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Contents
contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Registering Your Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Working with Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Conventions Used in This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Contents iii
Chapter 4. Operating Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Viewing Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Adjusting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Accessing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
The Part Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
The Sequencer Pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
The Common Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
The Effects Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
The Presets Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Morph Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
MIDI Controller Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Introduction
• Hybrid synthesizer architecture—the best Hybrid works with mono and stereo formats
of both wavetable and subtractive synthe- only.
sis
• 7 oscillator types and 100 wavetables Control Surface Support
• Multimode filter with 23 filter modes and
Hybrid can be operated from the following con-
real filter saturation
trol surfaces:
• Sample accurate envelopes
• Digidesign® 003®
• Audio range modulation for oscillators and
• Digi 002 ®
filters
• Digidesign Command|8 ®
• Modulation matrix
• Digidesign C|24™
• Step sequencer and arpeggiator
• Digidesign Control|24™
• Morph groups, for controlling multiple
• Digidesign D-Command ®
parameters at a time
• Digidesign D-Control ®
• Over 40 built-in effects
• Digidesign ProControl ®
Chapter 1: Introduction 1
System Requirements and Registering Your Plug-in
Compatibility If you purchased a download version of a plug-
To use Hybrid, you need the following: in from the DigiStore (www.digidesign.com),
you were automatically registered.
• An iLok USB Smart Key
• An iLok.com account for managing iLok If you purchased a boxed version of a plug-in,
licenses you will be automatically registered when you
authorize your plug-in (see “Authorizing Hy-
• One of the following:
brid” on page 6).
• A Digidesign-qualified Pro Tools|HD,
Pro Tools LE, or Pro Tools M-Powered Registered users receive periodic software update
system and upgrade notices.
• A Digidesign-qualified Pro Tools system
For information on technical support, visit the
and a third-party software application that
Digidesign website (www.digidesign.com).
supports the Digidesign RTAS plug-in
standard
• DVD drive for Installation disc (boxed version
of plug-in only) Working with Plug-ins
• Internet access for software activation and See the Pro Tools Reference Guide for general
registration purposes information on working with plug-ins in
Pro Tools, including:
Digidesign can only assure compatibility and
• Inserting plug-ins on tracks
provide support for hardware and software it has
• Clip indicators
tested and approved.
• Plug-in window
For complete system requirements and a list of • Adjusting plug-in controls
Digidesign-qualified computers, operating sys-
• Automating plug-ins
tems, hard drives, and third-party devices, refer
• Monitoring and recording audio from
to the latest information on the Digidesign web-
instrument plug-ins
site:
• Using plug-in presets.
www.digidesign.com/compatibility
Chapter 1: Introduction 3
4 Hybrid Plug-In Guide
chapter 2
To install the Hybrid plug-in: The Hybrid Installer copies the Hybrid plug-in
(Hybrid.dpm) to the following
1 Do one of the following:
location:
• Purchase and download the Hybrid
installer from the DigiStore website. After Mac Library/Application Support/Digidesign/
downloading, make sure the installer is un- Plug-Ins
compressed (.ZIP on Windows or .SIT on
Mac). Windows Program Files\Common Files\
Digidesign\DAE\Plug-Ins
– or –
• Insert the Hybrid Install disc (included in
the purchased boxed version of the Hybrid
plug-in) into your computer.
Mac Hybrid_Setup.pkg
Windows Hybrid_Setup.exe
4 Click Remove.
Functional Overview
Hybrid is an RTAS synthesizer plug-in that uses a This process of generating and shaping sound is
combination of classic subtractive and digital called subtractive synthesis because it deals
wavetable synthesis. mainly with removing frequencies from highly
harmonic enhanced waveforms.
Hybrid is not multi-timbral—one instance
is assigned to one MIDI channel and con-
sists of two complete sound generation units Wavetable Synthesis
(or parts). Each part has individual Mix, Wavetable synthesis became popular with the
Arpeggiator, and Modulation settings. first digitally controlled synthesizers. A wavet-
able is a file that consists of 64 different single
cycle waveforms. A digital oscillator runs
Synthesis Overview through these waveforms to create complex and
vivid sounds. Wavetable synthesis is usually
combined with subtractive synthesis for addi-
Subtractive Synthesis
tional sound shaping.
Dating back to the first hardware analog synthe-
sizers, subtractive synthesis generates sound
with one or more oscillators producing elec-
tronic waveforms with rich harmonic content.
Successive modules (such as filters and amplifi-
ers) shape this sound by varying the harmonic
content and level.
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The above diagram indicates Hybrid’s signal Filter Section Gives control over the tone color
flow and modulation architecture. by removing or accenting desired frequencies or
harmonics.
Oscillator Section Oscillators are the basic source
of pitch and harmonic content. Hybrid features Filters have a stop band and a pass band delin-
three oscillators, as follows: eated by the cutoff frequency. The frequencies
• Oscillators 1 and 2 feature seven different in the stop band are attenuated or removed,
types: Saw Synchronized, Saw Cross Modu- while the frequencies in the pass band are left
lated, Saw Multi, Square Synchronized, Square untouched. The pass band is specified by the fil-
Cross Modulated, Square Pulse Width Modu- ter type. For example, a low-pass filter removes
lation, and wavetable. high frequencies and passes lower frequencies.
Other typical filter types are high-pass, band-
• Oscillator 3 offers the classic Sawtooth, pass, band reject (notch filter) and all-pass
Square, and Triangle waveforms, Sub Oscilla- (phase shift).
tor, and Noise Generator.
The number of filter poles determines the atten-
All audio signals from the Oscillator section are uation in the stop band: The higher the number,
mixed before they are sent to the filter stage. the more frequencies are removed. This feature
can also be specified in decibels per octave. An
The Modulation matrix provides: Effects Inserts Operate after all synthesis mod-
• 16 freely assignable modulation sources ules but before the master effects. With its two
effects inserts for each part and an assortment of
• Over 20 modulation destinations over 40 effect algorithms, Hybrid allows for
• Multiple assignments of sources and destina- building complex multi-effect settings.
tions with adjustable intensities
Operating Hybrid
Hybrid Control Pages Part A and B are identical and provide the
Part A Page Provides controls for all sound gen- same set of controls.
erating parameters of Part A, including settings
for its oscillators, filters, amplifiers, envelopes, To learn more about working with parts, see
and LFOs. “Accessing Parts” on page 18.
Seq A Page Provides controls for the sequencer Common Page Provides controls for adjusting
of Part A. The settings include the sequencer the overall pitch and voice management of a
lines for Note, Velocity, Control 1 and Control patch. In addition, there are settings for the
2, and additional Playback modes (such as ar- Morph controllers and general plug-in settings.
peggios and MIDI phrases).
Effects Page Provides controls for the effects In-
serts of Part A and B and the master effects ap-
plied to the whole patch.
Dragging a knob
Adjusting Parameters
You can adjust most controls by using the com- The behavior of knobs can be customized,
puter mouse to drag a control or using the key- see “Knob Mode” on page 46 for more infor-
board to type in a value. mation.
Text box
To move forward through the different pa- Choosing waveform settings from a pop-up menu
rameters, press the Tab key. To move back-
ward, press Shift+Tab. However, because of Enabling Buttons
Hybrid’s modular architecture, you can only
Tab between parameters in the same section Some controls have activate/deactivate buttons.
(for example, only within the Filter section).
To activate a button:
Click on the button. Click again to disable it.
Graphic controls are provided for adjusting lighted Page tab indicates the Part page or
parameters such as envelopes (see “Graphic Ed- Sequencer page that is displayed.
iting of Envelopes” on page 31), LFOs (see
“Graphic Editing of LFOs” on page 34), and step
sequencers (see “Editing of Sequencer Lines” on
page 38).
Selecting a part for editing
Activating a part
Click the Show Main Page tab in the Oscillator Enter a value in the text box at the upper right
section you want to adjust. corner of the Oscillator section you want to ad-
just.
To access the Mod page of an oscillator:
Click the Show Mod Page tab in the Oscillator Oscillator Sections
section you want to adjust.
Osc 1 and Osc 2 Main Page
Oscillator Overview
Oscillators 1 and 2 have an identical architec-
The two main oscillators, Oscillator 1 and 2, ture. They have the same controls, as follows:
provide tuning controls calibrated in semitones
and cents. They offer various waveforms based Oscillator Type selector
on different algorithms. Each algorithm is
unique in its function and sound. The Oscillator
Type pop-up menu selects the basic waveform of
the oscillator, and the Wave Shape control pro-
vides further control over the waveform’s tone
color.
The third oscillator mainly supports Oscillator 1 Hybrid Oscillator 1 and 2 Main page
and 2; it transposes in octave steps and provides Oscillator Type This selector displays the cur-
classic waveforms like sawtooth, square, and tri- rents oscillator type (the basic waveform and al-
angle as well as Sub oscillator and Noise genera- gorithm of the oscillator), and can be clicked to
access a pop-up menu for selecting a different
type. The first part of the name of a type de-
scribes the basic waveform. The second part of
the name describes the underlying algorithm.
The Wavetable type does not have an underly-
ing algorithm.
Octave Transposes the pitch of the oscillator up Hybrid Oscillator 3 Mod page
or down in octaves. The control range is from –2
to +2 octaves.
Filter Section
Hybrid’s analog modeling filter provides 23 dif-
ferent Filter types ranging from classic 4-pole
low-pass to completely new and unique types.
Filter Types
The Filter section supports the following Filter
types:
HP1 One-pole high-pass, frequencies below the HP1+LP3 Filter that forms a four-pole asymmet-
cutoff are attenuated at 6 dB/oct. ric band-pass. Frequencies below and above the
cutoff are attenuated. With a 6 dB/oct high-pass
BR2 Two-pole band reject, 6 dB/oct low-pass and an 18 dB/oct low-pass in series, high fre-
and 6 dB/oct high-pass in parallel. Frequencies quencies are faster attenuated than low frequen-
around the cutoff are attenuated at 6 dB/oct. cies.
AP3+LP1 Phase shifter with a one-pole low-pass cillating. Therefore, please make sure the Reso-
in series. In addition to the phasing effect, high nance control on the Main page is turned fully
frequencies are attenuated at 6 dB/oct. clockwise.
between two segments vertically with the Decay2 Time Specifies the time for the second
mouse. To lower a level, drag the control down. decay to reach the sustain level. Depending on
To raise a level, drag the control up. the sustain level and the level of the prior first
decay, the envelope rises or falls during this seg-
On the Modulation envelopes, use Option- ment. Therefore, the sound or modulation fades
click (Mac) or Alt-click (Windows) to reset back in or fades further out. The control range is
the level of a segment. from 0 ms to 32 s.
To type in a value from keyboard: Sustain Level Adjusts the level of the sustain seg-
ment. The envelope’s signal remains on this
The last edited time and level (if available) dis-
level as long as the note is held. The control
plays in the text box of the Envelope section.
range is from 0% to 100%.
Type in a value in the text box for the time or
level you want to adjust. Release Time Specifies the time for the release
segment to fall to zero when the note (key) is let
off. Use shorter times for an immediate stop of
the sound or modulation. Longer times cause
the sound or modulation to fade out. The con-
trol range is from 0 ms to 32 s.
Attack Time Specifies the time for the attack seg- Envelope Level and Time Modulation
ment to reach its level. The control range is from
Each Envelope section has rotary controls,
0 ms to 32 s.
which provide access to level and time modula-
Attack Level Adjusts the level for the attack seg- tions from MIDI velocity or MIDI note number.
ment. Depending on the attack level and the
Vel (Velocity) Modifies the amplitude of the en-
prior delay level, the envelope rises or falls dur-
velope by MIDI velocity. The control range is
ing this segment. The control range is from
from –100% to +100%. With positive values the
–100% to 100%.
loudness of a sound or the intensity of a modu-
Decay1 Time Specifies the time for the first de- lation increases the harder you hit the note.
cay segment to reach its level. The control range With negative values the loudness of a sound or
is from 0 ms to 32 s. the intensity of a modulation decreases the
harder you hit the note. Use this feature to add
Decay1 Level Adjusts the level for the first decay expressiveness to your performance.
segment. Depending on the level of the first de-
cay and the prior attack level, the envelope rises Att Vel (Attack Velocity) Modifies the response
or falls during this segment. The control range is of the attack segment by MIDI velocity. The
from –100% to 100%. control range is from –100% to +100%. With
positive values, the attack time increases the
Decay2 Time Specifies the time for the second harder you hit the note, the envelope responds
decay segment to reach the sustain level. De- slower. With negative values, the attack time de-
pending on the sustain level and the level of the creases the harder you hit the note, the envelope
prior first decay, the envelope rises or falls dur- responds faster. Use this feature to mimic the at-
ing this segment. The control range is from 0 ms tack behavior of acoustic instruments.
to 32 s.
Dec Vel (Decay Velocity) Modifies the response
of the decay and release segments by MIDI ve-
locity. The control range is from –100% to
+100%. With positive values, the decay and re-
display right to decrease the rate. The decreasing Depending on the mode, the rate display
numbers of displayed wave cycles indicate the switches from values in Hertz (Hz) when freely
lower speed of the LFO. running to values in note length or multiples of
step sequencer steps when running synchro-
LFO Phase control nized. The six modes work as follows:
LFO Rate cursor
Off The LFO is freely running with the frequency
set by the Rate control. Values display in units of
Hertz or seconds.
Beat+Tempo The LFO rate is specified in frac- Phase Adjusts the starting angle of the LFO. You
tions of a beat (note length) and synchronizes to must choose a Sync mode to bring this parame-
the bars and beats of the song while the trans- ter into effect. The control range is from 0° to
port is running. Use this to match the modula- 359° plus a Random setting. Choose Random for
tion to the tempo and meter of a song. a varying starting angle with each restart of the
LFO.
LFO Parameters
LFO Depth Modulation
The three LFOs have the following parameters
and functionality: Each LFO can be modulated in depth (ampli-
tude) to allow for fade-ins and fade-outs of a
Wave Selects the shape of the modulation the modulation from the LFO. For example, use one
LFO produces. Choose one of the following of the Modulation envelopes to shape the LFO
wave shapes from the Wave pop-up menu: dynamically whenever you play a note. Alterna-
• Sine—Smooth modulation shape curving up tively, you can use the modulation wheel for
and down. control over the LFO Modulation depth.
• Triangle—Soft modulation shape ramping up
and down. The turning points at the maxi- To select a modulation source for the LFO depth
mum amplitude of the signal have an edge. Click the Depth Mod Source selector and se-
Control The two control sequences at the lower Adjust Sequencer Step
right are always active no matter which Play-
To draw a sequence of steps:
back mode you use. They appear as Seq1 and
Seq2 in the sources and destinations of the Mod Use Shift-click and run the mouse horizon-
pages. For example, select Seq1 as a modulation tally over the steps you want to edit.
source for Filter cutoff. Each control sequence – or –
has a Source selector and a Depth fader for mod-
Drag single bars up and down, to increase or
ulating the sequences’ depth with MIDI control-
lers. The modulation signals from the control se- decrease the step values.
quences are bipolar.
The Common page provides additional controls Pitch/Voice A and Pitch/Voice B Section These
that influence the overall playing behavior and sections provide additional sound settings for
general performance of Hybrid. The Common Part A and B. They affect the general tuning and
page includes the following control sections: pitch modulation of the parts. You can limit Hy-
brid’s CPU demand with the Voice Limit param-
Global Section This section gives access to play- eter in this section. The other settings affect the
ing and performance oriented settings, which voice, envelope trigger, and portamento settings
include Morph controls, unison, pitch bend, for each part.
and key split.
Global and Pitch/Voice settings save and Pitch Bend Range Adjusts the pitch bend range
restore with a patch through the Settings Li- from the MIDI pitch bend controller. The con-
brarian. Plug-in settings save with the ses- trol range is from 0 to 24 semitones. Each part
sion or through the “Save Settings as De- can have its pitch bend response activated or de-
fault” function of the plug-in. The latter activated.
has an effect on the initialization of each • 12Q—Bends the pitch one octave up and
new instance of the plug-in. The plug-in re- down quantized to the nearest semitone.
calls the last saved default settings with
• Harm—Bends the pitch through harmonics 1,
each new instance.
2, 3, 4, 5, and 6 with the 3rd harmonic in cen-
ter.
Global Section
Key Split Sets and activates a split point by MIDI
The Global section of the Sequencer page in-
note number. Keys below the split point play
cludes the following:
Part A, while keys above the split point play Part
Unison Part A/B Unison plays the sound mono- B. Turn the control fully stop counter clockwise
phonically with multiple voices. The number of to deactivate the key split.
voices determines through the Unison Voices
Morph Assign Controls For information on the
control. Use the controls to route the unison set-
Morph controls, see “Morph Groups” on
tings to a part. The switch highlighted in color
page 55.
indicates unison is active for a part.
Effects Architecture The Effects page includes two effects Inserts for
each part, and a single Master Effects section for
Hybrid features two effects Inserts, connected in applying effects to Hybrid parts. The effects In-
series, per part. They intimately integrate with serts operate after all synthesis modules, but be-
the sound of the associated part. Looking at the fore the Master Effects.
architecture, the effects operate after all synthe-
sis modules but before the master effects. Effects Inserts settings can be saved and re-
stored with the part presets or Settings Li-
See Appendix B: “Hybrid Insert Effects” for brarian. Master Effects are saved and re-
a complete list of the provided effects. stored with the Settings Librarian only.
Click the Insert selector and select an effect. you want to adjust.
The Insert On/Off button lights automatically to
indicate the effect is active. Depending on the algorithm, unused con-
trols are grayed.
To activate tempo synchronization:
At the upper mid of the effect Insert, click the
ton is unlit.
The Master Effects section lets you apply a single Mode Selects the basic sound character of the ef-
effect to all parts. You can select from three ef- fect. Select one of the following modes:
fects types: chorus, delay, or reverb. Each part • Chorus—Applies a short modulated delay to
has a separate send level control for setting the give depth and space to the audio signal.
amount of signal sent to the effect.
– or –
To edit chorus, delay, or reverb: • Flanger—Applies a shorter modulated delay to
the audio signal, with an edgier sound.
1 Adjust the part’s send level in the Amplifier
section. Rate Adjusts the speed of the pitch modulation.
2 In the Master Effects section of the Effects The faster the more motion you have in the
page, click the tab of the effect you want to edit. sound. The control range is from 0.05 Hz to
The set of controls in the section below changes 20.00 Hz.
accordingly.
Depth Adjusts the amount of pitch modulation.
3 Use the rotary knobs, pop-up menus, and text The control range is from 0% to 100%.
boxes to adjust values.
Phase Spreads the pitch modulation across the
stereo field. The control range is from 0° to 180°
Chorus
and describes the phase between the left and
Chorus simulates the effect of multiple instru- right modulation.
ments playing together in unison. Typically, two
Feedback First adds a jet-like, then a ringing
instruments of the same kind played in unison
tone to the effect. The control range is from
never sound the same. The sound animates by
–100% to +100%.
detuning effects and usually spreads out over
the stereo panorama. A similar effect is achieved Wet Mix Adjusts the amount of chorus that
by modulating the times of two delay lines and mixes with the original sound. The control
mixing them together with the original sound. range is from 0% to 100%.
The Chorus effect also includes a Flanger mode If you want a chorus on one part only, add a
for applying flanging effects. Flangers use chorus to one of the part’s effects Inserts, in-
smaller delays and add a feedback path to the stead of to the Master Effects section.
delay lines to create electronic jet-like sounds.
On Activates and deactivates (bypasses) the ef-
fect.
Time Adjusts the reverb time, hence the decay of On Activates and deactivates (bypasses) the
the reverb tail. The control range is from 0 s to effect.
30 s.
This page provides controls for the preset man- The part presets are organized with the Preset
agement of the parts and gives access to their browser. As with Settings from the Librarian,
most commonly edited synthesizer parameters. there is an option for viewing the part presets
from the root or session folder.
The page splits in two halves: To the left you
find the preset browser and synthesizer parame- Use this feature to keep the factory part pre-
ters of Part A. To the right you find an identical sets in the root folder and to manage your
set of controls for Part B. own set of part presets with each session
separately in the session folder.
2 Click the name of the preset to select it. 2 Click the name of the folder to select it.
3 Click the Delete button to open the delete 3 Click the Delete button to open the delete di-
dialog. alog.
4 Click OK to delete the preset and exit the 4 Click OK to delete the folder and exit the dia-
dialog. Click Cancel to exit the dialog without log. Click Cancel to exit the dialog without delet-
deleting the preset. ing the folder.
2 Click the name of the preset to select it. 2 Click the name of the folder to select it.
3 Click the Rename button and type in a name 3 Click the Rename button and type in a name
for the preset. for the folder.
4 Click OK to rename the preset and exit the 4 Click OK to rename the folder and exit the di-
dialog. Click Cancel to exit the dialog without alog. Click Cancel to exit the dialog without re-
renaming the preset. naming the folder.
2 Click the New Folder button to open the new Additionally, the part presets import with the
folder dialog. session data from the Settings Librarian of the
Hybrid plug-in. The browser indicates by its
3 Enter a name that is different than an existing folder icon if there is more than one version of
folder name. the part preset file, after Settings from the Li-
4 Click OK to create the folder and exit the dia- brarian have been imported. You can access
log. Click Cancel to exit the dialog without cre- these additional versions in the same way as you
ating a folder. browse the existing presets.
Release Sets the time for the release segment of Edit Morph Buttons These buttons activate the
the Filter envelope. editing and displaying of assigned parameters of
a Morph group.
Amp
Clear Button A clear button allows for deleting
Level Adjusts the volume of the part. all assignments of the edited Morph group.
want to edit. The assigned morphs display on rotary control, fader, or graphic control you
the active plug-in page. want to unassign.
2 Make one of the following settings in the 1 Control-click (Mac) or Right-click (Windows)
Morph Assign section for each Morph group a rotary control or fader.
separately: 2 From the pop-up menu, select the MIDI con-
• Off—Uses only the morph rotary control troller you want the control to be assigned to.
on the plug-in surface.
On graphic controls like envelopes, you first
• Mod Wheel—Uses the modulation wheel
select the parameter you want to assign to a
to control the morph (CC# 01).
MIDI controller, then proceed with the steps
• Aftertouch—Uses channel pressure to con-
above.
trol the morph.
• Pitch Bend—Uses pitch bend to control the To unassign a MIDI controller:
morph.
1 Control-click (Mac) or Right-click (Windows)
• Foot—Uses the MIDI pedal to control the a rotary control or fader.
morph (CC# 04).
2 From the pop-up menu, select Forget.
• Breath—Uses the breath controller to con-
trol the morph (CC# 02). On graphic controls like envelopes, first
select the parameter you want to unassign,
You can also assign a continuous controller
then proceed with the steps above.
to the morph rotary controller with the MIDI
controller mapping. The difference is the To restore the factory MIDI controller
settings above save with the patch and the assignments:
MIDI controller mapping saves only with
1 Select the Common page of the plug-in.
the session.
2 Under Plug-In Settings, MIDI Controllers,
click Reset Assignments.
Patch Category
Patch Category Name
Number
01 Soft Pads
02 Bright Pads
03 Moving Pads
04 Actions Pads
05 Arpeggios
06 Sequenced
07 Poly Synths
08 Keyboards
09 Bells
10 Percussive
11 Basic Basses
12 Soft Basses
13 Hard Basses
14 Drones
15 Soft Leads
16 Hard Leads
17 Ambiences
18 FX
Hybrid Wavetables
1 Liquid Electronic wave sequence 11 Shining Star Shiny wave sequence with
Nitrogen with random bell tones in three wave forms
background
12 North Star Rich metallic wave sequence
2 SilverBlue Electronic wave sequence with three wave forms
with five wave forms. The
wave forms have no root 13 FM Different FM spectra sweep-
Harmonics ing through different FM
3 Hollow Deck Hollow sounding wave ratios
sequence with three wave
forms 14 Odd FM Nine different FM spectra in
Sweep sequence
4 Glass Bright and shiny wave
House sequence with three wave 15 Fifth Two wave forms, one with
forms Element missing root
5 Root Ride Digital sine wave sweeping 16 Riddles Four digital sine waves
through harmonics cross-fading between
harmonics
6 Edgy Sine Digital sine wave that gets
more and more down 17 Root(h)less Two wave forms with no root
sampled
18 Reso Ride1 Digital saw wave with
7 Thinned Thin and metallic sounding resonant sweep
Metal wave sequence with three
19 Reso Ride2 Digital square wave with
wave forms
resonant sweep
8 Metal Menu Harsh and metallic sounding
20 Harmonic Wave sequence sweeping
wave sequence with seven
wave forms, three of them Ride and cross-fading between
resonant saw and square
repeat symmetrically
waves
9 Syncrotronic Digital sync saw wave
21 Talkbox Five wave forms with talk box
1
formants
10 Syncrotronic Digital sync square wave
2 22 Vowels Five wave forms with vowel
formants
24 Hollow Man Two wave forms with odd har- 41 Sharp Two wave forms fading from
monics and male formants Sweep dark to bright
25 Wave Wave Sequence with five 42 Mixed Wave sequence with three
Vector1 wave forms Feelings waveforms
26 Wave Wave Sequence with four 43 Shimmering Shiny wave forms fading
Vector2 wave forms from dark to bright
27 Quadra Metallic sounding wave 44 Two Harsh Two sharp sounding wave
sequence with four wave forms, one with no root
forms
45 Detuned Mimics the sound of two
28 Evolving Thin sounding wave Saw detuned saw waves
sequence with high
harmonics being added 46 Detuned Mimics the sound of two
Squ detuned square waves
29 Marky Wave Sequence with four
Waves wave forms 47 Digital Saw A digital saw wave and down
sampled versions of it
30 Close2The Sharp sounding wave
Edge sequence 48 Sine PWM A wrapped around sine wave
mimicking the sound of
31 Icy Lane Cold sounding wave pulse width modulation
sequence with three wave-
forms 49 Soft Clip1 A sine wave fading to square
wave through soft clipping
32 Too Sharp Harsh sounding wave
sequence with three wave 50 Soft Clip2 A saw wave fading to square
forms wave through soft clipping
33 Ping Wave sequence fading from 51 Clipotron Digital wave form being soft
hollow to bright clipped
35 Cymbolic Wave sequence with three 53 Reso Sweep Resonant filter sweep with a
metallic textures saw wave
36 Pulse Train Four wave forms from pulse 54 Pulsive Sync Digital wave form sync sound
train synthesis
55 Pulsive Saw High-pass filtered saw wave
37 X-Ray Wave sequence with thin
56 Saw to Squ Cross-fade between saw and
digital sounding textures
square wave
38 Wave Three wave forms from
Glimpse additive synthesis 57 Genuine Natural bell spectra, works
Bell best when modulated
39 No Ground Two wave forms, one with no through an envelope
root
61 Bellisimo Electronic bell spectra, 77 Add Odd Additive wave form fading
works best when modulated from sine to saw wave
through an envelope
78 Sweep Two sine waves, one fades
62 Pulsive Bell High-pass filtered bell 1 to 8 through the first eight
harmonics.
63 Vector Bell Wave sequence for bell
sounds, works best when 79 Sweep Two sine waves, one fades
modulated through an 1 to 16 through the first 16 harmon-
envelope ics
64 Bell Tone Wave sequence for bell 80 Sweep Two sine waves, one fades
sounds 1 to 32 through the first 32 harmon-
ics
65 Clang Bell Wave sequence for bell
sounds with three wave 81 Drawbars Five different drawbar
forms registrations
66 Big Ben Wave sequence for bell 82 Octaves Different drawbar registra-
sounds with four wave forms tions, octaves only
67 Trash Metallic spectrum fading out 83 Electro Arp 1 Melodic wave sequence,
Cymbal works best when modulated
through a saw wave LFO
68 Metal 64 different metallic spectra
Grains 84 Electro Arp 2 Melodic wave sequence,
works best when modulated
69 Grainy Bell 64 different electronic through a saw wave LFO
spectra for bell sounds
85 Robot Bells Random bell tones
70 Digimania A digital wave form and 64
down sampled versions of it 86 Silly Bells Random bell tones
Pre Del Pre-delay time, delays the wet signal Shape Adjusts early reflection distribution
to simulate larger acoustic spaces from “fast” to “slow”
or as a slapback effect
Lo EQ Low-cut EQ
Hi EQ High-cut EQ
Size “Room size”—smaller settings sound Delay Simple mono-input stereo-output delay
like a bathroom, longer settings like a
large hall
Mix Wet/dry mix
Shape Adjusts early reflection distribution
Delay Delay time (optional tempo sync)
from “fast” to “slow”
Feedback Feedback amount
Reverse Reverb
Balance Ratio of left delay time to right delay
time
Mix Wet/dry mix
HF Damp High-cut filter to soften delay
Time Reverb time
repeats
Diffusion Affects shape and density of reverb
build-up Stereo Delay Stereo-input stereo-output delay
Lo EQ Low-cut EQ
Hi EQ High-cut EQ
Delay Delay time (optional tempo sync) Release Envelope release time
Grain Grain size (minimum setting “Key- Chorus Simple chorus. Can be used to “thicken”
rack” marks the grain size track
sounds
incoming MIDI notes)
PMod2 Playback speed modulation, either Pre Del Initial delay, to vary the “tightness”
from the input signal envelope or a of the chorused voices to the dry
sine wave LFO signal
PM2 Rate LFO rate or envelope tracking rate, Quad Chorus Chorus with four independent
depending on the PMod2 setting voices for a smooth sound with no unwanted
Del Mod Random or alternating up/down mod- pitch modulation
ulation of the delay time for each
grain Mix Wet/dry mix
Pan Mod Random or alternating up/down mod- Rate Modulation rate (increase for more
ulation of the output pan position for obvious pitch modulation)
each grain
Depth Modulation depth (amount of pitch
modulation)
Diffuser Delay A delay with an early reflection
stage in the feedback loop to smear out each Pre Del Initial delay, to vary the “tightness”
repeat of the chorused voices to the dry
signal
Mix Wet/dry mix
Tone High-pass/low-pass filter to adjust
Delay Delay time (optional tempo sync) the color of the chorused signal
Rate Modulation rate (increase for more Step Rate Rate of an “S&H” LFO, used as a
obvious pitch modulation) source for the Step Depth para-
meter.
Depth Modulation depth (amount of pitch
modulation) Depth Controls the mix between the
smooth and stepped LFOs. If the
Pre Del Initial delay, to vary the “tightness” rate is low and the step Rate is high,
of the chorused voices to the dry this produces an arpeggio-like
signal effect. If the Rate is high and the
Step Rate is low, a random step
Crossover Adjust the crossover frequency to effect is achieved.
stop unwanted modulation of bass
frequencies.
Phaser 4-pole phaser, for gentle phase shift ef-
Ensemble Chorus with complex modulation fect
waveform for a more lively thickening effect
Mix Wet/dry mix
Centre Phase shift around which the modu- Mid Mid frequency width
lation occurs to bias the effect to
higher or lower frequencies High High frequency width
Env Mod Amount of phase modulation Mode Adjust: Adjust existing width of ste-
reo signal
caused by the input signal level
Swap: As adjust, but swaps left and
Env Rate Sets how quickly/tightly the input right channels
signal level is followed. Comb: Synthesizes stereo with
using a comb filter
Haas: Synthesizes stereo width by
Bi-Phaser Same as Phaser effect, but two phasers
delaying one channel
in series for deeper notches
Pan/Tremolo Autopan and Tremolo effect based Stereo Enhancer Shifts the relative phase of the
on vintage electric pianos left and right channels
Rate Rate adjustment, relative to the origi- Left Pitch shift amount left channel,
nal electro-mechanical effect ±12 semitones
Depth Pitch modulation depth adjustment Right Pitch shift amount right channel,
±12 semitones
Grit Roughness of the transition between
each scanner pickup position Delay Delay time, increase for a smoother
detune but more obvious “slap-
Amp Mod Amount of amplitude modulation
back” on dynamic signals.
(caused by loss in the transmission
line)
Detune Classic detune effect for a smoother de-
Rotary Speaker tune than chorusing
Cutoff Adjusts the frequency at which the Rate Modulation rate (optional tempo
signal is attenuated. sync)
Drive Adjust input gain and amount of Drive Input signal drive (increase for more
overdrive limiting)
Tune 9 undefined
Shape 20 undefined
Semi 21 undefined
Cent 22 undefined
Level 23 undefined
Shape 25 undefined
Semi 26 undefined
Cent 27 undefined
Level 28 undefined
Octave 30 undefined
Level 31 undefined
Noise 34 undefined
Cutoff 36 undefined
Resonance 37 undefined
Env 38 undefined
Saturation 40 undefined
Attack 41 undefined
Decay1 42 undefined
Level 1 43 undefined
Decay2 44 undefined
Sustain 45 undefined
Release 46 undefined
Pan 8 Balance
Ins1 48 undefined
Ins2 49 undefined
Reverb 14 undefined
Attack 50 undefined
Decay1 51 undefined
Level1 52 undefined
Decay2 53 undefined
Sustain 54 undefined
Release 55 undefined
Tune 62 undefined
Shape 69 Hold2
Cutoff 85 undefined
Resonance 86 undefined
Env 87 undefined
Saturation 89 undefined
Attack 90 undefined