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| Introducing the Synthesizers | |
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| DreamStation | |
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| Roland GrooveSynth | |
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| TTS-1 | |
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| sfz and sfz+ | |
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| Velocity Drum Sampler | |
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| nPulse Modular Drum Synth | |
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| Cyclone Groove Tool | |
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| RXP REX Player Groove Box | |
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| DropZone | |
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| PSYN II Virtual Analog Synthesizer | |
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| DS864 Sampler | |
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| Pentagon I Performance-Oriented Synthesizer | |
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| Session Drummer 2 | |
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| Z3TA+ Waveshaping Synthesizer | |
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| Dimension and Dimension Pro Sampling Synthesizers | |
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| Rapture Wavetable Synthesizer | |
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| So Which Synth Do I Use For...? | |
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| What's Next in This Book? | |
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| Getting a Grip on Synthesizer Programming | |
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| Primary Sound Sources | |
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| Sine Wave | |
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| Sawtooth Wave | |
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| Square | |
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| Noise | |
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| Unfiltered Waves | |
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| Listening to the Raw Sounds Created by Triangle II | |
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| Selecting Waves in Triangle II | |
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| Filters | |
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| Low-Pass | |
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| High-Pass | |
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| Band-Pass | |
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| Filter Controls | |
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| Selecting Different Filters in Triangle II | |
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| Filter Slopes | |
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| Modulation: A Brief Introduction | |
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| Effect of Velocity on a Sound | |
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| Effect of Pitch on a Sound | |
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| Effect of Time on a Sound | |
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| Combining the Effects of Velocity, Pitch, and Time | |
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| Modulation Sources: Envelopes | |
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| Volume (Amplitude) Envelopes | |
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| Filter Envelopes | |
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| Pitch Envelopes | |
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| Modulation Sources: Low-Frequency Oscillators | |
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| Volume (Amplitude) LFOs | |
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| Filter LFOs | |
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| Pitch LFOs | |
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| Pulse-Width Modulation | |
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| Other Modulation Sources | |
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| Modulation Controllers | |
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| Other Sound Sources | |
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| Combining Oscillators for Weight | |
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| Sub-Oscillators | |
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| Combining Waves: Sync | |
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| Other Tone-Controlling Options in Triangle II | |
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| Player Controls | |
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| Playing Mode | |
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| Portamento | |
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| Bend | |
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| Advanced Bending | |
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| FX in Triangle II | |
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| Bass EQ | |
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| Chorus | |
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| Delay | |
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| Reverb | |
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| Master Settings | |
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| Random | |
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| Tuning | |
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| Output Section | |
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| Utilities | |
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| Using Hardware: MIDI Learn | |
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| Next Steps | |
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| Intermediate and Advanced Synthesis Techniques | |
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| Sound Sources | |
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| Oscillators | |
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| Samples | |
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| Some More Waveforms To Listen To | |
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| Raw Sawtooth | |
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| Vintage Sawtooth | |
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| Square | |
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| Vintage Square | |
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| Pulse Waves | |
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| Harmonic Waveforms | |
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| Triangle Wave | |
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| Noise | |
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| Combining Oscillators | |
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| Combining Oscillators for Weight | |
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| Combining Waves: Key Sync and Oscillator Phase | |
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| Combining Oscillators for Tone | |
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| Further Sound Sources | |
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| Wave Shaping | |
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| Wave Sequencing | |
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| Ring Modulation | |
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| FM: Frequency Modulation | |
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| A Crash Course in FM Synthesis | |
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| More Advanced FM | |
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| Multi-Stage Envelopes | |
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| Filters | |
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| Notch (or Band Reject) Filter | |
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| Formant Filter | |
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| All Pass Filters | |
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| Peak Filter | |
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| Pink Filter | |
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| Comb Filter | |
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| More LFO Techniques | |
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| Tempo Synchronization | |
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| Monophonic and Polyphonic LFOs (Local versus Global LFOs) | |
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| LFO Phase | |
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| LFO Morphing | |
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| Single-Shot LFOs | |
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| Delay and Fade | |
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| Effects | |
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| Deployment of FX | |
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| Distortion | |
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| Compression | |
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| Limiting | |
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| EQ | |
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| Simulator/Simul-Mode | |
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| Modulation Effects | |
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| Delay | |
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| Digital Quality Degradation | |
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| Reverb | |
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| Step Generators | |
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| Gating | |
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| Alternate Tunings | |
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| Next Steps | |
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| sfz and sfz+ | |
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| A Word or Two about sfz Format Files and SoundFont Format Files | |
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| What Is the sfz Player? | |
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| Why Use the sfz Player? | |
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| Getting to Know the sfz Player | |
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| Loading Files | |
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| Polyphony | |
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| Effects | |
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| Preview Ribbon | |
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| Quality Settings | |
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| Mode Settings | |
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| Creating Programs in the sfz Player | |
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| What Is sfz+? | |
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| Why Use sfz+? | |
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| Getting to Know sfz+ | |
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| Filter Section | |
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| Vibrato LFO | |
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| Mod LFO | |
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| sfz+ Envelopes | |
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| Effects Section | |
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| Master Section | |
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| Velocity Drum Sampler | |
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| What Is Velocity? | |
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| Why Use Velocity? | |
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| Getting to Know Velocity | |
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| Main (or Master) Section | |
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| Pad Inspector | |
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| Building Your Own Kits in Velocity | |
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| Editing Samples in Velocity | |
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| Layering | |
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| Synthesis Tools | |
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| Filter | |
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| Amp EG (Amplifier Envelope Generator) | |
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| Pitch EG (Pitch Envelope Generator) | |
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| Loops | |
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| Taking Drum Synthesis to the Next Level | |
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| nPulse Modular Drum Synth | |
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| What Is nPulse? | |
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| Why Use nPulse? | |
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| Getting to Know nPulse | |
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| Master Controls in nPulse | |
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| Controls Common to Every Module | |
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| Bass Drum Module | |
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| Snare Drum Module | |
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| Hi-Hat Modules (Open Hat and Closed Hat) | |
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| Cowbell Module | |
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| Clap Module | |
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| Rimshot Module | |
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| Tom/Custom Module | |
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| Cyclone Groove Tool | |
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| What Is Cyclone? | |
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| Why Use Cyclone? | |
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| Getting to Know Cyclone | |
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| Pads | |
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| The Pad Inspector | |
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| The Loop Bin | |
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| The Loop View | |
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| The Pad Editor and the Slice Inspector | |
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| The Toolbar | |
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| Editing Loops | |
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| To Delete a Slice | |
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| Copying and Moving Slices | |
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| Replacing Slices | |
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| Changing the Length of Loops | |
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| Using Cyclone | |
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| Deploying a Number of Loops | |
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| Loading Single Samples and Multi-Samples | |
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| Creating Velocity Layers | |
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| Further Practical Examples | |
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| RXP REX Player Groove Box | |
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| What Is RXP? | |
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| Why Use RXP? | |
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| Getting to Know RXP | |
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| Loading a Loop | |
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| Importing Your Own Loops into RXP | |
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| Deploying Loops and Triggering Individual Slices | |
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| Changing the Order of Slices | |
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| Pitch Editing in RXP | |
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| The Filters in RXP | |
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| RXP's Amp | |
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| Utilities in RXP | |
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| DropZone Drag and Drop Sampler | |
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| What Is DropZone? | |
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| Why Use DropZone? | |
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| Getting to Know DropZone | |
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| DropZone's Architecture | |
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| Program Browser | |
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| Tweaking DropZone | |
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| Working with Elements | |
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| The Multi-Sample Section | |
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| Filter Section | |
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| Modulators | |
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| Output Section | |
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| Utilities | |
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| User Interface | |
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| Using DropZone | |
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| PSYN II Virtual Analog Synthesizer | |
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| What Is PSYN II? | |
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| Why Use PSYN? | |
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| Getting to Know PSYN | |
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| Elements within PSYN | |
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| Sound Sources | |
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| Filters | |
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| Envelopes | |
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| LFOs | |
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| FX | |
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| Player Controls | |
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| Main Section | |
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| Differences between PSYN and Pentagon | |
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| Creating Sounds with PSYN | |
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| DS864 Sampler | |
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| What Is DS864? | |
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| Why Use DS864? | |
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| Getting to Know DS864 | |
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| Loading and Saving Sampler Banks and Setting Up Programs | |
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| Layers | |
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| Working with Samples | |
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| Filters | |
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| Envelopes | |
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| LFOs | |
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| Utility Functions | |
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| Using DS864 | |
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| Pentagon I Performance-Oriented Synthesizer | |
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| What Is Pentagon? | |
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| Why Use Pentagon? | |
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| Getting to Know Pentagon | |
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| Elements within Pentagon | |
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| An Introduction to Pentagon's Envelopes and LFOs | |
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| Sound Sources | |
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| Pitch Envelope | |
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| Pulse-Width Modulation | |
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| Pitch LFO | |
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| Filters | |
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| Filter Envelopes | |
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| Filter LFO | |
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| Amplifier Envelopes | |
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| Amplifier LFO | |
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| FX | |
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| Player Controls | |
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| Main Section | |
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| Render Quality | |
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| Using Hardware: MIDI Learn | |
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| Creating Sounds in Pentagon I | |
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| Session Drummer 2 | |
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| What Is Session Drummer 2? | |
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| Why Use Session Drummer 2? | |
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| Getting to Know Session Drummer 2 | |
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| Loading and Saving Programs | |
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| Loading Patterns | |
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| Deploying Patterns | |
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| Loading Pads and Building Kits | |
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| Auditioning Drum Pieces | |
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| Other Interface Controls | |
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| Z3TA+ Waveshaping Synthesizer | |
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| What Is Z3TA+? | |
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| Why Use Z3TA+? | |
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| Getting to Know Z3TA+ | |
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| Loading a Program | |
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| Signal Flow in Z3TA+ (before Modulation) | |
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| Tweaking Z3TA+ | |
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| The Oscillator Section | |
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| The Filter Section | |
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| Envelopes | |
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| LFOs | |
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| Arpeggiator | |
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| Modulation Matrix | |
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| Master Section | |
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| Utilities | |
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| Effects | |
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| What Can Z3TA+ Do That Rapture Can't? | |
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| Creating Sounds in Z3TA+ | |
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| Dimension and Dimension Pro Sampling Synthesizers | |
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| What Are Dimension and Dimension Pro? | |
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| How Do Dimension and Dimension Pro Differ? | |
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| How Do Dimension Pro and Rapture Differ? | |
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| Why Use Dimension and Dimension Pro? | |
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| Getting to Know Dimension and Dimension Pro | |
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| Dimension's Architecture | |
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| Program Browser | |
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| Working with Elements | |
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| Tweaking Dimension and Dimension Pro | |
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| The Multi-Sample Section | |
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| LoFi Section | |
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| Filter Section | |
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| Drive Section | |
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| EQ Section | |
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| Element FX Section | |
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| Modulators Section | |
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| Modulation Sources: Envelopes | |
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| Modulation Sources: LFO | |
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| Modulation Sources: Key Tracking | |
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| Modulation Sources: Microtuning | |
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| Modulators' Utilities | |
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| MIDI Matrix | |
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| Master FX | |
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| Utilities | |
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| Creating Programs in Dimension/Dimension Pro | |
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| Rapture Wavetable Synthesizer | |
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| What Is Rapture? | |
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| How Do Rapture and Z3TA+ Differ? | |
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| How Do Dimension Pro and Rapture Differ? | |
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| Why Use Rapture? | |
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| Getting to Know Rapture | |
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| Rapture's Architecture | |
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| Program Browser | |
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| Working with Elements | |
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| Tweaking Rapture | |
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| The Oscillator Section | |
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| DSP Block | |
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| Modulators Section | |
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| Modulation Sources: Envelopes | |
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| Modulation Sources: Step Generator | |
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| Modulation Sources: LFO | |
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| Modulation Sources: Key Tracking | |
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| Modulation Sources: Microtuning | |
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| Modulators Utilities | |
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| EQ Section | |
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| Element FX Section | |
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| The Global Page | |
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| Modulation Matrix | |
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| Utilities | |
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| Creating Programs in Rapture | |
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| The sfz Format | |
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| What Is the sfz Format and Why Do We Care about It? | |
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| Opcodes | |
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| Practical Uses for sfz Opcodes | |
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| Getting Started with sfz Files | |
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| Creating and Editing an sfz File | |
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| Elements of the sfz File | |
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| Units in the sfz Definition File | |
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| The File Header and Comments | |
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| Regions | |
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| Groups | |
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| Global (sfz Version 2) | |
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| Control | |
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| Defining and Locating Samples | |
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| A First sfz Definition File | |
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| Input Controls | |
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| Your First Real sfz Definition File | |
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| Moving On with sfz: Some More Opcodes | |
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| Pitch | |
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| Oscillator Function (sfz Version 2) | |
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| Oscillator Mode: FM, PM, and Ring Modulation (sfz Version 2) | |
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| Waveguide (sfz Version 2) | |
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| Filters | |
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| Filters as Effects (sfz Version 2) | |
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| MIDI CC Codes | |
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| Envelopes (sfz Version 1) | |
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| Flexible Envelope Generator (sfz Version 2) | |
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| LFOs (sfz Version 2) | |
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| Oscillator Phase (sfz Version 2) | |
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| FX (sfz Version 2) | |
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| Splitting a Signal into Separate Busses: Process and Mix | |
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| Setting Up an Effect's Send Bus | |
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| Default Settings | |
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| Creating Sounds: Practical Applications of the sfz Format | |
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| Two Detuned Saws | |
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| Multi-Mode Saw | |
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| Multi-Mode Square Octave + Filter | |
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| Crossfading | |
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| Stacked Filters | |
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| Wave Sequencing | |
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| Undocumented Features in DropZone, Dimension, Dimension Pro, and Rapture | |
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| sfz Files: Next Steps | |
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| Interview with Rene Ceballos | |
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| Background | |
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| rgc:audio and the Transition to Software Engineer | |
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| A Few Words about Aliasing | |
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| Z3TA+ | |
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| The Cakewalk Connection | |
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| sfz | |
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| The sfz Format Opcode Listing | |
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| The Downloads | |
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| Index | |