ArcWave User Guide
The scan cycle’s motion, flow, start point and length along with gain, pan, pitch and fine tune are all definable, plus the scan cycle can be disabled and set to static mode.
An auto gain limiter is place at the output of the granular engine allowing you to brick wall the waveform output before entering the filter stage.
In addition to having ADSR control over the filter the waveform output can also play a part in shaping the contour of the sound.
Filter two is a slightly more conventional filter consisting of a switchable 1 - 2 - 3 or 4 pole low pass design with resonance, again the filter can be influenced via the EG and midi.
Bolted in-between the filters is the LFO modulation, when the LFO waveform is positive it can lift the cutoff of filter one, as the waveform goes into its negative phase it can lift the cutoff of filter two, this produces a gentle or not so gentle sweep of the filters, breathing even more life to the sound.
Last in the chain is the amp envelope generator with key and velocity control via midi, followed by the master output and auto gain limiter.
Click and drag a breakpoint to move it’s position, the EG’s are saved with the ensemble preset., you can load preset shapes as well as save your own (saving will overwrite the preset).
The Motion slider limits the scanning motion of the waveform, by selecting the Static button the motion is disabled, the small crosshatch window is used to position the loop over the waveform, start and length still have an effect when in this mode.
The EG sets the volume level of the waveform being passed over to the filters, it is important to remember this when setting the ADSR’s of the filter and Amp EG’s, if you want a long decay time on the Amp EG Release, lift the end breakpoint on the Waveform EG.
You can use the built in Tune oscillator the help tune the samples.
After the two independent waveforms have been processed via the filters and envelope generators they are passed over to Atmospheara to add a bit of swirly ambient space.
The waveforms first visit the modulated LFO filter banks, these consist of 32 band pass filters, the filter banks can be bypassed, modulated or left static.
The signal is then sent to the delay/flanger and the reverb processor, with control over wave balance, dry/wet path and high and low cutoff filters.
Atmospheara can add a vast amount of depth and space to the soundstage without loosing the definition or power produced from the ArcWave re-synthesiser.
The signal path then enters the compressor and auto gain limiter before leaving ArcWave as a stereo signal.
A stereo input and output version of Atmospheara is included with all versions of ArcWave, this can be used as a send or insert effect in your DAW.
Atmospheara is also useful as a stand-alone Loop Processor, the band pass filters and compressor/limiter can dramatically change beats and loops, and by using the high and low filters you can add ambience to a limited range of the spectrum.
Delay and Reverb
The Lo Cut and Hi Cut will effect the bandwidth of the delay, this allows you to position and limit the delays sound field, reducing the amount of space it takes up in the spectrum, adding more definition the source waveform.
Use the Dry Wet Balance to set the mix amount of the delay. The Flanger is part of the delay circuit and a balance of the two is set via the Delay Flanger Mix dial.
The reverb space is increased using the Reflection Time dial, to position and limit the sound field use the HiCut, Low Cut and Dry Wet Balance to fit the ambience around the source waveform produced by ArcWave.
The 8 stereo filters are made up from 32 single pole HP and LP combined filters (16 left and 16 right), the filters are equally spaced from low to high, the position that each filter sits is set by the Shift dial, so as the LFO travels through it's range the filters will move up and down the spectrum and across the stereo field.
When using the Sequencer as a sync for the filter bank the phase will sync to the beat point, pushing the phase on each pulse, so you need to set the phase and filters to suit the sound.
The Oscilloscope shows you the waveform phase only, and not frequency of the filters, for that you need a pair of ears.
The Vu meters show the amount of left and right gain for each of the 8 filters.
Each filter is a bandpass kill design and are numbered B1 to B8 if you set all the filters to zero they will block the signal path.
Lifting just one filter will let a narrow band pass through, then by moving the Band dial you can sweep the filter around the spectrum, turning up the Depth dial will then move the filter according to the speed set by the LFO.
Altering the Phase, Attack and Symmetry will affect the LFO waveform shape.
Threshold - The level that the compression starts to take effect. Ratio - The amount of compression that is applied to the signal. Knee - The shape of the compression effect.
Saturation - The amount of headroom.
Attack - The amount of time that it takes for the compression to be applied. Release - The decay time of the compression effect.
Output - The output level of the compressor that is sent to the auto gain limiter.
Input Left/Right, input vu meter - Gain Left/Right, gain makeup vu meter - Out Left/Right, output vu meter.
It is best to place the samples consecutively mapped from note one, the sample select display will then call up the samples as you rotate the dial.
Leave the root note blank, this allows you to effectively disable any side of ArcWave for use with only one sample. All samples need to be mapped to the root 0 position.
Polyphony can be increased to a larger number of notes, the amount that you can increase the polyphony by is dependent on the horsepower available from your computer, switching off Atmospheara will dramatically increase the amount of power available.
Not all samples sound good when played polyphonically, it depends on the harmonic content and movement, you can save (as) different versions of ArcWave for use as mono and polyphonic players.