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AAS String Studio VS-1 Manual

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USER MANUAL
2
Information in this manual is subject to change without notice and does not represent a commitment on
the part of Applied Acoustics Systems DVM Inc. The software described in this manual is furnished under a
license agreement. The software may be used only in accordance of the terms of this license agreement. It is
against the law to copy this software on any medium except as specifically allowed in the license agreement.
No part of this manual may be copied, photocopied, reproduced, translated, distributed or converted to any
electronic or machine-readable form in whole or in part without prior written approval of Applied Acoustics
Systems DVM Inc.
Copyright
c
2006 Applied Acoustics Systems DVM Inc. All rights reserved. Printed in Canada.
Program Copyright
c
2005 - 2006 Applied Acoustics Systems, Inc. All right reserved.
String Studio VS is a Trademark of Applied Acoustics Systems DVM Inc. Windows 98, 2000, NT,
ME, XP and DirectX are either trademarks or registered trademarks of Microsoft Corporation. Macintosh,
Mac OS, QuickTime and Audio Units are registered trademarks of Apple Corporation. VST Instruments
and ASIO are trademarks of Steinberg Soft Und Hardware GmbH. RTAS is a registered trademarks of
Digidesign. Adobe and Acrobat are trademarks of Adobe Systems incorporated. All other product and
company names are either trademarks or registered trademarks of their respective owner. Unauthorized
copying, renting or lending of the software is strictly prohibited.
Visit Applied Acoustics Systems DVM Inc. on the World Wide Web at
www.applied-acoustics.com
Contents
1 Introduction 7
1.1 System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.2 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.3 Authorization and Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.3.1 Step 1: Generating the challenge key . . . . . . . . . . . . . . . . . . . . 9
1.3.2 Step 2: Generating the Response key and Registering your Product . . . . 9
1.3.3 Step 3: Completing the unlock process . . . . . . . . . . . . . . . . . . . 12
1.3.4 Obtaining your response key and registering by fax or over the phone: . . . 13
1.4 Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.4.1 Using String Studio VS in standalone mode . . . . . . . . . . . . . . . . . 13
1.4.2 Exploring the factory presets . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.4.3 Using MIDI Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.4.4 Using MIDI program changes . . . . . . . . . . . . . . . . . . . . . . . . 15
1.4.5 Using String Studio VS as a Plug-in . . . . . . . . . . . . . . . . . . . . . 15
1.5 Getting help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.6 Forum and User Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.7 About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
2 Presets and MIDI maps 17
2.1 Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.1.1 The Preset Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.1.2 The Program list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.2 Playing and Changing Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2.3 Editing and Saving Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.4 Saving the Program List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2.5 Organizing the Preset Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2.5.1 Creating Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2.5.2 Copying and Moving Presets and folders . . . . . . . . . . . . . . . . . . 20
2.5.3 Renaming Presets and folders . . . . . . . . . . . . . . . . . . . . . . . . 21
2.5.4 Deleting Presets and Folders . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.5.5 Documenting Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4 CONTENTS
2.5.6 Locating a Preset in the Browser . . . . . . . . . . . . . . . . . . . . . . . 21
2.5.7 Resizing the Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2.6 MIDI maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2.7 Exporting and Importing Presets and MIDI maps . . . . . . . . . . . . . . . . . . 22
2.8 Backuping Presets and MIDI maps . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2.9 Restoring the Factory Presets and MIDI Links . . . . . . . . . . . . . . . . . . . . 23
3 Architecture of String Studio 24
3.1 General Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
3.2 Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
3.3 Output Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
4 Parameters 28
4.1 General Functioning of the Interface . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.1.1 Tweaking Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.1.2 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.1.3 Drop-down menus and Displays . . . . . . . . . . . . . . . . . . . . . . . 28
4.1.4 Inverting a Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.1.5 Bypassing a Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.1.6 Resetting a Module and Copying Settings . . . . . . . . . . . . . . . . . . 29
4.1.7 Modulation Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.2 The String Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
4.3 The Excitator Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3.1 Plectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3.2 Hammer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
4.3.3 Bow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
4.4 The Body Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
4.5 The Damper Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4.6 The Termination Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
4.7 The Geometry Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
4.8 The Pickup module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
4.9 The Distortion module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
4.10 The EQ module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
CONTENTS 5
4.11 The Filter Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
4.11.1 Resonant Low-Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 39
4.11.2 Resonant High-Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 40
4.11.3 Band-Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
4.11.4 Notch Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
4.11.5 Formant Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
4.12 The Filter Env Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
4.13 The LFO Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
4.13.1 Wave Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
4.13.2 Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
4.13.3 Fade-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
4.14 The Keyboard Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
4.14.1 Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
4.14.2 Mode and Priority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
4.14.3 Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
4.15 The Portamento Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
4.16 The Vibrato Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
4.17 The Arpeggiator Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
4.17.1 Arpeggio Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
4.17.2 Rhythmic Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
4.17.3 Rate and Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . 48
4.17.4 Latch mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
4.18 The Output Effect Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
4.18.1 The Clock Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
4.18.2 The Chorus Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
4.18.3 The Delay Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
4.18.4 The Reverb module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4.18.5 Topology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4.18.6 The Output Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
4.18.7 The Recorder Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
6 CONTENTS
5 Toolbar 52
5.1 Program Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
5.2 MIDI map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
5.3 CPU meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
5.4 Value Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
6 Audio and MIDI Settings 53
6.1 Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
6.1.1 Selecting a Audio Device . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
6.1.2 Audio Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
6.2 MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
6.2.1 Selecting a MIDI Device . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
6.2.2 Creating MIDI Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
6.2.3 Editing MIDI Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
6.2.4 Deleting MIDI Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
6.2.5 Creating a MIDI Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
6.2.6 Empty MIDI Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
6.2.7 Defining a Default MIDI map . . . . . . . . . . . . . . . . . . . . . . . . 56
6.2.8 MIDI Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
6.3 Latency Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
7 Using the String Studio VS as a Plug-In 58
7.1 Window Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
7.2 Audio and MIDI parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
7.3 Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
7.4 Multiple Instances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
7.5 Saving Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
7.6 MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
7.7 MIDI program change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
7.8 Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
8 Quick reference to commands and shortcuts 60
9 License Agreement 66
Introduction 7
1 Introduction
The String Studio is a synthesizer dedicated to the emulation of string instruments. The synthesizer
is entirelybased on the A|A|S physical modelingtechnology and uses no sampling nor wave tables.
Instead it produces sound by solving, on the fly, mathematical equations modeling the different
components involved in string instruments and how they interact. This elaborate synthesis engine
responds dynamically to the control signals it receives while you play thereby reproducing the
richness and responsiveness of real string instruments.
String Studio features three types of excitators (hammer, pick, and bow) an accurate model
of a string, a model of the fret/finger interaction, a damper model and different types of sound-
boards. The combination of these different elements allows for the reproduction of a wide range
of string instruments. String Studio is also equipped with a distortion module, filters and a com-
prehensive output effect stage to add the finishing touch to the sound. Finally, String Studio offers
a wide range of performance features, including keyboard modes, portamento, vibrato and legato
functions, a programmable pattern arpeggiator, and a complete set of MIDI features for optimal
controller integration.
Before discussing the synthesizer in more detail, we would like to take this opportunity to thank
you for choosing an A|A|S product. We sincerely hope that this product will bring you inspiration,
pleasure and fulfill your creative needs.
1.1 System requirements
The following computer configuration is necessary to run the String Studio VS:
Mac OS :
• Mac OSX 10.2 (Jaguar) or later.
• G4 733 MHz Processor
• 256 MB RAM
• 1024 x 768 or higher screen resolution
• MIDI Keyboard (recommended)
• Ethernet Port
• Quicktime 4.0 or later
Windows :
• Windows 98SE/ME/2000/XP
• PIII 800 MHz
• 128 MB RAM
• 1024 x 768 or higher screen resolution
• DirectX or ASIO supported sound card
8 Introduction
• MIDI Keyboard (recommended)
Keep in mind that the computational power required by the String Studio VS depends on the
number of voices of polyphony and the sampling rate used. These computer configurations will
enable you to play the factory presets with a reasonable number of voices.
1.2 Installation
Mac OS
Insert the String Studio VS program disc into your CD-ROM drive. Open the CD icon once it
appears on your desktop. Click on the String Studio VS Install icon and follow the instructions of
the installer.
If you purchased this software online, simply double-click on the installer file that you have
downloaded and follow the instructions of the installer.
Windows
Insert the String Studio VS program disc into your CD-ROM drive. Launch Explorer to view
the content of the CD-ROM and double-click on the installer file to launch the installer.
If you purchased this software online, simply double-click on the installer file that you have
downloaded and follow the instructions of the installer.
1.3 Authorization and Registration
The String Studio VS uses a proprietary challenge/response copy protection system which requires
authorization of the product. A challenge key is a long string of capital letters and numbers that
is generated uniquely for each machine during the registration process. In other words, for each
machine you install this program on, a different challenge key will be generated by the program.
The response key is another unique string of capital letters and numbers generated from the data
encrypted in the challenge key. In order to obtain a response key, you will need to connect to the
A|A|S website and provide the following information:
• A valid email address
• Your product serial number (on the back of the sleeve of your CD or in your confirmation
email for downloads)
• The challenge key generated by the program
Note that it is possible to use the program during 15 days before completing the authorization
process. This period can be convenient if you are installing the program on a computer which is
not connected to the internet. After that period, the program will not function unless it is supplied
with a response key.
1.3 Authorization and Registration 9
In the following sections we review the different steps required to generate the challenge keys
and obtain the response key. The procedure is similar on Windows XP and Mac OS systems.
1.3.1 Step 1: Generating the challenge key
After launching the installer for the first time, a pop-up window will appear asking you if you wish
to authorize your product now or later. If you are ready to authorize String Studio VS now, click on
the Next button otherwise click on the Authorize Later button. If your computer is connected to
the internet, we recommend that you authorize your product now.
Figure 1: Choosing to authorize String Studio VS now or later.
When you click on the Next button, a second window appears asking you to enter your serial
number. Type your serial number as it appears on the back of the sleeve of the String Studio VS
CD-ROM. If you purchased String Studio VS online, an email with your serial number will have
been sent to you at the address which you provided during the purchase process.
After entering your serial number, click on the Next button and your challenge key will appear
automatically in the next pop-up window.
1.3.2 Step 2: Generating the Response key and Registering your Product
If your computer is connected to the internet, click on the link to the A|A|S web server appearing
in the pop-up window. This will launch your web browser and connect you to the unlock page of
the A|A|S web server. Enter your email address, serial number and challenge key in the form as
shown below and click on the Submit button.
10 Introduction
Figure 2: Enter your serial number in the pop-up window.
Figure 3: Challenge key appears automatically after entering the serial number.
The next form asks you to provide additional information about yourself including your mailing
address and phone number. This information will be used to register your product. Note that
only a valid email address is required to register your product. We nevertheless recommend this
information be provided to ensure our support team is able to contact you to resolve any future
support issues, and notify you of product updates promptly. This information is kept completely
confidential. Registration of your product will entitle you to receive support and download updates
1.3 Authorization and Registration 11
Figure 4: Enter your registration information on the A|A|S webserver.
when available, as well as take advantage of special upgrade prices offered from time to time to
registered A|A|S users. Note that if you already purchased or registered another A|A|S product, the
information that you have already supplied under the same email address will appear in the form.
Feel free to update this information if it is outdated. Click on the Submit button and your response
key will appear on-screen.
Figure 5: Generation of the response key on the A|A|S server.
If your computer is not connected to the internet, take note of your serial number and challenge
key and proceed to an internet connected computer. Launch your browser and go to the unlock
page of the A|A|S website at:
http://www.applied-acoustics.com/unlock.htm
Enter your email address, serial number, and challenge key, and click next. You will then
12 Introduction
receive your response code on-screen as described above.
1.3.3 Step 3: Completing the unlock process
The response key corresponding to your serial number and challenge key will be printed in your
browser window. In order to complete the unlock process, copy the response key and paste it into
the corresponding field of the installer window of String Studio VS. If you obtained your response
key from another computer, type the response key by hand in the installer window.
Figure 6: Final step of the unlock process. Enter your response key in the window.
Click on the Next button and a pop-up window will appear informing you that the authorization
process has been successful. Click on the Finish button to complete the process and launch String
Studio VS.
You will normally only need to go this process once for a given computer except for some
special cases. On Windows computers your will need to unlock again if:
• You change your computer
• You reformat or upgrade your hard drive
• You change or upgrade your operating system
On Mac OS computers, this will only be necessary if:
• You change your computer
• You change the motherboard of the computer
1.4 Getting started 13
Figure 7: Authorization has been successful.
1.3.4 Obtaining your response key and registering by fax or over the phone:
Should you not have access to the internet, A|A|S support representatives are available to assist
you in the unlock and registration process Monday to Friday, 9am to 6pm EST. You may contact
us by phone at:
• North America Toll-free number: 1-888-441-8277
• Outside North America: 1-514-871-8100
• Fax Number: 1-514-845-1875
• Email: support@applied-acoustics.com
1.4 Getting started
1.4.1 Using String Studio VS in standalone mode
The String Studio VS comes with a wide range of factory presets right out of the box which amounts
to a huge range of sounds before you have even turned a single knob. As you would expect, the best
way of coming to grips with the possibilities String Studio VS offers is simply to go through the
presets one at a time. We recommend that you first start using the String Studio VS in standalone
mode.
• Windows - Double-click on the String Studio VS icon located on your desktop or select
String Studio VS from the Start > All Programs > menu.
14 Introduction
• Mac OS - Double-click on the String Studio VS icon located in the Applications folder.
Before you start exploring the factory presets, take a moment to set up you audio and MIDI
configuration as explained below.
Audio Configuration
Audio configuration tools are available from the Audio menu. The Audio Settings function allows
you to select an audio output device from a list, organized by driver type, of those available on your
computer. On Windows, if you have ASIO drivers available, these should be selected for optimum
performance. Multi-channel interfaces will have their outputs listed as stereo pairs.
• Select your sound card port from the list in the Audio Configuration dialog from the Audio
> Audio Settings ... menu.
For more detailed information on audio configuration, sampling rate selection and latency ad-
justments, please refer to section 6.3.
MIDI Configuration
MIDI configuration tools are available from the MIDI menu.
• Select your MIDI input device from the list in the MIDI Configuration window available
from the MIDI > MIDI Settings ...menu.
For more detailed information on Audio and MIDI configuration, MIDI links and MIDI maps,
please refer to Chapter 6.
1.4.2 Exploring the factory presets
Factory presets can easily be accessed using the ‘+” and ‘−” buttons in the lower left corner of the
toolbar. These buttons are used to navigate through a list of 128 numbered presets called programs.
The content of this program list can be viewed by clicking on the button of the toolbar. The
number of the current program used and the name of the associated preset appear on the right of
this button. Programs can also be changed by using the ‘+” and ‘−” keys from the computer
keyboard or by selecting programs directly from the list displayed after clicking clicking on the
button.
Presets can also be accessed using the browser appearing on the left of String Studio VS. This
browser is similar to the browser your operating system generates to display the contents of your
hard disk, or your email program uses to organize your mail and address book. When launching the
1.5 Getting help 15
application for the first time, this “tree view” will include a destination folder for imported presets
as well as a Library folder. To open a folder, click on the “+” symbol on Windows or symbol
on Mac OS which will reveal the folder content.
The preset library is different from the program list and can be viewed as a repository con-
taining all the presets available to the application. Presets are loaded into the synthesis engine by
copying them from the library into the program list. To load a preset, double-click on a preset icon
(blue knob) or preset name. This will insert the preset into the program list at the position of the
current program. You can also use the arrow keys on the computer keyboard in order to navigate
in the preset list and then the Enter key to load a preset. For additional information on presets and
programs, please refer to Chapter 2 of this manual.
1.4.3 Using MIDI Links
Every parameter on the String Studio VS interface can be linked to an external MIDI controller.
To assign a MIDI Link, right-click (control-click on Mac) on a control (knob, button or slider)
and a contextual menu will appear. Select Learn MIDI Link and move a knob or slider on your
MIDI controller to activate the link. To deactivate the link, right-click (control-click on Mac) on
the control and choose the Forget MIDI Link command. Refer to section 6.2 for more details on
MIDI links.
1.4.4 Using MIDI program changes
The synthesizer responds to MIDI program changes. When a program change is received, the
current program is changed to the program having the same number as that of the program change
message received by the application.
1.4.5 Using String Studio VS as a Plug-in
The String Studio VS integrates seamlessly into the industry’s most popular multi-track recording
and sequencing environments as a virtual instrument plug-in. The String Studio VS works as any
other plug-in in these environments so we recommend that you refer to your sequencer documen-
tation in case you have problems running the String Studio VS as a plug-in.
1.5 Getting help
A|A|S technical support representatives are on hand from Monday to Friday, 9am to 6pm EST.
Whether you have a question on String Studio VS, or need a hand getting it up and running as a
plug-in in your favorite sequencer, we are here to help. Contact us by phone, fax, or email at:
• North America Toll Free: 1-888-441-8277
16 Introduction
• Worldwide: 1-514-871-8100
• Fax: 1-514-845-1875
• Email: support@applied-acoustics.com
Our online support pages contain downloads of the most recent product updates, and answers
to frequently asked questions on all A|A|S products. The support pages are located at:
www.applied-acoustics.com/faq.htm
1.6 Forum and User Library
The A|A|S community site contains the String Studio VS user forum, a place to meet other users
and get answers to your questions. The community site also contains an exchange area where you
will find presets for your A|A|S products created by other users and where you can make your own
creations available to other users.
http://community.applied-acoustics.com/php/community/
http://community.applied-acoustics.com/php/forum/
1.7 About this manual
In the next chapter, the use of presets and the browser are described in detail. Chapter 3 describes
the general architecture of String Studio VS. In Chapter 4, the different modules and controls are
reviewed in detail. Chapter 5 describes the different functionalities available from the toolbar
while Chapter 6 explains the different functionalities related to Audio and MIDI and their settings.
General issues involved in the use of String Studio VS as a plug-in in different host sequencers is
covered in Chapter 7. Finally a list of available commands and shortcuts is given in Chapter 8.
Throughout this manual, the following conventions are used:
• Bold characters are used to name modules, commands and menu names.
• Italic characters are used to name controls on the interface.
• Windows and Mac OS keyboard shortcuts are written as Windows shortcut/Mac OS shortcut.
Presets and MIDI maps 17
2 Presets and MIDI maps
String Studio VS comes with several factory presets covering a wide range of sounds. This col-
lection of presets lets you play and familiarize yourself with this synthesizer without having to
tweak a single knob. Soon, however, you will be experimenting and creating your own sounds and
projects that you will need to archive or exchange with other users. You may also want to control
the parameters of String Studio VS with a specific MIDI controller. In this chapter, we will review
the management of presets and MIDI maps.
2.1 Presets
There are two concepts involved in the management of presets, the preset library and programs.
2.1.1 The Preset Library
The preset library contains the factory presets, modified versions of
the factory presets you might have made or any other new presets you
might have saved. The library may also contain imported presets as well
as MIDI maps as explained in Section 2.6 and 2.7. In other words, the
preset library is a repository of all the presets and MIDI maps available to
String Studio VS.
All the operations on the preset library are conveniently managed with
the help of the String Studio VS browser, similar to those found in most
email programs which use a hierarchical tree structure and a visually intu-
itive, drag and drop approach. To explore the different presets available in
the library, open the different folders by clicking on the “+” icon Windows
or symbol on Mac OS to the left of folders. Each preset is represented
by a blue knob icon followed by its name.
2.1.2 The Program list
Presets are loaded into the synthesis engine of String Studio
VS from a list of 128 numbered presets called programs. The
name of the current program and its number are displayed in the
left of the toolbar at the top of the application window. The entire list of programs can be viewed
by clicking on the button left of the program number.
It is important to note that presets in the program list and in the preset library are stored in
different locations. They are in fact different copies of the same presets which may, as explained
below, differ even if they share the same name. The version of a preset available in the program
2.9 Restoring the Factory Presets and MIDI Links 23
The second backup method will enable you to archive the entire material present in the browser.
The content of the browser, including presets, MIDI maps and folders is saved into a database file.
This second backup method simply consists in archiving this file. The database file location is
different whether you are working on a Mac OS or Windows system.
• On Windows systems: C:\Documents and Settings\[User]\Application Data\Applied Acoustics
Systems\String Studio 1.0.
• On Mac OS systems: [System Drive]:Users:[User]:Library:Application Support:Applied
Acoustics Systems:String Studio 1.0.
The name of the database file is StringStudio.tdb. In order to archive your database, just copy
this file to your usual backup location or medium. In order to restore a database, replace the
version of the StringStudio.tdb file with a previously archived one. It is also possible to synchronize
different systems by copying this file on different computers where String Studio VS is installed.
2.9 Restoring the Factory Presets and MIDI Links
If necessary, it is possible to restore the original factory library and program list by using the
Restore Factory Library from the File menu. This operation makes a backup of your current
database file in the preset database folder as explained in Section 2.8 and creates a new preset
database containing only the factory presets and MIDI maps. The next time you open String Studio
VS, both the browser and the program list will be in exactly the same state as when you first installed
the application.
Note that restoring the factory library should be done with caution as you will loose all the
work you might have saved into the library and that this operation can not be undone easily. If you
wish to recuperate a certain number of presets and MIDI maps after restoring the factory library,
we recommend that you first export all the material you wish to keep using the Export command
as explained in Section 2.7. After re-installation of the factory library, you will easily be able to
re-import this material using the Import command.
If you forgot to export material before restoring the factory library or if you wish to bring
back the preset library to its state before restoring the factory library, it is still possible to recover
material from the backup file of the preset database which was created automatically when restoring
the factory library as explained in Section 2.8. This method should be considered as a last resort,
however, as recovering material from this backup file will remove the factory library which you
have just installed and force you to redo the operation. Using the Export command before restoring
the factory library is much simpler.
Note that the restore of the factory library is actually performed the next time you re-open the
application. It is still possible to cancel this operation before exiting the application by using the
Cancel Library Restore command from the File menu.
24 Architecture of String Studio
3 Architecture of String Studio
String Studio is a synthesizer built around a String module. The graphical interface of the different
modules of the synthesizer have been grouped into two panels as shown in Figures 8 and 9. In the
first page (Panel A), one can find the modules related to the control of the synthesizer and an output
effect stage. The actual synthesis modules appear on the second page (Panel B). One can switch
from one view to the other by using the Panel A and Panel B buttons appearing at the top of the
interface.
Figure 8: Control modules and output stage of String Studio (Panel A).
The first row of modules of Panel A is an output effect stage which includes a multi-effect
module, a master clock module, a master level control, and a recorder module. The bottom row
of this same panel includes the modules related to performance and the processing of MIDI events
including a Keyboard, Arpeggiator, Portamento and Vibrato module.
The modules of Panel B follow the general geometry of a string instrument which and is
composed of 5 main components: the String, the Excitator, the Body, the Termination and the
Damper module.
The individual modules and controls of the user interface will be described in detail in Chap-
ter 4. We will now take a closer look “under the hood” at how the different modules are connected
together.
3.1 General Signal Flow 25
Figure 9: Synthesis modules of String Studio (Panel B).
3.1 General Signal Flow
The general architecture of String Studio is presented in Figure 10 and follows the functioning of a
real string instrument.
It is the vibration from the String which constitutes the main sound production mechanism of
the instrument. The string is set into motion by the action of an Excitator which can be a hammer,
a pick or a bow. The frequency of the oscillation is determined by the effective length of the string
which is controlled by the finger/fret interaction or Termination. A Damper can be applied on
the strings in order to reduce the decay time of the oscillation. This is the case on a piano, for
example, when felt is applied on the strings when the keys and the sustain pedal are released.
The vibration from the string is then transmitted to the Body of the instrument which can radiate
sound efficiently. In some instruments, the string vibration is transmitted directly to the through
the bridge. In other instruments, such as the electric guitar, a Pickup is used to transmit the string
vibration to an amplifier.
In addition to these main modules, a Filter module has been included between the String and
Body module in order to expand the sonic possibilities of the instrument. A Distortion module,
an EQ module, and an output effect stage complete the synthesizer as illustrated in the signal flow
diagram of Figure 11.
26 Architecture of String Studio
FingerDamper
Fret
Body of the Instrument
Excitator
String
Pickup
Bridge or
Figure 10: General representation of String Studio.
Damper
Termination
StringExcitator Pickup
Output Effects
EQFilter Body Distortion
RL
Env, LFO, pitch
Geometry, pitch
pitch, velocity
pitchvelocity
Geometry
Figure 11: Signal flow of String Studio. Modulation signals: dotted lines.
3.2 Modulation Sources
The physical parameters of the String, Excitator, Damper, and Termination modules can be
modulated with the pitch and velocity signals received from the Keyboard. In addition to the pitch
signal from the Keyboard, the cutoff frequency and resonance (quality factor) of the multi-mode
Filter module can be modulated with the signal from a low-frequency oscillator LFO module and
the Filter Env envelope generator. Finally, note that the vibrato module from Panel A can be
considered as an extra pitch modulation source for the String module.
3.3 Output Effect 27
3.3 Output Effect
At the end of the signal path, the audio signal from the instrument is sent to the output effect stage
for further processing. A Reverb, Delay, and Chorus module are available in this effect stage
allowing for a wide range of processing possibilities. Effects can be applied before or after mixing
of the signal from each line as will be explained in greater detail in Section 4.18.
28 Parameters
4 Parameters
4.1 General Functioning of the Interface
4.1.1 Tweaking Knobs
All the knobs on the interface are selected by clicking on them. Once selected, they can be con-
trolled in different ways depending on the effect you want to achieve.
• For coarse adjustment click-hold on a knob and drag the mouse upwards or downwards to
move it clockwise or counter-clockwise.
• For fine adjustment, use the left or down arrow of the computer keyboard to move the knob
counterclockwise and the right or up arrow to move it clockwise. The Page Up and Page
Down keys give the same result with slightly faster action.
• To move a control to a given position, place the mouse at this position and Shift-click (Win-
dows) or Option-click (Mac OS). To reach this position slowly, do the same, but use the
middle button of the mouse (Windows only).
• Knobs with a green LED above can be moved directly to their center position by clicking on
the LED.
Remember that the keyboard shortcuts affect only the most recently selected control. The value
of the control currently selected is displayed on the toolbar at the top of the String Studio window.
The number displayed on the counter is a value corresponding to the setting of the control currently
selected. For knobs, the reading is a value between 0 (turned fully to the left) and 127 (turned fully
to the right).
4.1.2 Buttons
Buttons are switched on or off by clicking on them. The value appearing in toolbar and corre-
sponding to a button is 1 when the button is on and 0 when it is off.
4.1.3 Drop-down menus and Displays
Clicking on a display with a small down-pointing triangle on its right, such as the Type control of
the Excitator module, reveals a drop-down menu with a set of possible settings for the control.
Adjustment of the control is obtained by clicking on a selection or using the up and down arrows
and the Enter key of the computer keyboard.
The other controls represented by a display without a down-pointing arrow, such as the Tempo
control of the Clock module, are adjusted by click-holding on them and dragging the mouse upward
or downward. Selection of these controls is possible when the mouse is positioned on the display
and a double pointing arrow appears.
4.1 General Functioning of the Interface 29
4.1.4 Inverting a Signal
The different modulation signals acting on the String, Excitator, Body, Termination, and Filter
modules can easily be inverted by clicking on the small button appearing on the upper right of the
corresponding gain knob. The signal is inverted when the button is on (LED lit on and value of 1).
4.1.5 Bypassing a Module
The different modules of String Studio can be turned on or off by clicking on the button appearing
on the right of the module label. A module is active when the button is in its on position or in other
words when it is lit and has a value of 1. Note that when a module is not activated, calculations
associated with this module are not performed, reducing CPU usage.
4.1.6 Resetting a Module and Copying Settings
The modules of String Studio can be reset to their default value by clicking on the down pointing
triangle appearing on the left of the module label and selecting the Default Settings command.
4.1.7 Modulation Signals
Different parameters can be modulated with signals from the Keyboard, LFO or Filter Env
modules. Modulation signals are controlled with gray knobs located below the black knobs corre-
sponding to the modulated parameter. These knobs are in fact gain knobs that are used to multiply
the modulation signal by a certain factor. When these knobs are in their leftmost position, the mod-
ulation signals are multiplied by zero which has the effect of turning off the modulation source.
Turning the knobs clockwise increases the gain factor and therefore the influence of the correspond-
ing modulation source. The modulation signal can be inverted by clicking on the LED located on
the right at just above the knob.
Each modulation knob can control multiple modulation signals. The source of the modulation
signal is selected by clicking on one of the green LEDs located on the right of the line of gray
knobs. The sources are labeled Kbd (Keyboard), LFO, and Env (Filter Env). Each time a new
source is selected, the knobs revert to the setting corresponding to this source.
The Kbd modulation signal is used to vary the value of a parameter as a function of the pitch of
the note played. When the modulation source is turned off (knob in its leftmost position), the value
of the parameter is constant over the whole range of the keyboard and equal to the value determined
by the corresponding parameter knob. Turning the modulation knob clockwise will increase the
value of the parameter in the high frequencies while lowering its value for the low notes. This
modulation is applied relative to the middle C (C3) which always keeps the value fixed by the
parameter knob. For example, choosing a hammer as an excitator, and modulating its stiffness with
the pitch signal from the keyboard (Kbd) will make the hammer stiffer for high notes and softer for
4.3 The Excitator Module 31
4.3 The Excitator Module
The String module can be played using different types of exci-
tators in order to reproduce different types of instruments and play-
ing techniques. The excitator is selected using the Type drop-down
menu. The choices available are Plectrum, Hammer 1, Hammer2 or
Bow. These different types of excitators share the same front panel
but note that the names of the parameters controlled by the differ-
ent black knobs vary for each excitator. Next we will review the
different types in more detail.
4.3.1 Plectrum
The Plectrum excitator, illustrated in Figure 12, is used to play in-
struments such as guitars, harpsichords or basses with a pick. The Plectrum can be viewed as
an angled object placed under the string and connected to a plate with the help of a spring. The
purpose of the plectrum is to impose an initial displacement to the string before it is set into free
vibration. As can be understood from figure 12, a vertical motion of the plate (which could be
a hand holding the plectrum) will lift the string with the plectrum but will also result in a com-
pression of the spring and an horizontal motion of the plectrum. The string will move with the
plectrum until the protrusion Prot of the plectrum is equal to the compression of the spring and the
string is released. The motion and behavior of the plectrum is controlled by adjusting the different
geometrical and mechanical properties of the system.
The Prot knob is used to determine the protrusion of the plectrum with respect to the string
while the stiffness and damping of the spring is controlled with the help of the Stiff and Damp
knobs. The vertical velocity of the plectrum is adjusted with the Velocity knob. Note that the Prot,
Stiff, and Velocity controls can be modulated with the pitch of the note played or the velocity signal
from the keyboard.
String
Plectrum
Damping
Stiffness
Velocity
Prot
Figure 12: Functioning of the Plectrum
4.6 The Termination Module 35
set your synth or MIDI controller to send its sustain pedal signal via this MIDI Control Change
message.
Damping
Mass
Stiffness
Velocity
Figure 15: Functioning of the Damper
4.6 The Termination Module
This module is used to model the fret/finger/string interac-
tion as illustrated in Figure 16. In a real instrument, this inter-
action is used to change the effective length of the string and
thereby fix the pitch of the note played. The physical parame-
ters of the Finger can be varied with both the Stiff and Force
knobs which fix respectively the stiffness of the termination and
the force it applies on the string. Note that the Force parameter
can be modulated by both the pitch and velocity signal from the
Keyboard module. The termination can further be character-
ized by the stiffness of the fret on which the string, pushed by the finger, is applied. This parameter
is controlled by the Stiff knob under the Fret label.
4.7 The Geometry Module
The Geometry module is used to set the location of the point
of action of both the excitator and the damper on the string. These
positions are adjusted with the Position knobs under the Excitator and
Damper labels and can be set to any value between zero (the point of
fixation of the string) and half the length of the string (value of 0.5).
When the Abs (absolute position) LED is switched on, the posi-
tion of the excitator or the damper is fixed whatever the note played.
This would be the case, for example, on a guitar when the player keeps the position of the pick
fixed while varying the effective length of the string when changing notes. The actual position is
36 Parameters
Stiffness
Stiffness
Mass
Fret
String
Finger
Figure 16: The finger/fret interaction
determined with the setting of the Position knob applied to the length of a string corresponding to
C3 (middle C). Note that when the note played is such that the string length corresponding to this
note is shorter than this position, the excitator or the damper will follow the fixation point of the
string.
When the Abs LED is in its off position, the location of the damper or the excitator is changed
in order to always correspond to a certain fraction of the length of the string. This fraction of the
string length is that determined by the Position knob. This type of geometry is found in instruments
such as the piano where hammers excite strings at about 1/7 of their length.
Note that both the excitator and damper position can be modulated with the pitch signal or
velocity signal received from the keyboard. The modulation will be relative to the value set by the
excitator or damper Position knobs.
4.8 The Pickup module
The Pickup module reproduces the functioning of magnetic pick-
ups such as found in electric guitars or electric pianos. This type
of transducer is sensitive to the motion of a nearby metallic string.
When a string vibrates near a pickup, the latter outputs an oscillating
signal at the same frequency as that of the string and proportional to
the string velocity.
The only parameter to adjust in the Pickup module is its position relative to the string which
affects the waveform of its output.
Note that usually, the signal from a pickup is sent directly to an external device such as an
amplifier. In other words, the body of the instrument does not play any role in the radiation of
the sound. In String Studio, this behavior is obtained when the Pickup module is on and both the
4.9 The Distortion module 37
Filter and Body modules are switched off. When the Pickup, the Filter and Body modules are on,
the output signal from the Pickup is filtered by the Filter and Body modules. Finally, when the
Pickup module is switched off, the output signal from the String is sent directly to the Filter and
Body module.
4.9 The Distortion module
The Distortion module implements a simple distortion effect, such
as that found in electric guitar distortion pedals for example. Different
distortion algorithms, ranging from mellow to metal, can be selected
from the Type drop-down menu.
The Drive knob is a gain control used to adjust the level of the
signal at the input of the Distortion module and hence the amount of
saturation introduced in the signal. The color of the signal after the distortion algorithm has been
applied can be adjusted using the Tone knob. In its leftmost position, high frequencies will be
attenuated in the signal while in its rightmost position low frequencies will be filtered out from the
signal. In its center position, the signal will be left unchanged. Note that this control can be set to
its middle position by clicking on the small LED above the knob. Finally, the Level knob is used to
control the amplitude of the signal at the output of the Distortion module.
4.10 The EQ module
The EQ module provides equalization over the low, mid, and high
frequency bands. This module is located after the Distortion module
in the signal chain and is composed of a low shelf filter, a bandpass
filter, and a high shelf filter in series.
The functioning of the low shelf filter is illustrated in Figure 17.
The filter applies a gain factor to frequency components located be-
low a cutoff frequency while leaving those above unchanged. The
cutoff frequency of the filter is adjusted using the Freq knob and the
gain amount is controlled with the Gain knob.
The high frequency content of the signal is controlled with a high shelf filter that works in
the opposite manner as the low shelf filter as illustrated in Figure 17. The filter will multiply a
gain factor to components located above a cutoff frequency while leaving those below unchanged.
Again use the Freq and Gain knobs to adjust the cutoff frequency and gain of the filter.
The mid frequency content of the signal is adjusted using a peak filter as illustrated in Fig-
ure 18. The filter applies a gain factor to frequency components in a band located around the cutoff
frequency of the filter. The cutoff frequency of the filter is adjusted with the Freq knob while the
gain coefficient is varied with the Gain knob. In addition to these parameters, the width of the
frequency band can be adjusted with the Q knob.
38 Parameters
Amplitude (dB)
0dB
Freq Frequency (Hz)
Amplitude (dB)
0dB
Frequency (Hz)Freq
Gain = −30 dB
Gain = 10 dB
Gain = 20 dB
Gain = 30 dB Gain = 30 dB
Gain = 20 dB
Gain = 10 dB
Gain = −30 dB
Figure 17: Low and high shelf filters.
Amplitude (dB)
0dB
Gain = 30 dB, Q = 20
Gain = 20 dB
Gain = 30 dB, Q = 50
Gain = 10 dB
Gain = 30 dB, Q = 20
Frequency (Hz)Freq
Figure 18: Peak filter.
4.11 The Filter Module
In order to expand the sonic possibilities of String Stu-
dio, a multi-mode filter has been inserted between the String
and Body modules. This multi-mode filter includes a res-
onant low-pass, band-pass, high-pass, notch and a formant
filter which can be selected using the Type drop-down menu.
The order of the filter can be adjusted to 2 (-12 dB/oct for
low-pass and high-pass and -6 db/oct for band-pass) or 4
(-24 dB/oct for low-pass and high-pass and -12 db/oct for
band-pass) with the help of the Order drop-down menu.
The resonance frequency of the filter is adjusted with the
Cutoff knob while its Q-factor or resonance is controlled
with the Q knob. When the formant filter is used, the Q knob is used to cycle between the vowels
(a, e, i, o, u).
4.11 The Filter Module 39
The cutoff frequency and resonance of the filters can be modulated with different modulation
sources. The modulation sources include the keyboard pitch signal (Kbd) and the output of the
Filter Envenvelope generator (Env) and LFO modules. Modulation signals with a positive value
will increase the cutoff frequency and Q-factor of the filters while a negative value will decrease
them. Note that the filter parameters can further be modulated by the velocity signal from the
keyboard through the use of the velocity modulation parameter of the Filter Env modules.
The modulation knob associated with the cutoff frequency can be adjusted to its center position
by clicking on the green LED located above the knob. In this position, the cutoff frequency will
exactly follow the pitch of the note played on the keyboard in the case of the Kbd modulation, it
will vary exactly one octave higher and lower in the case of the LFO modulation and will vary one
octave higher or lower depending on the position of the inv switch with the Env modulation. Now
let’s have a closer look at the different filter types available.
4.11.1 Resonant Low-Pass Filter
Amplitude (dB)
Frequency (Hz)
Q=10
Q=4
Q=2
Q=1
Cutoff
Frequency
0dB
−3dB
Slope (dB/Oct)
Figure 19: Frequency response of the low-pass filter.
A low-pass filter is used to remove the higher spectral components of the signal while leaving
the lower components unchanged. The frequency at which attenuation begins to take effect is
called the cutoff frequency. In a resonant filter, frequencies located around the cutoff frequency
can also be emphasized by an amount called the quality factor or Q-factor of the filter as illustrated
in Figure 19. The higher the Q-factor, the louder and sharper the response of the filter around
the cut-off frequency. When the Q-factor is set to 1 (Q knob fully turned to the left), there is no
emphasis around the cutoff frequency and the attenuation is -3dB at the cutoff frequency. The
attenuation for frequencies located above the cut-off frequency depends on the order of the filter
which is determined by the Order menu, a slope of -12dB/Oct corresponding to a second order
filter and a slope of -24dB/Oct to a fourth order filter.
40 Parameters
4.11.2 Resonant High-Pass Filter
Amplitude (dB)
Frequency (Hz)
0dB
−3dB
Cutoff
Frequency
Slope (dB/Oct)
Q=2
Q=1
Q=4
Q=10
Figure 20: Frequency response of the high-pass filter.
The high-pass resonant filter works in exactly the opposite manner as the low-pass resonant
filter by removing the frequency component of a signal located below the cutoff frequency while
leaving those above the cutoff frequency unchanged. Similarly to the low-pass filter, the Q-factor
controls the emphasis of frequencies located around the cut-off frequency.
4.11.3 Band-Pass Filter
Amplitude (dB)
Frequency (Hz)
0dB
−3dB
Center
Frequency
Q=10
Q=4
Q=2
Q=1
Band Width (Q=1)
Figure 21: Frequency response of the band-pass filter.
The behavior of a band-pass filter is to let the frequencies in a band located around a center
4.11 The Filter Module 41
frequency and to attenuate the frequencies outside of this band as shown in Figure 21. The band-
width of the band-pass filter is set with the Q knob while the center frequency is set with the Cutoff
knob. The Order control sets the order of the filter. This parameter affects the slope of the roll-off
on both sides of the center frequency. For a second order filter the slope is -6dB/Oct while for a
fourth order filter it is -12dB/Oct.
4.11.4 Notch Filter
Amplitude (dB)
Frequency (Hz)
0dB
−3dB
Center
Frequency
Band Width (Q=1)
Q=1
Q=2
Q=4
Q=10
Figure 22: Frequency response of the notch filter.
The notch filter does essentially the opposite of the band-pass filter. It attenuates the frequencies
in a band located around the center frequency and leaves those outside of this band unchanged as
shown in Figure 22. The Cutoff knob is used adjust the center frequency and the Q knob sets the
bandwidth of the notch. Note that the center frequency is totally removed from the spectrum of the
output signal of the filter.
4.11.5 Formant Filter
The formant filter reproduces the filtering effect of the vocal tract in the human voice. By changing
the position of the tongue, the opening of the mouth and opening or closing the nasal cavities one
can change the filter applied to the glottal signal and thus produce the different vowels. Measure-
ments have shown that this filter can be modeled by three peaking EQ filters corresponding to the
three main cavities of the vocal tract as shown in Figure 23 and also known as formants. By mov-
ing the parameters of these three filters (frequency, amplitude and Q-factor) one can cycle between
all the vowels. The effect of the Cutoff knob on the formant filter is to offset all the formants by
the same factor and it is used to switch between male voice (left position), female voice (center)
4.13 The LFO Module 43
attack decay release
sustain
key pressed key released
1Volt
1Volt
Figure 24: Response curve of an envelope generator
4.13 The LFO Module
The LFO module is used as a modulation source for the Filter mod-
ule. On the LFO module, one can adjust the waveform, rate and fade-in
behavior.
4.13.1 Wave Shape
The waveform of the LFO is selected with the Shape drop-down menu.
The possible values are Sine for sinus, Tri for triangular, Rect for rec-
tangular and Rdm1 and Rdm2 for the two random modes. When the
Shape control is set to Rdm1, the LFO outputs random values at the rate determined by the Sync
control or the Rate knob. In this case, the output value from the LFO remains constant until a new
random value is introduced. The Rdm2 mode reacts almost like the preceding mode except that the
LFO module ramps up or down between successive random values instead of switching instantly
to the new value.
4.17 The Arpeggiator Module 47
when it is turned clockwise the depth of the vibrato will increase when the modulation wheel is
used. The increase is always relative to the position of the Amount knob and will be greater as the
Mod knob is turned clockwise.
The vibrato can be adjusted not to start at the beginning of a note but with a little lag. This
lag is set by the Delay knob. The Fade knob allows you to set the amount of time taken by the
amplitude of the vibrato effect to grow from zero to the amount set by the Amount knob.
The last parameter is used to add liveness to the sound. When several musicians play together,
they do not necessarily start their vibrato exactly at the same time, speed and amplitude. The
Error knob is used to produce this effect by adding an error to the Rate, Amount, Delay and Fade
parameters of the vibrato of each polyphonic voice. As the Error knob is turned clockwise, the
larger will be the difference between the vibrato effect applied to each voice. In its leftmost position
there is no added error and all the voices are played with exactly the same vibrato effect.
4.17 The Arpeggiator Module
The Arpeggiator module allows one to play sequentially all the
notes that are played on the keyboard. In other words, arpeggios
are played rather than chords. The modules allows one to produce
a wide range of arpeggios and rhythmic patterns and to sync the
effects to the tempo of an external sequencer.
4.17.1 Arpeggio Patterns
The arpeggio pattern is set by the combination of the value of the
Range, Span and Order controls. The Range control is used to select
the number of octaves across which the pattern will be repeated. When the range is set to 0, there is
no transposition and only the notes currently depressed on the keyboard are played. If set to a value
between 1 and 4 (its maximum value), the notes played are transposed and played sequentially, over
a range of one or more octaves depending on the value of the Range parameter. The direction of
the transposition is set with the Span drop-down menu. This parameter can be adjusted to Low for
downwards transposition, to High for upwards transposition or Wide for transposing both upwards
and downwards. Finally, the Order control sets the order in which the notes are played, therefore
determining the arpeggio pattern. When set to Forward, the notes are played from the lowest to the
highest. When set to Backward the notes will be played from the highest to the lowest. In the two
last modes, Rock and Roll exclusive and Rock and Roll inclusive, the note will be played forward
from the lowest to the highest and then backward from the highest down to the lowest. When using
the RnR exclusive mode, the highest and the lowest notes will not be repeated when switching
direction but in RnR inclusive mode these notes will be repeated. Finally, in Chord mode, all the
notes are played at once.
48 Parameters
4.17.2 Rhythmic Patterns
The rhythmic pattern is shown on the Pattern display. Different rhythmic presets are available
through the utility menu. Notes will be played as the 16-step display is scanned and the corre-
sponding step is selected (green button on). The little arrow on the top of the display is used to fix
looping points from which the rhythmic pattern will start being played again from the beginning.
Note that when a preset pattern is edited and then the Save Preset command from the File menu
is used, the modified pattern will be saved and reloaded when the corresponding preset is later
selected.
4.17.3 Rate and Synchronization
The rate at which the arpeggiator pattern is scanned is set by the Rate knob or can be synced to the
master clock of the Clock module. The Rate knob will only be effective when the Sync control is
set to Off. When the Sync control in on, the rate is fixed relative to the frequency (tempo) of the
master clock (see 4.18.1) and the value displayed in the Sync control. Sync values range from 1/8
of a quarter note (a thirty-second note) to 16 quarter notes (4 whole notes) where the duration of
the whole note is determined by the value (in BPM) appearing in the Tempo display of the Clock
module. This effect can also be synced to a triplet (t) or a dotted note (d).
4.17.4 Latch mode
The Arpeggiator module is toggled in latch mode by clicking the Latch button to the on position.
In this mode, the Arpeggiator will keep playing its pattern when the notes on the keyboard are
released and until a new chord is played.
4.18 The Output Effect Section
The output effect stage is located at the top row of Panel A of String Studio. This effect stage
allows one to add effects to the sound and record performances on the fly as wave or aiff files and
to synchronize different modules with a host sequencer.
4.18 The Output Effect Section 49
4.18.1 The Clock Module
This module is used to control the tempo of the different effects of the output section as well as
that of the LFO and Arpeggiator modules. The Source drop down menu is used to determine if
the sync signal comes from an external source or from the internal clock of the module. The Tempo
display indicates the value of the tempo in BPM (beats per minute). When String Studio is used as
a plug-in in a host sequencer and the Ext source is chosen, the clock signal will be that sent by the
host sequencer while in standalone mode the clock will be the one received on the MIDI channel
selected in the toolbar.
When the Int source is chosen, the tempo is determined by the value of Tempo display. The
tempo can also be changed by clicking repeatedly on the Tap pad of the Tempo display which will
update the value of the tempo in the Tempo display.
Note that the settings of the Clock module are saved with presets. In order for the Clock
module to remain in a specific state even when loading new presets, click on the Lock icon at the
top of the module.
4.18.2 The Chorus Module
This module implements both a chorus and a flange effect. It consists of four variable delay lines
in parallel with a cross-feedback matrix between the lines. A wide range of effects is obtained by
modulating the length of the lines and varying the amount of cross-feedback.
The Chorus drop down menu is used to choose between different chorus and flanger algorithms.
The effect can be synchronized to the Clock module with the Sync drop-down menu. Sync values
range from 1/8 of a quarter note (a thirty-second note) to 16 quarter notes (4 whole notes) where
the duration of the whole note is determined by the value (in BPM) appearing in the Tempo display
of the Clock module. The effect can also be synced to a triplet (t) or dotted note (d).
The different chorus algorithms can be controlled with the three knobs appearing at the bottom
of the module. The Mix knob is used to adjust the ratio of “dry” and “wet” in the output signal of
the module. When the knob is adjusted in the left position, only the original or “dry” signal is sent
to the output while in the right position only the processed or “wet” signal is sent to the output. In
its center position there will be equal amounts of “dry” and “wet” signal in the output signal. The
Depth knob is used to adjust the amount of variation of length in the delay lines which controls the
amplitude of the effect while the Rate knob is used to fix the frequency of the modulation.
4.18.3 The Delay Module
This module is a standard ping pong delay which is used to generate echo. It is based on two delay
lines each including a low-pass filter. The effect is obtained by feeding back the signal at the end of
each delay line into the input of the other line with an attenuation coefficient. The result is a signal
traveling from one channel to the other, each time attenuated and filtered in the high frequencies
due to the gain factor and the presence of the low-pass filter.
50 Parameters
The Delay drop down menu is used to choose between different delay algorithms. The effect
can be synchronized to the Clock module with the Sync drop-down menu. Sync values range from
1/8 of a quarter note (a thirty-second note) to 16 quarter notes (4 whole notes) where the duration
of the whole note is determined by the value (in BPM) appearing in the Tempo display of the Clock
module. The effect can also be synced to a triplet (t) or dotted note (d).
The different delay algorithms can be controlled with the three knobs appearing at the bottom
of the module. The Mix knob is used to adjust the ratio of “dry” and “wet” in the output signal of
the module. When the knob is adjusted in the left position, only the original or “dry” signal is sent
to the output while in the right position only the processed or “wet” signal is sent to the output. In
its center position there is equal amounts of “dry” and “wet” signal in the output signal. The Depth
knob is used to adjust the amount of signal re-injected from the output of a line into the other one
while the Rate knob controls the length of the delay lines and therefore the delay between echoes.
4.18.4 The Reverb module
The Reverb module is used to recreate the effect of reflections of sound on the walls of a room or
hall. These reflections add space to the sound and make it warmer, deeper, as well as more realistic
since we always listen to instruments in a room and thus with a room effect.
The Reverb drop down menu is used to choose between different reverb algorithms representing
different types of rooms or halls. Each algorithm can be adjusted with the knobs located at the
bottom of the module. The Mix knob is used to set the relative amount of “dry” and “wet” signal
which is related to the proximity of the sound source. The Decay is used to control the reverberation
time of the room. In a real room, the reverberation time is not constant across the whole frequency
range because the walls of the hall are generally more absorbent at high frequencies which results
in a shorter reverberation time for these frequencies. This effect is controlled with the Color knob
which sets the reverberation time of high frequencies relatively to the value of the Decay knob.
Note that the settings of the different modules of the output stage are saved with presets. In
order for the effects to remain with the same settings even when loading new presets, click on the
Lock icon at the top of the module.
4.18.5 Topology
The three effects of the output section can be used in four different configurations as shown in
Figure 26 and where the Chorus, Delay and Reverb modules are labeled A, B, and C respectively.
Figure 26: The four topologies in which the effects can be applied after the Amp module of the
two module rows; A = Chorus module, B = Delay module and C = Reverb module.
4.18 The Output Effect Section 51
In the first configuration, the Chorus module is first applied, then the Delay and finally the
Reverb module. In the second configuration, the signal is first processed by the Delay, then by the
Chorus and the Reverb module.
Note that each of the effects can be muted by selecting the Bypass preset in its respective
algorithm selection drop down menu.
4.18.6 The Output Module
This module is used to monitor levels of the left and right channels. It is located at the of Panel A
and Panel B. The overall level is adjusted with the Level knob. The best dynamic range is obtained
when the level meters are around 0 dB for loud sounds.
4.18.7 The Recorder Module
This module is used to record the output of String Studio to a stereo 16-bit wave or aiff file. The
File display, is used to choose the name and location of the destination file. One should always use
this before starting a recording. The Rec and Stop buttons are used to start or stop the recording.
On Windows systems the sampling rate will match that of the Audio Settings of the Preferences
command of the Edit menu. On Mac systems, the specific settings are determined by QuickTime.
52 Toolbar
5 Toolbar
The toolbar at the top of the String Studio VS interface allows you to monitor important information
related to your current set-up.
5.1 Program Display
Displays the number and name of the program currently loaded in the synthesis engine. The + and
− buttons on the left of the program number, or alternatively the + and − keys on the computer
keyboard, are used to navigate upwards and downwards in the program list. The complete list of
128 programs can be viewed by using the button located on the left of the program number.
When the preset associated with the current program is different from the version saved in the
preset library, the preset icon to the left of the buttons changes color in order to indicate that saving
is necessary in order not to lose the changes that have been applied.
5.2 MIDI map
Displays the name of the currently opened MIDI map. For more information on MIDI maps, please
refer to Section 6.2.
5.3 CPU meter
Displays the percentage of the total CPU resources currently used by String Studio VS.
5.4 Value Display
Displays the value of the currently selected control on the interface. The values range from 0 to
127 for knobs and 0 or 1 for buttons depending on whether they are in their on or off position. For
some controls, the value is displayed in the appropriate units.
60 Quick reference to commands and shortcuts
8 Quick reference to commands and shortcuts
File Menu
Command Windows Mac OS Description
New Folder... Apple+Shift+N New Folder in the
Browser
Open Preset Ctrl+O Apple+Option+O Open the selected preset
Save Preset Ctrl+S Apple+S Save the current preset
Save Preset As.. . Save the current preset under
a new name
Save MIDI Links Ctrl+Shift+S Apple+Shift+S Save the current MIDI
links
Save MIDI Links As.. . Save the current MIDI links
under a new name
Import.. . Import a .lls file
Export.. . Export a .lls file
Restore Factory Library ... Restore factory library and
programs. Everything else in
the browser is deleted.
Exit (Quit on Mac) Quit the application
70 INDEX
hammer, 32
help, 15
high-pass filter, 38, 40
import, 22
installation, 8
keyboard, 45
monophonic, 45
polyphonic, 45
priority, 45
tuning, 45
unison, 46
knobs, 28
tweaking, 28
latency, 53, 56
legato, 46
level, 51
lfo, 26, 43
fade-in, 44
rate, 44
wave shape, 43
low-pass filter, 38, 39
master clock, 49
MIDI, 53
device, 53
settings, 53
MIDI configuration, 14
MIDI controller, 54
MIDI links, 15
creating, 54
deactivate, 55
editing, 54, 55
factory, 23
MIDI links range, 54
MIDI map, 22, 52, 55
default, 22, 56
documenting, 22
empty, 55
preset, 22
MIDI program change, 15, 18, 56
modulation, 26, 29, 43
module
bypassing, 29
copying settings, 29
resetting, 29
modules, 28
multi-mode filter, 38
notch filter, 38, 41
output effect, 27
output effect stage, 48
chorus, 49
delay, 49
level, 51
master clock, 49
recorder, 51
reverb, 50
topology, 50
parameters, 28
performance, 7
pickup, 36
plectrum, 31
plug-in, 15
audio parameters, 58
automation, 58
MIDI channel, 59
MIDI parameters, 58
MIDI program change, 59
multiple instances, 58
performance, 59
saving projects, 58
window size, 58
polyphony, 8
portamento, 46
preset, 14, 17, 52
backup, 22
browser, 17
changing, 18
compare, 20
copying, 20
database, 22
deleting, 21
… 70


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