Resumen del contenido incluido en la página 1
Owner's Manual
QuickEdit and GigaPulse Addendum
100206
Resumen del contenido incluido en la página 2
CHAPTER 12: QUICKEDIT VIEW ........................................................................................................ 3 Instrument Select Drop-Down Menu.................................................................................................... 3 Undo/Redo ............................................................................................................................................ 3 EDIT MODES AND SELECTIONS................................................
Resumen del contenido incluido en la página 3
CHAPTER 12: QUICKEDIT VIEW QuickEdit is a powerful tool that provides easy access to instrument/dimension specific synth parameters like attenuation, pan, tuning, envelopes, filters, LFO’s, and loop points. Edits made in QuickEdit are non-destructive, meaning they do not alter the original GIG files. Instead, instrument specific QuickEdit modifications are stored and recalled by saving either a preset or GSI file. The QuickEdit view can be opened using either the global EDIT button locate
Resumen del contenido incluido en la página 4
EDIT MODES AND SELECTIONS In a Giga instrument, every keyboard region has its own parameter settings for envelopes, LFOs, filters, and the like. The keyboard regions, each covering one or more keys, are displayed in the horizontal strip just above the virtual keyboard. You'll notice that one of the regions is always highlighted in bright yellow. This is the region whose parameters are displayed in the upper sections of the Editor. When you change a parameter, you'll be modifying this region
Resumen del contenido incluido en la página 5
EDIT MODE This affects how changes are applied when more than one region or split is selected for editing. Absolute: When you change a value in the QuickEdit, every selected (bright or dark yellow) region and split is set to exactly the value shown. If the selected regions were originally set to various unique values, they'll all be changed to the same value for any parameter that you edit. Relative: In this mode, every selected split is changed by an offset. For example, if you cha
Resumen del contenido incluido en la página 6
DIMENSION SELECT DROP-DOWN MENU This is similar to the Keyboard Select menu, but it governs the selection of splits within each keyboard region, as displayed in the dimension strip area just below the editing tabs. The options are: All splits: Edits will always be applied to every split within a region. In the dimension selector strips, you can click any split to give it the bright yellow highlight and display its parameters. But all other splits will retain the dark yellow highlight,
Resumen del contenido incluido en la página 7
QUICKEDIT ARTICULATION TABS GVI GENERAL TAB Volume: The Volume knob simply attenuates a region’s playback level between 0 and 98 decibels. A Volume value of 0.0 indicates that the region will play back un-attenuated. Pan: This setting sets the pan position by a value from -64 (hard left) to +63 (hard right). Tune: The Tune knob adjusts a region’s fine-tuning between – 49 and + 50 cents. Self-mask: When checked, this causes high velocity notes to terminate lower velocity voices.
Resumen del contenido incluido en la página 8
VOLUME MODULATION SECTION Controller Drop-Down: This menu allows you to assign a MIDI continuous controller for real-time volume attenuation control. By assigning the same attenuation controller to groups of related notes or samples, a MIDI controlled sub mix capability can be designed into the instrument so that individual sounds can have discrete MIDI volume control. Attenuation Controller Invert: This option reverses the MIDI controller. This is necessary when creating a simpl
Resumen del contenido incluido en la página 9
Velocity Curve: There are three general response curves available: Linear, Non-Linear, and Special. See the diagrams below for a graphical representation of each curve class. Linear Curve: Non-Linear Curve: 9
Resumen del contenido incluido en la página 10
Special Curve: Velocity Range: Use the velocity range slider to select one of five velocity response offsets for the specified velocity response curve (Linear, Non-Linear, Special). The velocity range is set from High to Low, High producing the largest dynamic range (softer) and Low producing the smallest dynamic range (louder). Scale: This knob works in conjunction with the Velocity Range setting to give even finer control of the velocity response curve. Find a Dynamic Range sett
Resumen del contenido incluido en la página 11
INSTRUMENT GLOBAL SECTION Pitch Bend Range: Instrument Global settings apply to all regions and dimensions of the instrument currently being edited. You can set the Pitch Bend Range between 0 and 12 semitones (half-steps). The Pitch Bend Range value represents both the upward and downward transposition boundaries. Piano Release Mode: This option is intended for Acoustic Piano sample libraries. On an actual acoustic piano, you can step on the sustain pedal very quickly after releasi
Resumen del contenido incluido en la página 12
AMPLITUDE ENVELOPE SECTION Preattack: The Pre-attack level is adjusted with percentage numbers (0-100). It is the very first point of a sample’s ADSR envelope and sets the initial volume level of the attack. For example, a Preattack level of 50.00 sets the beginning of the attack envelope to half the potential volume of the sample. This allows for a sample to begin at any level from silent to full volume. Attack: The amplitude Attack time is measured in seconds (0-10). This value s
Resumen del contenido incluido en la página 13
PITCH ENVELOPE SECTION Attack: The pitch Attack time is measured in seconds (0-60). This value determines the amount of time that it takes for a sustained note to be tuned from the specified pitch Depth value back to its original pitch. Depth: Pitch Envelope Depth is measured in cents and represents the Attack or Note On pitch of a sample. In other words, when a note is played, the sample begins playback with the specified Depth offset and is then bent back to its original pitch
Resumen del contenido incluido en la página 14
AMPLITUDE LFO SECTION LFO Frequency: The Amplitude LFO Frequency value can be set between 0.1 and 10 Hz and controls the rate at which the Amplitude LFO oscillates. Control Source: The Control Source selects between Internal LFO, Mod Wheel, Breath Control, or a combination of either Internal LFO and Mod Wheel or Internal LFO and Breath Control. Invert: When enabled, this setting reverses the incoming MIDI controller data values. Synch: This option provides a single, synchroniz
Resumen del contenido incluido en la página 15
PITCH LFO SECTION LFO Frequency: The Pitch LFO Frequency value can be set between 0.1 and 10 Hz and controls the rate at which the Pitch LFO oscillates. Control Source: The Control Source selects between Internal LFO, Mod Wheel, Aftertouch, or a combination of either Internal LFO and Mod Wheel or Internal LFO and Aftertouch. Synch: This option provides a single, synchronized Pitch LFO across all regions. When Synch is enabled, the LFO will be constant no matter what note is played
Resumen del contenido incluido en la página 16
GVI FILTER TAB FILTER SECTION Filter Type: This drop-down menu allows you to enable/disable filtering and select which type of filter will be used from the following list: None – The Filter mode is completely bypassed Lowpass – This option filters out high frequencies above the Cutoff point Highpass – This option filters out low frequencies below the Cutoff point Bandpass – This option filters out frequencies above and below the Cutoff point Bandreject – This
Resumen del contenido incluido en la página 17
Note: This parameter is only available if the Cutoff Controller is set to “None”. Minimum (Min) Cutoff: This value places a limit on the lowest filter cutoff frequency when using a MIDI Cutoff Controller. The low range of the MIDI controller will start with this value. Resonance (Res): Resonance, also referred to as Q, creates a peak in amplitude at the specific Cutoff frequency and is used to generate classic analog synth textures. The maximum resonance is set close to the point of self
Resumen del contenido incluido en la página 18
FILTER ENVELOPE SECTION Preattack: The Filter Pre-attack value is adjusted with percentage numbers (0-100). Preattack offsets the initial Filter Cutoff value for the attack of the Filter Envelope. For example, a Preattack offset of 50.00 sets the envelope’s initial Filter Cutoff value to halfway between the lowest Cutoff value (0) and the user specified Cutoff Value. Attack: The Filter Attack time is measured in seconds (0-60). This value sets the amount of time that it takes for a
Resumen del contenido incluido en la página 19
MIDI CONTROL SECTION Cutoff Controller: This parameter allows you to assign a MIDI controller to the Filter Cutoff Frequency for real-time continuous control. This assignment overrides the Cutoff Frequency value, which will be disabled once you assign a MIDI controller here. Invert: When enabled, this setting reverses the incoming MIDI controller data values. Resonance Controller: This parameter allows you to assign a MIDI controller to the Filter Resonance for real-time continuous c
Resumen del contenido incluido en la página 20
FILTER LFO SECTION Frequency: The Filter LFO frequency value can be set between 0.1 and 10 Hz and controls the rate at which the LFO oscillates. Control Source: The Control Source selects between Internal LFO, Mod Wheel, Foot Control, or a combination of either Internal LFO and Mod Wheel or Internal LFO and Foot Control. Invert: When enabled, this setting reverses the incoming MIDI controller data values. Synch: This option provides a single, synchronized LFO rate across all regio
