User manual M-AUDIO IMPOSCAR

[. . . ] 19 2 1 OSCar to impOSCar In these days of affordable, and largely high-quality plug-in instruments, it's easy to forget that many years ago, in the intrepid days of hardware behemoths, things were very different. For example, in the late 1970s the highly desirable Minimoog would set you back a whopping £1500 and only play one note at a time. And even an outlying Minimoog competitor would leave you needing a skin-graft, such was the size of the hole burnt in your pocket. During this period, and inspite of the fact that every manufacturer's mission was `affordable monophonic synthesis for all', it was unclear how that could be achieved due to the high component costs. [. . . ] Again, when the Separation is set to zero it's the same as a single 12dB filter. However when it's set to anything other than zero you get two resonant peaks and cutoff points 7. Lo Pass//Band Pass: Where the Lo Pass and Band Pass filters are arranged in `parallel'. In this mode with zero or higher Separation you get a `notch' or `band reject' effect. Lo Pass//Hi Pass: Similar to the above but where the Lo Pass and Hi Pass filters are arranged in `parallel' 9. Band Pass//Hi Pass: Again, similar to the previous two filter modes only this time the Band Pass and Hi Pass filters are arranged in `parallel'. 8 · Q Knob or Resonance This boosts the harmonics around the cut-off frequency. This takes the two 12dB filters and allows independent control of their cutoff frequencies. When used with either the four- or two-pole filter modes, it's possible to separate the filters by up to 24 semitones. Note: In the first six filter modes zero separation takes place when the knob is turned fully to the left. In the last three multi-modes zero separation takes place when the knob is at 12 O'clock. · Amount Knob Determines the filter amount applied to the filter envelope (ENV2). This also works in positive and negative modes. Env 1 ­ Amplitude ADSR controls · Attack Knob Used to alter the attack time of the amplitude envelope generator between 0. 001 and 15 Secs · Decay Knob Used to alter the decay time of the amplitude envelope generator between 0. 001 and 30 Secs · Sustain Knob Used to alter the sustain level of the amplitude envelope generator between -?(minus infinity) and 0dB · Release Knob Used to alter the release time of the amplitude envelope generator between 0. 001 and 60 seconds. Env2 ­ Filter ADSR controls · Attack Knob Used to alter the attack time of the filter envelope generator between 0. 001 and 30 Secs. · Decay Knob Used to alter the decay time of the filter envelope generator between 0. 001 and 30 Secs. · Sustain Knob Used to alter the sustain level of the filter envelope generator between 0% and 100%. · Release Knob Used to alter the release time of the filter envelope generator between 0. 001 and 60 seconds. · Delay Knob This applies a delay of up to two seconds to the start of the filter envelope generator and is useful for creating those long, evolving sounds. Triggering Controls · Keyboard Triggering Knob The impOSCar has five triggering modes as follows: 1. Single: Using this mode the envelopes are only retriggered once their cycle is complete. When playing legato lines, the first note triggers the envelope contour and all successive notes are heard at sustain level. Multi: Here, the envelopes are retriggered each time a note is played without waiting for the envelope cycle to finish first. Unlike Single trigger, when playing legato lines, all notes will retrigger the envelope contour. 9 3. Rpt 1: Used in conjunction with the Tempo Knob, Rpt1 activates the retriggering of the Amplitude Envelope (Env1). Rpt 2: Similar to the Rpt1 function, Rpt2 activates the retriggering of the Filter Envelope (Env2) in accordance with the selected tempo. Rpt 1+2: This activates the retriggering of both the Amplitude and Filter Envelope in accordance with the Tempo Knob. [. . . ] Finally, experiment with the various Mono/Duo and Poly modes - with the right sounds assigned, duophonic and polyphonic arpeggio patterns can sound amazing. Using Duo Mode To get an idea of how duo mode works set OSC1 to a PWM waveform and set OSC2 to a Square wave and transpose it two octaves higher then OSC1. Play and hold a single note (middle C) - you will hear that this triggers both oscillators. Now with the original middle C held down, play additional notes below and above - you'll hear that these additional notes are only triggering OSC2 while the original sustained middle C plays the OSC1 sound. Having done this, stop playing the original middle C but continue to hold the G. [. . . ]