User manual OBERHEIM OB-TUNE

[. . . ] ©2000 Oberheim Electronics ­ A Division of Gibson Musical Instruments. Oberheim Electronics are distributed worldwide by: MusicYo. com PMB# 249 1840 41st Avenue, No. 102 Capitola, CA 95010-2527 email: orders@musicyo. com web: www. musicyo. com Rev 1. 0-09/00 ii The Obligatory Legal Mumbo-Jumbo The Oberheim OB-Tune software and this User's Manual are protected by copyright law. Making copies, adaptations, or derivative works without the prior written authorization of Oberheim Electronics, is prohibited by law and constitutes a punishable violation of the law. [. . . ] An appropriately selected slow setting can leave a vibrato unmodified while the average pitch is accurately adjusted to be in tune. 13 Vibrato OB-Tune can also apply a vibrato to the input sound. You can program the vibrato depth, vibrato rate and the onset delay of the vibrato. You can also choose the shape of the pitch variation in the vibrato (sine, ramp or square). By combining a fast Retune Speed setting with OB-Tune Vibrato settings, you can even remove a performer's own vibrato and replace it with OBTune's programmed vibrato, all in real time. Also, unusual combinations of Vibrato Waveform, Rate and Depth settings can be used for some interesting special effects. An Example As an example, consider this before-and-after graphic representation of the pitch of a vocal phrase that contains both vibrato and expressive gestures. CORRECTED BY OB-TUNE D3 C3 ORIGINAL PERFORMANCE B2 10. 0 10. 5 11. 0 In the original performance, we can see that although the final note should be centered around D, the vocalist allowed the tail of the note to fall nearly three semitones flat. The "after" plot is the result of passing this phrase through OB-Tune programmed to a D Major Scale (with C # and B set to "Remove") and a Retune Speed setting of 25. That Retune Speed causes the pitch center to be moved to D, while still retaining the vibrato and expressive gestures. (Setting C # and B to "Remove" is necessary to keep OB-Tune from trying to correct the seriously flat tail of the last note to those pitches. See Chapter 3 for more details. ) 14 Chapter 3: OB-Tune Controls This chapter is a reference for all of the controls used in the OB-Tune interface. How these controls are used together for intonation correction is described in Chapter 4, OB-Tune Tutorial. Much of the information in this chapter is also presented in Chapter 4. However, some of the less important controls are only explained here. 15 Automatic Mode Controls Knobs All of OB-Tune's continuous parameters are represented as knobs. To "turn" a knob, position the cursor over the desired knob, press and hold the left mouse button and move the cursor up to turn the knob clockwise or down to turn the knob counterclockwise. The current value of each parameter appears in its associated numeric display. Bypass Click the Bypass button to pass audio through OB-Tune without any pitch correction or other processing. The button's "LED" lights to remind you that you are in Bypass Mode. Switching the Bypass state will not cause any audio artifacts, so it can be used in performance or in the middle of a recorded track. Scale Selection To select the desired scale, click on the Scale button and then click on the desired scale from the pop-up list. Use the Up and Down arrows to scroll through all of the available selections. These are the ubiquitous scales typically found in Western tonal music. An in-depth discussion of these scales and their history is beyond the scope of this manual. The interested reader will find more information in Tuning In ­ Microtonality In Electronic Music by Scott R. The following is a brief synopsis of the scales: Modern equal temperament: · major: a seven-tone equal tempered major scale. · Equal Tempered chrom. : a twelve-tone equal tempered chromatic scale. Historical tunings: · Ling Lun: a twelve-tone scale dating from 2700 B. C. [. . . ] This is a simple synthesized waveform sweeping slowly from A2 up to A3 and back to A2. While it is unlikely that you'd ever need to process such an input with OB-Tune, it provides a very clear example of what each of the main OB-Tune controls do. Set tutorial. wav to loop continuously and put your host program into Play mode. This is because OB-Tune is continuously comparing the input pitch to the notes of the A major scale and instantaneously correcting the output pitch to the nearest of the scale tones. [. . . ]