DigiDesign Hybrid User manual
Hybrid
Version 1.5.x
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EditPack, Eleven, HD Core, HD Process, Hybrid, Impact,
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MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF,
OMF Interchange, PRE, ProControl, Pro Tools M-Powered,
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Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,
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Contents iii
contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Registering Your Plug-in. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Working with Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Conventions Used in This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Chapter 2. Installation and Authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installing Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Authorizing Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Uninstalling Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Chapter 3. Functional Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Synthesis Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Hybrid Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Synthesis Architecture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Contents
Hybrid Plug-In Guideiv
Chapter 4. Operating Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Viewing Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Adjusting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Accessing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
The Part Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
The Sequencer Pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
The Common Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
The Effects Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
The Presets Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Morph Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
MIDI Controller Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Appendix A. Hybrid Factory Patch Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Appendix B. Hybrid Wavetables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Appendix C. Part A and B Insert Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Appendix D. Default MIDI Controller Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Chapter 1: Introduction 1
chapter 1
Introduction
Welcome to the Hybrid™ high-definition syn-
thesizer for Pro Tools®.
Hybrid delivers the great tone and powerful
sounds of legendary analog synths, modelling
subtractive and wavetable synthesis. With its
extensive control and sound generation possi-
bilities, Hybrid fulfills even the most sophisti-
cated sound design demands.
Features
• Hybrid synthesizer architecture—the best
of both wavetable and subtractive synthe-
sis
• 7 oscillator types and 100 wavetables
• Multimode filter with 23 filter modes and
real filter saturation
• Sample accurate envelopes
• Audio range modulation for oscillators and
filters
• Modulation matrix
• Step sequencer and arpeggiator
• Morph groups, for controlling multiple
parameters at a time
• Over 40 built-in effects
Supported Formats
Hybrid is only available in the RTAS®format.
Supported Systems
Hybrid is supported on the following systems:
• Pro Tools|HD®
• Pro Tools LE®
• Pro Tools M-Powered™
Sample Rate and Channel Format
Support
Hybrid supports 44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176.4 kHz, and 192 kHz sample rates.
Hybrid works with mono and stereo formats
only.
Control Surface Support
Hybrid can be operated from the following con-
trol surfaces:
• Digidesign®003®
• Digi 002®
• Digidesign Command|8®
• Digidesign C|24™
• Digidesign Control|24™
• Digidesign D-Command ®
• Digidesign D-Control®
• Digidesign ProControl®
• Mackie HUI-compatible controllers
Hybrid Plug-In Guide2
System Requirements and
Compatibility
To use Hybrid, you need the following:
• An iLok USB Smart Key
• An iLok.com account for managing iLok
licenses
• One of the following:
• A Digidesign-qualified Pro Tools|HD,
Pro Tools LE, or Pro Tools M-Powered
system
• A Digidesign-qualified Pro Tools system
and a third-party software application that
supports the Digidesign RTAS plug-in
standard
• DVD drive for Installation disc (boxed version
of plug-in only)
• Internet access for software activation and
registration purposes
Digidesign can only assure compatibility and
provide support for hardware and software it has
tested and approved.
For complete system requirements and a list of
Digidesign-qualified computers, operating sys-
tems, hard drives, and third-party devices, refer
to the latest information on the Digidesign web-
site:
www.digidesign.com/compatibility
Registering Your Plug-in
If you purchased a download version of a plug-
in from the DigiStore (www.digidesign.com),
you were automatically registered.
If you purchased a boxed version of a plug-in,
you will be automatically registered when you
authorize your plug-in (see “Authorizing Hy-
brid” on page 6).
Registered users receive periodic software update
and upgrade notices.
For information on technical support, visit the
Digidesign website (www.digidesign.com).
Working with Plug-ins
See the Pro Tools Reference Guide for general
information on working with plug-ins in
Pro Tools, including:
• Inserting plug-ins on tracks
• Clip indicators
• Plug-in window
• Adjusting plug-in controls
• Automating plug-ins
• Monitoring and recording audio from
instrument plug-ins
• Using plug-in presets.
Chapter 1: Introduction 3
Conventions Used in This
Guide
All Digidesign guides use the following conven-
tions to indicate menu choices and key
commands:
:
The names of Commands, Options, and Settings
that appear on-screen are in a different font.
The following symbols are used to highlight
important information:
About www.digidesign.com
The Digidesign website (www.digidesign.com) is
your best online source for information to help
you get the most out of your Pro Tools system.
The following are just a few of the services and
features available.
Product Registration Register your purchase
online.
Support and Downloads Contact Digidesign
Technical Support or Customer Service;
download software updates and the latest online
manuals; browse the Compatibility documents
for system requirements; search the online
Answerbase or join the worldwide Pro Tools
community on the Digidesign User Conference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified
Pro Tools training center.
Products and Developers Learn about Digidesign
products; download demo software or learn
about our Development Partners and their plug-
ins, applications, and hardware.
News and Events Get the latest news from
Digidesign or sign up for a Pro Tools demo.
Pro Tools Accelerated Videos Watch the series of
free tutorial videos. Accelerated Videos are
designed to help you get up and running with
Pro Tools and its plug-ins quickly.
Convention Action
File > Save Choose Save from the
File menu
Control+N Hold down the Control
key and press the N key
Control-click Hold down the Control
key and click the mouse
button
Right-click Click with the right
mouse button
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
this guide and other Digidesign guides.
Hybrid Plug-In Guide4
Chapter 2: Installation and Authorization 5
chapter 2
Installation and Authorization
Installing Hybrid
To install the Hybrid plug-in:
1 Do one of the following:
• Purchase and download the Hybrid
installer from the DigiStore website. After
downloading, make sure the installer is un-
compressed (.ZIP on Windows or .SIT on
Mac).
– or –
• Insert the Hybrid Install disc (included in
the purchased boxed version of the Hybrid
plug-in) into your computer.
2 Double-click the Hybrid Installer
application:
Mac Hybrid_Setup.pkg
Windows Hybrid_Setup.exe
3 Follow the on-screen instructions to complete
the installation of the plug-in and patch files.
4 When installation is complete, click Quit
(Mac) or Finish (Windows).
The Hybrid Installer copies the Hybrid plug-in
(Hybrid.dpm) to the following
location:
Mac Library/Application Support/Digidesign/
Plug-Ins
Windows Program Files\Common Files\
Digidesign\DAE\Plug-Ins
Hybrid Plug-In Guide6
Authorizing Hybrid
Hybrid is authorized using an iLok USB Smart
Key (iLok), manufactured by PACE
Anti-Piracy, Inc.
The iLok is similar to a dongle, but unlike a don-
gle, it is designed to securely authorize multiple
software applications from a variety of software
developers.
This key can hold over 100 licenses for all of
your iLok-enabled software. Once an iLok is
authorized for a given piece of software, you can
use the iLok to authorize that software on any
computer.
Authorizing Download Versions of
Plug-ins
If you purchased a download version of a plug-
in from the DigiStore (www.digidesign.com),
authorize the plug-in by downloading licenses
from iLok.com to an iLok.
Authorizing Boxed Versions of
Plug-ins
If you purchased a boxed version of a plug-in, it
comes with an Activation Code (on the included
Activation Card). You will need this code to au-
thorize the plug-in.
To authorize Hybrid using an Activation Code:
1 If you do not have an existing iLok.com ac-
count, visit www.iLok.com and sign up for an
iLok.com account.
2 Transfer your Hybrid license to your iLok.com
account by doing the following:
• Visit http://secure.digidesign.com/
activation.
• Input your Activation Code (listed on the
Activation Card) and your iLok.com User
ID. Your iLok.com User ID is the name you
create for your iLok.com account.
3 Transfer the licenses from your iLok.com ac-
count to your iLok USB Smart Key by doing the
following:
• Insert the iLok into an available USB port
on your computer.
• Go to www.iLok.com and log in.
• Follow the on-screen instructions for trans-
ferring your licences to your iLok.
4 Launch Pro Tools.
5 If you have any unauthorized plug-ins or soft-
ware options installed on your system, you will
be prompted to authorize them. Follow the on-
screen instructions to complete the authoriza-
tion process.
iLok USB Smart Key
The iLok USB Smart Key is not supplied
with your plug-in or software option. You
can use the one included with certain
Pro Tools systems (such as Pro Tools|HD-
series systems), or purchase one separately.
See the iLok Usage Guide for details, or visit
the iLok website (www.iLok.com).
For additional information about iLok
technology and licenses, see the iLok Usage
Guide.
Chapter 2: Installation and Authorization 7
Uninstalling Hybrid
If you need to uninstall the Hybrid plug-in from
your system, follow the instructions below for
your computer platform.
Mac OS X
To remove the Hybrid plug-in:
1 Locate and open the Plug-ins folder on your
Startup drive (Library/Application Support
/Digidesign/Plug-ins).
2 Drag the plug-in to the Trash.
3 Empty the Trash.
Windows Vista
To remove the Hybrid plug-in:
1 Choose Control Panel.
2 Under Programs, click Uninstall a Program.
3 Select the Hybrid plug-in from the list of in-
stalled applications.
4 Click Uninstall.
5 Follow the on-screen instructions to remove
the plug-in.
Windows XP
To remove the Hybrid plug-in:
1 Choose Start > Control Panel.
2 Double-click Add or Remove Programs.
3 Select the Hybrid plug-in from the list of in-
stalled applications.
4 Click Remove.
5 Follow the on-screen instructions to remove
the plug-in.
Hybrid Plug-In Guide8
Chapter 3: Functional Overview 9
chapter 3
chapter 3
Functional Overview
Hybrid is an RTAS synthesizer plug-in that uses a
combination of classic subtractive and digital
wavetable synthesis.
Synthesis Overview
Subtractive Synthesis
Dating back to the first hardware analog synthe-
sizers, subtractive synthesis generates sound
with one or more oscillators producing elec-
tronic waveforms with rich harmonic content.
Successive modules (such as filters and amplifi-
ers) shape this sound by varying the harmonic
content and level.
Complex sounds that vary over time can be
made by controlling the oscillator, filter, and
amplifier with additional modules, including
Envelope Generators and low frequency oscilla-
tors (LFOs). This is called modulation.
This process of generating and shaping sound is
called subtractive synthesis because it deals
mainly with removing frequencies from highly
harmonic enhanced waveforms.
Wavetable Synthesis
Wavetable synthesis became popular with the
first digitally controlled synthesizers. A wavet-
able is a file that consists of 64 different single
cycle waveforms. A digital oscillator runs
through these waveforms to create complex and
vivid sounds. Wavetable synthesis is usually
combined with subtractive synthesis for addi-
tional sound shaping.
Hybrid is not multi-timbral—one instance
is assigned to one MIDI channel and con-
sists of two complete sound generation units
(or parts). Each part has individual Mix,
Arpeggiator, and Modulation settings.
Hybrid Plug-In Guide10
Hybrid Overview
Parts and Patches
Hybrid provides two synthesizer elements per
instance, Part A and Part B. Each part is a
complex sound generating unit, following the
principles of subtractive synthesis. You can save
single parts on the Presets page. The two parts
can be used as velocity layers, keyboard splits, or
spread across the stereo field to add width,
depth, and complexity to a sound.
All settings of Hybrid can be saved as a single
patch.
Part A and Part B
Each Hybrid part generates sound and gives
detailed access to sound parameters like pitch,
waveform, tone color, and volume. Each part
has a step sequencer and two insert effects.
Common Page
The Common page provides controls for the
overall pitch and voice management of a patch.
Effects Page
The Effects page contains two insert effects per
part and the Master Effects section where you
can add global effects. The Master Effects section
provides controls for three effects: chorus, delay,
and reverb.
Patch is another name for the plug-in set-
tings. Refer to the DigiRack Plug-Ins Guide
for information on working with RTAS plug-
ins.
Chapter 3: Functional Overview 11
Synthesis Architecture
The above diagram indicates Hybrid’s signal
flow and modulation architecture.
Oscillator Section Oscillators are the basic source
of pitch and harmonic content. Hybrid features
three oscillators, as follows:
• Oscillators 1 and 2 feature seven different
types: Saw Synchronized, Saw Cross Modu-
lated, Saw Multi, Square Synchronized, Square
Cross Modulated, Square Pulse Width Modu-
lation, and wavetable.
• Oscillator 3 offers the classic Sawtooth,
Square, and Triangle waveforms, Sub Oscilla-
tor, and Noise Generator.
All audio signals from the Oscillator section are
mixed before they are sent to the filter stage.
Filter Section Gives control over the tone color
by removing or accenting desired frequencies or
harmonics.
Filters have a stop band and a pass band delin-
eated by the cutoff frequency. The frequencies
in the stop band are attenuated or removed,
while the frequencies in the pass band are left
untouched. The pass band is specified by the fil-
ter type. For example, a low-pass filter removes
high frequencies and passes lower frequencies.
Other typical filter types are high-pass, band-
pass, band reject (notch filter) and all-pass
(phase shift).
The number of filter poles determines the atten-
uation in the stop band: The higher the number,
the more frequencies are removed. This feature
can also be specified in decibels per octave. An
Hybrid signal flow and modulation architecture
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Hybrid Plug-In Guide12
attenuation of 6 dB/oct equals a pole. Because
an attenuation of 6 dB/oct equals a pole, a two-
pole low pass filter has an attenuation of 12 dB
per octave above the cutoff frequency.
The Resonance parameter accents the frequen-
cies around the cutoff, which at extreme settings
can lead to self-oscillation: The filter produces an
additional audio signal at the frequency of the
cutoff. Modulating the filter cutoff, while the fil-
ter is self-oscillating, produces atonal electronic
spectra. This is analog filter frequency modula-
tion. In this guide, it is referred to as filter FM.
Hybrid offers an envelope-controlled analog
multimode filter with 23 different filter types,
all with resonance and self-oscillation. The dif-
ferent types include low-pass, high-pass, band-
pass, band reject, and all-pass filters with various
poles, and the combinations of more than one
type.
A dedicated saturation parameter adjusts the
amount and characteristic of the filter distor-
tion.
A blend of Oscillator 3 and the Noise Generator
can be used as an audio modulation source for
filter FM.
Amplifier Section Controls the loudness and po-
sition of the output sound in combination with
envelope generators and LFOs.
Envelope Sections Give shape to the sound. The
shape of an envelope is specified by a number of
segments, forming a graph of level against time.
By playing a note, the envelope runs through its
segments. Most segments have at least an as-
signable time or level, and modulation enve-
lopes typically have both.
Hybrid has four envelopes: two main envelopes
(one for the filter and one for the amplifier) and
two assignable modulation envelopes. All Hy-
brid’s envelopes have for segments: attack, de-
cay, sustain, and release (commonly abbreviated
as ADSR). In addition to the ADSR segments, the
main envelopes have an extra decay segment
with control over time and level. A delay time,
an additional decay, and adjustable levels for
each segment add to the modulation envelopes.
Concisely, Hybrid provides:
•TwoADDSRenvelopes
• Two DADDSR envelopes with free adjust-
able levels
LFOs (Low Frequency Oscillators) Generate cy-
clic modulation signals at a very slow rate. By
modulating pitch or loudness, they imitate vi-
brato or tremolo effects. Modulating the cutoff
produces electronic sweeps. Hybrid provides
three LFOs:
• Two monophonic LFOs, where monophonic
refers to one modulation distributed to all
voices.
• One polyphonic LFO, where polyphonic
refers to a separate LFO for each voice.
All LFOs have multiple waveforms and several
tempo-syncing options.
Chapter 3: Functional Overview 13
Modulation Matrix Connects modulation
sources with modulation destinations. These
modulations work in addition to the fixed
assigned ones, like the filter and amplitude
envelope or cutoff key tracking. A modulation
source can be routed to multiple destinations
with adjustable intensities. Unlike other synthe-
sizers, Hybrid needs no overly complex modula-
tion page. Instead, the modulation routing
works in the background. Following the typical
workflow, modulations are assigned at the desti-
nation module, such as an oscillator or a filter.
The Modulation matrix provides:
• 16 freely assignable modulation sources
• Over 20 modulation destinations
• Multiple assignments of sources and destina-
tions with adjustable intensities
Step Sequencers Deliver musical phrases and
stepped modulation signals. The steps advance
at the rate of the selected note length and auto-
matically synchronize to the Pro Tools session-
tempo. Hybrid provides:
• One note sequence with velocity, for musical
phrases
• Two control sequences for modulation pur-
poses
• Arpeggios and MIDI phrases accessed through
additional modes of the step sequencer
Effects Inserts Operate after all synthesis mod-
ules but before the master effects. With its two
effects inserts for each part and an assortment of
over 40 effect algorithms, Hybrid allows for
building complex multi-effect settings.
Hybrid Plug-In Guide14
Chapter 4: Operating Hybrid 15
chapter 4
Operating Hybrid
Viewing Pages
The Hybrid Plug-in window has seven tabs for
accessing different control pages for editing Hy-
brid.
To view a Hybrid control page:
Click one of the Page tabs to display the
respective page.
Hybrid Control Pages
Part A Page Provides controls for all sound gen-
erating parameters of Part A, including settings
for its oscillators, filters, amplifiers, envelopes,
and LFOs.
Seq A Page Provides controls for the sequencer
of Part A. The settings include the sequencer
lines for Note, Velocity, Control 1 and Control
2, and additional Playback modes (such as ar-
peggios and MIDI phrases).
Part B Page Provides controls for all sound gen-
erating parameters of Part B, including settings
for its oscillators, filters, amplifiers, envelopes,
and LFOs.
Seq B Page Provides controls for the sequencer
of Part B. The settings include the sequencer
lines for Note, Velocity, Control 1 and Control
2, and additional Playback modes (such as ar-
peggios and MIDI phrases).
Common Page Provides controls for adjusting
the overall pitch and voice management of a
patch. In addition, there are settings for the
Morph controllers and general plug-in settings.
Effects Page Provides controls for the effects In-
serts of Part A and B and the master effects ap-
plied to the whole patch.
Selecting a page
Part A Page tabs
Part B Page tabs
Part A and B are identical and provide the
same set of controls.
To learn more about working with parts, see
“Accessing Parts” on page 18.
Hybrid Plug-In Guide16
Presets Page Provides controls for loading and
saving presets of Part A and B and gives access to
the most commonly edited synthesizer parame-
ters.
Adjusting Parameters
You can adjust most controls by using the com-
puter mouse to drag a control or using the key-
board to type in a value.
Some controls are adjusted by a value from a
pop-up menu or by activating a button.
In addition, envelopes, LFOs, and step sequenc-
ers are edited using dedicated graphic controls.
Parameter Ranges and Resolution
Most controls have a range of 0–100%. Some
controls are bipolar, meaning they support nega-
tive values and usually have a range of –100% to
+100%, but the internal resolution of all contin-
uous controls is much higher than 100 steps.
Hybrid’s parameter smoothing avoids stair-step-
ping for a true analog feel of controls.
Using a Mouse
You can adjust controls by clicking and drag-
ging the control’s slider or knob, or by moving
over it and scrolling up or down with the scroll
wheel.
Adjust rotary controls by clicking and dragging
horizontally or vertically. Parameter values in-
crease as you drag upward or to the right, and
decrease as you drag downward or to the left.
Keyboard Shortcuts
For finer adjustments, hold down Command
(Mac) or Control (Windows) while moving the
control.
To return a control to its default value, Option-
click (Mac) or Alt-click (Windows) the control.
Typing in Values
Most controls do not have a text box of their
own. Instead, there is one text box for a control
section (functional group of controls). This text
box displays the last edited control of its section.
You can edit the value with your computer key-
board.
The Presets page offers a fast and simple
way for creating new patches: Just browse
the presets of Part A and B to make new
combinations. Use the supplied controls to
modify sounds. Save the patch with the Set-
tings Librarian.
To learn more about the part preset func-
tionality see “The Presets Page” on page 52.
Dragging a knob
The behavior of knobs can be customized,
see “Knob Mode” on page 46 for more infor-
mation.
Text box
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