NONLINEAR LABS C15 Manual de usuario
The Synth Engine
The Synth Engine
The Synth Engine
2 3
Contents
C15 Synth Engine – Overview & Detailed . . . . . . . . . . . . . . . . . 4
Design Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
The Components in Detail . . . . . . . . . . . . . . . . . . . . . . . . 7
Oscillator A, B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Shaper A,B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Envelope A, B . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Envelope C. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Comb Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
State Variabe Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Output Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Output Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Cabinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Gap Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Echo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Revrb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Macro Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Harware Sources and Amounts . . . . . . . . . . . . . . . . . . . . 31
Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Part and Master . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
About FM and Chaos . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Synth Engine Evolution . . . . . . . . . . . . . . . . . . . . . . . . 37
The C15 Synth Engine compared to Kontour . . . . . . . . . . . . . . 38
The Synth Engine
The Synth Engine
4 5
Shaper A
PM
PM FM
PM
FB
Shaper A
Dry
EectsSVFComb
RM
RM
Comb SVFBA
Wet
Shaper B
Shaper B
L
R
L
R
FB
FB
FB
Env A
PM FB
Env Aʹ
Env Bʹ
KT
Env C
KTVel KTVelKTVel
1PM Self
1
Env A Env C Gate
Env A
Env B
Gain
Env Aʹ Env Bʹ
Env B
Gain
Env B
1
Env C
Env C KTGate
Gate
Key Pos
Env C KT
Gate
PM B
Env A
PM FB
Env C
1PM A
1
Env C KT
Env C KT
Note On
Note On
Env B
1
PM Self
Env C
Gate
Master
Level
Level
Shaper
Shaper
Shaper
Shaper
RM
Comb
RM
Reverb
So
Clip
Pan Voice Mix
FB Mix
Mix
FB Mix
Mix
A
B
A
B
A
B
A
B
Shaper
Shaper
Chirp
Filter
Chirp
Filter
Envelope A Envelope B Envelope C Gate
Shaper A
CabinetFlanger Echo Reverb
Gap
Filter
Feedback Mixer
Oscillator B
Oscillator A
Shaper B
Comb
Filter
State
Variable
Filter
Output Mixer
A
FB
Self
B
A
A
B
B
A B
FB
FB
Comb
Comb
Comb
SVF
SVF
Eects
Reverb
Wet
Dry
FB
Self
L
R
L
R
Env B Env C
Env Aʹ
Env A
Env Bʹ
Env B
Env C Gate
Env A
Env Aʹ
Gate
Env C Gate Env C
Env A
Env C
Env A Env C Env B
Env Bʹ
Gate
Env B
Env C
Shaper
FB Mix
FB Mix
Shaper
Envelope A
Oscillator A Shaper A
Comb
Filter
RM
Envelope BEnvelope C Gate
Output Mixer (Stereo)
Feedback Mixer
State
Variable
Filter
Oscillator B Shaper B
Cabinet Gap FilterFlanger Echo Reverb
C15 Synth Engine – Overview & Detailed
The Synth Engine
The Synth Engine
6 7
Design Concepts
The design goal for Phase 22 was to take advantage of digital synthesis algo-
rithms in order to build an expressively playable instrument that has a strong
individual character. At the same time the set of parameters should be small
enough to be easily accessible.
The core structure is a phase modulation synth that is based on two sine oscil-
lators and two sine shapers only. Their signals can be passed through a comb
filter, a state-variable filter, and a chain of five eects.
The Comb Filter is a tool for complex spectral shaping and also works as a reso-
nator. The State Variable Filter can be applied flexibly for subtractive filtering.
The signal routing is determined by the settings of the Output Mixer and the
Feed- back Mixer. The feedback bus can be used to create feedback loops
between dierent function blocks.
The filters and eects have an important influence on the feedback behavior:
their amplitude and phase responses determine the frequencies where the
feedback can result in self oscillation.
The Components in Detail
Oscillator A, B
The two sine wave oscillators are the only signal sources. With a random
frequency fluctuation they can also produce tunable noise. They are equipped
with three phase modulation inputs for:
• self modulation
• modulation from the other oscillator
• modulation from the feedback (FB) signal
The oscillator signal for dierent amounts of self modulation:
f
A
t
t
t
f
A
f
A
Wave Form Audio Spectrum
The Synth Engine
The Synth Engine
8 9
Oscillator signal without self modulation and dierent amounts of fluctuation:
Oscillator signal with self modulation and dierent amounts of fluctuation:
A
f
A
f
A
f
t
t
t
Audio SpectrumWave Form
A
f
A
f
A
f
t
t
t
Audio SpectrumWave Form
Shaper A,B
The signal of each oscillator is processed by a wave shaper. The shaping curve
is a sine function with adjustable foldback and asymmetry. The mix amounts
of the shaper signal can be adjusted individually for each phase modulation
branch and for the output.
The Shaper block also contains mixing points for the feedback signal and the
result of a ring modulation between the output signals of the branches A and B.
The diagrams on the following pages show the output signal depending on
Drive, Fold and Asymmetry.
The Synth Engine
The Synth Engine
10 11
The influence of the Fold parameter of the Shaper:
Drive: 12 .0 dB
Fold: 100 %
Asymetry: 0 %
Drive: 12 .0 dB
Fold: 66 %
Asymetry: 0 %
Drive: 12 .0 dB
Fold: 33 %
Asymetry: 0 %
Drive: 12 .0 dB
Fold: 0 %
Asymetry: 0 %
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
y
x
Input
Output
The influence of the Drive parameter of the Shaper:
Drive: 16 .8 dB
Fold: 100 %
Asymetry: 0 %
Drive: 12 .3 dB
Fold: 100 %
Asymetry: 0 %
Drive: 9 .0 dB
Fold: 100 %
Asymetry: 0 %
Drive: 6 .0 dB
Fold: 100 %
Asymetry: 0 %
Drive: 3 .0 dB
Fold: 100 %
Asymetry: 0 %
Drive: 0 .0 dB
Fold: 100 %
Asymetry: 0 %
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
Input
Output
The Synth Engine
The Synth Engine
12 13
Envelope A, B
These two ADBDSR envelopes are the control sources for:
• the output amplitude of the Oscillator-Shaper branch
• the Oscillators’ phase modulation depths
• the Drive (input gain) of the referring Shaper
This diagram shows the segments of the envelope:
0.0
Attack
Level
Peak Level
Breakpoint
Level
Sustain Level
t
Note On Note O
Decay 1 Decay 2 Release
The influence of the Asymetry parameter of the Shaper:
Drive: 3.4 dB
Fold: 50 %
Asymetry: 0 %
Drive: 3.4 dB
Fold: 50 %
Asymetry: 20 %
Drive: 3.4 dB
Fold: 50 %
Asymetry: 60 %
Drive: 3.4 dB
Fold: 50 %
Asymetry: 100 %
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
Input
Output
y
t
t
x
Input
Output
The Synth Engine
The Synth Engine
14 15
Envelope with Decay 1 as Hold Time:
Percussive Envelope:
Organ-style Envelope:
Peak/
Breakpoint
Level
0.0
Decay 2
Attack Decay 1 Release
Level
t
Peak Level
Breakpoint
Level
0.0
Decay 2
Decay 1 Release
Level
t
Peak/
Breakpoint/
Sustain Level
0.0
Decay 2
Attack Decay 1 Release
Level
t
Envelope Amount:
Envelope with multiplying eect:
Envelope with additive eect:
PM Self
Env A
Crossfade
Modulated Signal
Control Position
Multiplier
1.0
Env A
t
Decay 2Attack Decay 1 Release
Parameter
Factor
Amount
0.0
100%
75%
50%
25%
0%
Amount
PM Self
Env A
75 %
50 %
130 st
t
– 20 st
Parameter
Value
Amount
Decay 2Attack Decay 1 Release
Pitch
Env C
–80.0 st
60.00 st
The Synth Engine
The Synth Engine
16 17
Envelope C
The third ADBDSR envelope has bipolar Breakpoint and Sustain levels. It can
modulate:
• the pitches and fluctuations of Oscillator A and B
• the feedback signal
• parameters of the Comb Filter and the State Variable Filter
Envelope C shapes with dierent polarities of the Breakpoint and Sustain levels:
Envelope C - “Retrigger Hardness” Parameter (in monophonic mode):
Peak Level
Breakpoint Level
(>0)
Sustain Level
(<0)
t
t
Note On Note O
0.0
Peak Level
Breakpoint Level
(<0)
Sustain Level
(>0)
Attack Decay 1 Decay 2 Release
0.0
0.0
Level
t
Note On Note On (Retrigger) Note ONote O
0%
100%
Comb Filter
The Comb Filter contains:
• a precisely tunable delay (Pitch)
• a control for the Decay time of the impulse response
• a second-order Allpass (AP) filter
• a lowpass (Hi Cut) in the feedback loop
• a delay modulation by the Oscillator signals, similar to phase modulation (PM)
Block diagram of the Comb Filter:
AP Reson
PM
Decay
Pitch AP Tune Hi Cut
Key Position
Env C
Key Trk
Env C
Key Trk
Gate
Key Trk
Env C
Key Trk
Env C
Note On/O
Delay Time
Control
Feedback Control
Center Frequency
Control
Cuto
Control
Delay 2-Pole Allpass 1-Pole Lowpass OutIn
from A-B
The Synth Engine
The Synth Engine
18 19
Basic frequency responses of the Comb Filter. Setting the Decay to negative values
has similar results like the inverted mix.
Non-inverted Mix:
Inverted Mix:
Magnitude
(dB)
Frequency
Ratio
0 dB
– 20 dB
1.0 2.0 3.0 4.0 5.0
– 40 dB
– 60 dB
– 80 dB
Magnitude
(dB)
Frequency
Ratio
0 dB
– 20 dB
0.5 1.5 2.5 3.5 4.5
– 40 dB
– 60 dB
– 80 dB
State Variabe Filter
The State Variable Filter has a variable 4-pole structure with:
• two internal 2-pole filters with splittable cuto frequencies (Spread)
• crossfade between serial and parallel modes (Parallel)
• crossfade between lowpass, bandpass, and highpass mode (L-B-H)
• cuto frequency modulation (FM) by the Oscillator signals
Here you see a block diagram of the State Variable Filter:
L–B–H
Reson
Reson
Parallel
Parallel
FM
from A-B
FM
FM
Cuto
Spread
Key Trk
Env C
Key Position
Env C
L-B-H 1
L-B-H 2
H
B
L
H
B
L
Cut 1
Cut 2
Cut 1 Cut 2
L-B-H 1 L-B-H 2
Cuto Control
L-B-H Control
2-Pole SVF
2-Pole SVF
X-Fade
X-Fade Out
In
Otros manuales para C15
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