swampxt-manual

7/27/2019 SwampXT-Manual.

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Swamp XT Synthesizer Timbre – Modulation Synthesizer

The basic features are:two digital oscillators running at a time to be selected from

- two PCM-wave oscillators powered by 128 different waveforms or - two additive wavetable generators to create various waves from up to 1 partialsone filter !2"db #owpass$four %&'(-style envelope generators)-Torsion* one 'poo+ effect* one ,ator !,ater$ effect* ) 'uper Modulationfour #./ !bpm-synced$one dedicated Pitch #./ !bpm synced$one 'ample 0 old !bpm-synced$one bpm-synced &elay

This synthesier features 3Timbre-modulation3 - now what is it about4 5ell it is some waydifficult to describe as it is processing each oscillator3s waveform in a very uni6ue way in

changing i4e enriching or limiting the harmonic spectrum ma+ing the sound fatter* wider or narrower even til near dissolving it to some way distorted noise depending on the input wave4The input wave3s characteristics are really important for what +ind of sound you want to have4

5hile the prior 'wamp had an oscillator routing to balance it3s output between normal i4e4direct signal and timbre modulated signal which each could be balanced to go to direct out or to filter this has been straightened in 'wamp )T: direct und timbre modulated signal can bebalance mi7ed to one signal and the output of both oscillators can be balance mi7ed too45hile the direct and filtered signal can be balanced at the amplifier stage of 'wamp )T4



The features of that Swamp thing in detail

The sound-sources

There are two oscillators to select from two different soundsources each:PCM wave soundsource powered by 128 waves each or an additive wavetable soundsources to create a varietyof different waves from up to 1 partials4 There are 18 inbuilt preset waveforms within the additive wavetableoscillator4 The wavetable display can be switched off in order to utilie the ) 'uperModulation Pad after havingselected or set up a wave4 ser created waves are store per patch for each oscillator4

9oth oscillators can be fine detuned to each other by &etune +nob in shifting one osc up while the other one isshifted down at the same amout4 %n octave range may be selected from -2*-1** 1 and 2 by the /ctave buttonsand oscillator 2 has the option to set a semitone offset4 %lso there is a Mute button for each oscillator4

The output of each oscillator can be leveled by a button slider below +nob for the ighPass filter4 This highpassprefilter is right before the Timbre Modulation which itself can be set to a fi7ed manual setting or modulated byvarious sources !#./* ;,* '0$4 the Timbre modulated signal can be mi7ed to the direct signal also with theoption for manual fi7ed setting or modulation by selectable source4 9oth oscillator3s output can be balanced bythe /sc 1:2 +nob also with opton to modulate this by variuos sources4

There is the option to load other '.2 files for other waves as PCM soundsources4 9ut you should be aware thatTimbre modulation might effect certain +inds of waves less efficient than you might e7pect or even in a way itturns the wave more or less into some +ind of noise4 <n general Timbre mod wor+s =ust fine with any single cycletype of waveforms so this is where the additive wavetable oscillators came in really handy and with 1 partials it3snot too much wor+ to set it up4 <n manual mode of Timbre Mod4 it might be possible in rare cases you might moveover so called >dead spots? with no sound which is due to phase-elimination as the phase is moved by a delay4

/ne remar+ acc4 to the wavetable oscillators: these waves are built in an additive way from partials thus it is not

li+e drawing a waveform4 @ust have a loo+ at the inbuilt Pulse and 'aw waves to understand the difference as theresp4 waveforms drawn would loo+ 6uite different as shown in this image:

% note on )Torsion which is some +ind of %mplitude Modulation and it3s signal is balaced mi7ed to normal signalinto the P. of osc 2 section4 sing the same wave with same setting in both oscillators will hardly affect thesound but using a different octave setting will4 9est results will be achieved in using 6uite different waves4



The Filter section

This is a rsonant 2"d9 lowpass filter which can me modulated by it3s dedicated %&'( ;, mi7able to another selectable source li+e #./ and '04 %lso you might use Aelocity to control the Cutoff of the filter with ad=sutableamount4 The resonance !B$ of the filter is ad=ustable in two ways normal and fine with the latter using an offset sothe +nob can used for an optimied finetuning of the upper i4e4 most noticeable resonant part4

The Output section

The input for the output amplifier can be mi7ed between the filtered and unfiltered i4e4 bypassed signal via the9yp:.ilt +nob4 This balance mi7 can be modulated by a selecable source and the output signal be shaped by an

%&'( ;,4

The Color +nob serves as Mini ;B to emphasie or remove lower or higher fre6uencies4 5ith 'aturator &riveyou might enrich the signal up to an overdrive effect4 <t should be noted that in using other sf2 files you mighte7perience crac+les at high &rive settings when playing chords4 <n order to avoid such simply lower main volumeor lower the level of the resp4 oscillator to at least about -D4

'poo+ provides a fairly fle7ible way to modify the sound adding e4g4 some +ind of 3metallic3 color or even to someflanger li+e f74

&elay can be switched onoff and delay time is lin+ed to several bpm related settings4 .eedbac+ and delay levelare ad=ustable4 Pan !# P ( or &P$ wor+s in two ways: normal or with delay to opposite direction !see imageshowing the latter case and the label being used as switch$

Remark < did ma+e the %ttac+ of .ilter and %mp ;, more 3snappy3 in e7tending their range below what is actualmeant to be which wor+s fine in most cases but it might occur that under certain conditions you maye7perience some +ind of 3Eey-clic+s3 then simply raise the %ttac+ slider a little til those clic+s are gone4



The !lobal Modulators

There is pitch related #./ !P#./$ for use with Mod 5heel but this #./ can also be selected elsewise4 Fe7t tothis is an '#./ which is a very slow #./ up to 2" bars for one cycle4 #./1 and 2 are more conventional #./#./ and #./" offer a set of some mor comple7 waveforms with it3s rate !or speed$ to be ad=usted by adedicated +nob4 'ample 0 old has different modes selectable as sample source and also a +nob for variationfor the sample source4 %lso there is a +nob for Portamento !time$ and a button to switch it on or off4

%&'( ;, and " are li+e the #./ monophonic modulators i4e4 triggering the ,ate of the ;, comes into effecton 1st +eypress with no other +ey held down along4

X" SuperModulation

The X#" Supermodulation features D fi7ed destinations and slots for selectable destinations4 %uto Mode usesa dedicated selectable mod source for ) and a7is each4 5hile the amount can be ad=usted by %uto%mt +nobsto positive and negative amount4 %lso you may select the a7is to be used on the destinations even with invertedamount too4 %lso you can determine the amount of modulation from to 1 for each destination4 %s thismodulation control is meant not as a static control rather than as being in motion via %uto Mode /n or by movingthe 3=oystic+ ball3 manually by mouse or e7ternal M<&< device4



The !ator effect

.or lovers of trancy gate effects this one has been added4 9asically an #./ using a pulse wave to gate an audiosignal this one is placed in front of the delay effect for more variety4 %lso there are subdivisions for Tempo:normal* triplets and dotted notes4 'often allows to smooth the attac+release of the gate4 <nstead of having fi7ed

patterns < did add a mod source named Patt 'rc4 which in fact modulates pulse width of the #./ so length of pulse is modified for more vivid and varying rhythmical gate patterns4 As a thumbrule: tempo of Pattern 'ourceshould always be slower than ,ator speed4 'ources P5 .1 to . provide a fi7ed pulse width of about DG* HHGand IDG4 ,ator On S syncs i4e4 restarts the #./ on 1st +eypress without any +eys held down along* while On Fdoes not sync instead the #./ runs free4

This is 6uite obvious: button for loading '.2 files* display of M<&< CCJs and values plus the #ay buttons4

Some additional hints

sing long release settings will increase CP-usage - remedy: lower release at filter %&'(* lower release at %&'( in master section and raise delay #vl instead4 'o in most cases a release =ust below half way up of theslider will be sufficient to get a fading on the sound4 %lso fast #./ settings at many destinations consume a lotmore CP than one efficiently set at the most significant target which is in fact in most cases sonically even moreefficient for a more pronounced sound4

%s of M<&< implementation all relevant and assigned M<&< CCs are shown on the ,< as soon as a slider* +nobor switch is moved with the current value shown too44

,eneral hint: 5hen moving a +nob or slider you can also press KCrtlL on the PC-+eyboard for fine ad=ustments4Enown bugs: loading a single patch program !4f7p$ to first program number !and only there$ may change thewaveform of the oscillators4 This does not apply when loading a patchban+ file !4f7b$N

Credits* than+s and further info

The 'wamp 'ynthesier has been created with 'ynthedit by @eff McClintoc+ with further modules by &avidaupt* Peter 'choffhauer* Eelly &4 #ynch* ;tric van Mayer et al4

Preset patches were +indly done by: $imitri Schkoda %$S or no si&n'( )loyd Mc*ay %lk'( +i,ner&y %+*' andob O$onnell %M'

4 ,4 .ortune %lfter9onn @une 2O

www4hgf-synthesier4de

The ten voice version of 'wamp )T Pro is available via Paypal or 'hare<t see: www4hgf-synthesier4de

The Free .ersion of Swamp XT is limited to voices instead of 1* no '.2 load* only one additive wavetableosc4



/ppendi0

#ist of 128 waveforms used:

%'oQ%bstract%rc1 %'oQ%lienBuar+

2 %'oQ%rcane#oop %'oQ.M-9elly." %'oQ2/-PhoneD %'oQFothync-H %'oQ/ut5iredI %'oQ'harp5ob8 %'rQ9ellCaveO %'rQCaveMae1 %'rQ&ar+(ealms11 %'rQ&eep%byss12 %'rQ&igitronic1 %'rQ&ist'ync1" %'rQ.M-&D1D %'rQ.M-.DD

1H %'rQ.M-.DI1I %'rQ.ulldrive18 %'rQ<ceCold1O %'rQ<ndia 22 %'rQ<nharm-1D21 %'rQ<nharm-222 %'rQ<nharm-"D2 %'rQ<nharm-212" %'rQ<nharm-2822D %'rQ<nharm-<)2H %'rQ<nharm-A2I %'rQ<nharm-A<28 %'rQ<nharm-)<2O %'rQ<nrm&rill 1

%'rQ<nrm&rill 21 %'rQ<nrm&rill

2 %'rQ<nrm&rill " %'rQ<nrm'ync

" %'rQ@awsD %'rQ'lowH %'rQ'6uareI %'rQ'ympho8 %'rQ'ynced/scO %'rQ'yn;"" %'rQ'yn"1 %'rQ'yn2"2 %'rQ'ynR1" CplQ&igi%tc+"" CplQ&igiPad2"D CplQ&oublePad"H CplQ;erieAo7"I CplQ.ull9rite

"8 CplQ.ullPad"O CplQ,host9reathD CplQ,hostChoir D1 CplQ,host'pectr D2 CplQ<nfernalD CplQ<nfernoD" CplQMultiMorphDD CplQMysticAo7DH CplQMyths 1DI CplQPepe,oesD8 CplQ'itaricDO CplQ'pace%byssH CplQ'ynAocPadH1 CplQAocFoAo7

H2 'ynQ%t+&roneyH 'ynQ9ig9road

H" 'ynQ9igClassicHD 'ynQ9ig'aw

HH 'ynQ9lue'yncHI 'ynQ9rasstrinH8 'ynQ9rite9rasHO 'ynQChordyI 'ynQ&ig5ave)I1 'ynQ&rawbarI2 'ynQ,rowl'pitI 'ynQollow'awI" 'ynQ/verhomeID 'ynQPunchedIH 'ynQ'aws#ots/fII 'ynQ'aws'oftwideI8 'ynQ'awyorgIO 'ynQ'awyPulse

8 'ynQ'hred'ync81 'ynQ'lurper82 'ynQ'oftyPad8 'ynQ'trings8" 'ynQ'tring'ect8D 'ynQ'tring8H 'ynQ'ynced8I 'ynQThin'aw88 'ynQ5ahish8O ).7Q%l am 9raO ).7Q%liens-rO1 ).7Q9ellMaeO2 ).7Q9ellFoiO ).7QCave&rops

O" ).7Q&emons-rOD ).7Q&ist/rgan

OH ).7Q;ncoderOI )f7Q.lashy

O8 ).7Q,houloneOO ).7Qammering1 ).7Q<nfernal-rev11 ).7Q<nTension12 ).7Q@ungle1 ).7Q#abyrinth"1" ).7QMon+ish1D ).7QFoise.ume1H ).7QFoiMetal11I ).7QFoiMetal218 ).7QFoi/ne1O ).7QFoiTube11 ).7QFoi5atery111 ).7Q/ut'pace

112 ).7Q(adio9ad11 ).7Q(ainCrac+le11" ).7Q(ough9ras11D ).7Q(ough&igi11H ).7Q'crapyard11I ).7Q'hiftinThru118 ).7Q'loMind-r11O ).7Q'3n3-9lipps12 ).7Q'ome5ind121 ).7Q'pectral&rv122 ).7Q'tep.low12 ).7Q'uspense12" ).7Q'ync<nto12D ).7QTal+Mae

12H ).7QThundery12I ).7Q5oodland

%'o S waves from prior 'wamp !as of last edition '; for 39eat3 magaine$ %'r S replacement waves of better 6uality !similar in character to a lot waves in prior 'wamp waveset$Cpl S more comple7 waves'yn S fairly typical synth waves* less comple7).7 S .) sounds



Terms of )icense /&reement

ou are F/T %##/5;& to sell the program or charge for the access to it4ou are F/T %##/5;& to distribute the program in any way !online* magaine C&*hardware or software pac+ages* etc4$ unless ou have an agreement with the author4

ou may use the program in personal andor commercial music !credits are welcome$4

ou are allowed to run the registered version of the program on different computers as longas ou are the only person having access to and using the program4

ou are not allowed to modify* decompile or reverse-engineer the program4

This program is not copy-protected but protected by national 0 international !copyright-$ laws4

Changes 0 enhancements may be made without prior notice and a grant that further editionswill read patches from former version cannot be given4

se this program on our own ris+ and our own responsibility4

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