
no
Note On
Note Off
no
no
yes
no
Aftertouch
Poly (Key)
Mono (Channel)
no
no
yes
yes
Pitch Bend
no
yes
Control Change
no
yes
Program Change
no
yes
System Exclusive
no
no
System Common
Song Position
Song Select
Tune Request
no
no
no
no
no
no
System Realtime
Clock
Commands
no
no
no
no
Aux Messages
Local On/Off
All Notes Off
Active Sensing
System Reset
no
no
no
no
no
yes
no
yes
Remarks
Mode
Default
Changed
Note Number
Velocity
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Appendix A: Delay Sync Settings
Off, 1/2, 1/2T, 1/4*, 1/4, 1/4T, 1/8*, 1/8, 1/8T, 1/16*, 1/16, 1/16T, 1/32*,
1/32, 1/32T.
Note: "T" stands for Triplet and "*" stands for a dotted note. In the case of a
dotted note, the note duration is equal to 1.5 times its original undotted
value.
Appendix B: Stereo and Ping Pong Delay Sync
Settings
Off, 1/2, 1/2T, 1/4*, 1/4, 1/4T, 1/8*, 1/8, 1/8T, 1/16*, 1/16, 1/16T, 1/32*,
1/32, 1/32T, 1/64, 5/16, 7/16, 9/16, 5/8.
value.
Appendix C: Flanger Sync Settings
Off, 16/1*, 16/1, 16/1T, 8/1*, 8/1, 8/1T, 4/1*, 4/1, 4/1T, 2/1*, 2/1, 2/1T, 1/1*,
1/1, 1/1T, 1/2*, 1/2, 1/2T, 1/4*, 1/4, 1/4T, 1/8*, 1/8, 1/8T, 1/16*,1/16, 1/16T,
1/32*, 1/32, 1/32T, 1/64, 5/16, 7/16, 9/16, 5/8, 11/16, 13/16, 7/8, 15/16.
value.
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Appendix D: LFO Sync Settings
Off, 16/1*, 16/1, 16/1T, 8/1*, 8/1, 8/1T, 4/1*, 4/1, 4/1T, 2/1*, 2/1, 2/1T, 1/1*,
1/1, 1/1T, 1/2*, 1/2, 1/2T, 1/4*, 1/4, 1/4T, 1/8*, 1/8, 1/8T, 1/16*,1/16, 1/16T,
1/32*, 1/32, 1/32T, 1/64, 5/16, 7/16, 9/16, 5/8, 11/16, 13/16, 7/8, 15/16.
value.
Appendix E: Arpeggiator Clock Settings
1/1, 1/1T, 1/2*, 1/2, 1/2T, 1/4*, 1/4, 1/4T, 1/8*, 1/8, 1/8T, 1/16*, 1/16, 1/16T,
1/32*, 1/32, 1/32T, 1/64.
value.
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Appendix F: Modulation Matrix Sources and
Destinations
Modulation Sources List:
--- (Off), Note Log, Note Lin, Velocity, Aftert(poly), Aftert(mono), Pitch
Wheel, ModulatWheel, BreathContr, FootContr, ExpressContr, CC16 Contr,
CC17 Contr, CC18 Contr, CC19 Contr, LFO 1, LFO 2, LFO 3, LFO 4,
GenEnvelope1, GenEnvelope2, ModEnvelope1, ModEnvelope2,
Fil1Envelope, Fil2Envelope, Amp Envelope, Glide Curve, Arpeggiator,
Alternate and Constant.
Modulation Destinations List:
---(Off), Ampl Gen 1, Ampl Gen 2, Ampl Gen 3, Ampl Gen 4, Pitch Gen 1,
Pitch Gen 2, Pitch Gen 3, Pitch Gen 4, AuxMod Gen 1, AuxMod Gen 2,
AuxMod Gen 3, AuxMod Gen 4, Balance Gen 1, Balance Gen 2, Balance
Gen 3, Balance Gen 4, Cutoff 1, Resonance 1, Env-Depth 1, AuxMod Fil 1,
Pan Fil 1, Cutoff 2, Resonance 2, Env-Depth 2, AuxMod Fil 2, Pan Fil 2,
Main Ampli, Main Pitch, Mod Depth 1, Mod Depth 2, Mod Depth 3, Mod
Depth 4, LFO 1 Speed, LFO 2 Speed, Loop Start 1, Loop Start 2, Loop End
1, Loop End 2, Amp-Env Att, Amp-Env Dec, Amp-Env Rel, Fil1-Env Att,
Fil1-Env Dec, Fil1-Env Rel, Fil2-Env Att, Fil2-Env Dec, Fil2-Env Rel, Mod1Env Att, Mod1-Env Dec, Mod1-Env Rel, Mod2-Env Att, Mod2-Env Dec,
Mod2-Env Rel, SampleStart1, SampleStart2.
Two types of modulation source are available: unipolar and bipolar.
Unipolar modulation sources increase the modulation destination's value in
a single direction (e.g. the ModWheel), while bipolar modulation sources
both increment and decrement the modulations destination value (e.g. an
LFO).
Modulation Sources
“---“
No modulation source is selected.
Note Log
The note being played with
exponential response. The modulation
value follows the frequency of the
Crono X
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played note (bipolar).
Note Lin
The note being played with a linear response. The
modulation value follows the note
number (bipolar).
Velocity
The MIDI note-on velocity
information. The harder the key is hit,
the higher the modulation value
(unipolar).
Aftert(poly)
The Aftertouch value of each separate note is used as
modulation source. Your MIDI keyboard must support this.
If this doesn't work it is likely that your keyboard has no
polyphonic aftertouch (unipolar).
Aftert(mono)
As above, however only one aftertouch value is used for the
whole keyboard. All notes being played on a specific
channel share the same monophonic aftertouch value. This
is how most keyboards work (unipolar).
Pitch Wheel
The value of the pitch-Wheel is takes as modulation
source, maybe it makes sense to reduce the Pitch Wheel
range to 0 when using the Pitch Wheel as modulation
source. The Pitch Wheel is bipolar
ModulatWheel The MIDI modulation wheel (MIDI CC 1) (unipolar ).
BreathContr
MIDI CC 2 (unipolar).
FootContr
ExpressContr
CC16 Contr
MIDI CC 16 (bipolar).
CC17 Contr
CC18 Contr
CC19 Contr
LFO 1
LFO 1 (bipolar).
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LFO 2
LFO 2 (bipolar).
LFO 3
LFO 3 (bipolar).
LFO 4
LFO 4 (bipolar).
GenEnvelope 1, 2
The envelope of Generator 1, 2. Generator
envelopes control the respective Generator, however if the
Generator is not used, or it makes sense within the preset
to do so, the envelope can be used as a modulation source
(unipolar).
ModEnvelope1, 2
The ModEnvelope 1, 2 is user-definable and can
be routed to any available modulation destination (unipolar).
Fil1, 2Envelope The envelope of the Filters. These envelopes control the
respective Filter, however if it makes sense within the
preset to do so, the envelope can be used as a modulation
source (unipolar).
Amp Envelope The Main Amplitude envelope. This envelope controls the
overall output Volume, however if it makes sense within the
preset to do so, the envelope can be used as a modulation
source (unipolar).
Glide Curve
The Glide or portamento envelope is used as a modulation
source (unipolar).
Arpeggiator
The Arpeggiator.
Alternate
The Alternate modulation source changes between values
of 1 and -1 for each note. This is useful for modulation
effects such as auto-panning (bipolar).
Constant
The Modulation Amount is used as a constant modulation
value (unipolar).
Modulation Destinations
“---“
Crono X
No modulation destination is selected.
3 User Guide
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Ampl Gen 1, 2, 3, 4
The amplitude of Generator 1 to 4, used for
tremolo
N.B. In order to create the classic tremolo effect it is better
to use Main Amplitude as the modulation destination as
this is applied to the whole voice rather than a single
Generator.
Pitch Gen 1, 2, 3, 4
The pitch of the respective Generator, used for
vibrato.
N.B. In order to create the classic vibrato effect it is better
to use Main Pitch as the modulation destination as this is
applied to the whole voice, not just one Generator.
AuxMod Gen 1, 2, 3, 4 The destination of AuxMod Gen 1, 2, 3, 4
depends on the type of Generator that is currently loaded
into the respective Generator’s slot. The available
destinations are as follows:
Generator:
Pulsewidth
Loop-Sampler: Loop-Start
Schrader:
Speed
Time-Sampler: Time
Balance Gen 1, 2, 3, 4 Balance between Filter 1 and Filter 2 for the
respective Generator.
Cutoff 1, 2
Cutoff frequency of Filter 1 or 2, often used with an LFO
to create filter sweeps or with Velocity to simulate an
acoustic instrument's response to note attack.
Resonance 1, 2 Resonance of Filter 1 or 2, a rather subtle effect, typically
used with an LFO or for Keyscaling (Note Lin or Note Log
source) to adjust Resonance over the key range.
Env-Depth1, 2
The Filter Envelope Depth for Filter 1 and 2.
AuxMod Fil 1, 2 The destination of AuxMod Fil 1, 2 depends on the type of
Filter that is currently selected in the Filter panel. The
available destinations are as follows:
S-Filter:
none
Free-Filter:
Filter-Type
Pan Fil 1, 2
Crono X
The output Pan position of Filter 1 and 2.
3 User Guide
81
Main Ampli
Overall amplitude of all Generators. Often used for
tremolo.
Main Pitch
Overall pitch of all Generators. Often used for vibrato.
Mod Depth 1, 2, 3, 4
Intensity of the first four entries (line 1 to 4) in the
Modulation Matrix, often used with the ModWheel as
source to control a specific modulation parameter (e.g.
Vibrato).
LFO 1, 2 Speed Speed of LFO 1 and 2, this allows tempo changes of the
LFO to be programmed. Typically this is used with ModEnv as the source. Another example is Key Lin which can
be used to make the LFO run faster with higher notes.
Loop Start 1, 2
The Loop Startpoint of the audio sample currently loaded
into Generator 1 or 2. This only functions when
LoopSampler is selected.
Loop End 1, 2
The Loop Endpoint of the audio sample currently loaded
into Generator 1 or 2. This only functions when
LoopSampler is selected.
Amp-Env Att
The Attack Time of the Amplitude Envelope.
Amp-Env Dec
The Decay Time of the Amplitude Envelope.
Amp-Env Rel
The Release Time of the Amplitude Envelope.
Fil1,2-Env Att
The Attack Time of the Envelope for Filter 1 and 2.
Fil1, 2-Env Dec The Decay Time of the Envelope for Filter 1 and 2.
Fil1, 2-Env Rel
The Release Time of the Envelope for Filter 1 and 2.
Mod1, 2-Env Att The Attack Time of the Envelope for Mod 1 and 2.
Mod1, 2-Env DecThe Decay Time of the Envelope for Mod 1 and 2.
Mod1, 2-Env Rel The Release Time of the Envelope for Mod 1 and 2.
SampleStart1, 2 The Startpoint of the audio sample currently loaded into
Generator 1 or 2. This only functions when LoopSampler
is selected.
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Appendix G: Using TUN files in the CronoX 3
By Jacky Ligon
About Microtuning
Microtuning, or 'microtonality' are methods for tuning musical instruments,
whereby musicians may explore and compose with ethnic, historical and
contemporary intonation systems. Microtuning musical instruments enables
musicians to use unique scales which may have pitches lying between the
notes of our familiar Western 12 tone equal tempered scale. These unique
pitches and methods of microtuning musical instruments to sounds found in
the 'cracks' of the 12 Tone Equal Temperament, are one of the things that
gives the music of such places as Bali, India, Africa, Thailand, Turkey and
the Middle East a special intonational flavor, but is also something that is
of immeasurable value to the contemporary acoustic and electronic
composer,
who may require a more broad palette of musical pitches for their music.
The quest for creating beautiful and musically useful microtuning systems
has been an unending process of discovery and debate amongst musical
theorists, mathematicians, physicists and musicians going back to early
history. Quite often the reasons for microtuning musical instruments may
involve improving the consonant intervals of a tuning-system for sweeter
sounding harmonies, as well as offering a wider variety of choices for
melody. Microtuning an instrument can sometimes mean there may be less,
or
more than 12 tones in an octave, or even that the octave itself may be
stretched or compressed. Microtuning is a vast musical frontier, rich with
historical lore, music and an infinity of exciting musical possibilities for
the adventurous sonic explorer.
Creating TUN microtuning files with SCALA
Scala is a freeware utility developed by Manuel Op de Coul in the
Netherlands, which can be used for the creation and analysis of historical,
ethnic and contemporary microtunings. A powerful capability of Scala is that
it enables the user to create the proprietary tuning data required for
microtuning a wide range of hardware and software synthesizers and
samplers.
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Scala may be used to create the TUN format microtuning files needed to
explore microtunings with this software instrument.
The Scala home page is http://www.xs4all.nl/~huygensf/scala/
Specifying the Reference Frequency of a Microtuning
One of the powerful capabilities of the TUN file format and Scala, is the
ability to specify the frequency and MIDI-Note which will become the
reference pitch, or starting note for a microtuning. This becomes a very
important consideration when one is using a number of different
synthesizers
and wishes to keep them in all tune with a given base frequency. It is very
common for a musician to need to specify a certain concert pitch such as
A440 Hz (MIDI-Note 69) or C261.6256 Hz (MIDI-Note 60) as a reference for
a
microtuning, however, the flexibility of the TUN format and Scala enables
one to specify this frequency arbitrarily, so that any chosen starting
frequency may be assigned to any desired MIDI-Note. In Scala this
reference
is called the Map Frequency.
Being able to specify a particular MIDI-Note reference and its associated
Map Frequency on the MIDI controller, provides a way to map a microtuning
to
begin on any desired MIDI key, making it easier to navigate the instrument
when there may be more or less than 12 tones per octave, or where one
may
have a musical need to map the notes of a microtuning to fall on certain
physical keys.
Important Note
When one uses a TUN microtuning file with this software synthesizer, the
above mentioned mapping properties will override the Master Tuning
reference. Normally when one is using the default 12 Tone Equal Tempered
Scale, the Master Tuning will be used to make fine pitch adjustments
around
the standard concert pitch of A440 Hz, but when one has specified another
pitch base for a microtuning when the TUN file is created in Scala, such as
C261.6256 Hz, the data in the TUN microtuning-file will provide a new pitch
reference.
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Cronox 3 Manual

Transcription

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