MusicComputingControlBLADEGen5ManualWindows

ControlBLADE™ Production Station 1 | P a g e
ControlBLADE™ Production Station

Contents
1.1 About Your New ControlBLADE ................................................................... 4
1.2 System Specifications ............................................................................... 5
1.2.1 Audio Features ................................................................................... 6
1.2.2 Audio Interface Specification: ............................................................... 7
1.2.3 ControlBLADE Audio Connections .......................................................... 9
2.1 The ControlBLADE™ ................................................................................ 10
2.2 Powering Up the ControlBLADE................................................................. 11
2.3 ControlBLADE Support ............................................................................ 11
3. SonicSource Introduction .......................................................................... 13
3.1.0 Quick Features .................................................................................... 14
3.1.1 Features in Detail.............................................................................. 15
3.1.2 SonicSource SoundSet Library ............................................................ 16
3.1.3 Learning and using SonicSource ............................................................ 18
5.1.4 SoundSet Image and Name................................................................ 18
3.1.5 ADSR Envelope................................................................................. 19
3.1.6 Velocity Sensitivity and Key Scaling .................................................... 19
3.1.7 The Filter ......................................................................................... 20
3.1.8 Three Band EQ ................................................................................. 20
3.1.9 LFO................................................................................................. 21
3.2 ~FM Switch Matrix.................................................................................. 21
3.3 Pitch Envelope ....................................................................................... 22
3.4 Master Controls...................................................................................... 23
3.5 Effect Racks........................................................................................... 24
3.5.1 MODULATOR Types and Description .................................................... 24
3.5.2 DELAY ............................................................................................. 27
3.6 The Key and Velocity Splits Interface ........................................................ 28
3.7 Mixer Strip............................................................................................. 29
3.8 Arpeggiator ........................................................................................... 30
3.9 Tips &Tricks ........................................................................................... 35
3.9.1 Global Menu and Settings ..................................................................... 36
3.9.3 Banks and Presets ............................................................................... 37

3.9.4 Creating a Custom Preset/Bank ............................................................. 52
4.1 Music Computing Warranty Information..................................................... 58
Return Policy for Products Purchased through Amazon ................................... 59
Return Policy for Products Purchased directly from Music Computing ............... 59
4.2 Software License Agreement.................................................................... 60

1.1 About Your New ControlBLADE
The new ControlBLADE™ represents a new era in performance and value. Never
before has it been possible to have this much power and functionality inside a
single product at such a low price. The new ControlBLADE 5 utilizes the latest Intel
i5 and i7 processors, up to 32GB of RAM, GPU processing and open PCIe slots for
expansion to let you create freely (61-key only). Make your dream come true with
the ControlBLADE 5.
Powerful, Full-featured and Affordable: ControlBLADEs are powered by high-
performance computer cores utilizing Intel® latest Core i-series® fourth-generation
(Haswell) processors that are perfect for today's demanding musicians and the
virtual instruments and software application they use. Options include i5 and i7
quad core versions. The Windows 7 (64-bit) operating system is preconfigured for
music production and can run virtually any software application or plug-in. Capable
of running over 500 plug-ins at once, sequencing thousands of tracks
simultaneously, and storing millions of sound presets, the ControlBLADE packs a
serious punch for the money. Thousands of Sounds: Music Computing’s
SonicSource™ (Chapter 3) is a robust VSTi synth containing over 8GB of sound
presets that is included with each ControlBLADE, ready to use right out of the box.
Need Support? Music Computing is operated by avid musicians and technology
geeks who are passionate about music and their work. This is a standing
requirement for being part of the company, which means there will always be
answers and help when you need it. Email Support@musiccomputing.com

1.2 System Specifications
These are the configuration options of the Music Computing ControlBLADE™
 OS: Windows 7 64-bit Home Premium
 Processor options: Core i5 quad-core (3.30GHz) / Core i7 six-core (3.30GHz)
/ Core i7 eight-core (3.00GHz)
 Memory: 4GB DDR3 Memory (Upgradeable to 32GB)
 Hard Drive: 1TB HyperDrive (SSD/7200RPM) Standard. Upgradeable to
1TB/2TB/4TB (HyperDrive) or SSD (solid state drives)
 Audio Interface: Tascam US-1200 6-in/2-out (Base Config)
 Optical Drive Type: DVD reader/writer
 Monitor: Optional 10" single-touch touchscreen (1024 x 576) resolution or
22" single-touch Mac OS X & 2-touch Windows touchscreen (1080p / 1920 x
1080) resolution. External Monitor Support: One DVI, one HDMI, and one
DisplayPort for triple display support in clone or extended desktop mode
when using the 10" touchscreen, but only two (2) total monitors when using
the 22" touchscreen
 Keybed Specifications: Semi-weighted, full-size keys with aftertouch
(MPK261) or 61 full-size, synth-action velocity-sensitive keys(Oxygen 61)
 Connectivity: USB: 4 X USB 2.0 Port + 2 X USB 3.0
o FireWire: (Optional) One Internal Firewire 400 Port + 2 External
Firewire 400 Port
o MIDI: IN / OUT/ OUT
o Internet: Ethernet 1000BASE-T
o eSata: External Port
o Display Port: External Port

1.2.1 Audio Features
Hear the Difference: The standard configuration for the ControlBLADE includes a 6-
IN/2-OUT interface with audio stream support - USB 2.0 24-bit/96 kHz resolution.
ControlBLADEs also offer Firewire ports in the event outboard audio I/O or other
Firewire devices are needed.
Features:
 High-quality HDDA (High Definition Discrete Architecture) mic pre-amps
 Four XLR inputs with +48V phantom power and two TRS ¼" balanced inputs
 INPUT 5/6 supports direct Hi-Z instrument inputs
 INPUT 5/6 supports +4 dBu line level
 6-IN/2-OUT with audio stream support - USB 2.0 24-bit/96 kHz resolution
 Low-latency monitoring via the DSP mixer
 On-board DSP mixer with 2 operational modes
 On-board digital effects(DSP effects)(DSP effects can use on 44.1/48kHz
operating)
 Two TRS analog balanced outputs
 50mW + 50mW headphone output
 RoHS certified
 EIA 1U rack mount size

1.2.2 Audio Interface Specification:
Audio Specifications for the base model.

Audio Specifications Continued

1.2.3 ControlBLADE Audio Connections
This chart shows the base model (Tascam US-1200) connection example.
Additional Tascam US-1200 product literature can be downloaded at:
http://tascam.com/product/us-1200/downloads/

2.1 The ControlBLADE™
This section labels and defines the basics of a ControlBLADE with the Akai MPK261.
Top of the ControlBLADE
1. Touchscreen (Optional)
2. Pitch and Mod Wheel
3. Drum Pads
4. Faders
5. Piano Keys
6. Audio Interface
7. CD / DVD Burner
Back of the ControlBLADE
1. Keyboard MIDI/Connections Interface – Back
2. Power Supply
3. Computer Peripheral Connection
4. Expansion slots (Contact Music Computing Support)
5. Audio Interface rear connections

2.2 Powering Up the ControlBLADE
To power up the ControlBLADE, place the ControlBLADE on a flat surface that will not block
the air vent underneath the board.
 If your ControlBLADE was shipped with the optional 22-inch touchscreen, connect
the Touchscreen, touchscreen power cable, and monitor cable.
o If you are using the 10-inch touchscreen, connect the USB Y-cable. The small
end plugs into the monitor, and it is required to connect both of the USB on
the opposite end of the Y-cable to USB ports.
 Connect the retracting USB cable from the keyboard USB to a USB port.
 Connect the power cable into the back of the ControlBLADE.
 Connect the audio interface power cable to the audio I/O, then to a regulated power
source.
 (Optional) Connect the 22-inch touchscreen to a regulated power source.
 Plug the power cable from the ControlBLADE to a regulated power source.
 Press the power button to power up the unit.
Important information
 If your ControlBLADE was configured without a monitor, connect your monitor before
you power up the system.
 If your ControlBLADE was preconfigured with Firewire. Always plug in Firewire
devices before powering up the system.
2.3 ControlBLADE Support
If you require assistance with your ControlBLADE, please submit a support ticket by visiting
http://musiccomputing.com/support. All remote support sessions require appointments. If
you are unable to submit a ticket, please call 512-777-4298 to schedule an appointment.
Appointments can also be scheduled by emailing support@musiccomputing.com

SonicSource™ VST Synthesizer v1.0.0

3. SonicSource Introduction
SonicSource™ by Music Computing is a virtual synth designed for use with
the Windows (VSTi) and Mac OS X (VSTi/AU) computer operating systems.
SonicSource contains three sample-playing layers, two multi-effect racks,
and a library of multi-sampled instruments. The sample playing layers allow
blending of waveforms and instruments into a wall of sound or alternatively,
the use of the three multi-timbral layers as a workstation. These layers can
then be further processed through SonicSource’s powerful multi-effect
racks.
Over 8GB of modern sounds such as those produced by legendary electric
keyboards including the Rhodes electric pianos, Hammond and Vox organs,
Hohner clavinets, and Moog synthesizers are present as well as effects like
tape based delay lines, rotating speaker cabinets, guitar distortion pedals,
wah wah, phasing, and flanging are included. Additional sound libraries will
be made available from Music Computing in the near future.

3.1.0 Quick Features
Three wave player sections with:
 ADSR envelope
 Velocity sensitivity
 Double Key Track scaling
 LP, HP, BP, and BR filters with
resonance and envelope amount
 3 band equalizer
 Pitch, Amp and Pan LFOs
 Pitch envelope enable
 Semitone transpose
 Fine pitch
 Send to FX 1
 Send to FX 2
 Volume
 Mute switch
 VU meter
 Velocity Zone: min and max
 Key Zone : high and low
 Poly-timbral over 3 parts
 3 modes for each LFO:
o Free
o Sync
o Inv.
 'Fractal' randomization for filter
modulation
 FM and AM per oscillator
Additional controls
 Glide
 Mono mode
 LFO masters
 Fine tuning
 Two DSP sections:
 Echo (true stereo tape
delay emulation, with
Sync Chorus)
 Modulator
o Leslie
o Chorus
o Flanger
o Phaser
o Wah Filter
o OverDrive
 MIDI Learn: More than
100 parameters remotely
controllable by MIDI
Control Changes
 Arpeggiator
 Master Vibrato
 Stereo Layers
 Extra Quality option with
up to 16x oversampling!

3.1.1 Features in Detail
SonicSource contains the following features –
 A multimode filter (LP, HP, BP, BR) with control over cut, resonance and
envelope modulation, as well as a special ‘fractal’ modulation parameter.
This expanded filter design provides further tools for balanced layering of
sounds, and deep pads.
 FM/AM modulation capabilities per layer can be done via the ~FM switch
matrix. AM and FM can be used to add interesting harmonic distortions to
the original instruments, or to manipulate new sounds from the existing
samples.
 A multi-effect MODULATOR rack that has the following: overdrive, phaser,
chorus, flanger, rotary, and filter effects.
 Routing options between the layers and the effects allow the MODULATOR
rack to function in both ‘send’ and ‘insert’ modes.
Master controls: glide, mono mode, fine tuning, and velocity sensitivity
MIDI Learn: More than 100 parameters can be controlled with Automation via any
Midi Controller or Sequencer automation.
Effects: SonicSource’s effects are distributed over two effects slots, MODULATOR
and DELAY.
 MODULATOR - You can choose from any of six quality effects for this
module: Phaser, Chorus, Flanger, and Rotary (Leslie), Filter (with Wah) and
Overdrive. Each effect is specially coded with its own parameters
 Delay – SonicSource’s delay is a true stereo delay unit modeled on an
analog tape delay device for a warm sound. As well as standard parameter’s
you would expect from a stereo delay, SonicSource’s delay features a ‘flutter’
control for introducing modulations and artifacts similar to those heard with
tape degradation, a special chorus modulation for making pitch effects and
chorus sounds, and a ‘reflections’ parameter which can be effectively used in
combination with the delay lines to create spring reverb type sounds.

3.1.2 SonicSource SoundSet Library
SonicSource comes with a comprehensive library of multi-sampled keyboards all
professionally captured from the original instruments. The default library features a
range of electric pianos, organs and those rare string machines, rounded off by a
nice selection of raw waveforms, including samples of the saw and square waves
from the Korg MS20 and the Minimoog. On top of this large selection of sounds,
there are a number of ethnic and experimental tones and percussive elements to
choose from.
The full default library includes:

While all the sounds in the default library stand on their own, the three layer design
of SonicSource is intended to achieve and expand the possibilities of the recording
technique of layering and blending tracks. In SonicSource, such layering is achieved
by blending and layering sounds within an intuitive interface.
This makes it easy to create, for example, a stack of 70’s string machines with
dynamic movement, or a Mellotron string/flute ensemble supported by a harmonic
bass line, for big and dynamic layers.
Alternatively, you could layer a pure sine tone with a Rhodes key multi-sample to
reinforce the fundamental harmonic, or use the attack part from a Wurlitzer sample
to start a stack of strings and analogue square waves. You can find many examples
of such layering techniques in the default SonicSource preset bank. These can also
serve as a starting point for your own sound design. If you like to be creative and
love the vast range of sounds that where created in the classic period of ‘electric
keyboards’ and effects, you will find how exciting it can be to compose with the
mini workstation that is SonicSource.
See Section 5.9.3 of this manual for a list of all current banks and presets within
them.

3.1.3 Learning and using SonicSource
In this section, we are going to go deeper into the features of SonicSource and how
they work, including some sound programming tips. To begin, we need to define
two basic terms used in this manual and in SonicSource. ‘Layer’ and ‘SoundSet’.
Layer: A ‘layer’ is basically an oscillator except that in SonicSource you load single
samples or multi-mapped wave files which are in the DASHsnd format as the raw
sound for each layer. SonicSource has three layers, labeled A, B, and C
respectively.
You can think of each layer as actually being a separate sample playback engine,
with its own waveform, filter, envelope, mixer, EQ, LFO's and voice allocation.
SoundSet: A ‘SoundSet’ is the basic set of multi-samples (or single shots samples)
that are mapped in the DASHsnd format. A SoundSet is not the same as a
SonicSource ‘preset’, it being just one element of the synthesis settings that make
up a ‘preset’. Any number of different presets can use the same SoundSet. Loading
up a SoundSet in a SonicSource layer is effectively the same as choosing a raw
shape for an oscillator on a standard synthesizer.
Layer Structure
5.1.4 SoundSet Image and Name
By clicking on the SoundSet name display, a submenu will
open showing all categories of SoundSets in the default
SonicSource library (Electric Piano, Ensemble, Organ, and
Waveform) plus any other add-on packs you may have
installed. Within each submenu is the list of actual
SoundSets that can then be loaded into each layer. Once a
SoundSet is loaded, the graphical strip above the name
display will either show a picture of the device the
SoundSet derives from, or a representation of its
waveform.
By left-clicking on the ‘A/B/C’ buttons for each layer, the
SoundSet will automatically rotate to the next available in
that category. This can be very useful for auditioning
sounds without opening the menu.

3.1.5 ADSR Envelope
This option sets the Attack, Decay, Sustain and Release for the amplitude of the
layer, as well as for the filter when it is assigned to the envelope. Each envelope
has its own voice-allocation and settings. This is commonly referred to as “ADSR”
(ad–zer).
The envelope is not linear- it has logarithmic attack and exponential decay and
release times, thus you may notice extra CPU usage when doing longer attacks,
decays or releases. Also keep in mind that using very long release times will use
more voices. This could cause the sound of some voices to be "stolen" by newer
notes if there are many notes still ‘releasing’ while you play more notes. If this
happens, and if it is a problem for the song mix, set voices to a higher value [16 is
the highest] or lower the release values on the envelope.
You can use "Shift + Mouse click" to fine tune the ADSR sliders, which can be very
useful for precise Attack, Decay and Release times.
3.1.6 Velocity Sensitivity and Key Scaling
Velocity Sensitivity: The ‘vel sens’ dial allows you to set velocity sensitivity
independently for each layer. Setting ‘vel sens’ to the hard left (zero) makes the
envelope insensitive to keyboard velocity pressure – this is useful for such sounds
as B3 and VOX organs, or Mellotron sounds, which as hardware simply feature a
note on/note off keyboard. Moving from the hard left position, the layer becomes
gradually more velocity sensitive for more dynamic playing, suitable for electric
pianos, for instance.
Key Scaling: The KEY dial is for ADSR keyboard tracking. It has two modes [see
icons at right of the + symbol] - ADSR Speed (the higher option) and ADSR Level
(the lower option).
Both modes are active at the same time, and by clicking on the symbols the GUI
toggles between each mode. With ADSR Speed tracking you can scale attack, decay
and release times along the selected key zone for the layer. With ADSR Level
tracking you can scale the envelope amplitude along the selected key zone for the
layer.

3.1.7 The Filter
With SonicSource 1.0.0 we introduce a 12 dB multimode filter per layer. This
filter features lowpass (LP), highpass (HP), bandpass (BP), and bandreject (BR)
settings. The multimode filter also features separate controls for cutoff frequency
(FRQ) and resonance (REZ). The filter frequency can be modulated by the ADSR
envelope adjusting the ENV control for positive or negative response. Centre
position (Ctrl + Left mouse click) of the filter envelope knob does not send any
ADSR modulation to the filter.
Fractal Modulation: The multimode filter also has a unique modulation feature
clicking the MOD button activates a ‘fractal’ LFO for adding interesting and dynamic
movement to the filter. The ‘fractal’ LFO is similar to a standard Sample&Hold
random modulator, but achieves much more musical results since it produces
patterns of modulation featuring the self-similarities typical of fractal figures. With
MOD activated, depth and rate are set for the fractal modulation by using the same
controls as AMP modulation in the modulation section for the layer. When MOD is
inactive, these controls serve their standard function for AMP modulation. Please
note that the LFO mode switch (OFF, FREE, INV, SYNC) does not affect the ‘fractal’
LFO which modulates the filter frequency.
3.1.8 Three Band EQ
Each layer in SonicSource has a powerful three band equalizer for balancing low,
mid, and high frequencies of the sound. Each band uses its own separate code for
the highest quality, which also means that each band introduced at a non-zero
value will add CPU consumption. This flexibility also enables you to set any band
not in use at zero by a left mouse click on it holding down the control key, so that
the band will move to IDLE mode and will not process audio, thus minimizing CPU
consumption.

3.1.9 LFO
LFO stands for Low Frequency Oscillator. SonicSource’s LFOs are modulation
sources that generate SINE waveforms aimed at specific modulation targets. Each
layer in SONICSOURCE has independent modulators for pitch (PTH), amplitude
(AMP), and panning (PAN). Further, each LFO can be used in three running modes –
FREE sets the LFO free running regardless of note messages, SYNC re-starts the
modulation with ever note, and INV also restarts on every note, but the wave
shape is inverted.
The send and rate controls of the AMP group also affect the depth and rate of the
‘fractal’ LFO that can be used to modulate the multimode filter frequency (see the
multimode filter section for more details). Please remember that the ‘fractal’ LFO is
activated by the MOD button, whereas the AMP LFO is activated by the switch
(OFF, FREE, INV, SYNC) in the AMP group.
3.2 ~FM Switch Matrix
The ~FM section is also an exciting feature of SonicSource,
introducing one more useful synthesis module to the
Electronic Ensemble. Here you have the possibility to
modulate the frequency or the amplitude of each or any of
SonicSource’s three layers by the means of a tuned
oscillator called modulator.
At the heart of the ~FM synthesis module is the ‘switch matrix’. Here you can select
FM, AM, or OFF individually for each layer, and also make interesting switches
between modes (manually, by automation or by midi-learned controls) for
interesting effects. The pitch of the modulator may be adjusted by the Ratio
control and the modulation signal is send individually to each layer through the
relevant dial: A, B or C. The depth of the FM/AM oscillator can itself be globally
modulated by an independent LFO. Use the rate dial to set the speed of the
modulation and amnt to set the amount of the signal to be modulated.

3.3 Pitch Envelope
As listed in the LFO section (5.1.6), SonicSource features
a dedicated LFO for pitch modulation (vibrato) per layer.
On top of these, SONICSOURCE features a global pitch
envelope (Pitch Env) for automatic pitch bending on note
attack. You can set the distance from target pitch (+/-)
with the Offset dial, to a maximum range of +/- 12 semitones. The Time dial sets
the amount of time taken from the offset pitch to the destination pitch with a key
depression.

3.4 Master Controls
The section named Master Controls features a number of
global parameters –
PitchBd: Pitch bend adjusts the range for the standard
MIDI Pitch Bend wheel from 1 to 12 semitones.
Voices: Voices is a global control selecting the number of
voices each layer will play. Setting to 16 voices means
that each layer will play 16 voices. For example: Playing a
16 note chord on each layer would result in a total 48
voices.
Glide: Glide is a portamento effect like you find in many synthesizers. The Glide
dial adjusts the time the pitch takes to shift from one note to the other in two
consecutively pressed keys. Employing this parameter puts SonicSource into MONO
mode (one voice only) as there is no support for polyphonic portamento. The ‘A’
button next to Glide toggles between two portamento settings- [On] will glide only
tied notes, while [Off] will glide all consecutive notes.
Fine Tune: The synth can be globally fine tuned with this control.
Vel Sens: adjusts the velocity sensitivity curve of all layers. Turn left for slow
response, and right for fast response to velocity changes.
Digits (LED read out): This "LED" screen shows values for each parameter that
you either hover over with the mouse, or are currently changing. This can be very
helpful for fine tuning a particular sound.
Out Gain: This is a master control for the synth volume.
Limiter: You may use this limiter to avoid excessive level peaks going thru the
synth output. It is a soft-knee limiter, and thus will not totally prevent clipping and
distortion for output that is continuously too loud. If you experience unwanted
output distortion, adjust the layer levels in the SonicSource mixer section, or the
global Out Gain control instead.

3.5 Effect Racks
SonicSource has a comprehensive suite of effects through the ‘MODULATOR’ and
‘DELAY’ effect racks.
3.5.1 MODULATOR Types and Description
The MODULATOR rack features six effect options to choose between – Phaser,
Chorus, Flanger, Rotary, Filter (with Auto Wah), and Overdrive. One effect can be
loaded at a time, and the MODULATOR can function either as a send effect per layer
or as an insert effect per layer. See the mixer section for more details on the
send/insert switch. The default mode is Bypass, with no effect loaded into the rack.
Phaser
 Notches: 2 or 4 Notches model selection
 Rate: modulation speed
 Depth: range of modulation
 Shift: shifts the harmonic range
 Feedback: increases resonance of the phasing
Chorus
 Rate: both channels modulation speed
 Delay: delay time, affects pitch
 Depth: Range of modulation

Flanger
 Rate1: left channel modulation speed
 Rate2: right channel modulation speed
 Depth: range of modulation
 Feedback: detune effect
 Delay: delay time, affects pitch
Filter
SonicSource’s effect rack filter is capable of a large range of sounds. In LP12 mode,
the filter’s behavior will depend greatly upon the source signal that is being filtered.
Uses for the filter can range from slow filter openings on pads using the envelope,
to warm, gritty or lo-fi sounds with the resonance’s auto saturation feature. In
Wah mode, functionality is the same, but with a filter algorithm for accurate
reproduction of classic Wah Wah tones.
NOTE: In order avoid too much filter distortion, keep the Out Gain in the effect rack
at maximum level and reduce the input level in the mixer’s MODULATOR section
(see section 5.7 for the mixer strip).
 Freq: set the frequency cutoff point for the filter
 Reso: boosts resonance amount
 Mode Menu: the filter features two selectable modes - LP12 and Wah
 Env Depth: amount of modulation by the envelope follower. Please note that this is
very sensitive to the input level as set in the Mixer section
 Env Mode Menu: there are four selectable envelope modes - Sens1, Sens2, Soft1
and MIDI1. The first three variations depend on the sound used and the playing
style; experiment with them according to the sound. MIDI1 disables the envelope
follower allowing easy control of Freq by MIDI CC- see MIDI learn feature in the
MIDI implementation section of this manual for information about CC assignment.
 LFO Rate: speed of LFO modulation
 LFO Rate Menu: this allows you to sync the LFO to the song tempo
 LFO Depth: amount of LFO modulation

Rotary (Leslie)
The Rotary effect simulates the classic effect of Leslie rotating cabinets, famously
known as part of the classic Hammond organ sound, and used to great effect on a
range of instruments.
 ConeSep: Sets the frequency of the Cone (upper part of the Leslie) which goes back
and front
 SlowSpd: Slow speed of the Leslie for when Run is Off
 FastSpd: Fast speed of the Leslie for when Run is On
 Acceler: Acceleration from Slow to Fast and back, when you switch Run On/Off
 Amount: Amount of "Chorus" and Pitch-Fine-Detune when Leslie is moving
 Run: Modulates the Speed of the Leslie from Slow to Fast and back
Overdrive SonicSource’s overdrive effect can be used for slightly overdriven and
saturation type effects, as well as for amplifier simulation with its cabinet modeling.
 Tone: Controls the color of the input signal. High frequencies can be reduced to
avoid harsh treble distortion
 Drive: The two drive dials control positive and negative portions of the signal
separately so that asymmetrical saturation, typical of tube amplifiers, is possible.
Different combinations of these two setting in conjunction with the Tone setting will
produce a variety of overdrive sounds
 Cabinet: ‘Size’ sets the box size of the cabinet emulation and ‘Wet Mix’ sets the
amount of the distortion signal to be sent through the cabinet.

3.5.2 DELAY
The DELAY effect in SONICSOURCE is a very powerful delay unit capable of
producing a range of sounds from tape based delays, to spring and slap reverbs, to
chorus modulations.
 Fbk: The amount of the delayed signal that is then fed back through the delay line.
 Filter: Sets the low pass filter frequency for the delayed signal
 Flutter: Adds distortions and modulations to the feedback path to recreate the
effects of tape wear in tape-based delay units. It also links the delay times so that
Delay Time 1 controls the length of each delay line
 Delay Time (1 and 2): Sets individual delay times for the left and right delay lines
respectively. Clicking the (+) buttons underneath each delay time dial enables you to
sync the delay lines to host tempo with a selection of time divisions. NOTE: enabling
‘Flutter’ (values more than zero) disables the Delay Time 2 control
 Volume (L and R): Separate volume controls for the left and right delay lines
 Reflections: introduces cross-feedback of delay lines
 Chorus Pitch: slight delay and detune of original pitch
 Chorus Depth: Range of pitch modulation in the chorus sub-unit of the DELAY

3.6 The Key and Velocity Splits Interface
SonicSource features an intuitive interface for mapping its three layers across the
keyboard, both for key splitting purposes and for setting velocity zones for each
layer.
Velocity Zones: This is where you can set each layer (A, B, C) to play only within
a selected velocity range.
Velocity zone upper value: This sets the layer’s upper value for velocity range.
Velocity zone lower value: This sets the layer’s lower value for velocity range.
Key Split: Setting key splits for the three layers is simply a matter of left-clicking
the left or right end of the layer range bar above the keyboard, and dragging to the
appropriate position. You can also use right-click on the mouse to access a menu
with the option ‘Split Learn Low/High’. After selecting this option on a particular
layer, you can use your keyboard midi controller (or the GUI mini keyboard in
SonicSource) to set the low and high keys that you wish to use as the key range.

3.7 Mixer Strip
Midi Channel: At the top of each layer’s mixer strip is a
pop-up box for setting the midi channel from which each
layer will accept notes. This is useful for using SonicSource
as a multi-timbral interface, and also for reducing CPU by
setting any layers that are not in use to an unused midi
channel.
MODULATOR Send: This is for sending an amount of the
signal from each Layer to the MODULATOR effect rack.
MODULATOR ‘insert’ switch: By activating this switch
the MODULATOR rack is routed as an insert effect, and the
dials serve as input gain dials, not as sends. This is useful
for effects that are particularly suitable for insert, such as
the filter and overdrive effects. It also provides different
sound possibilities by enabling the output of the
MODULATOR rack to be feed directly into the DELAY rack.
Use the ‘about’ menu to see a visual representation of
routing combinations in SonicSource.
DELAY Send: This is for sending an amount of the signal
from each Layer to the DELAY effect rack.
Pan: Stereo Position (Panning) of the signal per layer.
Volume: Layer output in dB. This will affect the Signal that it sent to the
MODULATOR and DELAY effect racks.
Mute: Mutes the layer's audio (zero volume) but continues processing of its sound.
For CPU saving purposes change the midi channel (see above) instead.
Transpose: Transposes the layer's pitch scale up or down by semitones to a
maximum of +/- 24 (2 octaves).
Fine Tune: Adjusts the layer's tuning by +/- fractions of one semitone, for detune,
ensemble and ‘beating’ effects with several layers slightly detuned.

3.8 Arpeggiator
SonicSource includes a great arpeggiator. The ARP is located in the bottom left
corner of the interface. The following ARP options are explained here.
Arpeggiator off
Arpeggiator on
Speed: Is the resolution of the note played. 1/2(half) is slow, whereas 1/128 is
super fast.

Mode: Determines how the notes are arpeggiated.
 Up: Held notes arpeggiate continuously from lowest to the highest pitch.
 Down: Held notes arpeggiate continuously from highest to lowest pitch.
 Up – Down: Held notes arpeggiate continuously from lowest to highest pitch, then
from highest to lowest, then repeat.
 Random: Held notes arpeggiate continuously using random pitches.
 Order: Held notes will play the notes in the same order as you pressed them on the
keyboard.

Step Mode: Step mode lets you choose the arpeggiator pattern. Exclamation
points represent Note Hold, Periods represent short staccato notes. There is a text
file in the Music Computing SonicSource – SonicSource DATA – SonicSource Extras
folder that allows you to create additional patterns. Please back up the original
before editing.
Velocity: Determines the velocity values of the arpeggiated notes.

Key Zone Low/High: This defines pitch ranges or limits in regards to
arpeggiation. You can set different zones for high or low arp zone using this.

MIDI channel: This determines what MIDI channel the arpeggiator triggers on. If
you change this make sure to change the channel of the selected patch to the same
MIDI channel.
Hold Settings: Holds the settings while you load another preset.

3.9 Tips &Tricks
 Avoid very long releases when they are not needed, since this can result
unnecessary CPU usage and currently sounding notes being "stolen" by newly
played notes.
 When using the layer multimode filter in LP mode, be careful with lower
frequency cuts. If you hear some distortion or over saturation, try to lower
the volume or slightly adjust the ADSR settings, for example, raise the
sustain level or lower the envelope release.
 Use ‘shift + left mouse click’ to fine tune the ADSR sliders, this is very useful
for precise Attack, Decay and Release times. ‘Shift + left click’ can also be
used on any SonicSource parameter; likewise ‘ctrl + let mouse click’ returns
each parameter to its default setting, and ‘alt + left mouse click toggles
between circular and linear dial control.
 In order to avoid aliasing that can be caused in the upper keyboard range,
you can use ADSR level key tracking control high harmonics by fading out
right layers towards the upper range of the keyboard. To achieve this, just
turn the KEY dial to the hard left with the KEY switch on level, so the volume
for that layer will go gradually to zero at the key zone upper limit.
 By using the SYNC and INV LFO options for PAN on each layer – for example
layer ‘A’ with SYNC and ‘B’ with INV - you can make sounds cross fade from
left to right in the stereo field for a great stereo effect.

3.9.1 Global Menu and Settings
Global menu and settings are accessed by clicking on the [?] button, or the Music
Computing Logo.
Save default bank: Saves the current bank of presets as the User-Default Bank,
which will load up automatically when you insert a new instance of SonicSource.
Load factory bank: Reloads the internal factory bank.
About: Shows information about the synth authors, version number, and serial
number for this copy of SonicSource. There is also a picture of the SonicSource
routing schemes to help understand the different multi-effect configurations
possible.
Save controller presets: Saves the following parameters as ‘default’: Volume
(Soft, Normal, High), and AutoGlide.
MIDIForget: Removes all learned Midi-CC information.
Volume: Sets the base volume level between High, Normal and Soft for VST hosts
which have variable volume outputs.
Quality: Oversampling reduces noise by giving you more frequency headroom.
You can oversample in SonicSource up to 16x!

3.9.3 Banks and Presets
SonicSource has tons of sounds
included from the factory. This section
shows you what sounds are included.
When SonicSource is launched, the
Default Bank will load.
Default Bank:

AOS:

Default - SonicSource:

Famous Keys 1:

Famous Keys 2:

Famous Keys 3:

Famous Keys 4:

Genesis 1:

Genesis 2:

Genesis 3:

Genesis 4:

Mellotronix:

Mellotronix TC:

Xenos Soundworks:

Zvon PRlight:

3.9.4 Creating a Custom Preset/Bank
Making new presets in SonicSOURCE
Open and create a new project in your host program... Studio One, Reaper,
Cubase, FL Studio etc....... Load SonicSource Vsti into a track on that project......
Load a blank bank.......
Load the "BLANK" bank preset...... Left or right-click on the window in the upper right
corner of the SonicSOURCE interface...

Select Browse Banks>Select the [BLANK] bank.
Once this is done all the presets in the window will be named "Init."

Using the blank preset slots....
Select one of the "Init" blank preset slots....
Add sounds into A, B, and/or C. Tweak them how you like.
You will find the raw content for SonicSOURCE in the [WaveForms] folder.
SonicSOURCE will automatically select this folder once you press the [Load Sound]
button.
After you have edited your new sound and ready to go
back to your new list of presets, select [Browse Presets]
this will take you back to the list.

Rename the preset to whatever you want by right-clicking the currently selected
blank preset and selecting [Rename].
Either select another "Init" preset in the list and repeat or….
If you want to blend sounds for
simultaneous playback using the
three sound slots of
SonicSOURCE, each engine slot
(A, B, or C) has to be on the
same MIDI channel. You can set
the channel at the top of the
window adjacent to the preset
browser, right above the text
that says A, B, C.).

Save your progress.......
To save your progress you need to save the project in the host program you are
using. This will give you a back up of your new preset bank, allowing you to resume
later. Don't save the Bank at this point unless you are finished.
Once you have made all the presets and ready to save the new bank....
The last step is to save the new Bank. Once you have a bank of presets ready, you
click on the "?" at the bottom right and click "Save Bank as Default".
Then click “Yes” at the prompt “Save Current Presets as User-Default Bank?”

That will create a new .bnk file in "C:pluginsMusic ComputingSonicSource
DATASonicSource Banks" directory, the basic name given will be "User Default".
To give that new bank a unique name, you will have to browse to the
aforementioned folder and rename that bank to whatever you want and it's done.
Right-click the file and select [Rename]. That’s it.

4.1 Music Computing Warranty Information
USA WARRANTY
 All new Music Computing products come with a 1 year parts and labor
warranty
 All new Music Computing products have 90-day support provided through our
ticket system online
 All new Music Computing products have a 30 day telephone and remote
desktop support
 Extended warranties and support can be purchased
 Any damage resulting from the mis-use or failure to follow instructions and
precautions as stated in the product manual will void this warranty.
 Warranty repairs: If you purchased the products through Amazon, please
contact them directly
 Warranty repairs: If you purchased the products directly from Music
Computing or any authorized reseller (except Amazon), Music Computing will
assume responsibility for the repair service. DO NOT RETURN THE PRODUCT
TO THE DEALER. Contact Music Computing directly using these methods.
o Phone: 512-777-4298
o Email: support@musiccomputing.com
o Support Online: http://www.musiccomputing.com/support
 This warranty is void if the original serial number has been altered or
removed, or if the unit has been altered in any way
 Music Computing reserves the right to make changes in the design and/or
improvements upon their products without any obligation to include those
changes in any products previously manufactured

Return Policy for Products Purchased through Amazon
 If the product was purchased from Amazon, please contact them directly.
Please refer to their guidelines for returns for more information
Return Policy for Products Purchased directly from Music
Computing
 If the product is defective, Music Computing can elect to repair or replace the
product at its sole discretion
 If DOA, Music Computing will pay for Ground shipping both ways, otherwise
customer is responsible for shipping to Music Computing and Music
Computing will be responsible for return Ground shipping to customer
 Upgraded return shipping will be an additional charge
 Returning products MUST be shipped in original shipping packaging,
otherwise contact Music Computing for replacement packaging. A fee of
$100 will be charge per replacement shipping package
 There are no returns for refunds
Upgrading/Modifying/Altering your Music Computing products with unauthorized,
incompatible, or unsupported hardware or software will invalidate your warranty
and support. Systems infected with computer viruses are also not covered
under our warranty and support. A charge will be assessed for us to assist you
in eradicating the viruses and setting up your products again. The charge will be
based on a case-by-case basis.
At Music Computing, we have tried to keep our warranty and service policies simple
and easy to use. Should you encounter any problems with your Music Computing
product, you should contact our Customer Support Department at 512-777-4298.
Also, we have a support ticket system that can be accessed by visiting
http://musiccomputing.com/support.

4.2 Software License Agreement
SOFTWARE LICENSE AGREEMENT
BEFORE YOU USE THIS SOFTWARE, CAREFULLY READ THE TERMS AND
CONDITIONS OF THIS AGREEMENT. BY USING THIS SOFTWARE, YOU ARE
CONSENTING TO BE BOUND BY AND ARE BECOMING A PARTY TO THIS
AGREEMENT. IF YOU DO NOT AGREE TO ALL OF THE TERMS OF THIS AGREEMENT,
DO NOT INSTALL, COPY, DOWNLOAD, ACCESS OR USE THE PRODUCT.
This End-User License Agreement ("Agreement" or "License") is a legal contract between
you ("You" or "Licensee") and Music Computing, Inc ("Music Computing") for use of the
Music Computing software programs TriggerGRID 64™ and GeoMIDI™, which includes
computer software and its resources (the "Software") and the Software user guide and
support files (the "Software Documentation") accompanying this License (collectively the
"Product").
1. General Grant of License
The Product is not sold. Music Computing grants You a nonexclusive, nontransferable license
to use the Product only under the terms of this Agreement. This Agreement gives You
limited rights to use the Software for the purposes described in the Software
Documentation. This Agreement does not grant You any ownership or intellectual property
rights to the Product in part or whole. The Product and any copies that you are authorized
by Music Computing to make are the intellectual property of and are owned by Music
Computing Inc.
2. Permitted License Uses and Restrictions
2.1 You may not copy, decompile, attempt to discover the source code or resources,
reverse engineer, disassemble, modify, or create derivative works of the Software in whole
or part, including translation to another language, computer language or format. You may
not attempt to unlock or bypass any copy protection or authentication algorithm utilized by
this Product. You may further not remove, hide or change any textual or graphical
information like labels, copyright or license notices.
3. Copyright
The Product is protected by United States of America copyright laws and international
treaties. Unauthorized reproduction or distribution of the Software or documentation is
subject to civil and criminal penalties. VST is a trademark of Steinberg GmbH. All other
trademarks are the property of their respective owners.
4. Terms
This license is effective until terminated. You may terminate it by destroying the complete
Product and all copies thereof. This license will also terminate if You fail to comply with any
terms or conditions of this agreement. Upon termination of this Agreement, You shall cease
all use of the Product, and destroy all copies of any portion of the Product in your
possession.

5. Disclaimer of Warranties
THE PRODUCT IS PROVIDED "AS IS AND WITH ALL FAULTS" WITHOUT WARRANTY OR
CONDITIONS OF ANY KIND. THE PRODUCT MAY CONTAIN BUGS, ERRORS, OR OTHER
PROBLEMS. YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT USE OF THE PRODUCT IS
AT YOUR SOLE RISK AND THAT YOU AGREE
TO ACCEPT THE PRODUCT "AS IS AND WITH ALL FAULTS". MUSIC COMPUTING MAKES NO
WARRANTIES AND CONDITIONS WITH RESPECT TO THE PRODUCT, EITHER EXPRESS,
IMPLIED OR STATUTORY, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES
AND/OR CONDITIONS OF MERCHANTABILITY, OF SATISFACTORY QUALITY, OF FITNESS
FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT OF THIRD PARTY RIGHTS. MUSIC
COMPUTING RESERVES THE RIGHT TO REVISE THE PRODUCT WITHOUT OBLIGATION TO
NOTIFY ANY INDIVIDUAL OR ENTITY OF SUCH REVISIONS. MUSIC COMPUTING DOES NOT
AND CANNOT WARRANT THAT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY
USING THE PRODUCT WILL MEET YOUR REQUIREMENTS, OR THAT THE PRODUCT WILL BE
ERROR-FREE OR UNINTERRUPTED, OR THAT DEFECTS IN THE PRODUCT WILL BE
CORRECTED. THE PROVISIONS OF SECTION 5 AND SECTION 6 SHALL SURVIVE THE
TERMINATION OF THIS AGREEMENT, HOWEVER CAUSED, BUT THIS SHALL NOT IMPLY OR
CREATE ANY CONTINUED RIGHT TO USE THE PRODUCT AFTER TERMINATION OF THIS
AGREEMENT.
6. Limitation of Liability
IN NO EVENT SHALL MUSIC COMPUTING, IT’S MEMBERS, MANAGERS, EMPLOYEES, AND
AFFILIATES (COLLECTIVELY REFERRED TO AS "MUSIC COMPUTING" FOR THE PURPOSES OF
SECTIONS 5 AND 6) BE LIABLE TO YOU OR OTHERS FOR ANY INDIRECT, INCIDENTAL,
CONSEQUENTIAL OR SPECIAL DAMAGES WHATSOEVER (INCLUDING, BUT NOT LIMITED TO,
DAMAGES FOR LOSS OF PROFITS, LOSS OF GOODWILL, LOSS OF SAVINGS, LOSS OF
DATA, LOSS OF BUSINESS INFORMATION, BUSINESS INTERRUPTION OR ANY OTHER
COMMERCIAL DAMAGES OR LOSES), RESULTING FROM ANY DEFECT IN THE PRODUCT
WHETHER FORESEEABLE OR NOT, ARISING OUT OF THE USE OR INABILITY TO USE THE
PRODUCT, HOWEVER CAUSED, REGARDLESS OF THE THEORY OF LIABILITY (CONTRACT,
TORT OR OTHERWISE) AND EVEN IF MUSIC COMPUTING HAS BEEN ADVISED OF THE
POSSIBILITY OF SUCH DAMAGES. IN PARTICULAR, MUSIC COMPUTING SHALL HAVE NO
LIABILITY FOR ANY DATA STORED IN OR USED WITH THE PRODUCT, INCLUDING THE COST
OF RECOVERING SUCH DATA. THE FOREGOING LIMITATIONS, EXCLUSIONS AND
DISCLAIMERS APPLY TO THE EXTENT PERMITTED BY APPLICABLE LAW. IN NO EVENT SHALL
MUSIC COMPUTING'S ENTIRE LIABILITY UNDER ANY PROVISION OF THIS AGREEMENT
EXCEED THE AMOUNT ACTUALLY PAID BY YOU FOR THE PRODUCT, IF ANY.
© 2015 Music Computing, Inc. All Rights Reserved.

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