Updated March 28, 2014
Syntheogen's 'hybrid' sampler takes the subtractive synthesizer and replaces the first of its oscillators with a sampler, allowing the techniques of subtractive synthesis to be applied to sampled sounds.
To use the hybrid sampler, open the TRACK SYNTH dialog and set the SYNTH value to Hybrid sampler; when this is done, the following controls will appear:
TRACK SYNTH dialog with hybrid sampler
In almost all respects, these controls match those found on the subtractive synthesis and simple sampler views.
These controls configure the sampler:
Sets the sample for this patch.
Below this box, sample metadata is displayed, including the total RAM consumed by the sample, whether the sample is mono or stereo, and the sample's average loop length, if any. Looped samples can be stretched to play long notes; unlooped samples, which often represent percussion sounds, cannot.Syntheogen includes dozens of built-in samples, but you can also add your own.
|SEMIS||Sets the number of semitones by which the pitch produced by the sampler should vary from the notes specified in the pattern.|
|CENTS||Sets the number of cents by which the pitch produced by the sampler should vary from the notes specified in the pattern. A cent is one percent of a semitone.|
Sets the length of each note's body, relative to the length of the step that triggered it, in percent.
Each note has a body within which the attack, decay, and sustain portions of any filter or level envelopes are heard; the release portion of those envelopes follows. By default, the body length equals the length of the step that triggered the note; by setting BODY LEN to a value below 100, that length can be shortened. When combined with a short release, this produces the clipped percussion sounds popular in modern hip hop.Looped samples always produce bodies that cover the full lengths of their steps; when a looped sample is selected, this control will be disabled.
|LEVEL||Sets the sampler's output level.|
These controls configure the patch's oscillator:
|(oscillator type)||Sets the waveform produced by the oscillator to sine, square, triangle, or sawtooth.|
|SEMIS||Sets the number of semitones by which the pitch produced by the oscillator should vary from the notes specified in the pattern.|
|CENTS||Sets the number of cents by which the pitch produced by the oscillator should vary from the notes specified in the pattern. A cent is one percent of a semitone.|
|LEVEL||Sets the oscillator's output level.|
This control determines how output from the sampler and the oscillator is combined:
|Add||The signals are 'mixed' in the conventional sense, by adding them. When the mix is set to Add, the STEREO knob appears. This control sets the amount of stereo separation between the signals, with zero producing a single mono signal, and 100 panning them hard left and right.|
|AM||The oscillator is used to amplitude-modulate the sampler. When the mix is set to AM, OSC LEVEL serves as the AM modulation index.|
|FM||The oscillator is used to frequency-modulate the sampler. When the mix is set to FM, the INDEX knob appears. This control sets the FM modulation index.|
These controls configure the noise generator:
|TEXTURE||Sets the color of noise added to the signal, with higher values producing darker noise with less high-frequency energy.|
|LEVEL||Sets the amount of noise added to the signal.|
These controls configure the envelope filter:
|(filter type)||Sets the filter type to Low-pass, Band-pass, High-pass, or None.|
|FREQ||Sets the filter cutoff or center frequency, in Hertz.|
|TRACK||Sets the key tracking ratio, which determines the amount by which the filter cutoff varies as notes in the pattern vary.|
Sets the range over which the filter transitions from its pass band to its stop band, this varying inversely with the filter's slope or quality factor.Low values produce sharp, distinctive resonance peaks and eventually cause the filter to oscillate. This produces interesting effects, but it can also create extremely loud sounds! Be careful when setting this value.
|INVERT ENV||Inverts the filter envelope.|
|ATTACK||Sets the filter envelope attack time, in seconds.|
|DECAY||Sets the filter envelope decay time, in seconds.|
|SUSTAIN||Sets the filter envelope sustain level, in percent.|
|RELEASE||Sets the filter envelope release time, in seconds.|
Filtering is a resource-intensive effect, and filtering at the patch level requires that multiple filter instances be maintained when several notes sound at once. This is unavoidable if the filter must respond to an envelope, but when that is not needed, you should disable the synthesis filter and add an effect filter instead.
These controls configure the level envelope:
Determines whether the level envelope is applied to this patch.Note that, when OSC LEVEL is greater than zero, disabling the level envelope causes the oscillator waveform to be interrupted abruptly when notes begin or end, producing audible clicks. If you are using the oscillator but do not want obvious level shaping, check USE ENV, but set ATTACK, DECAY, and RELEASE to zero, and SUSTAIN to 100.
|ATTACK||Sets the level envelope attack time, in seconds.|
|DECAY||Sets the level envelope decay time, in seconds.|
|SUSTAIN||Sets the level envelope sustain level, in percent.|
|RELEASE||Sets the level envelope release time, in seconds.|
These controls configure the first of the patch's two LFOs:
Sets the parameters to be modified by the LFO. Unlike many synthesizers, Syntheogen allows a single LFO to have multiple targets; tap any parameter once to select it, then tap again to deselect it.The following parameters can be targeted by either LFO: Sample pitch, Osc pitch, Osc balance, AM index, FM index, Filter freq, Filter width, Pan, and Level.
|PHASE||Sets the starting phase of the LFO waveform, in degrees. This determines the point within a periodic waveform at which the modulation starts; it can be used to produce a sine wave that falls at the beginning of the loop (instead of rising), or a square wave that starts at the bottom of its range (instead of the top).|
|LENGTH||Sets the length, in beats, of one LFO cycle. If a random waveform is selected, this instead determines the time between each check for a new value. Tap the edit box and use the slash key to enter a fractional value.|
|DEPTH||Sets the intensity of the LFO's effect on the targeted parameters.|
Sets the LFO waveform shape. The usual periodic waveforms are offered — Sine, Triangle, Square, Saw, and Reverse saw — along with four random shapes:
Random peak transitions linearly between random values, producing an irregular series of triangular peaks;
Random hold transitions very quickly between random values, and holds each for LENGTH beats, producing an irregular series of square steps;
Random pulse outputs the lowest value in the modulation range, with occasional rectangular pulses of random height;Random step produces a series of square steps that increase or decrease one increment at a time, with random direction changes.
|CHANCE||If a random waveform is selected, this determines the percent chance at each step that a new value will be chosen, or the chance that the sequence will change direction.|
|STEPS||If a random waveform is selected, this determines the number of steps into which the modulation range is divided. If STEPS is step to 2, only the highest and lowest values will be chosen. If an oscillator pitch is targeted, setting DEPTH to 100 and STEPS to 25 will produce values from the chromatic scale.|
These controls configure the second of the patch's two LFOs; in all other respects, they match the controls in the LFO 1 section.