Zvork Noxious User manual

ZVORK
NOXIOUS
User Manual
version 1.5.0

ZVORK NOXIOUS - User Manual
Table of Contents
Introduction........................................................................................................................................ 4
A brief introduction to Additive Synthesis....................................................................................... 5
Harmonic sounds............................................................................................................................. 5
Inharmonic sounds...........................................................................................................................5
The Noxious engine.............................................................................................................................6
Oscillator..........................................................................................................................................6
Partial Modifiers.............................................................................................................................. 7
Filters............................................................................................................................................... 7
Modulations..................................................................................................................................... 8
Front Panel..........................................................................................................................................
Knob default positions..................................................................................................................... 9
Performance..................................................................................................................................... 9
Pitch end and Modulation wheel.............................................................................................. 9
Keyboard Mode and Glide........................................................................................................ 10
Sound............................................................................................................................................. 10
Architecture...............................................................................................................................10
Waveform.................................................................................................................................. 10
Variation.................................................................................................................................... 10
Stereo control............................................................................................................................ 11
Width.................................................................................................................................... 11
Pan........................................................................................................................................ 11
Quality Settings......................................................................................................................... 11
Partial Count.........................................................................................................................11
Precision............................................................................................................................... 11
Display...................................................................................................................................... 11
Modifiers...................................................................................................................................12
Activation............................................................................................................................. 12
Type...................................................................................................................................... 13
Influence...............................................................................................................................13
Specific Parameters.............................................................................................................. 13
Keyboard Tracking............................................................................................................... 13
Tuning....................................................................................................................................... 13
Keyboard Tracking............................................................................................................... 14
Filters........................................................................................................................................ 14
Filter mode........................................................................................................................... 14
Keyboard Tracking............................................................................................................... 14
Amplitude and Output...............................................................................................................14
Filter mix.............................................................................................................................. 14
Modulation.....................................................................................................................................14
LFO........................................................................................................................................... 14
Modulation Envelopes.............................................................................................................. 15
Modulation Matrix.................................................................................................................... 15
Sources................................................................................................................................. 15
Destinations.......................................................................................................................... 16
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Back Panel.........................................................................................................................................18
CV Inputs.......................................................................................................................................18
CV Outputs.................................................................................................................................... 18
Audio Outputs................................................................................................................................19
Partial Modifiers...............................................................................................................................20
Level.............................................................................................................................................. 20
Equalizer................................................................................................................................... 20
Harmonic Mix........................................................................................................................... 20
Noise......................................................................................................................................... 20
Randomize................................................................................................................................ 20
Low Pass and High Pass........................................................................................................... 20
Feedback................................................................................................................................... 21
Limit..........................................................................................................................................21
Pitch............................................................................................................................................... 21
Tune...........................................................................................................................................21
Scale.......................................................................................................................................... 21
Offset.........................................................................................................................................22
Harmonize................................................................................................................................. 22
Noise......................................................................................................................................... 22
Randomize................................................................................................................................ 22
oth................................................................................................................................................23
Repeat........................................................................................................................................23
Mirror........................................................................................................................................ 23
Randomize................................................................................................................................ 23
Duplicate................................................................................................................................... 24
Tips and Tricks................................................................................................................................. 25
Adjust the quality according to your bandwidth............................................................................25
Stealing high frequency partials with the Offset modifier.............................................................25
Attack partials with inharmonic wave forms.................................................................................25
A note on CPU / DSP performance................................................................................................25
MIDI Implementation Chart...........................................................................................................26
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Introduction
Noxious is a polyphonic additive synthesizer. Additive synthesis consists of adding tens,
hundreds or thousands of individual sinusoidal oscillators to create co plex wavefor s or
sounds. In theory, additive synthesis is able to recreate any sound i aginable but is
usually a challenge to anipulate.
Noxious takes an inter ediate route to additive synthesis by offering a li ited ean of
anipulating these sinusoidal oscillators, called partials, through “ odifiers” and classical
filters.
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A brief introduction to Additive Synt esis
A ajority of synthesizers are based on a particular for of synthesis called “subtractive
synthesis”. It consists in producing a spectrally rich wave for , such as sawtooth, square
or noise and applying a filter on these wave for s to re ove, or subtract, parts of their
spectru . By varying the types of filters and their para eters, they can produce a fairly
wide variety of sounds.
Additive synthesis works the other way around. It consists in building this rich spectru
fro scratch by adding up individual sinusoidal oscillators, called partials in Noxious. Sine
waves have the particularity of producing sound in a single frequency band of the
spectru . By adding up ultiple sine waves of different frequency, we can, in theory,
reproduce any frequency spectru . In fact, science de onstrates that any sound of any
length can be created with an infinite nu ber of sine waves, properly tuned and equalized.
This of course isn't practical and in reality additive synthesis constrains you to a finite
nu ber of sinusoidal oscillators but with controllable pitch and level. Typical sounds
consists of hundreds of sine waves so controlling each one of the is a bit of a challenge.
We will see how Noxious handles the proble later on but in the ean ti e, let us see
how typical sounds are built fro these individual partials.
Harmonic sounds
Musical har onic sounds, such as created by acoustic instru ents or analog subtractive
synthesizers, are produced by periodic wave for s. The frequency of these wave for s
deter ine the pitch of the note. Typical periodic wave for s in subtractive synthesis
include sawtooth, triangle and square waves. They are all ade up of sine waves of
frequencies ultiple of the wave for 's note frequency. This note frequency is called
fundamental frequency in additive synthesis. For exa ple, if you hit the A4 key on your
keyboard, which corresponds to a frequency of 440 Hz, and produce a saw tooth wave
for , this saw tooth is in fact ade up of sine waves of frequency 440 Hz, 880 Hz, 1320
Hz or 1760 Hz (or 1 x 440Hz, 2 x 440Hz, 3 x 440Hz and 4 x 440Hz). The ultiples of the
funda ental frequency are called armonics. The sine waves also have a particular
a plitude but these a plitudes only change the ti bre of the wave, not its note frequency
or har onicity. This difference in a plitude is what akes a sawtooth sound different fro
a square wave.
In armonic sounds
The vast ajority of sounds are not har onic or tuned. Percussion or noise sounds for
instance don't have a clear pitch and thus don't have partials tuned so si ply as har onic
sounds. In fact ost inhar onic sounds have partials tuned with no relation between one
another. In reality, acoustic instru ents are not totally har onic in the pure sense of the
ter but are al ost har onic. Their partials are not strictly tuned to ultiples of the
funda ental frequency and this is what gives their richness as this introduces so e slight
chorus / beating effects. Typical inhar onic sounds are etallic sounds, such as istuned
bells or rigid strings, and these can be easily built fro har onic sounds by detuning so e
of their partials.
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T e Noxious engine
In this chapter we will describe in detail how Noxious lets you anipulate these partials to
create a wide variety of sounds and how it relates to additive synthesis and even to
subtractive synthesis.
Oscillator
Instead of creating partials fro scratch, Noxious will allow you to start with a basic wave
for fro a predeter ined list. These wave for s are not purely periodic, which is what
you find in ost synthesizers. Noxious can produce inhar onic wave for s. Being an
additive synthesizer it can generate up to 200 partials (in highest quality) per wave for .
Here is the list of available wave for s:
•Saw toot : classical saw tooth with a rich full spectru .
•Saw toot + C orus : a “fat” saw tooth consisting of triplets or duos of slightly
detuned partials. The spectru has a lower bandwidth than the nor al saw tooth.
•Square : classical square wave with a rich albeit “e pty” spectru . Square waves
have the particularity of lacking all har onics with pitches of even ultiples of the
funda ental frequency. In fact, all wave for s lacking these even har onics have
the sa e “e pty” quality to the .
•Square + C orus : the sa e square wave with a narrower bandwidth but with
slightly detuned partials for a “fatter” sound.
•Pulse 1/10 : a classic pulse wave with a 1/10 pulse width.
•Pulse 2/10 : sa e thing but with a 2/10 pulse width.
•Pulse 3/10 : again but with a 3/10 pulse width.
•Dirac : this is an interesting wave for as it has all har onics, all with equal level.
•Triangle : the third classical wave for with the sa e “e pty” quality to it as the
square wave but without its brightness.
•Male Voice : a slightly synthetic ale choir.
•Female Voice : a slightly synthetic fe ale “oh” sound.
•Strings : an orchestral string wave for .
•Saxop one : a tenor saxophone.
•Nasal : a very nasal sounding wave for with lots of ediu frequencies.
•Cymbal : an inhar onic etallic cy bal sound.
•Dark noise : an inhar onic low bandwidth noise.
•Razor : i agine an electric razor and you get a good idea of what this sounds like.
•Quasi Sawtoot : like a sawtooth but with all the partials slightly detuned.
•Fractal : a synthetic wave with a lot of high frequencies
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•S epard : this wave has only octave separated partials, perfect for organ or clear
sounds.
•Alien : a spectru halfway between noise and etal with a slight pulsation.
Partial Modifiers
The partials produced by the oscillator can then be transfor ed by a stack of up to five
odifiers A, B, C, D and E. The odifiers are applied in sequence and can odify the
levels of the partials, their pitch or both. Each odifier can operate on a subset of partials.
Here is the list of available odifiers:
•Level – Equalizer : this is the basic odifier as it lets you boost or cut partials as a
classic para etric equalizer but with the added possibility of odifying only even or
odd har onics.
•Level – Harmonic Mix : re ove har onic or inhar onic partials.
•Level – Noise : add a ti e varying rando ness to the existing partial levels.
•Level – Low Pass 12dB : apply a low pass filter with a 12 dB/octave slope to the
selected partials.
•Level – Hig Pass 12dB : apply a high pass filter with a 12 dB/octave slope to the
selected partials.
•Level – Feedback : apply a feedback co b filter to the selected partials.
•Level – Limiter : li it the level of the partials to a certain level by applying a soft
clip to their level.
•Pitc – Tune : tune the partials to a different funda ental frequency.
•Pitc – Scale : scale the partial pitch away or towards a center frequency.
•Pitc – Harmonize : detune the partial pitch away or towards the nearest har onic
frequency. Very handy to transfor an inhar onic wave for into an har onic one.
•Pitc – Noise : add a ti e varying rando ness to the existing partial pitch.
•Combined – Repeat : Repeat the low frequency partials across the spectru .
•Combined – Mirror : Mirror Repeat the low frequency partials across the spectru .
•Combined – Randomize : Shuffle both levels and pitches.
•Combined – Duplicate : Create detuned copies of the partials.
A ore thorough description and docu entation on the partial odifiers is available in a
dedicated chapter.
Filters
After the partial odifiers, the wave for can be odified further ore with two ulti-state
filters in series featuring resonance. This is classical territory if you know subtractive
synthesis but the filters operate directly on the partials without touching the phase. Here is
the list of filter odes:
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•Low Pass Type I : cuts the high frequencies with available slopes of 6 dB, 12 dB,
24 dB and 48 dB per octave and with a high constant resonance value.
•Low Pass Type II : cuts the high frequencies with available slopes of 6 dB, 12 dB,
24 dB and 48 dB per octave but with a frequency variable constant resonance
value.
•Hig Pass: cuts the low frequencies with the sa e available slopes as the low pass
ode, also with a high constant resonance value.
•Band Pass : cuts frequencies that are not around a center frequency, with the
sa e available slopes.
•Band Reject : cuts frequencies that are around a center frequency, with the sa e
available slopes.
•Negative and positive feedback comb filter : reproduces the delay based effect.
•Vowel : e phasizes various spectru frequencies (called for ants in speech
synthesis) so as to reproduce hu an vowels. The frequency para eter of the filter
is used to deter ine the pitch or gender of the voice whereas the resonance lets
you sweep through the various vowels.
Modulations
All the above filters and odifiers can be further ore odulated with two LFOs, two
odulation envelopes, a plitude envelope and perfor ance controllers such as velocity,
aftertouch or odulation wheel. A odulation atrix lets you build your own odulation
routes with adjustable odulation strength.
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Front Panel
Knob default positions
On Noxious, every knob corresponding to an i portant para eter has a s all LED light
underneath. When this light is on, it indicates that the knob is set to a non default value.
This lets you quickly see what has changed fro the default on your panel.
Performance
Pitc Bend and Modulation w eel
The range of the pitch bend can be adjusted with a axi u range of 2 octaves (24
se itones).
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Keyboard Mode and Glide
There are three keyboard odes:
•Polyphonic : the default ode where each new pressed key creates a new voice.
The axi u nu ber of si ultaneous notes can be adjusted with the Polyp ony
setting. Noxious has a axi u polyphony of 16 voices.
•Mono-Retrigger : when pressing a key, the synth retriggers the envelopes and
changes the pitch if a previous key is pressed.
•Mono-Legato : this is the sa e as mono-retrigger but the envelopes are not
retriggered.
By changing the Glide duration, you can add porta ento effect that will ake the pitch
glide fro the previous note to the next. This also works in polyphonic ode but in this
case the porta ento will take place only if you press a new key will previous notes are in
release ode.
Sound
Arc itecture
In Noxious, you don't directly create partials. You
start fro a set of partials corresponding to a wave
for which you then odify. These odifications
are done through two “classic” filters and up to five
“ odifiers”. All these are applied in sequence to the
partials. This architecture is su arized by a
sche atic on the back panel, reproduced on the
right of this page.
Waveform
The wave for is selected by navigating through the
list of wave for s with the left or right buttons or by
directly selecting it in a list by clicking on the current
wave for label.
Variation
Each wavefor has a nu ber of variations (for exa ple pulse width for the sawtooth
wavefor ) that can be selected in a continuous anner. Sweeping s oothly between
each variation is a first ethod of changing your sound over ti e.
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OSC
A
B
C
D
E
Modifiers
Output
Filter 2
Filter 1
OSC
A
B
C
D
E
Modifiers
Output
Filter 2
Filter 1
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ZVORK NOXIOUS - User Manual
Stereo control
Width
Each partial of a wavefor can further ore be spread of the stereo space. This is
controlled through the wavefor 's “width” para eter. A zero width gives a very narrow
sound (the default) whereas set to 100, partials are balanced across the entire stereo
space.
Pan
Like the na e suggests, this is the para eter used to offset the center of the wavefor in
the stereo space.
Quality Settings
Additive synthesis can be very CPU hungry on low end co puters, depending on the
nu ber of partials anipulated and the rate at which they are odified. These settings let
you strike a balance between quality and CPU perfor ance or just push the quality to its
axi u .
Partial Count
By setting the partial count to one of the three possible settings – Low, Mediu or High –
you can lessen the CPU load of your patches. Each quality setting corresponds to a
certain nu ber of partials per voice, which affects the spectru of the wavefor s.
Precision
On ost occasions you won't notice a difference when changing the precision but when
you are changing your spectru at a very fast rate (with a high rate LFO for instance or a
high rate noise odifier) you ight want to try a higher setting. If, on the contrary, you are
creating a very slowly evolving pad, you can switch to the low setting without noticing any
difference. Changing the spectru includes odifiers and filters so very fast odulation of
filter cutoff can also be of higher quality if you push this setting to its highest value.
Display
When all partial odifiers are turned off (the default situation), the partial display lets you
visualize the levels (in dB) and pitches of the selected wave for 's partials. Due to a
li ited display size only the partials with pitches up to hundred ti es the funda ental
frequency will fit in the display. Nonetheless, especially in high quality extra partials can
exist after the far right of the visible spectru .
If all the partials are har onics (for instance with a saw tooth or square wave), the pitch
display will be e pty. If this is not the case, inhar onic partials will display a bar with an
a plitude indicating its distance to the nearest har onic in cents. If ultiple partials
overlap on the display (with very si ilar pitches), the partial with the greatest deviation
fro the har onic will be used to display this pitch.
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Sawtooth wave
The saw tooth as seen in the display. You can see
the levels of each partials decrease as we go up in
frequency.
The pitch display is a flat line which indicates that all
partials are har onics.
Square wave
The square wave has the sa e decrease in level but
you can see that one out of two partials are issing.
Again, the pitch display is a flat line which indicates
that all partials are har onics.
Sawtooth with chorus
The levels of the partials are identical to the sawtooth
wave so the level display has an identical aspect.
The pitch display, however displays so e s all
deviations in pitch which corresponds to the slight
detuning of each partials to produce the chorus
effect.
Cymbal
Finally the cy bal wavefor , which is absolutely
inhar onic, has an even distribution of frequencies
across the spectru all with approxi ately equal
level.
Their pitch also see s to be a bit rando as we can
see that there is a lot of deviation fro the
har onics.
When odifiers are active, the display will reflect the state of the partials after all active
odifiers are applied, just before being sent to the filters.
Modifiers
There are up to five possible active odifiers. Each odifier is applied in sequence,
starting with odifier A and ending with odifier E. A odifier thus is applied to the output
of the previous active odifier.
ctivation
A odifier is active if it is enabled by pressing the button at the top left of the
corresponding odifier section.
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Type
The type of the odifier can be selected by navigating through the list with the left or right
button, or by pressing on the label which displays the list of all available odifier types. For
a co plete list and description of these odifier types, please refer to the specific chapter
at the end of the docu entation.
Influence
A odifier is applied to a subset of partials. This selection (or partial influence) is controlled
through the para eters Center, Spread and Falloff. The center para eter controls the
center frequency of the odifier, the spread controls the frequency range of its influence
and finally the falloff deter ines how this influence will decrease to zero between the
center and the edge of the selection. The illustrations below present two odifiers with
decreasing falloff.
Specific Parameters
A odifier has two specific para eter knobs which control the type specific para eter 1 &
2. A display at the right of the knob presents the na e of the para eter for the current
odifier type.
Keyboard Tracking
When keyboard tracking is set to 100, the odifier center and spread follow exactly the
note frequency. This corresponds to the odifier being applied the sa e on the wave for
partials regardless of the note pitch, which is usually what we want. When the tracking is
set to 0, the odifier center and spread are constant across the note range and fixed in
the spectru . For instance, on an equalizer, this corresponds to a fixed peak or notch on
the spectru just like a nor al equalizer or for ant filter would behave. For values of the
keyboard tracking under 0, the center and spread increase when the note frequency
decreases.
Tuning
There are two knobs to define the basic pitch of the oscillator. The ain one is used to
adjust the pitch in se i tones, fro -48 to +48. The second one lets you finely tune the
oscillator in cents or hundredth of se i tones.
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Keyboard Tracking
When set to 0 (the default), the pitch of the oscillator follows the note pressed on the
keyboards. Set to 100, the pitch changes at twice the nor al note rate : two keys
separated by an octave will give a two octave oscillator pitch difference. Finally, when set
to -100, the pitch is constant across all keys.
Filters
Filter mode
The filters can be applied to the odified wavefor in serial (the default) or in parallel. In
the latter case, each filtered version (or the original odified wavefor , if a filter is not
activated) is then re ixed to for the final output.
Keyboard Tracking
This controls how the filter frequency is adjusted for each note. By default, the value is 50
which corresponds to a frequency adjusted exactly with the note frequency. When the
value is 0, the frequency is identical along all the note range. Negative values indicate that
the frequency increases with low notes.
Amplitude and Output
This section of the front panel groups all the controls associated with the volu e. The
a plitude envelope is a classic ADSR envelope with attack ti e, decay ti e, sustain level
and release ti e controls.
Filter mix
The influence of each filter in the final output can be controlled here. To the left, only the
influence of the first filter is heard, if it is on, and the right, only the influence of the second
filter.
Modulation
LFO
Two low frequency oscillators (LFO) can be used to odulate one or any para eters
with a bipolar curve. All shapes oscillate between -1 and +1. Both LFO's have the sa e
settings:
•Frequency: controls the rate of the LFO in hertz or in note lengths, if it is synced to
the te po,
•Shape: there are six different available wave shapes:
•Sine
•Triangle
•Saw
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•Square
•Rando
•Sa pled rando
•Te po Sync : when pressed, the frequency of the LFO is adjustable in note lengths,
with the start of a wave cycle synced to the te po.
•Key Sync : when pressed (the default), the wave cycle starts when a key is
pressed. If the button is unpressed, the LFO is free running and the sa e for all
notes.
•Delay : delay the effect of the LFO up to five seconds.
•Destination : by clicking on this display you can select what the LFO will odulate
fro all the available odulation destinations (see the Matrix paragraph for the list).
The knob to the left controls the strength of the odulation fro -100 to +100.
Modulation Envelopes
With the a plitude envelope co e two freely assignable odulation envelopes. They are
a bit ore configurable than classic ADSR envelopes as you can also adjust the start,
attack and release levels. All levels (L1, L2, Sustain and L4) have values ranging between
-100 and +100.
Just like the LFO's, each odulation envelope has a destination freely selectable fro all
the odulation destinations, with an adjustable odulation strength.
Modulation Matrix
The odulation atrix is where you can create extra odulations by routing odulation
sources to odulation destinations. Each route has an adjustable strength para eter to
define the influence of each source on the corresponding destination.
Sources
Here is the list of available odulation sources:
•Key pressed velocity
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•A plitude envelope
•Modulation envelopes 1 & 2
•LFO 1 & 2
•Aftertouch
•Modulation wheel
•Keyboard tracking
•Sustain pedal
•Expression controller
•Breath control
•External CV inputs 1 to 4 (see back panel)
•Rando on note 1 & 2 : this delivers a co pletely rando bipolar value on each
note pressed.
Destinations
Here is the list of available odulation destinations:
•LFO 1 & 2 frequency
•LFO 1 & 2 level : this will odify the strength of the odulation set in the
corresponding LFO section. It will not odify the strength of other odulations as
set in the odulation atrix and having the LFO as the source.
•LFO 1 & 2 delay
•Modulation envelope 1 & 2 level : this will odify the strength of the odulation set
in the corresponding Modulation Envelope section. It will not odify the strength of
other odulations as set in the odulation atrix and having the Modulation
Envelope as the source.
•Modulation envelope 1 & 2 attack, decay and release ti es
•Filter 1 & 2 cutoff frequency
•Filter 1 & 2 resonance
•Filter ix
•Wavefor variation
•Oscillator pitch
•Oscillator output level
•Oscillator pan
•Oscillator width
•A plitude envelope attack, decay and release ti es
•Modifiers A-E center
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•Modifiers A-E spread
•Modifiers A-E falloff
•Modifiers A-E para eter 1
•Modifiers A-E para eter 2
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Back Panel
The back panel exposes the input / output CV and audio output sockets.
CV Inputs
So e of Noxious' para eters can have their values odulated by control voltage signals
co ing fro other devices. Tri knobs let you control the a plitude of the odulation.
Four special CV inputs (labeled CV 1, 2, 3, 4) are by default not routed to a specific
para eter. It is up to you, through the odulation atrix, to route the to a particular
odulation destination.
CV Outputs
Noxious exposes for internal para eter to CV outputs:
•LFO 1 & 2 : this the value of the LFO if it were not key synced.
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•Modulation envelope 1 & 2 : the value of the odulation envelope of the first
pressed voice is sent to this output.
Audio Outputs
The panned stereo output is sent to the left and right audio socket. If only the left socket is
connected to another device, Noxious sends the ixed ono signal to the left socket.
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Partial Modifiers
Level
Equalizer
This is the ost basic of all odifiers and rese bles the classic peak / notch equalizer in
that it enables you to increase or decrease the levels of the influenced partials. Para eter
1 (Gain) controls the gain. Para eter 2 (Parity) enables you to odify all influenced
partials, only even har onics if set to +100 or only odd har onics if set to -100.
Harmonic Mix
This odifier lets you control the ix between har onic and inhar onic partials. It has two
para eters: Mix and Narrow. Mix controls which of the two sets of partials to keep. On
zero all partials are kept. On +100, inhar onic partials are attenuated while on -100, the
har onic ones are attenuated. The discri ination of partials between har onic and
inhar onic is controlled with the narrow para eter. At +100, the har onic and inhar onic
selection (depending on the value of the ix para eter) is extre ely narrow and only
partials which have frequencies al ost exactly har onic are considered har onic. When
the narrow para eter is a -100, the difference between har onic and inhar onic is less
constrained.
Noise
This odifier rando ly changes the level of the influenced partials over ti e. The range of
the rando gain is controlled with the mount para eter while the rate at which this
evolves is set with the Rate para eter. The rando ness is voice dependent so if you
strike a chord, each note will have a different spectru . Be careful as this odifier can be
CPU intensive.
Randomize
The effect does not vary over ti e. The mount para eter controls the a ount of shuffling
of the partials levels while the second specific para eter Seed, deter ines the noise
distribution. Changing this will co pletely change the rando values in unpredictable
ways.
Low Pass and Hig Pass
These odifiers act like the respective filter types but there effect are weighted by spread,
center and falloff. You can for instance apply low pass effect on just a part of the spectru
by correctly setting the center on the desired zone. The first para eter controls the filter
cutoff frequency and the second resonance. But be aware that, like all odifier
para eters, their value isn't influenced by the Keyboard Tracking value of the odifier. To
do so, you explicitly create a link in the odulation atrix.
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