Uvi Falcon Manual Print | User Version

2017-12-05

User Manual: Uvi Falcon Manual Print falcon_manual_PRINT UVIFC uvi 3:

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SOFTWARE USER MANUAL
SOFTWARE VERSION 1.4
EN171001
END USER LICENSE AGREEMENT [EULA]
This End-User License Agreement (EULA) represents the
contractual conditions between you, the Licensee, and UVI,
located 159 rue Amelot, 75011 Paris - France for the use of
software, documentation and other materials created by UVI.
You should not register, install or use UVI Products until the
following license agreement is understood and accepted.
By using UVI Products, or allowing anyone else to
do so, you are accepting this agreement.
A- License Grant
1. UVI grants to you, subject to the following terms and conditions,
the non-exclusive right to use each authorized copy of the Product.
2. UVI Product license are granted only to a single user. You
may use this product on up to three separate computers or iLok
Dongles, which shall be owned and used by you exclusively.
3. Renting or lending the licensed Software to
a third party is expressly forbidden.
4. Except if otherwise stated within this EULA, Licensee may resell
the software to a third party or transfer the software permanently.
Request may be done using the ‘Transfer License’ feature in your
iLok account, subject to a $25 fee per-license ($50 maximum) by
Pace. The serial number of the Product will be transferred to the third
party by UVI, and Licensee’s original registration will be deleted.
5. Resale or ownership transfer of individual products obtained in a bundle,
or those used to upgrade or cross-grade to other products are not allowed.
6. UVI allows you to use any of the sounds and samples in the products
you’ve purchased for commercial recordings without paying any
additional license fees or providing source attribution to UVI.
7. This license expressly forbids resale or other distribution of the
sounds and software included in the Product or their derivatives, either
as they exist on disc, reformatted for use in another digital sampler, or
mixed, combined, filtered, resynthesized or otherwise edited, for use as
sounds, multi-sounds, samples, multi-samples, wavetables, programs
or patches in a sampler, microchip or any hardware or software sample
playback device. You cannot sell the Product content or give it away
for use by others in their sampling or sample playback devices.
8. In the event UVI terminates this agreement due to
your breach, you agree to return the original and all other
copies of the software and documentation to UVI.
9. UVI reserves all rights not expressly granted to herein.
B- License Activation
1. In order to use UVI Products it is required that you authorize them
by registering your Serial Number on uvi.net/register, have a free iLok
account (not necessarily a dongle) and install the free iLok License
Manager (done automatically by UVI Workstation and Falcon installers). It
is impossible to use UVI Products if they are not registered and authorized.
2. During authorization you will need to enter your name,
email address and postal address which will be stored in the
UVI database. UVI uses a secure SSL connection with 128-bit-
encryption that meets current security standards to transmit your
data over the web. For further information about UVI’s handling of
personal data please see: https://www.uvi.net/privacy-policy
3. The UVI Product license allows up to 3 simultaneous activations on
any combination of iLok dongles and computers. Activations can be
moved between devices at anytime through the iLok License Manager.
C- Protection of Software
You agree to take all reasonable steps to protect the Product and
any accompanying documentation from unauthorized copying
or use. You agree not to modify the Product to circumvent any
method or means adopted or implemented by UVI to protect against
or discourage the unlicensed use or copying of the Product.
D- Ownership
Ownership of, and title to, the enclosed digitally recorded
sounds (including any copies) are held by UVI.
Copies are provided to you only to enable you to
exercise your rights under the license.
E- Term
This agreement is effective from the date you open this package, and
will remain in full force until termination. This agreement will terminate
if you break any of the terms or conditions of this agreement. Upon
termination you agree to return to UVI all copies of this product and
accompanying documentation and destroy any other copies made.
F- Restrictions
Except as expressly authorized in this agreement, you may not
rent, lease, sub-license, distribute, copy, reproduce, display,
modify or timeshare the enclosed Product or documentation.
G- NFR Serials and Free Products
UVI Products serial numbers labeled as “NFR” (Not For Resale)
shall only be used for demonstration, testing and evaluation
purposes. NFR Products may not be used for commercial
purposes, and may not be resold or transferred.
They are not eligible for license recovery and are exempt from update,
upgrade or crossgrade offers, and cannot be purchased with or exchanged
for vouchers. Furthermore, as an owner of an NFR Product, you are not
entitled to promotions available for the commercial version of the Product.
H- No Support Obligation
UVI will make its best effort to support you in the event of technical
difficulty with a UVI Product. However, UVI is not obligated to
furnish or make available to you any additional information,
software, technical information, know-how, or support.
I- Specifications and System Requirements
All technical specifications of UVI Products provided are
intended to be estimates or approximations. Due to numerous
variables no guarantees of compatibility or performance can
be made. All such specifications shall be in writing.
End-User is solely responsible for, prior to purchase,
ensuring that End-User’s devices are compatible and meet
the system requirements for UVI Products, and that the
applicable UVI Products meet End-User’s requirements.
This EULA is governed by the laws of France.
©2017 UVI. All rights reserved.
All trademarks are the property of their respective owners.
3
TABLE OF CONTENTS
INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . 5
SYSTEM REQUIREMENTS . . . . . . . . . . . . . . . . . . 6
1.01.3 CHANGE LOG . . . . . . . . . . . . . . . . . . . . . . 7
INSTALLATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1: REGISTER YOUR SERIAL NUMBER . . . . 10
2: DOWNLOAD AND INSTALL FALCON . . . 11
3: ACTIVATE YOUR LICENSE . . . . . . . . . . . 12
4: AUDIO & MIDI DEVICES . . . . . . . . . . . . . 13
5: ADDING SOUNDBANKS . . . . . . . . . . . . . 14
STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
COMPONENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . 18
OSCILLATORS. . . . . . . . . . . . . . . . . . . . . . . . 19
EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
MODULATORS . . . . . . . . . . . . . . . . . . . . . . . 21
EVENT PROCESSORS . . . . . . . . . . . . . . . . . 22
INTERFACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
TOOLBAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
STATUS BAR . . . . . . . . . . . . . . . . . . . . . . . . . 26
MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
PROGRAM . . . . . . . . . . . . . . . . . . 30
LAYER . . . . . . . . . . . . . . . . . . . . . . 31
KEYGROUP . . . . . . . . . . . . . . . . . 32
OSCILLATOR . . . . . . . . . . . . . . . . 33
MAPPING . . . . . . . . . . . . . . . . . . . 34
MODULATION . . . . . . . . . . . . . . . 38
SAMPLE EDITOR . . . . . . . . . . . . . 44
EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . 47
EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . 49
MODS. . . . . . . . . . . . . . . . . . . . . . . . . . .50
INFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
PARTS . . . . . . . . . . . . . . . . . . . . . . . . . . 53
TREE. . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
FILE BROWSER. . . . . . . . . . . . . . . . . . .60
PRESET BROWSERS . . . . . . . . . . . . . . 65
MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
PERFORMANCE . . . . . . . . . . . . . . . . . . . . . . 68
GENERAL CONVENTIONS . . . . . . . . . . . . . 69
USER PRESETS . . . . . . . . . . . . . . . . . . . . . . . . . . 70
PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
LEARNING FALCON 100: SYNTHESIS . . . . . . 74
101 WORKING WITH PRESETS . . . . . . . . . 75
102 SAVING A USER PROGRAM. . . . . . . . 76
103 SAVING A USER MULTI. . . . . . . . . . . . 77
104 SIMPLE SYNTH. . . . . . . . . . . . . . . . . . . 78
105 ARPEGGIATED SYNTH . . . . . . . . . . . . 79
106 EVOLVING PAD . . . . . . . . . . . . . . . . . . 81
107 INTERACTIVE WOBBLE BASS . . . . . . 82
108 DRUM KIT FROM SAMPLES . . . . . . . . 85
109 DRUM KIT FROM A LOOP. . . . . . . . . . 86
110 DRUM KIT FROM SYNTHESIS . . . . . . 87
LEARNING FALCON 200:
EFFECTS AND MODULATION . . . . . . . . . . . . . 89
201 USING DUAL DELAY . . . . . . . . . . . . . .90
202 USING SPARKVERB. . . . . . . . . . . . . . . 91
203 USING EFFECTS RACKS. . . . . . . . . . . 92
204 USING MACROS. . . . . . . . . . . . . . . . . . 93
205 USING HOST AUTOMATION . . . . . . . 95
206 USING STEP ENVELOPES . . . . . . . . .96
207 USING MULTI ENVELOPES . . . . . . . . 97
208 USING OSC. . . . . . . . . . . . . . . . . . . . . . 98
LEARNING FALCON 300: EVENTS . . . . . . . . . 99
301 USING THE ARPEGGIATOR . . . . . . . 100
302 USING THE MICROTUNER . . . . . . . . 102
303 USING THE SCRIPT PROCESSOR. . 103
APPENDIX A
SAMPLING OSCILLATORS . . . . . . . . . . . . 104
SAMPLE . . . . . . . . . . . . . . . . . . . . . . . . 105
SLICE . . . . . . . . . . . . . . . . . . . . . . . . . . 106
STRETCH. . . . . . . . . . . . . . . . . . . . . . . 107
IRCAM GRANULAR . . . . . . . . . . . . . . 109
IRCAM MULTI GRANULAR . . . . . . . . .110
IRCAM SCRUB . . . . . . . . . . . . . . . . . . .112
IRCAM STRETCH . . . . . . . . . . . . . . . . .113
SYNTHESIS OSCILLATORS . . . . . . . . . . .114
ANALOG . . . . . . . . . . . . . . . . . . . . . . . .115
ANALOG STACK. . . . . . . . . . . . . . . . . .116
DRUM. . . . . . . . . . . . . . . . . . . . . . . . . . .117
FM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
NOISE . . . . . . . . . . . . . . . . . . . . . . . . . .119
ORGAN . . . . . . . . . . . . . . . . . . . . . . . . 120
PLUCK . . . . . . . . . . . . . . . . . . . . . . . . . .121
WAVETABLE . . . . . . . . . . . . . . . . . . . . 123
EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
ANALOG TAPE DELAY . . . . . . . . . . . 125
DUAL DELAY . . . . . . . . . . . . . . . . . . . 126
DIFFUSION . . . . . . . . . . . . . . . . . . . . . 127
IREVERB . . . . . . . . . . . . . . . . . . . . . . . 128
SPARKVERB . . . . . . . . . . . . . . . . . . . . 129
ANALOG CHORUS . . . . . . . . . . . . . . 130
ANALOG FLANGER . . . . . . . . . . . . . . .131
ENSEMBLE 505 . . . . . . . . . . . . . . . . . 132
FLANGER . . . . . . . . . . . . . . . . . . . . . . 133
PHASOR . . . . . . . . . . . . . . . . . . . . . . . 134
ROTARY . . . . . . . . . . . . . . . . . . . . . . . . 135
THORUS . . . . . . . . . . . . . . . . . . . . . . . 137
ANALOG FILTER. . . . . . . . . . . . . . . . . 138
BIQUAD FILTER . . . . . . . . . . . . . . . . . 139
BRICKWALL FILTER . . . . . . . . . . . . . . 140
COMB FILTER . . . . . . . . . . . . . . . . . . . .141
CROSSOVER FILTER . . . . . . . . . . . . . 142
LOWPASS 12 . . . . . . . . . . . . . . . . . . . . 143
LOWPASS 24 . . . . . . . . . . . . . . . . . . . 144
ONE POLE. . . . . . . . . . . . . . . . . . . . . . 145
PHASOR FILTER . . . . . . . . . . . . . . . . . 146
REZ FILTER . . . . . . . . . . . . . . . . . . . . . 147
SVF. . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
UVI FILTER . . . . . . . . . . . . . . . . . . . . . 149
VOWEL FILTER . . . . . . . . . . . . . . . . . . 150
WAHWAH . . . . . . . . . . . . . . . . . . . . . . .151
XPANDER FILTER. . . . . . . . . . . . . . . . 152
3 BAND SHELF. . . . . . . . . . . . . . . . . . 153
8 BAND EQ . . . . . . . . . . . . . . . . . . . . . 154
BIG PI TONE . . . . . . . . . . . . . . . . . . . . 155
CONVOLVER. . . . . . . . . . . . . . . . . . . . 156
TILT . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
TONE STACK . . . . . . . . . . . . . . . . . . . 158
AUTOPAN . . . . . . . . . . . . . . . . . . . . . . 159
GAIN. . . . . . . . . . . . . . . . . . . . . . . . . . . 160
GAIN MATRIX . . . . . . . . . . . . . . . . . . . .161
TREMOLO . . . . . . . . . . . . . . . . . . . . . . 162
UVI WIDE. . . . . . . . . . . . . . . . . . . . . . . 163
ANALOG CRUNCH . . . . . . . . . . . . . . 164
DIODE CLIPPER . . . . . . . . . . . . . . . . . 165
DRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . 166
EXCITER . . . . . . . . . . . . . . . . . . . . . . . 167
FUZZ . . . . . . . . . . . . . . . . . . . . . . . . . . 168
GUITAR BOXES . . . . . . . . . . . . . . . . . 169
OVERDRIVE . . . . . . . . . . . . . . . . . . . . 170
4
TABLE OF CONTENTS
WAVE SHAPER. . . . . . . . . . . . . . . . . . . 171
3 BAND COMPRESSOR . . . . . . . . . . 172
3 BAND LIMITER . . . . . . . . . . . . . . . . 173
COMPRESSOR EXPANDER . . . . . . . 174
GATE . . . . . . . . . . . . . . . . . . . . . . . . . . 175
MAXIMIZER. . . . . . . . . . . . . . . . . . . . . 176
STUDIO LIMITER . . . . . . . . . . . . . . . . 177
PHASE METER . . . . . . . . . . . . . . . . . . 178
SPECTRUM ANALYZER. . . . . . . . . . . 179
TUNER . . . . . . . . . . . . . . . . . . . . . . . . . 180
EFFECTRACK . . . . . . . . . . . . . . . . . . . .181
REDUX . . . . . . . . . . . . . . . . . . . . . . . . . 182
UVINYL . . . . . . . . . . . . . . . . . . . . . . . . 183
LEGACY EFFECTS
FX DELAY . . . . . . . . . . . . . . . . . . . . . . 185
FAT DELAY . . . . . . . . . . . . . . . . . . . . . 186
PING PONG DELAY . . . . . . . . . . . . . . 187
SIMPLE DELAY . . . . . . . . . . . . . . . . . . 188
STEREO DELAY . . . . . . . . . . . . . . . . . 189
GATE REVERB . . . . . . . . . . . . . . . . . . 190
PLAIN REVERB . . . . . . . . . . . . . . . . . . .191
PREDELAY REVERB. . . . . . . . . . . . . . 192
SIMPLE REVERB. . . . . . . . . . . . . . . . . 193
CHORUS . . . . . . . . . . . . . . . . . . . . . . . 194
CROSS PHASER. . . . . . . . . . . . . . . . . 195
PHASER . . . . . . . . . . . . . . . . . . . . . . . . 196
AUTO WAH . . . . . . . . . . . . . . . . . . . . . 197
FX FILTER . . . . . . . . . . . . . . . . . . . . . . 198
TALKBOX . . . . . . . . . . . . . . . . . . . . . . . 199
2 BAND EQ . . . . . . . . . . . . . . . . . . . . .200
3 BAND EQ . . . . . . . . . . . . . . . . . . . . . 201
ROTARY SIMPLE. . . . . . . . . . . . . . . . .202
ROTARY SPEAKER. . . . . . . . . . . . . . .203
DOUBLE DRIVE . . . . . . . . . . . . . . . . .204
UVI DRIVE . . . . . . . . . . . . . . . . . . . . . .205
COMPRESSOR . . . . . . . . . . . . . . . . . .206
LIMITER . . . . . . . . . . . . . . . . . . . . . . . . 207
UVI MASTERING . . . . . . . . . . . . . . . .208
BEAT REPEAT . . . . . . . . . . . . . . . . . . .209
RING MODULATOR . . . . . . . . . . . . . . 210
ROBOTIZER. . . . . . . . . . . . . . . . . . . . . .211
UVI DESTRUCTOR. . . . . . . . . . . . . . . 212
EVENT PROCESSORS
ARPEGGIATOR . . . . . . . . . . . . . . . . . . 214
MIDI PLAYER. . . . . . . . . . . . . . . . . . . . 216
MICRO TUNER . . . . . . . . . . . . . . . . . . 217
SCRIPT PROCESSOR . . . . . . . . . . . . 218
MODULATORS
AHD . . . . . . . . . . . . . . . . . . . . . . . . . . .220
ANALOG ADSR. . . . . . . . . . . . . . . . . . 221
ATTACK DECAY . . . . . . . . . . . . . . . . .222
DAHDSR . . . . . . . . . . . . . . . . . . . . . . .223
DRUNK. . . . . . . . . . . . . . . . . . . . . . . . . 224
LFO. . . . . . . . . . . . . . . . . . . . . . . . . . . .225
MACRO . . . . . . . . . . . . . . . . . . . . . . . .226
MULTI ENVELOPE . . . . . . . . . . . . . . . 227
STEP ENVELOPE . . . . . . . . . . . . . . . .228
APPENDIX B: SCRIPTING IN LUA . . . . . . . . .230
LINKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
5
FALCON
Falcon is multi-timbral hybrid instrument, bringing together an extensive collection of
oscillators, eects, modulators and event processors and delivering them in a workflow-
adaptive and highly-scriptable environment.
SYNTHESIS
Falcon oers 15 highly-optimized oscillators covering the spectrum of modern sampling
and synthesis techniques. Sample-based oscillators include IRCAM Granular, IRCAM Multi
Granular, IRCAM Scrub, IRCAM Stretch, Sample, Slice and Stretch. Synthesis oscillators
include Analog, Analog Stack, Drum, FM, Noise, Organ, Pluck and Wavetable.
EFFECTS
Over 80 high-quality eects are at your disposal, categorized for easy navigation: Delays,
Reverbs, Modulation, Filters, Equalizers, Amps and Stereo, Drive and Distortions, Dynamics,
Analysis and more. UVI’s rich heritage of eect design is in full force with sophisticated
delays, versatile reverbs (including the Sparkverb algorithm and a CPU-optimized
convolution reverb), compressors, vinyl, reamping eects and more. Add eects at the patch
level, as sends or even per note.
MODULATION
Rich sound means motion and Falcon can create it
whenever and however you need it. AHD, Analog
ADSR, Attack Decay, DAHDSR, Drunk, LFO, Multi
Envelope and Step Envelope modulation generators
all come standard and cv in the Falcon environment.
Create variation over time or on demand, drive your
oscillators, eects or even other modulators, then
add the most important parameters to the macro
panel for clear and intuitive performance control.
EVENTS
Falcon’s Event processors provide control and
analysis of the pre-synthesis phase of your sound,
from manipulating incoming MIDI data to creating
it algorithmically. Utilize factory processors such as
an advanced Arpeggiator, Micro Tuner, Chorder,
Harmonizer, Strum simulator, MIDI Player, Unison
and Shepard eects, or code your own from scratch
with the powerful Lua scripting language.
INTERFACE
From editing at the component level to mixing
and realtime performance of multiple instruments,
Falcon’s interface was designed to be both
ergonomic and adaptable. Due to the nature
of instrument design and interactive music
performance, projects can quickly become large
and multifaceted. Falcon’s UI was structured to help
mitigate that complexity and allow you to quickly
focus regardless of the level of detail.
PERFORMANCE
Falcon was designed with a rich performance
toolset including full Open Sound Control (OSC)
implementation, host automation, flexible MIDI and
audio routing, MIDI learn, key range and velocity
range controls, keyswitching and more. Whether
you’re working with a single instrument or an
ensemble, in a DAW or standalone, Falcon gives
you the control you need to create dynamic and
captivating performances.
SOUNDS
Falcon comes with an incredible collection of
presets created by some of the world’s most
recognized sound designers, but there’s much
more to discover. Falcon is fully-compatible with all
UVI and UVI-Powered soundbanks, opening up a
world of over 200 instruments from a growing list of
companies like AcousticSamples, GospelMusicians,
VI Labs and VirHarmonics.
SCRIPTING
Falcon implements custom scripts throughout its
architecture allowing you to create everything
from custom Event processors to professional-
level skinned instruments with the powerful and
lightweight Lua scripting language. Don’t know
anything about scripting? Don’t worry, Falcon has
a built-in visual editor for creating fully customized
macro-driven interfaces.
INTRODUCTION
6
SYSTEM REQUIREMENTS
MAC OS
COMPATIBILITY
• Audio Unit
• VST
• AAX
• Stand Alone
MINIMUM SYSTEM REQUIREMENTS
• Intel CPU
• 2 GB of RAM+
• 1 GB of Disk Space
• MAC OS X 10.7+
• iLok Account (Free)
WINDOWS
COMPATIBILITY
• VST
• AAX
• Stand Alone
MINIMUM SYSTEM REQUIREMENTS
• Core 2 Duo or faster
• 2 GB of RAM+
• 1 GB of Disk Space
• Windows 7+
• iLok Account (Free)
LICENSE
AUTHORIZATION
Your license allows for unlimited installation and up to 3
concurrent authorizations of Falcon on any combination
of computer hard drives or iLok dongles.
MANAGEMENT
License management is a simple drag-and-drop process
done through the free iLok License Manager client app.
iLok License Manager is installed with Falcon.
Visit iLok.com to sign up for a free account.
7
1.0-1.4 CHANGE LOG
FALCON 1.4.1
- maintain current trigger mode when loading envelope preset
- add length property for each step in Step line script. Gate can now go
up to 110% which allows overlap for monophonic glide
- add “Center Root Note” command in mapping editor
- fix reload issue introduced in 1.4.0 following an Edition connection fix
- fix possible issue with loop in Stretch oscillator
FALCON 1.4
- add support for MIDI and sample Drag’n’drop on multi envelope for
features extraction
- add search tab in right panel
- add Scale script
- add Polyphonic Seq script
- add new Chorder script
- add MIDI CC redirect script
- add scale support in Step Line script
- enhance Strum script
FALCON 1.3.2
- Fix reload issue when using VV2 soundbanks with VV1 sessions
- Fix issue with non latin character sets
- Minor UI fixes introduced in previous version
FALCON 1.3.1
- Fix Wavetable SymForm mode when phase distortion is at 0
- Fix possible crash on Windows when Drag’n’droping samples from
internal browser
- Multi point envelope can now have up to 128 steps
FALCON 1.3
- Add new Rotary FX
- fix first transient handling in IRCAM Stretch
- fix per voice Boost init in Xpander Filter
- fix rise time in LFO with non zero phase
- fix issue with bipolar multiEnvelope in some cases
- add basic AnaMark tuning (.tun) support
- fix possible click when modulating Analog ADSR sustain
FALCON 1.2.1
- add Phasor: A new phaser eect with up to 12 orders
- fix regression regarding display of oscillator actually played when
using MIDI Select and Round Robin trigger modes
- add Layer Portamento curve (in Inspector)
- add basic EXS file format support
- fix possible crash when multi editing some FX
- fix display of continuous parameters in AU
- fix oscillator UI height which could be smaller than it should be
- fix possible UI issue on OSX in plugin mode
FALCON 1.2.0
- add Phasor: A new phaser eect with up to 12 orders
- add Phasor Filter: Similar to phasor but with manual frequency control
- add Diode Clipper: A new distortion eect
- add remixing feature to IRCAM streth oscillator allowing to control
volume of sine, noise and transients
- new Dual Delay parameters
- new Xpander filter parameters
- new Rotary FX parameters
- new UVI Wide parameters
- fix Legato behavior in Stretch and IRCAM stretch oscillator
- fix memory leak
- allow to set start/end markers using the current mouse selection
- fix regression regarding IRCAM Stretch oscillator oine rendering
FALCON 1.1.0
- add Thorus: A new Chorus FX with up to 8 voices
- add Sample controls (start, detune, key follow), Noise sustain and
Stereo control to Pluck oscillator
- add phase and dierent oscillator tuning controls in FM oscillator
- add M/S Maximizer in Eect Rack presets
- add Fuzz4 in Eect Rack presets
- add script for MPE devices (LinnStrument, Roli Seabord, ...)
- add Copy/paste from clipboard for module preset in module menu to
easily copy FX settings among instances
- CPU improvements in some FXs
- fix regression with Double Drive and UVI Drive introduced in 1.0.7
- fix possible crash when loading IR in Convolver or IR Reverb
- fixes in MicroTuner
- fix issue related to sample markers when changing oscillator type
- Eect Rack is now featured in its own folder in Modules tree
- fix crash when receiving a very large amount of MIDI events
- allow to disable label or macro value display by right clicking on it in
Edit mode
- fix Oset reload in Editon mode matrix mod connections
- other minor fixes
FALCON 1.0.7
- fix regression with legato multi point envelope introduced in 1.0.4
- fix issue with Guitar Boxes under Reaper
- allow edit of oscillators in multi selection
- fix possible crash when deleting mapper
- fix noise when activating filters in UVI Drive and Double Drive
- fix crash when adding Granular oscillator using Tree view
- fix crash when adding MIDI player in Edit view
- fix sample start handling in Sample oscillator
- allows right click on module tab to change their type (similar to long
press behavior)
- fix potential crash in script processor when launching lots (100000+) of
asynchronous commands
- fix possible issue with Mono Retrigger mode
- rotary FX improvements
- fix for scala keyboard mapping (.kbm) with 0 size
FALCON 1.0.6
- fix crash in script in case of script errors
- add free running option for each oscillator in Analog Stack (see
Inspector)
- fix possible crash with selection and edit all oscillator function
- smoothed random LFO do not smooth the first outputed random value
- fix modulation handling on Drunk initial value
- fix regression in forward xfaded loop introduced in previous build
- fix possible stucked notes with scripted instrument in Digital Performer
- fix possible issue in Analog ADSR with very small attack time
FALCON 1.0.5
- fix regression introduced in 1.0.4 with some scripts
- fix potential crash in xfade + alternate sample loops
- optimize patch encoding
FALCON 1.0.4
- fix speed modulation on multi point envelope
- allow to duplicate Oscillators, FX and EventProcessors by pressing Alt
key when Drag’n’droping their module name
- fix S&H LFO with null speed
FALCON 1.0.3
- allow to set omni on only one MIDI port
- fix batch oscillator type changes with custom start/stop markers
- fix regression regarding sample loading/purge in scripts
- add Pre/Post insert flag on auxes
- fix graphic issue on OSX pre 10.11
FALCON 1.0.2
- fix possible issue with cross-faded alternate looping in Sample
oscillator
- WaveEditor sample auditioning now work like a play/stop toggle
- add Reveal in Explorer/Finder in treeview browser
- remember last Audio Config in Standalone app
- allow to change the default VST AudioConfig for VST Hosts that don’t
implement setSpeakerArrangement
- allow using return key to go back to parent folder in right-panel
browser
- fix potential crash when dragging stu on the keygroup mapping view
when collapsed.
- fix issue with non Latin character in MIDI panel on OSX
- fix possible crashes in rare cases when connecting modulation
- allow to duplicate a Part using right click menu on it
- add new Script Event Modulation module which allows polyphonic
script driven modulation source
- improve randomness in noise oscillator
- allow to modulate Layer glide time
- add an oset to connection in edition mode (Macro and MIDI learn) as
well as support for mappers
- add sorting to key and velocity columns in Keygroups list
- Chaos LFO waveforms now handle Phase parameter
- add Stereo switch in Noise oscillator
- fix brown noise volume issue
- toggling shift key while moving loop points will move both points
accordingly to the loop length
- fix automation names in AAX when assigning automations
- fix tempo update in Slice oscillator when changing bar/beat settings
8
1.0-1.4 CHANGE LOG
FALCON 1.0.1
- fix right-column file browser scrollbar visibility when the tree width
becomes larger than the available size
- better auto naming behavior when binding macros to host automation
slots: the host automation name now uses the macro display name
- allow manual renaming of host automation slots
- add Legato mode in IRCAM Stretch allowing to start new voices at the
position of currently playing voices. Similar to Legato in regular stretch.
- fix tie mode in arpeggiator in special case
- added master gain parameter to Big PI Tone
- fix issue with Places
- improved support for dierent kinds of “.wt” file import
- display connected MIDI modulation source in TreeView
- fix potential crash in Multipoint envelope while deleting loop points
while the envelope is running and the loop point is being played.
- added selection indicator in XpanderFilter mode menu
- fix potential crash in IRCAM Multi Granular when using reversed grains
- fix parameter automation display names in AU
- fix TreeView browser state serialization
- fix ratio modulation display
- added support for browsing user wavetables folder located in
$(documents)/UVI/Falcon/User Data/Wavetable/
- added support for browsing pluck user excitations folder located in
$(documents)/UVI/Falcon/User Data/Pluck/
- added support for browsing user Impulse Responses folder located in
$(documents)/UVI/Falcon/User Data/IR/
- allow ‘.’ as note name separator in automatic sample import
- fix issue when trying to modulate Organ Harmonic parameter
- fix potential errors in script processor when using midi port D
INSTALLATION
10
INSTALLATION » STEP 1: REGISTER YOUR SERIAL NUMBER
• If you purchased Falcon at UVI.net
your serial number will already be
in the PRODUCT(s) TO REGISTER
section of the My Products page
• If you purchased Falcon from a third-
party, please refer to the installation
guide they provided
• You can see a list of all the products
you’ve registered and their serial
numbers at any time via uvi.net/my-
products
1. LOGIN TO YOUR ACCOUNT ON UVI.NET
THEN NAVIGATE TO THE MY PRODUCTS PAGE
2. LOCATE YOUR PRODUCT AND CLICK
‘REGISTER IT NOW’
You will be redirected to the Product Registration page
to complete the registration process
3. IF YOU ALREADY HAVE AN ILOK ACCOUNT
CLICK ‘I ALREADY HAVE AN ILOK ACCOUNT’
AND PROCEED TO LOGIN
If you do not have an iLok account yet click
‘Create a FREE iLok account’ and follow the instructions provided
4. ONCE YOUR ILOK ACCOUNT NAME IS DISPLAYED,
CLICK ‘CONTINUE’ TO DEPOSIT THE LICENSE INTO
YOUR ILOK ACCOUNT
NOTE: This step cannot be undone, please carefully verify that
your iLok account name is accurate
REGISTER
11
INSTALLATION » STEP 2: DOWNLOAD AND INSTALL FALCON
• You can download your products at
any time through uvi.net/my-products
• To install Falcon Factory, follow the
steps at STEP5: Adding Soundbanks
1. DOWNLOAD YOUR SOFTWARE AT
UVI.NET/MY-PRODUCTS
Scroll to Falcon
Choose your platform and hit ‘Download’
Then click ‘Falcon Factory’ to download the
soundbank for Falcon
2. RUN THE INSTALLER
Follow the on-screen instructions
NOTE for Windows:
Select VST Plug-Ins folder for your DAW
The default path is:
Program Files/Steinberg/VSTPlugins
INSTALL
12
INSTALLATION » STEP 3: ACTIVATE YOUR LICENSE
• The iLok License Manager client app
is included in the Falcon installation
• Your license allows for up to 3
concurrent activations on any
combination of computer hard drives
or iLok dongles
• Activations can be moved between
devices freely, at any time
• To see how many authorizations you
have left simply select the license
in iLok License Manager and click
‘Show Details’
• To deactivate an authorization,
right-click it and select ‘Deactivate’.
This will return the license to the
‘Available’ tab.
• Please make sure to deactivate
all licenses from your computer
before selling your computer or
making any major hardware changes
or upgrades. Once you activate
licenses to your computer, there
will be no way to deactivate them
without access to this computer in its
current state.
1. LAUNCH ILOK LICENSE MANAGER
2. LOGIN TO YOUR ACCOUNT
4. DRAG THE LICENSE TO A COMPUTER OR ILOK
3. CLICK THE ‘AVAILABLE’ TAB
5. CLICK ‘OK’ TO CONFIRM ACTIVATION
ACTIVATE
13
INSTALLATION » STEP 4: AUDIO & MIDI DEVICES (STAND ALONE)
CONFIGURE I/O
If you plan to use Falcon in stand
alone mode you may need to select
which MIDI inputs and Audio outputs
you want Falcon to use. This only
needs to be done the first time
you launch Falcon, or if you make
changes to your hardware (such
as changing your audio interface
or controller keyboard), as these
settings will be saved and reloaded
the next time you start Falcon.
If you intend to use Falcon primarily
as a plugin you can skip this step, as
the audio and MIDI settings will be
defined by your host DAW.
1. LAUNCH FALCON
2. SELECT ‘AUDIO AND MIDI SETTINGS...’
FROM THE MENU
3. SELECT THE DESIRED AUDIO AND MIDI DEVICES...
AUDIO DEVICES
Select the desired audio interface, sample rate
and buer size from the menus. If you don’t see
your device listed, make sure it’s powered on
and hit ‘Refresh Audio Devices’.
ROUTING
Falcon can address up to 17 stereo outputs.
Use this panel to link Falcon’s outputs with
those of your audio interface.
MIDI DEVICES
Falcon can listen to 4 MIDI devices. Use this
panel to link Falcon’s inputs with the MIDI
sources available on your system.
14
INSTALLATION » STEP 5: ADDING SOUNDBANKS (OPTIONAL)
LOAD SOUNDBANKS
UVI Powered soundbanks are high-
quality sound and instrument libraries
available from UVI and third-party
developers. Soundbanks are fully
supported and seamlessly integrated
in Falcon.
To use soundbanks in Falcon you
just need to tell it where to find them.
NOTE: Falcon includes a soundbank
(Falcon Factory.ufs), follow these
instructions to make them available
to Falcon.
1. LAUNCH FALCON
2. OPEN ‘PREFERENCES’
3. CLICK THE ‘SOUNDBANKS’ PAGE
5. RESTART FALCON, SOUNDBANKS WILL
BE AVAILABLE IN THE BROWSER
4. CLICK THE ‘...’ BUTTON AND SELECT
THE FOLDER THAT CONTAINS YOUR
SOUNDBANK (.UFS) FILES
STRUCTURE
16
STRUCTURE
Program
Eects
Modulators
Events
Part
Eects
Modulators
Events
Multi
Structure
File Management Multi (.uvim) Program (.uvip)
Eects
Modulators
Events
Layer
Eects
Modulators
Events
Keygroup
Eects
Modulators
Events
Oscillators
Control Signal Flow
Audio Signal Flow
FALCON is a hierarchy of components, structured
so that you can focus on the high-level arrangement
or drill down to deeper levels as you prefer.
Each instance of Falcon contains:
• one MULTI, which contains …
• one or more PARTS
Each of those PARTS then contains:
• one PROGRAM, which contains …
• one or more LAYERS, each which contains …
• one or more KEYGROUPS, each which contains …
• one or more OSCILLATORS
Each level of this hierarchy has a rich variety of
options for crafting your sound, using:
• MODULATION control signals, such as LFOs,
envelopes, and MIDI controllers
• AUDIO EFFECTS, such as filters, delays, and reverb
• MIDI EVENT PROCESSORS, such as arpeggiators,
micro tuners, and script processors
NOTE: Triggering envelopes only work on
KEYGROUPS level, not on LAYER nor PROGRAM level.
17
STRUCTURE
For example, a multi might contain two parts: a drum
loop and a grand piano. The drum loop could have
a single layer with a single keygroup, which contains
a single oscillator playing a single audio sample.
The grand piano program might contain three
layers, each of which contains dozens of keygroups
and audio samples, multiple envelopes and a script
processor, all passing through reverb, EQ, and a
multi-band compressor.
At its simplest, you can launch Falcon, load some
instruments or loops, and just begin playing without
worrying about how it’s all put together. At the other
end, you can craft from scratch your own multi-
layered and advanced programs containing dozens
or hundreds of oscillators with numerous modulation
sources, and then mix many instruments and loops
together using multiple parts and eects chains.
The sounds included with Falcon or with third-party
libraries contain highly-detailed and richly-varied
programs that don’t require any editing at all.
However, Falcon also provides the means to modify
and extend sounds, which can be peeled back one
layer at a time for increasingly detailed adjustments.
Dozens of keygroups, with
multiple sample oscillators and
eects each, represent just a
single layer of VI Labs exquisite
Ravenscroft Grand Piano
A single Pluck oscillator routed
into a spectrum analyzer
The basic components of Falcon are:
• OSCILLATORS
• EFFECTS
• EVENT PROCESSORS
• MODULATIONS
These components, described in the
following sections, can be combined
in near-infinite variations to produce
compelling sounds and instruments.
COMPONENTS
19
One of Falcon’s greatest strengths
is its ability to freely layer
oscillators to create elaborate
hybrid instruments that capitalize
on the unique features of both
sample-based and algorithmic
sound creation. There are no
preset limits on the quantity
or type of oscillators you can
use, you’re limited only by your
computers processing power
and imagination.
OSCILLATORS
An oscillator is the basic building block of a Falcon
program. Oscillators generate the initial sound, which
is then modulated, transformed, and combined with
other oscillators into a full program. An oscillator can
be one of two types: synthesis or sampling.
SYNTHESIS
Synthesis oscillators produce purely synthesized
sounds — no audio sample is triggered. The
synthesis oscillators provided are capable of a wide
variety of sounds, from classic virtual analog synths
to drum modeling to string synthesis.
SAMPLING
Sampling oscillators play back an audio sample.
Each of the sampling oscillators is suited for
dierent types of audio samples and dierent
playback needs, from traditional pitch and speed
transposition to slicing drum loops to granular pitch
adjustments.
For in-depth details on each oscillator type, see:
[Appendix A > Oscillators]
OSCILLATORS
COMPONENTS » OSCILLATORS
A synthesis-type oscillator: Analog Stack
A sampling-type oscillator: IRCAM Multi Granular
20
Falcon includes over 80 high-
quality eects, categorized for
easy navigation: Delays, Reverbs,
Modulation, Filters, Equalizers,
Amps and Stereo, Drive and
Distortions, Dynamics, Analysis
and more. With eects suited for
nearly every need from creative
mangling to precise sound
sculpting, mixing and analysis,
Falcon provides a tremendous
sound design facility.
EFFECTS
Eects are audio signal processors. This includes
classic eects such as filters, reverb, and delays,
to advanced analysis tools such phase meters
and spectrum analyzers. Eects can be added
independently at every level of the multi, from a
single keygroup up to the master output.
MULITFX
Multiple eects can be saved and recalled as a
group with a single Multi FX preset. This provides
a way for complex chains of eects to be recalled
instantly.
For more information on using eects, see:
[Interface > Main > Eects Tab]
For in-depth details on each eect type, see:
[Appendix A > Eects]
EFFECTS
COMPONENTS » EFFECTS
The Xpander Filter, one of the many Filter-type eects in Falcon
MultiFX are entire eect chains that can be saved and recalled as needed
21
Falcon includes 8 modulation
generators including AHD, Analog
ADSR, Attack Decay, DAHDSR,
Drunk, LFO, Multi Envelope
and Step Envelope. Modulation
generators can be instanced at
any level in a patch allowing them
to control nearly any parameter, be
it on an oscillator, eect or even
on another modulator. This system
allows you to paint motion into
your sounds almost eortlessly,
from subtle variation over time to
complex on-demand sequences.
MODULATORS
Modulators are signal generators that modify a control’s
value. Modulators don’t aect the audio or MIDI signal
directly; rather, they adjust the values of Falcon’s
controls. There are two main categories of modulation
sources: internal and external.
INTERNAL
Internal modulation sources originate from within the
Falcon multi or program. This includes a variety of
dierent types of envelopes and LFOs, which can be
created at every level of Falcon’s hierarchy: master, part,
program, layer, and keygroup.
Additionally, macros are a special type of internal
modulation. When a control is assigned to a macro, a
macro control appears on the Info tab. When the macro
control is adjusted, so is the control assigned to it. A
control can be assigned one-to-one to a macro, as a
shortcut for a commonly used control in the program, or
multiple controls can be assigned to a single macro, for
complex transformations of multiple controls by adjusting
a single knob or button.
EXTERNAL
External modulation sources originate beyond the Falcon
instance. External sources include MIDI messages,
such as continuous controllers (CCs), pitch bend,
velocity, aftertouch, and others. Some pre-defined
external sources are also available, such as sources that
randomize or alternate values.
Additionally, when using Falcon as a plug-in, you can
assign a control to be linked to the host program’s
automation controls. Host automation extends Falcon’s
available modulation options by tapping into the host’s
modulation and automation capabilities as well.
For more information on using modulations, see:
[Interface > Main > Modulation Editor]
For in-depth details on each modulation type, see:
[Appendix A > Modulators]
MODULATORS
COMPONENTS » MODULATORS
A Multi Envelope modulator provides unlimited breakpoints with complex curve control and interpolation options
22
Falcon’s Event section provides
control over pre-synthesis data,
namely the manipulation, analysis
or generation of MIDI. Event
processors can do anything from
arpeggiating incoming notes or
strumming them like a guitar to
applying micro tunings, playing
back MIDI files or creating
generative sequences.
EVENT PROCESSORS
Event processors are MIDI signal processors.
This includes well-known processors such as
arpeggiators and micro-tuners, to complex,
customized processing with the script processor.
SCRIPT PROCESSORS
Script Processors are a unique subset of Events
Processors which allow Falcon’s functionality to
be extended with the Lua language. Factory Script
Processors include the Chorder, Harmonizer,
Unison, Ensemble and many more. Load any Script
Processor and click the ‘Edit Script’ button to take a
look at how they work. Experiment with modifying
them or write your own, Script Processors provide
both an extremely powerful way to interact with
existing instruments and a sophisticated code-
driven approach to sound design.
For more information on event processors, see:
[Interface > Main > Events Tab]
For in-depth details on each event processor type,
see: [Appendix A > Events]
EVENT PROCESSORS
COMPONENTS » EVENT PROCESSORS
An advanced arpeggiator provides deep control over note sequences
Falcon’s Script Processors provide a powerful way to create your own custom tools
INTERFACE
24
The toolbar is displayed at the top
of the window and is always visible
in Main, Mixer, and Performance
views. Most controls in the toolbar
apply globally to the entire Falcon
instance.
INTERFACE » TOOLBAR
TOOLBAR
MAIN MENU
The main toolbar menu contains commands for loading/
saving files and configuring Falcon. The menu is divided
into four sections; details about the commands in each
section can be found on the following:
• [User Presets]
• [Preferences]
• [Toolbar > Window size]
MULTI MANAGEMENT
The name of the CURRENT MULTI is displayed in the
toolbar. Double-clicking the name will open the multi
File Browser. For more information on loading multis,
see: [User Presets > Multis] and [Interface > Main > File
Browser].
The NEXT MULTI / PREVIOUS MULTI buttons load
the next or previous multi in the same directory as the
current multi. The Next button will also advance into
subdirectories and load the next multi there, if any.
CHANGING THE VIEW
The MAIN, MIXER, and PERF buttons change the
primary view of the Falcon window. See [Interface >
Main], [Interface > Mixer], and [Interface > Performance]
for more information.
The left and right sidebars can be individually hidden or
shown with the SHOW/HIDE SIDEBAR buttons. The left
sidebar displays the PARTS EDITOR, TREE EDITOR,
and LIST EDITOR; the right sidebar displays the PRESET
BROWSER.
NOTE: The left sidebar is displayed in Main view only. In
Mixer and Performance views, the left sidebar will not be
displayed even if the button is enabled.
TEMPO AND TRANSPORT CONTROLS
Falcon’s current TEMPO is displayed in the toolbar. You
can edit the tempo here as well, from 10 to 400 bpm,
by double-clicking to enter a value or by clicking and
dragging the value up and down. NOTE: When Sync To
Host is enabled, the Tempo cannot be edited manually.
2 3 4 51
1
2
3
4
5
25
INTERFACE » TOOLBAR
TOOLBAR
If you would like to tap to enter the tempo rather than
typing in a value, use the TAP button. For best results,
tap repeatedly at a consistent tempo.
Enabling SYNC TO HOST will cause Falcon to follow an
external tempo source — the host application’s tempo
when using Falcon as a plug-in inside a host application,
or MIDI Beat Clock when using Falcon as a standalone
application. Additionally, enabling AUTOPLAY will cause
Falcon to play and stop along with the host application.
When using Falcon as a standalone application, the
AutoPlay button is not displayed. For details on part
auto-play, see also [Interface > Main > Parts > Auto Play].
The PLAY and STOP buttons are used to manually start
and stop Falcon’s playback. When AutoPlay is enabled,
the Play and Stop buttons also activate to show the
current state of the host application’s transport.
GLOBAL TUNE AND VOLUME
GLOBAL TUNE adjusts the tuning for all parts, using the
A above Middle C as a reference. Global Tune defaults to
440 Hz, and is adjustable from 420 Hz to 460 Hz.
GLOBAL VOLUME adjusts the output volume for the
Main Outs.
WINDOW SIZE
To adjust the size of the Falcon window, open the
Toolbar menu and choose Small size, Big Size, or Fit
screen size.
6
6
7 8
7
8
9
9
26
The status bar is displayed at
the bottom of the window and
provides quick, at-a-glance
information.
STATUS BAR
VERSION
The installed version of Falcon is displayed on the left
side of the status bar.
HOVER HELP
As you use Falcon, the center of the status bar displays
contextual help, such as “Global Volume” when hovering
over the output volume knob in the top toolbar, or
“Oscillator tune in semitones” when hovering over the
Oscillator module’s Coarse Tune knob.
PERFORMANCE SUMMARY
The right side of the status bar displays a performance
summary for the current multi:
• memory usage
• CPU usage
• number of voices currently playing
1 2 3
1
2
3
INTERFACE » STATUS BAR
27
The Main view is the primary view
for creating and editing parts in
Falcon, and the instruments and
samples that those parts contain.
MAIN
The primary areas of the Main view are:
• The CENTER PANE, for viewing and editing parts
• The LEFT SIDEBAR, for additional part controls
• The RIGHT SIDEBAR, for browsing and loading samples
and presets
Center PaneLeft Sidebar Right Sidebar
INTERFACE » MAIN
28
The Edit tab is the primary view for
editing a program.
THE EDIT TAB
The major sections within the Edit tab are:
PROGRAM
LAYER
KEYGROUP
OSCILLATOR
MAPPING EDITOR
MODULATION EDITOR
Each section may be shown or hidden, using the
corresponding buttons in the upper-right toolbar.
When a section is shown, it can also be collapsed or
expanded using the arrow to the left of the section name.
Double-clicking the section header also collapses or
expands the section.
The first four sections — Program, Layer, Keygroup,
Oscillator — form a hierarchy. That is, a program contains
layers, a layer contains keygroups, and a keygroup
contains oscillators. For more information on how these
pieces fit together, see [Structure].
EDIT
INTERFACE » MAIN » EDIT
1
1
2
...
2
29
Each of these four sections contains a Parameters view
which displays its controls, The section parameter view
can be shown or hidden by pressing the toggle in the
section header.
Other lanes can be shown or hidden for each section,
such as eects, event processors, or modulation sources.
These lanes can be toggled with the corresponding
buttons in the section header.
Each of these lanes is a condensed view of a
corresponding tab, displaying only the modules of
that type which are saved at that particular level of the
program hierarchy.
To add a new module to a lane, press the plus (+) button
to display a menu of available modules. Each module
displays a tab, and the module’s controls are shown or
hidden by selecting the tab’s name. The module can be
enabled or disabled with the POWER button on the left
of the tab, or deleted with the X button on the right of the
tab. Additionally, a press and hold on the module’s name
will display a preset browser menu to replace the existing
module with a dierent one.
NOTE: For the Eects and Event lane, the left-to-right
order indicates the signal flow. For the Modulations lane,
the order isn’t significant. For more information, see:
[Main > Modulations Tab].
EDIT
INTERFACE » MAIN » EDIT
5
3
4
5
6
3
4
6
30
THE PROGRAM EDITOR
GAIN and PAN set the output level and stereo
placement for the entire program. These are distinct from
the Part gain and pan settings, and are saved with the
program.
To choose whether samples in the program are streamed
from disk or not, set the STREAMING toggle. For more
details on streaming, see [Preferences > Streaming].
To transpose incoming MIDI to the program, adjust the
OCTAVE and SEMI settings.
POLYPHONY sets the default number of simultaneous
voices available for each layer in the program.
(To override this on individual layers, see [Custom
Polyphony] in the Layer section.)
Keeping polyphony as low as you can helps reduce
the processing power needed to play back the
program, especially if you have per-keygroup eects or
modulations. The NOTE POLYPHONY value sets the
maximum number of simultaneous triggers of the same
note. A setting of zero is a special value that indicates
UNLIMITED.
EDIT » PROGRAM
INTERFACE » MAIN » EDIT » PROGRAM
1
1
2
3
4
5
2 4 53
31
THE LAYER EDITOR
GAIN and PAN set the output level and stereo
placement for the selected layers.
PLAY MODE determines what happens when additional
notes are triggered while another note is held. In P OLY
modes, multiple notes can be played at once, in MONO
modes only the last triggered note will be played.
Additionally, with POLY PORTAMENTO or MONO
PORTAMENTO there is a glide from the previous note
to the current one. The duration of the glide is set by
GLIDE TIME. PORTAMENTO MODE chooses whether
the time is always the same (Constant Time), or whether
the time is proportionally longer based on the spread
between the two notes (Proportional Time). In MONO
PORTAMENTO SLIDE mode, the next note always starts
from the pitch of the previous note and glides to the new
pitch, even if the next note is played after the previous
note is released.
UNISON VOICES sets the number of voices triggered
with each note received. When using multiple voices,
the Unison modulation sources (found under External >
Other) can be used to modulate parameters per voice,
such as Keygroup Pitch or Pan, for a dynamic sound.
CUSTOM POLYPHONY sets the maximum polyphony
for the layer. A setting of zero is a special value that
indicates that there is no layer-specific limit.
The VELOCITY CURVE sets the mapping of incoming
velocity values. The default is NORMAL (1:1 mapping).
To change the velocity curve, right-click and choose one
of the presets:
• CONSTANT: The same velocity is always triggered,
regardless of the incoming velocity. To set the value,
double-click and enter a velocity value.
• MAX: A constant velocity of 127
• HARD: Remapped so that higher velocities are triggered
• NORMAL: Default, 1:1 mapping
• SOFT: Remapped so that lower velocities are triggered
The curve displays incoming velocities on the X axis,
and triggered velocities on Y. For finer adjustment of the
velocity curve, hold the Shift key and drag the curve up
or down. You can also double-click and enter a value:
• Values between -1 and zero cover the range between the
Hard and Normal presets
• Values between zero and +1 cover the range between
the Normal and Soft presets
• Values between +1 and 127 set a constant velocity
EDIT » LAYER
INTERFACE » MAIN » EDIT » LAYER
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THE KEYGROUP EDITOR
GAIN and PAN set the output level and stereo
placement for the selected keygroups.
TRIGGER MODE determines what event triggers the
keygroup to play back:
• ON: Keygroup is triggered by note on; this is the default.
• OFF: Keygroup is triggered by note o.
• OFF + E: Keygroup is triggered by note o, and the
current level of the amplitude envelope will be used as
the initial amplitude.
• OFF + V: Keygroup is triggered by note o, and the note
o velocity will be used as the initial amplitude.
• OFF + VE: Keygroup is triggered by note o, and both
note-o velocity and the amplitude envelope will be
applied to determine the initial amplitude.
O + E, O + V, and O + VE modes are helpful for
matching the amplitude of a release sample with the
samples that preceded it.
TRIGGER SYNC determines how the keygroup is played
back once triggered:
• IMMEDIATE: The keygroup is triggered immediately
• NEXT BEAT: The keygroup is triggered at the beginning
of the next full beat
• NEXT BAR: The keygroup is triggered at the beginning
of the next full bar
The Next Beat/Bar options are useful when triggering
keygroups with tempo-synced eects such as
arpeggiators, or a keygroup containing a tempo-synced
loop.
The EXCLUSIVE GROUP is a way of indicating
keygroups which should be mutually exclusive. The
classic use case is a group of hi-hat sounds, where a
closed hi-hat should cuto any open hi-hat sounds.
There are 32 separate exclusive groups available per
layer. A setting of zero is a special value that indicates no
exclusive group assignment.
When LATCH is enabled, notes are held (or “latched on”)
indefinitely when they are triggered; to release the note,
play the same note again.
EDIT » KEYGROUP
INTERFACE » MAIN » EDIT » KEYGROUP
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THE OSCILLATOR EDITOR
A keygroup contains one or more oscillators. With EDIT
ALL OSCILLATORS enabled, the parameters described
below will be edited simultaneously for all oscillators in
the keygroup. To edit each oscillator individually, disable
Edit All Oscillators and select the desired oscillator tab.
The COARSE TUNE and FINE TUNE controls set the
oscillator’s pitch in semitones and cents. These controls
are for static adjustments, and cannot be modulated.
The PITCH control, however, can be modulated, and is
adjustable over a wide range (±4 octaves). Typical usage
might be: FINE TUNE to pitch-correct a sample that’s
slightly out of tune, COARSE TUNE to shift the pitch a
few keys up or down the keyboard, PITCH to modulate
the oscillator’s pitch with an LFO or envelope
GAIN and sets the output level for the selected
keygroups.
NOTE TRACKING determines how incoming notes are
transposed. At 100%,each note is transposed relative
to the root key 1:1. At 200%, transposition is double; for
example, if the root key is G4 and an G#4 is played, the
note will be transposed as if an A4 was played.
Negative values invert the transposition; for example, if
the root key is G4 and a G#4 is played, at -200% the note
will be transposed as if an F4 was played. For a constant
pitch regardless of the note triggered, use 0%.
If there are multiple oscillators in the keygroup, the
TRIGGER MODE chooses which will be triggered:
• ALL: All oscillators in the keygroup are triggered
simultaneously with every note.
• CYCLE: Oscillators are triggered individually, “round
robin” style. The first oscillator will be triggered on the
first note, the second oscillator with the second note, and
so on, always in the same order. With oscillators A, B,
and C, the order will always be A-B-C, A-B-C, etc.
• RANDOM CYCLE: Same as Cycle, but the order is
randomized within each cycle. Each oscillator will always
be triggered once per cycle. Additionally, the first note
of a cycle will never be the same as the last note of the
previous cycle, so there won’t be any direct repeats. With
oscillators A, B, and C, the order might be B-A-C, A-C-B,
then C-B-A.
• RANDOM: One random oscillator is triggered
individually. With oscillators A, B, and C, the order might
be A-C-C-B-A-B-B-C-A.
EDIT » OSCILLATOR
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THE MAPPING EDITOR
The Mapping Editor displays the arrangement of the
program’s layers and keygroups. Programs can contain
anywhere from a single keygroup in a single layer
assigned to the entire key range and velocity range,
to many layers each with dozens of keygroups that are
assigned to very small ranges.
Above the piano keyboard, the key range is displayed
horizontally and the velocity range is displayed vertically.
Each keygroup appears as a block covering its key and
velocity range. When a program has multiple layers, the
layers are stacked on top of each other.
Pressing a key on the piano keyboard will trigger the
note; if a keygroup is assigned to that key, it will be
played back. Higher velocities are triggered by pressing
the key closer to the bottom; lower velocities are
triggered by pressing close to the top.
To view the mapping area in greater detail, zoom in or
out horizontally using the + and - buttons in the lower
right, or resize it vertically by dragging the Mapping
Editor toolbar up or down.
To adjust a keygroup’s key range or velocity range,
select the keygroup then click and drag any edge.
Hold the Command key (Mac) or Control key (Windows)
before you start dragging the keygroup edge to fade the
key or velocity range. The beginning of the fade will be
indicated by a dashed line within the keygroup.
The toolbar above the mapping area displays details
for the selected keygroup, such as its root key, key
range, velocity range, and more. These fields can all be
edited in the usual manner: double-clicking to enter text,
scrolling, and so on. You can also select and edit multiple
keygroups at once.
Additional commands are available under the menu,
available by pressing the menu button towards the left
end of the toolbar. TIP: The same menu is also available
by right-clicking in the mapping editor.
EDIT » MAPPING
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There are two additional options for helping navigate the
mapping editor: HIGHLIGHT PLAYED KEYGROUPS,
and MIDI SELECT. These options can be toggled on
or o with the buttons at the right end of the toolbar.
When Highlight played keygroups is enabled, keygroups
are visually highlighted as they are triggered. With MIDI
select enabled, keygroups are selected as they are
triggered.
To edit a keygroup, select one or more keygroups
then right-click to display a contextual menu of editing
commands (described below).
IMPORTING SAMPLES AS KEYGROUPS
Samples can be easily imported as keygroups by drag
and drop from the sidebar browser or your desktop.
You can drag a single sample, or multiple samples at
once. The vertical placement of the sample as you drop
it is a quick shortcut for the new keygroup’s key range
assignment —the closer you drop the sample to the top
of the velocity range, the larger key range the keygroup
will span.
Additionally, if you hold the Alt/Option key while dragging
in samples, a custom import dialog is displayed. Choose
the MAPPING METHOD, such as “NOTE NAME” or
“BLACK KEYS”, many of which determine details about
the sample from its file name or other metadata. The
selected mapping method displays a description with
details about how it will determine each file’s assignment.
The layer for the imported samples is chosen with
the DESTINATION LAYER selector. Samples can be
imported to one of the existing layers, or to a new layer.
EDIT » MAPPING
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ADDING, MOVING AND DELETING KEYGROUPS
The Mapping Editor’s menu contains all of the edit
commands available in the Mapping Editor. To open the
menu, right-click anywhere in the Mapping Editor grid
or choose the menu button towards the left end of the
toolbar.
Standard editing and selection commands are provided:
• CUT
• COPY
• PASTE
• DUPLICATE
• DELETE
• UNDO
• REDO
• SELECT ALL
• DESELECT ALL
• INVERT SELECTION
To move keygroups between specific layers, choose one
of the following and select a new or existing layer:
• PASTE KEYGROUP TO
• MOVE KEYGROUP TO
A new keygroup can be created, in the current layer or
a new layer. Choose one of the following, then choose
Sample or Synth:
• CREATE KEYGROUP
• CREATE KEYGROUP IN NEW LAYER
To copy the settings of one keygroup and apply them
to another keygroup, copy a keygroup, then select the
keygroup to be updated and choose Apply Keygroup
Template. This will replicate the same keygroup settings
(such as envelopes and other modulation sources)
without changing the oscillator type.
EDIT » MAPPING
INTERFACE » MAIN » EDIT » MAPPING
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EDIT » MAPPING
INTERFACE » MAIN » EDIT » MAPPING
EDITING KEYGROUP RANGES
The EXTEND commands extend the keygroup’s range
in the chosen direction (right, left, top, or bottom) until
another keygroup boundary is encountered, or it reaches
the maximum value. The Auto Extend options are similar,
but extend in both directions: left and right for AUTO
EXTEND KEY RANGES, or top and bottom for AUTO
EXTEND VELOCITY RANGES. A keygroup can also be
reduced to only its root key, with AUTO REDUCE KEY
RANGES.
For keygroups that overlap keys or velocities, choose
RESOLVE OVERLAPPING KEY RANGE or Resolve
Overlapping Velocity Range to adjust the ranges of
the keygroups so they no longer overlap. Alternatively,
the ranges of the keygroups can remain the same, but
key or velocity fades can be applied with AUTO FADE
OVERLAPPED KEYGROUPS.
If you would like to simply change which keygroup is
displayed on top of the other, without adjusting their fade
or ranges, choose MOVE KEYGROUP TO FRONT or
MOVE KEYGROUP TO BACK.
KEYGROUP SAMPLES
For keygroups with sampling oscillators, it can be helpful
to use the SET KEYGROUP NAME AS SAMPLE NAME
command to give the keygroups more meaningful names.
If a program’s samples can’t be located, the samples will
be marked as missing. SELECT MISSING SAMPLES
will select any keygroup that contains an oscillator with
a missing sample; FIND MISSING SAMPLES checks for
missing samples and displays an error window listing any
missing files. From there, you can choose to ignore the
missing samples, or open the file browser to locate them.
LAYER RULES
Layer Rules provide a way to
dynamically change how a
program’s layers are triggered.
For example, you might want
to switch between legato and
stacatto articulations, or cycle through multiple variations
of the same note to provide a more realistic performance.
Choose EDIT LAYER RULES from the Mapping Editor’s
menu to open the Layer Rules Editor.
The rules are displayed on the left, and a list of layers is
displayed on the right. First, right-click and add a ROOT
RULE. Next, right-click and add a SUBRULE, one for
each layer or group of layers that you would like to be
aected by the rule. Then select each sub-rule, and
choose the desired layers from the list of target layers on
the right.
Now choose a RULE TYPE for the root rule, such as
Key Switch. Each sub-rule can now be assigned to the
specific criteria which will trigger that layer. For example,
with a Key Switch rule and two sub-rules, the first sub-
rule might be assigned to C0 and the second to D0.
The rule types are:
Key Switch, Pitch Bend, Speed, Note Duration, Cycle,
Random, Legato, Random Cycle, MIDI CC
Sub-rules can be added to sub-rules, to create further
branches in the layer triggering logic.
TIP: Falcon’s Script Processor module can also be used
to dynamically change playback styles. For more details,
see [Appendix B: Scripting in Lua].
38
EDIT » MODULATION
THE MODULATION EDITOR
The Modulation Editor displays modulation assignments
and sources and is the central location for editing
modulation generators.
When you select a parameter, the node and name of
the parameter is displayed in the Modulation Editor.
For example, when the layer gain knob is selected, the
Modulation Editor displays “Layer > Volume”.
The top half of the Modulation Editor displays any
MODULATION ASSIGNMENTS for the selected
parameter.
The bottom half of the panel displays a MODULATION
SOURCE EDITOR for the selected modulation source.
The modulation source editor can be shown or hidden
with the button on the right side of the Modulation Editor
header.
UNDERSTANDING MODULATION SOURCES
A modulation source generates a control signal that is
used to modify other controls —on its own, it doesn’t
directly aect Falcon’s output. A modulation source
must be assigned to modulate another control to have
an eect. The location in Falcon’s hierarchy where you
create the modulation source determines its availability
as an assignment choice.
Modulation data flows from the top (Master level), down
through Part, Program, Layer and Keygroup levels to the
bottom (Oscillators). Therefor, a modulation generator
instanced at the Master level can target any parameter
within a given Falcon instance, and conversely a
modulation generator instanced at the Keygroup level
can only see target parameters within its own Keygroup.
NOTE: Master and part modulation sources aren’t
recommended to be assigned to program, layer, or
keygroup controls as programs can be saved and
recalled separately from the containing multi, and could
result in missing modulation sources. If you work with any
modules instanced above the Program level make sure
that you save your work as a Multi (.uvim) file in order to
maintain the integrity of your patch. For more information
on signal flow in Falcon see [Structure].
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EDIT » MODULATION
MODULATION ASSIGNMENTS
A parameter can have any number of modulation
assignments. Each assignment can be enabled or
disabled with the POWER button on the left of the tab,
or deleted with the X button on the right of the tab.
Each assignment displays the node, name, and type of
the modulation source. For example, with a keygroup
DAHDSR envelope named “Amp. Env,” the assignment
will display “Keygroup > Amp. Env [DAHDSR]”. To choose
a dierent modulation source for the assignment, press
and hold on the name and choose a dierent source
from the menu.
The amount that the modulation source will aect the
parameter is set by the RATIO slider. The range is
displayed as +1 to -1 for most parameters, which can also
be thought of as +100% and -100%. For pitch-related
parameters, the range is +48 to -48 semitones.
To further adjust the range, you can toggle INVERT to
flip the range, or make detailed, custom shapes with the
MODULATION MAPPER EDITOR.
Each modulation source also has a SUBMODULATION
source that modulations the depth of the primary
modulation source signal. The sub-modulation source
can be enabled/disabled, removed, replaced, and its
ratio edited the same as for the primary modulation
source. One example would be an LFO assigned to an
oscillator’s pitch for vibrato, and the mod wheel assigned
as a subsource; the mod wheel would then be used to
dynamically set the depth of the vibrato.
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EDIT » MODULATION
MODULATION MAPPER EDITOR
The modulation mapper editor sits between the
modulation source and the parameter that it’s
modulating, remapping the values of the control
signal according to the mapper shape.
When no mapper is chosen, the modulation source
is mapped to parameter with a basic 1:1 relationship,
visualized as a linear ramp from the lowest value
to the highest value.
To enable a mapper, choose an existing mapper from the
MAPPER SELECTOR MENU or press the ADD button to
create a new one. You can also LOAD and SAVE preset
files from disk, as well as RENAME or DELETE them.
To set the size of the graph, set the horizontal axis with
the SIZE value and the vertical axis with RANGE.
Create the mapper shape by clicking and dragging in the
graph; hold the Alt/Option key to draw a straight line. You
can also right-click and choose from a number of preset
shapes and functions.
When INTERPOLATED is enabled, the mapper
transitions smoothly from one value to the next; when
disabled, it transitions immediately from one value to the
next, which can create a stair-stepped eect.
Enabling INTEGER OUTPUT further constrains the
values output by the mapper to integer values only.
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EDIT » MODULATION
MODULATION SOURCE EDITOR
The Modulation source editor displays the parameters of
the selected modulation source or sub-source.
The specific parameters shown for each modulation
source are described in detail in [Appendix A: Modules >
Modulators], and general use of modulation modules is
described in [Interface > Main > Modulations Tab].
The modulation source editor displayed here has a few
additional controls for helping navigate between dierent
modulation sources.
Directly above the modulation sources controls is a
navigation strip displaying the available modulation
sources for the selected parameter. The modulation
sources are displayed in a scrollable horizontal strip,
with icons separating the sections that they belong
to. You can also add new modulation sources to each
section, using its + button.
For modulation generators that support TEMPO SYNC
there is a small metronome icon in the toolbar. To enable
tempo sync simply toggle it on.
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EDIT » MODULATION
MAKING MODULATION ASSIGNMENTS
To assign a modulation source, right-click the parameter
that you would like to modulate and choose from the
menu.
Choose ADD MODULATION to create a new
assignment, using either an existing modulation source
or a new one.
To edit existing modulation connections, choose
EDIT MODULATIONS to view the parameters current
assignments in a pop-up directly next to the parameter.
Choose CLEAR MODULATIONS to remove all
modulation assignments for that parameter.
Parameters can also be assigned to macros, for quick
control from the Info Tab. Choose ASSIGN TO MACRO
and assign one of the existing macros, or create a
new one. To remove the assignment, choose DELETE
MACROS assignment.
To quickly assign an MIDI CC to a parameter, choose
MIDI LEARN. You can then choose a MIDI CC from the
on-screen menu, or send the desired MIDI CC from your
MIDI keyboard controller. To remove the assignment,
choose Clear from the MIDI Learn window, or choose
MIDI UNLEARN from the modulation context menu.
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EDIT » MODULATION
AUTOMATION ASSIGNMENTS
HOST AUTOMATION
If you are using Falcon as a plug-in and would like
to control a parameter with your host application’s
automation tools, choose ASSIGN TO HOST
AUTOMATION and assign one of Falcon’s 128 host
automation controllers. To remove the assignment,
choose UNASSIGN HOST AUTOMATION.
A limited number of parameters can be automated
externally, but not modulated. For those, right-clicking
the parameter will open the MIDI/AUTOMATION
CONTROL dialog, where a MIDI or host automation
source can be assigned.
OSC (OPEN SOUND CONTROL)
Finally, if you would like to control a parameter
externally with Open Sound Control, the parameter’s
OSC path is displayed in the menu. The path can also
be copied to the clipboard for easy assignment in
another application.
INTERFACE » MAIN » EDIT » MODULATION
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INTERFACE » MAIN » EDIT » SAMPLE EDITOR
SAMPLE EDITOR
For sample-based oscillator types, the Sample Editor
displays a waveform editor and additional controls
specific to audio files and loops. (See [Appendix >
Oscillators > Synthesis] for details on the editor controls
available for each of the synthesis-based oscillator
types.)
The Sample Editor’s primary display is the waveform of
the loaded audio sample. If the oscillator doesn’t yet
have a sample loaded, you can load one by drag and
drop from the sidebar file browser or the Finder (Mac) /
File Explorer (Windows).
The time ruler above the waveform displays the duration
of the sample. To change the time format between
Samples, Beats, or Seconds, right-click the ruler.
By default the sample’s waveform is zoomed to fit the
display. To zoom in horizontally, hold the Alt/Option key
while scrolling with your mouse scroll wheel or trackpad
scroll gesture. Holding the Shift key while scrolling
zooms the waveform vertically.
The SAMPLE INFO button displays an overlay on top
of the sample waveform with details about the loaded
sample: the sample file location, bit depth, sample rate,
number of channels, duration, and file size. If the sample
is looped, details about the file’s loop are displayed as
well.
The PARAMETERS button shows or hides the oscillator
parameters that are unique for that oscillator type. See
[Appendix > Oscillators > Sampling] for details on each
sampling oscillator type.
NOTE: Some of the sampling oscillators have a partial
subset of the full set of sample editing options described
below. The SAMPLE oscillator module has the largest
variety of sample editing operations available.
SAMPLE START/END
When a sample is loaded, you can adjust the points
where sample playback begins and ends within the file
by clicking and dragging the “S” and “E” markers.
SAMPLE EDITOR
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INTERFACE » MAIN » EDIT » SAMPLE EDITOR
EDITING
To edit the sample file, click and drag to select a time
range for editing, then right-click to display a contextual
menu of editing commands.
Standard editing and selection commands are provided:
CUT. COPY, PASTE, UNDO, REDO, SELECT ALL,
DESELECT ALL
Common sample editing commands are also provided:
CROP, DELETE, NORMALIZE, SILENCE, REVERSE,
FADE IN, FADE OUT, PLAY SELECTION
APPLYING EFFECTS
You can also permanently apply Falcon’s audio eects to
a sample file. Select some audio and choose APPLY FX
from the contextual menu, and choose the desired eect.
Set the eect parameters, then press OK to apply.
If you would like to make the eect permanent,
remember to save the sample file. If not, choose Undo.
LOOPING
Sample files can be played back and looped in a number
of ways.
Choose CHANGE PLAYING DIRECTION TO REVERSE
to simply play the sample in reverse; choose CHANGE
PLAYING DIRECTION TO FORWARD to change it back.
Choose SET AS ONE SHOT to play back a sample in
its entirety each time it is triggered, regardless of the
keygroup’s amplitude envelope. This is a natural fit for
drum and percussion samples. Choose DISABLE ONE
SHOT to return to standard playback.
To add a loop to the sample, make a selection in the
sample. Then choose CREATE LOOP and pick one of
the loop types:
• FORWARD LOOP: The looped section is played forward;
when playback reaches the end of the loop, playback
begins again from the loop start point.
• ALTERNATE LOOP: The looped section is played
alternately forward (from the loop start to loop end) and
reverse (from loop end to loop start).
SAMPLE EDITOR
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INTERFACE » MAIN » EDIT » SAMPLE EDITOR
Once a loop is created, you can adjust the points where
the loop begins and ends within the file by clicking and
dragging the L and R markers.
You can also choose to crossfade the looped section.
This can sometimes help make a loop sound less looped.
Choose ENABLE XFADE to enable loop crossfade, or
DISABLE XFADE to disable it. When the loop crossfade
is enabled, you can adjust the loop crossfade point with
the X marker.
When a sample has a loop and a note triggering the
sample is released, there are two release playback
options:
• ENABLE LOOPED RELEASE: Sample playback will loop
in the looped section until the release phase is over.
• DISABLE LOOPED RELEASE: Sample playback will
continue past the loop end marker until the release
phase is over or the sample end marker is reached,
whichever comes first.
Lastly, to remove the loop, choose DELETE LOOP.
SAVING
The standard module preset browser controls are also
displayed (see [Module Preset Browser]). The Preset File
menu also displays these options specific to sampling
oscillators.
• SAVE PRESET: Saves the oscillator parameters
• SAVE SAMPLE: Saves the sample/file in place
• SAVE SAMPLE AS…: Saves the sample to a new file
• SAVE SAMPLE WITH PLAYBACK OPTIONS: Saves the
sample/file in place and writes the sample and loop start/
end markers to the file
• SAVE SAMPLE AS WITH PLAYBACK OPTIONS…:
Saves the current sample to a new file and writes the
sample and loop start/end markers to the file
To reveal the sample file’s location, right-click the sample
and choose REVEAL IN FINDER (Mac) / REVEAL IN
EXPLORER (Windows) from the contextual menu.
BATCH EDITING
When multiple keygroups are selected, the Batch
menu appears. From the Batch menu, you can apply an
action to all of the selected keygroups at once, such as
normalizing samples or applying FX.
SAMPLE EDITOR
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EFFECTS TAB
The Eects tab displays all of the audio eects
processing paths, from the eects on the master output
down to eects on an individual keygroup.
NAVIGATION
To choose which eects path you are viewing, choose
a node from the navigation breadcrumbs. Press on a
node’s name to show its eects. You can also press on
the arrow to the right of a node to view one of its child
nodes. For example, you can press the arrow to the right
of Program and choose from one of its layers.
You can also select a node in the Tree view sidebar, and
the Eects tab will show the selected node’s eects. For
more details on the Tree view, see [Interface > Tree].
ADDING EFFECTS
To add an eect, press the + button in the upper right
and choose an eect from the menu. You can also drag
and drop eects from the Preset Browser on the right.
TIP: Keygroup eects are per voice. The more voices
you play back, the more eects processing power your
computer will need. Keygroup eects are best suited for
eects that you want to be processed distinctly for each
voice.
The signal flow is top to bottom. To reorder eects, press
and hold on an eect’s header and drag it to the new
position. To replace an eect, press on the eect’s name
and choose a dierent eect from the menu.
For details on each of the eects included in Falcon, see
[Appendix A > Eects].
Each eect can be enabled or disabled with the POWER
button to the left of its name, or deleted with the X
button at the far right end.
TEMPO-SYNCING EFFECTS
Some eects, such as delay or tremolo, can sync their
time-based parameters to Falcon’s tempo. If an eect
supports tempo-syncing, a TEMPO SYNC toggle button
will appear next to the Preset File menu.
EFFECTS
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SAVING FX PRESETS
Each eects module has a preset browser for saving,
recalling, and browsing presets for that eect type.
To save an eect preset, press the Preset File menu,
choose Save Preset, and name the preset. For more
details on the preset browser, see [User Presets >
Module Preset Browser].
MULTI FX
Multiple eects can also be saved and recalled as a
group with a Multi FX preset. This provides a way for
complex chains of eects to be recalled instantly. Multi
FX presets are saved and loaded through the Multi FX
preset menu. All eects for the current node can be
enabled or disabled together with the POWER button
to the left of its name. To clear all eects for the node,
choose Clear Multi from the Multi FX preset browser.
AUX FX
There are two aux eects sections: master aux FX and
program aux FX.
• The master aux FX are fed by sends on each part in
the multi. These settings are saved in the multi.
• The program aux FX are fed by sends on each layer and
keygroup in the program. These settings are saved in the
program.
To view and add aux FX in the Eects tab, choose the
aux bus from the navigation menu on the Part or Layer
nodes. Each aux eects section has four independent
aux busses.
To adjust the aux sends to each of the aux busses, show
the aux FX nodes in the Tree view. On each node where
aux sends are present, you can set the send level, mute/
unmute the send, and toggle the send between pre/post
fader. For more details on the Tree view, see [Interface >
Tree].
You can also view the master aux FX and their sends
in the Mixer view. For more details on the Mixer, see
[Interface > Mixer].
MODULATION AND KEYBOARD SECTIONS
The Modulation and Keyboard sections can be toggled
in the Eects tab, using the buttons in the top right.
EFFECTS
INTERFACE » MAIN » EFFECTS
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EVENTS TAB
The Events tab displays all of the MIDI event processing
paths, from master event processors down to event
processors on an individual layer. (Event processors
are not added to keygroups, as they generally address
events that span multiple keygroups.)
NAVIGATION
To choose which event processing path you are viewing,
choose a node from the navigation breadcrumbs. Press
on a node’s name to show its events. You can also press
on the arrow to the right of a node to view one of its child
nodes. For example, you can press the arrow to the right
of Program and choose from one of its layers.
You can also select a node in the Tree view sidebar, and
the Events tab will show the selected node’s events. For
more details on the Tree view, see [Interface > Tree].
ADDING EVENTS
To add an event processor, press the + button in the
upper right and choose one from the menu. You can also
drag and drop them from the Preset Browser on the right.
The signal flow is top to bottom. To reorder event
processors, press and hold on an event processors’s
header and drag it to the new position. To replace an
event processors, press on the event processors’s name
and choose a dierent event processor from the menu.
For details on each of the event processors included in
Falcon, see [Appendix A > Event Processors].
Event processors can be toggled on/o with the POWER
button or deleted with the X button in their toolbar.
SAVING EVENT PRESETS
Each event processor module has a preset browser for
saving, recalling, and browsing presets.
To save an event processor preset, press the Preset
File menu and choose Save Preset. For more details on
the preset browser, see [User Presets > Module Preset
Browser].
MODULATION AND KEYBOARD SECTIONS
The Modulation and Keyboard sections can be toggled
in the Events tab, using the buttons in the top right.
EVENTS
INTERFACE » MAIN » EVENTS
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MODULATIONS TAB
The Modulations (Mods) tab displays all of the modulation
sources, from master modulation sources down to
modulation sources for a single keygroup.
NAVIGATION
To choose which modulation sources you are viewing,
choose a node from the navigation breadcrumbs. Press
on a node’s name to show its modulation sources. You
can also press on the arrow to the right of a node to view
one of its child nodes.
You can also select a node in the Tree view sidebar,
and the Modulations tab will show the selected node’s
modulation sources. For more details on the Tree view,
see [Interface > Tree].
ADDING MODULATION SOURCES
To add a modulation source, press the + button in the
upper right and choose a modulation sources from the
menu. You can also drag and drop modulation sources
from the Preset Browser on the right.
TIP: Keygroup modulations are per voice. The more
voices you play back, the more processing power your
computer will need. Keygroup modulations are best
suited for parameters that you want to be modulated
distinctly for each voice.
NOTE: Unlike Eects and Events, the list of modulation
sources doesn’t have a top-to-bottom signal flow. Until
a modulation source is assigned to modulate other
controls, it won’t have an eect on the signal flow. See
[Interface > Main > Modulation Editor] for more details.
To replace a modulation, press on the modulation’s name
and choose a dierent modulation from the menu.
For details on each of the modulation sources included in
Falcon, see [Appendix A > Modulators].
Each modulation source can be enabled or disabled with
the POWER button to the left of its name, or deleted with
the X button at the far right end.
MODS
INTERFACE » MAIN » MODS
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SAVING MODULATION PRESETS
Each modulation module has a preset browser for
saving, recalling, and browsing presets for that specific
modulation type.
To save a modulation preset, press the Preset File
button, choose Save Preset, and name the preset. For
more details on the preset browser, see [User Presets >
Module Preset Browser].
RENAMING A MODULATION SOURCE
To rename a modulation source, double-click its name.
Using a descriptive name can help dierentiate between
modulation sources of the same type (“Amp. Env.” and
“Filter Env.” for example).
ASSIGNING A MODULATION SOURCE
To assign a modulation source, right-click a control
and choose from the Add Modulation menu. Existing
modulation sources are listed first, or you can choose to
create a new modulation source on the spot.
For more information on modulation assignments, see
[Interface > Main > Modulation Editor].
MODULATION AND KEYBOARD SECTIONS
The Modulation and Keyboard sections can be shown or
hidden in the Modulations tab, using the buttons in the
top right.
MODS
INTERFACE » MAIN » MODS
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INFO
INTERFACE » MAIN » INFO
INFO TAB
The Info tab provides an overview of the selected
program, houses macro controls, and provides a location
for custom text and images via. the I view.
MACROS
If macros have been assigned in the program they will
appear here. Macros are useful for placing important
controls on the “front panel” of a program.
To change the layout of the macro controls, press the
EDIT button in the upper left to switch to Edit Mode. You
can press and drag a control to move it, double-click a
label to rename it, or right-click and use one of the edit
commands from the contextual menu. For more details
on macros, see [Appendix A > Modulations > Macros].
PROGRAM INFORMATION
Press the I button in the upper right to display program
information. Many factory presets will contain details
about the program such as modwheel assignments,
macro descriptions or tips for playing it. You can add and
save descriptions for your own programs as well.
Programs in UVI soundbanks also display an image for
the program. If multiple images are present, “<” and “>”
arrows will be displayed and pressing them will cycle
through the images.
KEYBOARD
At the bottom of the Info tab, a keyboard is displayed and
can be clicked to play the program. The key range of the
program is highlighted, with keys outside the key range
darkened. If keyswitch layer rules have been created,
those keys are highlighted blue. Additionally, key color
can be customized using the Script Processor. For more
details on keyswitches, see [Interface > Main > Mapping
Editor > Layer Rules].
SCRIPT INTERFACE
If the program contains a script that defines a custom
user interface, the script interface will be displayed by
default. To toggle between the script interface and the
standard interface, use the Script button at the top of the
Info tab.
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PARTS
INTERFACE » MAIN » PARTS
PARTS
The Parts List displays a list view for managing and
editing all of the parts in Falcon, and for selecting a part
to be displayed and edited in the center pane.
The Parts List is displayed in the left sidebar, which can
be hidden or shown with its button in the Toolbar.
To resize the Parts List width, click and drag on its right
edge. As the Parts List widens, the controls rearrange to
allow for greater numbers of parts to be viewed at once.
MANAGING PARTS
When a part is selected in the Parts List, it will be
displayed in the Main view’s center pane for editing.
Press anywhere on the part to select it.
The Parts List menu at the top left of the Parts List has
additional options for the selected part:
• Empty selected part
• Load program in selected part
• New program in selected part
To add or remove parts, use the + and buttons next
to the Parts List menu. To reorder parts, press and hold
anywhere on the part and drag it to the new position.
MULTI CONTROLS
This section displays global controls for the Falcon multi.
The name of the currently loaded multi is displayed.
To load a dierent multi, double-click the name to open
the file browser, or use the next and previous buttons to
browse multis in the same directory.
The GLOBAL VOLUME and GLOBAL TUNE are also
displayed; see [Toolbar > Global Volume] and [Toolbar >
Global Tune] for details. OUTPUT METERS display the
audio levels for the Main Out output.
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PARTS
INTERFACE » MAIN » PARTS
PARTS LIST
The Parts List displays controls for each of Falcon’s parts.
Each of these settings are independent from the settings
saved in the program loaded in the part. These part
settings are saved and recalled with the multi (or your
host session if you’re using Falcon as a plug-in).
The program name of the currently loaded program is
displayed. If there are unsaved changes, an asterisk will
appear next to the name, for example, “Love 1”.
To load a dierent program, double-click the name to
open the [File Browser], or Shift-double-click to open the
righthand sidebar [Preset Browser]. In either case, the
browser will be opened to the location of the currently
loaded program.
You can also use the next and previous buttons to
browse files in the same directory, or right-click and
choose an option from the contextual menu:
Empty part, Delete part, Load program, Reload program,
New program
The MIDI INPUT and AUDIO OUTPUT assignments
are displayed for each part. By default, each new
part is assigned to the Main Out, and its MIDI input is
incremented (A1, A2, A3, …). To change the assignment,
press and hold and choose from the menu. If the MIDI
assignment is set to Omni, it will listen for MIDI input on
all ports and all channels, and display an asterisk.
OUTPUT METERS display audio levels for the part’s
output. Also, whenever a part receives MIDI on its
assigned input channel, the MIDI input indicator flashes.
VOL and PAN controls set the output level and stereo
placement for the part. Each part also has MUTE and
SOLO buttons to mute or solo the part’s output. Alt/
Option-click a mute or solo button to mute or solo only
that channel; Command-click (Mac) or Control-click
(Windows) to mute or solo all channels except the one
you clicked.
The OCTAVE and SEMI controls transpose the part’s
incoming MIDI, in octaves and semitones.
If a loop is loaded in the part, two additional controls are
displayed:
• AUTO PLAY: When enabled, the loop will be triggered
when Falcon’s playback begins.
• PLAY: Highlights when the loop is playing, and can also
be used to manually start/stop loop playback.
The part’s color is displayed on the right side. To change
its color, click on the color bar and choose a color from
the color picker.
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TREE
INTERFACE » MAIN » TREE
TREE
The Tree view displays a hierarchical view of a single
part, with each branch on the tree displayed as a “node”.
The Tree view contains two major sections:
INSTRUMENT, which displays the structure of the
nodes, and INSPECTOR, which displays details about
the selected node. The Tree view is displayed in the left
sidebar, which can be hidden or shown with its button in
the Toolbar.
The Inspector and Instrument sections can be collapsed
or expanded with the arrow to the left of the section
name. Additionally, the height of the Inspector section
can be adjusted by dragging its top edge.
INSTRUMENT
The Instrument section displays the nodes for a single
part, as well as a few global nodes. To choose which
part is displayed, choose the desired part from the PART
SELECTOR MENU in the upper right.
To choose which nodes are shown or hidden in the
Inspector, use the buttons in the upper right to toggle
these node types: Eects, Event Processors, Modulation
Sources, Aux FX busses and sends
Some node types are always displayed and cannot be
hidden: Master, Host Automation, Part, Program, Layer,
Keygroup, Oscillator
NAVIGATING WITH TREE VIEW
To navigate the nodes, press a node to select it and view
its details in the Inspector. Press the arrow to the left of
a node name to expand or collapse it. Holding the Alt/
Option key while expanding a node will expand all of its
children nodes as well.
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TREE
INTERFACE » MAIN » TREE
The selected node in the Tree view also updates
navigation in Falcon’s other views, such as the Edit view,
Eects Tab, and so on. Using the Tree view to navigate
layers, keygroups, eects, and modulation assignments
can be very helpful in a large, complex program.
Double-clicking a node will jump to that node’s primary
edit view. For example, double-clicking an eect will
reveal it in the Eects Tab, and double-clicking a
modulation source will reveal it in the Mods Tab.
NODE OPTIONS
To see a menu of options available for a particular node,
select it and choose the menu icon in the upper left, or
right-click the node.
INSPECTOR
The Inspector displays details about the node that is
selected above in the Instrument section.
For properties that can be edited, double-click the value
to type in a new value, or click-drag the value up/down.
TIP: Most properties are also displayed in other views
such as the Edit view or Mixer, but there are some
“under-the-hood” properties displayed only in the
Inspector.
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LIST
INTERFACE » MAIN » LIST
LIST
The List view displays a detailed rundown of the settings
for a single part and its currently-loaded program.
It contains four sections: Part, Program, Layers, and
Keygroups.
The List view is displayed in the left sidebar, which can
be hidden or shown with its button in the Toolbar. To
resize the List view width, click/drag on its right edge.
Each section can be collapsed or expanded with the
arrow to the left of the section name.
PART
The Part section displays the part settings for the
selected part.
To choose which part is displayed, choose a part from
the PART SELECTOR MENU in the upper right.
The Part settings displayed in List view are the same as
those displayed in [Interface > Parts].
PROGRAM
The Program section displays the settings for the
program loaded in the chosen part. The Program settings
displayed in List view are the same as those displayed in
the Program section in the Edit view.
On the right side of the Program section is the
PROGRAM MENU, which contains options for creating,
loading, saving, and protecting a program. For details on
each of these options, see [User Presets].
Additionally, there are PREVIOUS PROGRAM and NEXT
PROGRAM buttons for browsing program files.
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LIST
INTERFACE » MAIN » LIST
LAYERS
The Layers section displays a list of all layers in the
program. The selected layer in the List view also updates
which layers are displayed in the Edit view. Using the
Layers List to view one layer at a time can be very helpful
in a large, complex program.
To select a layer, press on its name or ID; hold the
Command key (Mac) or Control key (Windows) to select
multiple layers at once. To deselect all layers, press in
the space beneath the last layer in the list. (When there
is no specific layer selected, the Edit view displays a
composite of all layers, and edits to Layer settings apply
to all layers.)
The Layer settings displayed in List view are the same as
those displayed in the Program section in the Edit view
(see [Interface > Main > Edit > Program]) or the Tree view
inspector (see [Interface > Main > Tree]).
To choose which settings are displayed in the Layers list,
right-click a column header and enable or disable the
desired columns.
On the right side of the Layers section is the LAYER
MENU, which contains options for editing layer rules, and
copying, pasting, and duplicating the selected layers. For
details on these options, see [Interface > Main > Mapping
Editor].
Additionally, there is an ADD LAYER button for quickly
adding a new layer, and a REMOVE LAYER button for
removing the selected layers.
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LIST
INTERFACE » MAIN » LIST
KEYGROUPS
The Keygroups section displays a list of all keygroups
in the selected layers. The selected keygroup in the
List view also updates which keygroup is selected in
the Edit view. Using the Keygroups List view to select
specific kegroups can be very helpful in a large, complex
program.
To select a keygroup, press on its name; hold the
Command key (Mac) or Control key (Windows) to select
multiple keygroups at once. To deselect all keygroups,
press in the space beneath the last keygroup in the list.
(When there is no specific keygroup selected, the Edit
view displays a composite of all keygroups, and edits to
Keygroup settings apply to all keygroups.) The Keygroup
settings displayed in Keygroup view are the same as
those displayed in other Keygroup and Mapping Editor
sections.
To choose which settings are displayed in the Keygroups
list, right-click a column header and enable or disable the
desired columns. Pressing a column name will sort the
list by the chosen column; press it again to reverse the
sort order.
On the right side of the Keygroups section is the
KEYGROUP MENU, which contains options for copying,
pasting, and duplicating the selected layers. For details
on these options, see [Interface > Main > Mapping Editor].
Additionally, there is an ADD KEYGROUP button
for quickly adding a new keygroup, and a REMOVE
KEYGROUP button for removing the selected
keygroups.
Click/drag the right edge of the column to expand its
width to accommodate large parameter sets.
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FILE BROWSER
INTERFACE » MAIN » FILE BROWSER
FILE BROWSER
The File Browser is a view for browsing, searching,
auditioning, and loading files in Falcon.
There are three types of file browsers:
• PROGRAM FILE BROWSER, for loading programs,
loops, and samples
• MULTI FILE BROWSER, for loading multi files
• SIDEBAR FILE BROWSER, for quick drag & drop
loading of any file type
PROGRAM FILE BROWSER
To open the program file browser, double-click a
program name or an empty part in the Parts List, Mixer,
or Performance view, or choose Load Program from the
Toolbar menu.
The program file browser has four sections in its left
sidebar:
• SEARCH
• DEVICES
• PLACES
• SOUNDBANKS
Each available disk or volume is listed in the DEVICES
section, including network volumes.
The PLACES section is a list of favorite folders saved for
easy recall. To add a location to Places, drag a folder in
the browser over to the Places section in the browser
sidebar. To remove a folder from Places, right-click the
folder name and choose Remove from Favorite Places.
Each mounted soundbank file is displayed in the
SOUNDBANKS section. This includes soundbanks that
you mount on-demand, and those auto-mounted on
startup. For details on auto-mounting soundbanks, see
[Preferences > Soundbanks].
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FILE BROWSER
INTERFACE » MAIN » FILE BROWSER
Some UVI soundbanks also have an additional VERIFY
SOUNDBANK INTEGRITY option, available by right-
clicking the name of the mounted soundbank. This
verifies that the soundbank file was not corrupted when it
was downloaded or moved between disks.
The SEARCH section is an alternative to choosing a
specific location and browsing its contents; instead,
a search term is entered and matching results are
displayed across all searchable locations. For more
details on Search, see below.
BROWSING AND LOADING
Choose a location from one of the sections in the sidebar
to displays its contents. Its files and subfolders are
displayed in columns extending to the right.
To load the selected program or audio file, double-click
the file name or press the OK button. You can also drag
and drop a file from the browser to the Parts List, by
dragging onto an existing part or by dragging beneath
the last part in the list to load it as a new part. To close
the browser without loading a file, press the CLOSE
button or press the Escape key. To unload the program
or sample file currently loaded in the selected part, press
the EMPTY button.
To reveal the location of a file or folder in the browser,
right-click its name and choose REVEAL IN FINDER
(Mac) or REVEAL IN EXPLORER (Windows). To delete a
file, right-click its name and choose DELETE FILE.
BROWSER OPTIONS
The program file browser has a number of options,
displayed as toggle buttons along the bottom:
AUTO LOAD will automatically load the audio file
selected in the browser into the currently selected part.
AUTO PLAY will automatically play the selected audio
file to audition the file without loading it.
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FILE BROWSER
INTERFACE » MAIN » FILE BROWSER
If an audio file’s tempo doesn’t match Falcon’s current
tempo, enabling ORIGINAL TEMPO will cause the file to
be auditioned at its original tempo. When disabled, the
audio file auditions at Falcon’s current tempo.
The DISPLAY INFO button toggles the information
panel displayed in the lower half of the browser. When
enabled, it displays information about the selected file.
To load multiple programs into a single part (for example,
for multiple articulations of a single instrument, to be
switched with layer rules), enable LOAD AS LAYERS.
This will load additional programs within the current
file as new layers (leaving the current program eects,
modulations, etc. untouched). When disabled, each
loaded program fully replaces the currently loaded
program.
To automatically close the file browser when the OK
button is pressed or a file is double-clicked, enable
AUTO CLOSE; otherwise, the browser remains open
until you press the CLOSE button or press the Escape
key.
SEARCH
Rather than navigating to a specific folder and file, you
can use search to find files that match your criteria.
To set which locations are searched, add the folder
in the Soundbank preferences. For more details, see
[Preferences > Soundbanks].
To search, begin typing in the search field and results
will appear as you type. Search results are one of three
types of files:
• INSTRUMENTS: program files
• LOOPS: looped audio samples
• SOUNDS non-looped audio samples
To search across all types at once, highlight SEARCH
in the sidebar. To show results for one specific file type,
highlight the type name instead. You can also enter a
search term, then switch between types to view the
dierent results. The search results display information
about each file, such as its name and file type. To choose
which columns are displayed for the list of search results,
right-click a column header and enable or disable the
desired columns. Pressing a column name will sort the
list by the chosen column; press it again to reverse the
sort order.
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FILE BROWSER
INTERFACE » MAIN » FILE BROWSER
To clear the search results, highlight the current search
term and delete it, or close the browser.
MULTI FILE BROWSER
To open the multi file browser, double-click the multi
name in the Parts List or Toolbar, or choose Load Multi
from the Toolbar menu.
The multi file browser is similar to the program file
browser, but loads only multi files. When a multi is
loaded, it clears the current multi and replaces all
multi settings with the new one. If APPEND MULTI is
enabled, additional multis are loaded within the current
multi as new parts (leaving the current master eects,
modulations, etc. untouched).
SIDEBAR FILE BROWSER
The sidebar file browser is displayed in the right sidebar
in Main, Mixer, or Performance views, and can be hidden
or shown with its button in the Toolbar. To resize the
sidebar width, click and drag on its left edge.
The sidebar browser is similar to the full-size browser,
but all navigation happens in a single column. Folders
can be expanded or collapsed with the arrow to the left
of the folder name. You can also double-click a folder
name to drill down one level; to navigate back up to the
containing folder, double-click “.. (Parent Folder)”.
Pressing on the sidebar menu button opens a navigation
menu. The menu displays links to each of your
Soundbanks, Places, and Devices, as well as the path
from the current folder back up to where you started.
To go back to the top level, choose “/”.
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FILE BROWSER
INTERFACE » MAIN » FILE BROWSER
SOUNDBANKS
Each mounted soundbank file is displayed in the
SOUNDBANKS section. Press on a soundbank name to
expand it and display the soundbank’s contents; press
again to collapse the soundbank’s contents.
AUDITIONING AND LOADING FILES
The sidebar browser also has some options for quickly
auditioning samples and adding them to a program.
AUTO PLAY will automatically play audio files
The PLAY / STOP button next to it lets you manually
start and stop sample playback.
The VOLUME slider sets the playback level.
When AUTO LOAD is enabled, the sample is
automatically loaded in the selected keygroup. This is
especially useful when you have already mapped the key
range and velocity range of a keygroup, but would like to
replace the sample file.
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PRESET BROWSERS
INTERFACE » MAIN » PRESET BROWSERS
PRESET BROWSERS
The Preset Browsers are views for browsing and loading
preset files for specific module types, such as eects or
event processors.
The Preset Browser is displayed in the right sidebar,
which can be hidden or shown with its button in the
Toolbar. To resize the Preset Browser width, click and
drag on its left edge.
There are six Preset Browsers and a Search window,
each displayed as a tab in the sidebar. From left-to-right
the tabs represent:
• FILES
• SEARCH
• OSCILLATORS
• EFFECTS
• MULTI FX
• EVENT PROCESSORS
• MODULATION SOURCES
For details on the File Browser, see [Interface > File
Browser]; for the rest, see below.
BROWSING PRESETS
Each tab displays all of the factory and user presets for
the chosen type. Presets are organized into folders, and
can be nested as many levels as needed.
LOADING A PRESET
To load a preset from the Preset Browser, drag and drop
the preset to the desired location. For example, you can
drag an oscillator preset to the Mapping Editor, an eects
preset to a channel strip in the Mixer, or a modulation
source preset onto any control that can be modulated.
When a target can accept the preset you are dragging,
the target highlights.
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INTERFACE » MIXER
The Mixer view is similar to
a traditional audio mixing
console, with gain, pan, output
assignments, and eects
assignment and editing. The top
half of the Mixer view displays the
interface of the currently selected
eect; the bottom half shows
channel strips for each of the part,
aux, and master outputs.
MIXER OPTIONS
To add or remove parts, use the + and buttons on the
right side of the Mixer. To reorder parts, press and hold
on the part name and drag it to the new position.
To show/hide sections of the Mixer, use the toggle
buttons on the right side. Each section can be
independently shown or hidden:
PARTS
AUXES
MASTER
FX
AUX SENDS
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MIXER
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INTERFACE » MIXER
PART SETTINGS
The Part settings displayed in the Mixer are the same as
in the Parts List, but displayed here in a familiar audio
mixer style. For more information on part settings, see
[Interface > Main > Parts].
Double-clicking a part name opens the file browser. You
can also right-click on a part name for additional options
from the contextual menu:
• EMPTY PART
• LOAD PROGRAM
EFFECTS
The Mixer is an intuitive view for managing audio eects.
To add an eect, press on the + button on any channel
strip and choose an eect from the menu. You can also
drag and drop eects presets from the Preset Browser
onto the + button.
After the eect is added, it will be selected and its
controls will be displayed in the eects editor above. The
eects module displayed here is the same as is shown in
the Eects Tab view.
To replace an existing eect with a dierent one, press
and hold on the eect’s name and choose a replacement
from the menu. You can also drag and drop an eects
preset onto it from the Preset Browser.
Eects can be bypassed temporarily by pressing the
bypass button next to its name. Alternatively, you can
bypass by Shift-clicking the eect’s name, or with the
eect’s “power” button when the eect is selected and
displayed in the eects editor.
To remove an eect, press and hold on the eects name
and choose “Empty” from the menu. You can also use
the eect’s “X” button to remove it when the eect is
selected and displayed in the eects editor.
AUXES
The Mixer also displays the four master aux eect
busses. Each part’s channel strip has sends for the aux
busses. Each send has an enable/bypass switch on the
left, and a pre/post-fader switch on the right. The default
is post-fader; toggle to switch to pre-fader.
The aux channel strips are similar to the part channel
strips, just without the part-specific settings. Note that
the output of the aux busses are always routed to the
Main Out.
MASTER
Lastly, the Mixer displays the Master channel strip. Eects
can be added to the Master output just as with parts and
auxes, and the master fader adjusts the Global Volume.
MIXER
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68
INTERFACE » PERF (PERFORMANCE)
PERFORMANCE
PART SETTINGS
Each part displays the same controls as in the Parts
Editor (see [Interface > Main > Parts]). However, if the
Parts column is resized to be relatively narrow, some
controls will be hidden automatically.
PART KEY AND VELOCITY RANGE
The KEYBOARD RANGE and VELOCITY RANGE
restrict the key and velocity range for the part. These are
independent from the key and velocity range mapping
of the program’s layers and keygroups. Drag to adjust
the ends of the range, or click and drag anywhere on
the current range to move it. Holding the Option/Alt key
while dragging to apply a fade.
NOTE: Changing a part’s key or velocity range in
Performance view won’t extend a part’s key or velocity
range beyond what the program provides. These key
and velocity range settings help stack or split parts by
taking their existing ranges and constraining them. For
example, a mono bass synth could be mapped to the left
hand key range and a synth lead to the right hand key
range. For more information on setting key and velocity
ranges within a program, see [Mapping Editor].
KEYSWITCH
The KEYSWITCH sets a keyswitch note for the part.
When the chosen note is played, the part will be toggled
on. This is useful when toggling between multiple
articulations or styles of the same instrument, such
as staccato and legato strings. Press the checkbox to
enable a keyswitch, then double-click the note name to
edit the value and assign a note.
NOTE: Keyswitches assigned to parts in Performance
view are independent from keyswitches saved in the
program. For more information on keyswitches within a
program, see [Mapping Editor > Layer Rules].
The Performance view displays a
bird’s-eye view of all parts at once.
This can be used as an overview
when there are a large number
parts, or during a live performance
for quick and simple access to part
settings.
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INTERFACE » GENERAL CONVENTIONS
GENERAL CONVENTIONS
HOVER
Hovering the cursor over a control will display the
control’s current value in a pop-up help tag (sometimes
also called a “tool tip”).
CLICK AND DRAG
Click and drag a control to adjust its value. Hold the
Command key (Mac) or Control key (Windows) while
dragging a control for finer adjustment. You can also
hover over a control and scroll with your mouse scroll
wheel or trackpad’s scroll gesture.
DOUBLE-CLICK
Double-click a control to enter a numeric value. To
confirm a new value, press the Return key or click
outside the text field. To dismiss without changing the
value, press the Escape key.
RIGHT-CLICK
Right-click (or Control-click on Mac) to display a
contextual menu if one is available. Contextual menus
are used for many useful shortcuts, such as assigning
modulation sources to a control. The menu items
available in the contextual menu vary based on the item
that you have right-clicked.
ALT/OPTION-CLICK
Alt/Option-click a control to return it to its default value.
ARROW KEYS
The arrow keys can be used to change the selected item
in most lists, menus, and file browsers.
Throughout Falcon, some common
conventions are used for adjusting
and interacting with controls.
70
After creating or editing sounds in
Falcon, you can save the results
as presets for individual modules,
programs for a single instruments,
and multis for all parts and programs
in the entire Falcon instance.
USER PRESETS
MODULES
Each type of module — Oscillator, Modulation, Eects,
and Event Processor — supports saving and loading
presets. Numerous factory presets are included for each
module, and you can save user presets as well. Module
presets allow for easy recall and reuse of specific module
settings in dierent programs.
MODULE PRESET BROWSER
Each module displays a preset browser in the
upper right:
The PRESET MENU displays the name of the current
preset. Pressing the name displays a dropdown menu of
factory and user presets for the module.
The NEXT PRESET and PREVIOUS PRESET buttons
load the next or previous preset for the module.
To save a user preset, press the PRESET FILE MENU
and choose SAVE PRESET from the menu. User presets
can be organized into subfolders, as many levels deep as
you need. TIP: The Preset File menu additional options
for sample-based oscillators. For more information, see
[Interface > Main > Sample Editor].
To load a user preset from any location on disk, press the
Preset File menu and choose LOAD PRESET from the
menu.
SIDEBAR PRESET BROWSER
The Preset Browser is displayed in the right sidebar.
The Preset Browser displays all module presets in one
place for easy browsing. For more information, see
[Interface > Main > Preset Browsers].
PROGRAMS
A program file saves the state of everything within the
program, including all of its layers and keygroups. If it’s
displayed in the Info Tab or the Edit Tab, it’s saved with
the program.
NOTE: A program does not save any part-specific
settings, such as part gain/pan, part eects, and so on.
To save part settings, use a multi (see below).
Many views throughout Falcon have options available
for managing program files, such as in the Toolbar’s main
menu and the Parts List contextual menu. Each command
is explained below.
CREATING
• NEW PROGRAM: Creates a new, empty program.
LOADING
• LOAD PROGRAM: Opens the Program File Browser.
• RELOAD PROGRAM: Reloads the most recently saved
version of the program; this discards any unsaved
changes to the program.
• RECENT PROGRAMS: Lists up to ten recently loaded
programs for quick access.
USER PRESETS
71
USER PRESETS
SAVING
• SAVE PROGRAM: Saves the program file only
• SAVE PROGRAM AS…: Saves the program file only,
under a new name
• SAVE PROGRAM AND SAMPLES: Saves the program
file and all sample files
• SAVE PROGRAM AND SAMPLES AS…: Saves the
program file under a new name, and all of the program’s
samples into a subfolder with the program name
• SAVE PROGRAM SAMPLES: Saves all samples only;
does not save the program file
PROTECTING
• PROTECT PROGRAM: Adds a password to the program.
This is useful for complex, scripted programs where the
topology needs to remain unchanged. Once protected,
only the Info tab is available for the program; the Edit
view is disabled. In the Tree and List views, the program
node displays only limited settings; the layer, keygroup,
and oscillator nodes are not displayed.
• UNPROTECT PROGRAM: If the program is protected,
you must enter the program password to edit the
program.
MULTIS
A multi file saves the state of the entire Falcon instance
—all parts, programs, eects, and master settings.
Multi files are managed primarily from the Toolbar’s main
menu.
LOADING
LOAD MULTI: Opens the Multi File Browser
RECENT MULTIS: Lists up to ten recently loaded multis
for quick access.
SAVING
• SAVE MULTI: Saves over the current multi
• SAVE MULTI AS…: Create a new file for the current multi
• SAVE MULTI AND SAMPLES AS…: Saves the multi file
under a new name, and all samples into a subfolder with
the program name
• SAVE AS DEFAULT MULTI: Saves the current multi
to be the default multi. The default multi is loaded
whenever the Falcon plug-in or standalone application is
first launched. This provides a useful method for loading
a custom set of sounds, eects, event processors, and so
on every time you use Falcon.
CLEARING
• CLEAR MULTI: Clears the multi (empties all parts).
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USER PRESETS
72
PREFERENCES
GENERAL
When you drag and drop samples into a program, by
default the sample will play back for as long as the
note is held. Enable the One Shot option for SAMPLE
DRAG’N’DROP MODE to instead import all samples as
one shot by default. To change an individual sample to
One Shot, see [Interface > Main > Sample Editor].
Each part displays a color in multiple places throughout
Falcon. Choosing Chromatic for PART COLOURING
SCHEME will assign each new part a random color;
choosing Grey will assign all parts the same shade of
grey.
Falcon’s UI can be rendered with OpenGL, which can
help with overall performance by ooading some of
the processing needed to draw the UI from the CPU to
the GPU. To enable OpenGL rendering, enable the USE
OPENGL RENDERER checkbox. For best results when
using OpenGL rendering on Windows, make sure to
update to the latest drivers for your graphics card.
STREAMING
Rather than loading an entire sample into memory,
samples may be read (streamed) from disk as they
are played. This can improve overall performance by
balancing resources between your computer’s RAM
and its disk drives. That said, streaming performance is
directly aected by the speed of the disk, so the faster
the disk, the better.
The default settings are optimized for most use cases.
To adjust the settings for your computer, choose the
appropriate Hard drive type and Cache size. To confirm
your changes, press the Apply button. To revert to the
default settings, press the Default button.
For details on enabling or disable streaming for individual
parts, see [Interface > Main > Edit > Program].
PREFERENCES
Falcon’s general settings are
configured in the Preferences
window. To open the Preferences,
choose Preferences from the menu
in the Toolbar.
73
PREFERENCES
SOUNDBANKS
Each SEARCH PATH is a location on your computer that
will be scanned for sound libraries. To add or change
a search path, press the “…” button and browse for the
desired folder. You can also select a path and type to
add a new path or edit an existing one. To delete a path,
select the path name, press the Delete key, then press
the Return key.
Each search path has the following options:
• INDEXED: Any supported files found in the search
path will be indexed for searching in the File Browser.
For details on searching, see [Interface > Main > File
Browser].
• RECURSIVE: The search path directory itself and any
subfolders within it will be searched. (When disabled,
only the search path directory itself will be searched.)
Note: this can significantly increase Falcon’s startup time.
• AUTOMOUNT: Any UFS soundbanks in the search path
will be auto-mounted in the File Browser.
OSC
Open Sound Control (OSC) is a protocol used to
communicate between dierent computers and other
audio devices, optimized for use with networked devices.
Falcon can be controlled remotely by any app or device
that supports OSC.
Enabling the Open Sound Control Server will begin
broadcasting Falcon as an OSC destination. DESIRED
NAME and DESIRED UDP PORT set the preferred name
and port for the current Falcon instance. Once the OSC
server is running, ZEROCONF NAME and UDP PORT
show the actual name and port assigned to the current
Falcon instance.
For more details on using OSC in Falcon, see [Interface >
Main > Modulation Editor > Automation assignments].
For general information on OSC, see:
http://opensoundcontrol.org
PREFERENCES
The following section will illustrate
the basics of using Falcon, from
loading and saving patches to
creating a number of common
sounds and instrument setups
from scratch. It’s a perfect place to
start if you’re new to Falcon and
need some quick tips to get going.
Falcon’s synthesis engine oers
a wide range of tools for playing,
editing, and creating instruments
and samples. You can freely
mix sounds created with pure
synthesis and sample playback
even in the same program. Each
of Falcon’s oscillator types has a
dierent speciality; only a few of
the possibilities are explored here.
Before continuing, check that
you have your audio and MIDI
devices connected and working
properly. Additionally, some of the
following examples use programs
and samples from UVI factory
soundbanks. It’s recommended
to have both the “Falcon Factory.
ufs” and “UVI Tutorial Set.ufs”
soundbanks available to follow
along with all of the examples.
The Falcon factory soundbank
is available through your UVI.net
/ My Products page, meanwhile
the UVI Tutorial Set soundbank
is installed with UVI Workstation,
which is available as a free
download on UVI.net.
101 WORKING WITH PRESETS
102 SAVING A USER PROGRAM
103 SAVING A USER MULTI
104 MAKE A SIMPLE SYNTH
105 MAKE AN ARPEGGIATED SYNTH
106 MAKE AN EVOLVING PAD
107 MAKE AN INTERACTIVE WOBBLE BASS
108 MAKE A DRUM KIT FROM SAMPLES
109 MAKE A DRUM KIT FROM A LOOP
110 MAKE A DRUM KIT FROM SYNTHESIS
TOPICS:
LEARNING FALCON 100:
SYNTHESIS
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LEARNING FALCON 101: WORKING WITH PRESETS
LOADING AND TWEAKING A PRESET
Let’s start by loading a sound from one of Falcon’s
included soundbanks. Double-click part name
(“Empty”) in the Parts List to open the File Browser.
The factory soundbanks will appear in the
Soundbanks section of the File Browser. Select
the UVI TUTORIAL SET soundbank, then UVI
PRESETS > ELECTRIC PIANO.
Press OK or double-click the program name to load
it, and the Main view now displays the parameters
of the loaded program. The Info tab shows the
“front panel” of the program with macro controls for
commonly-used settings, and the Edit tab shows all
of the program’s parameters.
Let’s go to the INFO tab first. Here we can see
the instrument’s macro controls and an on-screen
keyboard. Press the keys on the keyboard to trigger
a note, or play a note from your MIDI controller. You
should hear the instrument now; if not, check your
Audio and MIDI settings.
To see a description of the instrument, press the Info
“i” button in the upper right.
Let’s make some changes to the program, by
adjusting the REVERB and DRIVE macro controls.
Click a knob and drag to adjust it. You can also
hover over a control and scroll your mouse scroll
wheel, or scroll with your trackpad.
That’s a start, but to dig in a little deeper, let’s switch
to the EDIT tab. Here we can see the settings for
the major components of the instrument: program,
layer, keygroup, and oscillator. Additionally, the
Sample Editor, Mapping Editor, and Modulation
Editor provide editing of sample files, the mapping
of the layers and keygroups, and modulation
assignments.
Let’s make some edits to the instrument. To change
the program’s output level and panning, go to the
PROGRAM section and adjust the GAIN and PAN
settings.
Let’s also change the instrument from polyphonic to
monophonic. Go to the LAYER section and change
Play Mode mode to MONO PORTAMENTO, and
adjust GLIDE TIME to change the amount of “slide”
between notes.
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LEARNING FALCON 102: SAVING A PROGRAM
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SAVING A PROGRAM
Now that we’ve made some changes to the
program, let’s save our edited version. The main
menu in the toolbar is a central location for many of
Falcon’s save/load options. From the MAIN MENU,
choose SAVE PROGRAM AS.
Choose the location where you’d like to save the
file, enter a file name, then Save —your edited
program is now saved with a new file name. The
original program file is unchanged, and your edits
are saved under the new program.
If you make some more edits to this program, you
can save the same file again with Save Program.
That will save the same file in place, and won’t
prompt again for a file name.
If you’d rather discard changes you’ve made since
the last time you saved the file, you can instead
choose to reload the program file. Right-click the
part in the PARTS LIST and choose RELOAD
PROGRAM from the context menu to undo all of
those changes.
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LEARNING FALCON 103: SAVING A MULTI
SAVING A MULTI
Now that we have one instrument loaded and
edited to our liking, let’s load some additional
sounds. In the PARTS LIST, use the + BUTTON
to add a few more parts.
Let’s load a few more sounds from the UVI Tutorial
Set soundbank, such as the UVI PRESETS >
STRING ANALOG instrument and LOOPSREX >
096DRUM LOOP, and start building a multi-timbral
multi.
To stack parts 1 and 2, change the MIDI INPUT
CHANNEL on parts 1 and 2 to A1. Play a few
notes from your MIDI controller —you should now
hear both parts trigger at the same time.
Now let’s adjust the parts relative to each other:
reduce the VOLUME on part 2 to -12 dB, and
transpose part 2 by setting OCTAVE (Oct) to -1.
For the drum loop, press PLAY on Falcon’s toolbar,
and you will hear the drum loop auto-play, synced to
Falcon’s tempo. Edit Falcon’s tempo, and the drum
loop automatically stays in sync.
Now with our multi taking shape, let’s save it. From
the MAIN MENU in the toolbar, choose SAVE
MULTI AS.
All of the details about this instance of Falcon are
saved in the multi, and can be recalled with this
single file.
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LEARNING FALCON 104: MAKE A SIMPLE SYNTH
MAKE A SIMPLE SYNTH
Now that we’ve looked at editing existing sounds,
let’s start creating some new ones from scratch.
In an empty part, go to the Main > Edit view. In the
MAPPING EDITOR, right-click and choose CREATE
KEYGROUP > SYNTH TEMPLATE.
A new keygroup has been created, mapped to the
full key and velocity range.
Play a few notes, and you’ll hear a simple sine
wave oscillator. Let’s change that to a sawtooth
wave, by clicking the WAVEFORM and choosing
SAWTOOTH from the menu.
We can continue building our sound by editing the
other synth engine parameters, such as enabling
Stereo mode and adding additional voices.
To stack multiple synth sounds, we can add a
second synth keygroup. Let’s choose CREATE
KEYGROUP > SYNTH TEMPLATE a second time,
and another keygroup will be stacked on top of
the first. For this keygroup, let’s choose one of the
oscillator’s factory presets, such as “ACCORDION.”
Perhaps instead of stacking these sounds, this
could be a split program instead, with one sound
for the left hand and another for the right hand. To
do that, we’ll need to adjust the key ranges of the
keygroups so they don’t overlap. Right-click in the
Mapping Editor and choose SELECT ALL, then
choose RESOLVE OVERLAPPING KEY RANGE.
The keygroups can now be easily edited separately.
For example, the key and velocity ranges could
be further adjusted by dragging the edge of the
keygroup.
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LEARNING FALCON 105: MAKE AN ARPEGGIATED SYNTH
MAKE AN ARPEGGIATED SYNTH
Falcon has numerous synthesis options in addition
to the classic virtual analog oscillator we’ve already
seen. Let’s explore the FM (frequency modulation)
synth oscillator, using one of the factory presets as
a starting point.
Open the right-hand sidebar and choose the
OSCILLATORS TAB. Expand the Synthesis folder,
and drag the FM oscillator to the MAPPING
EDITOR.
While playing a few notes, press the next or
previous buttons in the oscillator module to browse
the presets. Let’s choose the EP HOLLOW preset
and build from there.
The FM oscillator has four operators (A, B, C, and
D), and each operator’s frequency is a ratio to the
base note. For example, a ratio of 2.0 means the
frequency is doubled, or one octave up from the
base note. Whole integers and simple ratios (3/2,
4/3, etc.) create some of the more obvious harmonic
relationships, but the ratios are fully adjustable
and small changes can create interesting and
unexpected results. Let’s set OPERATOR C TO 2.17
and OPERATOR D TO 1.17 and hear the dierence.
The operators can also be arranged in a variety
of topologies. Using the same ratios, dierent
topologies can change the sound drastically.
To change the topology, press on the topology
diagram in the lower right and choose a topology
from the menu. For example, change the
TOPOLOGY from #8 to #7.
Now that we’ve customized the sound source, let’s
make it more dynamic by adding an arpeggiator.
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LEARNING FALCON 105: MAKE AN ARPEGGIATED SYNTH (PART 2)
Switch to the EVENTS tab, press the + button, and
choose Arpeggiator.
To load one of the factory presets, press on the
PRESET MENU and choose one from the menu.
Let’s choose one of the sequenced pitch presets,
such as ARPEGGIATOR > LINE > HIGH MUSE.
Press and hold a few keys to hear the arpeggiated
sequence. There are actually three layers to the
arpeggiator: note velocity, pitch, and MIDI CC. To
view the dierent layers, RIGHTCLICK THE STEP
GRID and choose the layer from the menu.
Let’s use the MIDI CC layer to generate a control
source for modulating the FM operators. Switch to
the MIDI CC layer, then press and drag across the
step grid to enter step values.
Then choose a MIDI CC for the arpeggiator to
output; a general purpose MIDI CC such as 16 is a
good choice.
Switch back to the EDIT view, right-click the
FEEDBACK knob, and choose MIDI LEARN. In the
pop-up, choose MIDI CC 16 from the menu.
Press and hold a note, and you’ll see the value
automating in sync with the arpeggiator sequence.
Let’s also slow the tempo down just a bit. Since the
arpeggiator is tempo-synced, it will automatically
adjust when Falcon’s tempo changes.
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LEARNING FALCON 106: MAKE AN EVOLVING PAD
MAKE AN EVOLVING PAD
Now let’s build a pad sound, one that evolves over
time by using modulation to create movement.
In an empty part, create a new synth keygroup.
This time, let’s use the Analog Stack synth; press on
the oscillator name and choose Analog Stack from
the menu to change the synth type.
The Analog Stack starts with the same basic options
as the Analog oscillator type, but oers a unified
bank of eight oscillators for quickly created stacked
sounds.
Press the POWER button on oscillators 2 and 3
to enable them. Each oscillator has independent
controls for its waveform shape, gain, pain, pitch
oset, and so on.
Let’s change the pitch of oscillator 2’s pitch oset to
be +7 SEMITONES from oscillator 1, and oscillator 3
to be +1 OCTAVE.
We can also modulate each oscillator
independently. To add a new modulation source for
the oscillator 2 pulse width modulation, right-click its
PWM knob and choose ADD MODULATION.
We want to modulate this per-voice, so we’ll
create a keygroup modulation source by choosing
INTERNAL > KEYGROUP > NEW LFO.
The new modulation source now appears in the
MODULATION EDITOR. If you don’t see the
Modulation Editor, make sure that its toggle button
is enabled at the top of the Edit view, and that it’s
expanded with the arrow next to its name.
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LEARNING FALCON 106: MAKE AN EVOLVING PAD (PART 2)
Play a note and you’ll hear the LFO modulating
PWM; this LFO is modulating it too drastically,
though, so let’s edit it.
Change the DEPTH TO 0.25, play a note again,
and you’ll hear that its intensity has been reduced.
We can also slow down the LFO speed, to 0.15 HZ.
Let’s do the same with oscillator 3 PWM, but with a
dierent LFO.
Create another LFO, and set its frequency to be
dierent than the first LFO. This will create a sound
that shifts and evolves over time. In this way, we
can continue to build up the sound by adding
modulation to each oscillator’s parameters, such as
pan, phase, or pitch.
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LEARNING FALCON 107: MAKE AN INTERACTIVE WOBBLE BASS
MAKE AN INTERACTIVE WOBBLE BASS SOUND
Falcon’s modulation engine provides endless
opportunities for customizing and modifying sounds.
Let’s create a wobble bass that we can tweak in
realtime from our MIDI controller.
As with the previous examples start with a clean
patch, create a new Synth Template keygroup and
change the Analog oscillator to WAVETABLE.
We also want this sound to be monophonic, so in
the Layers section, change the Play Mode from Poly
to MONO RETRIGGER.
To change the wavetable, press on the menu above
the waveform and choose from the menu. Let’s
choose MULTI > BASS > INSECT.
Play and hold a note to audition the wavetable.
While holding the note, adjust the WAVE INDEX to
change the active waveform within the wavetable.
This is a good control to adjust in realtime while
playing, so let’s assign the Mod Wheel as a
modulator.
Right-click the Wave Index knob and choose ADD
MODULATION > MODULATION WHEEL.
The new modulation assignment now appears in the
Modulation Editor. (If you don’t see the Modulation
Editor, make sure that its toggle button is enabled at
the top of the Edit view, and that it’s expanded with
the arrow next to its name.)
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LEARNING FALCON 107: MAKE AN INTERACTIVE WOBBLE BASS (PART 2)
Each modulation assignment has a ratio slider that
defines how the modulation source maps to its
assigned parameter. By default the full range of the
mod wheel will map to the full range of the Wave
Index knob, but in this case we’d like the mod wheel
to sweep over only half of the Wave Index range.
So, to halve the range, adjust the MIDI CC 1 RATIO
SLIDER TO 0.5.
Now let’s add a low pass filter. To add a filter, go to
the KEYGROUP > EFFECTS LANE and press the +
button, and choose FILTER > LOWPASS 12.
To create the wobbling eect, we can modulate
the cuto frequency with an LFO. Set the CUTOFF
FREQUENCY near the upper end of the its range,
then right-click, choose ADD MODULATION, and
add a new LFO.
On the new LFO, uncheck its BIPOLAR option, then
set its modulation ratio to0.5. A unipolar LFO will
modulate in only one direction, and a negative ratio
means that direction will be downward.
Play a note, and you’ll hear the cuto frequency
sweeping downward with the LFO. The LFO is
applied as a constant modulation, however. To apply
the LFO modulation selectively with the modulation
wheel, add the mod wheel as a sub-modulation
source. Right-click on the SUB menu and choose
MODULATION WHEEL.
Play a note now, and you won’t hear the LFO
applied any more. As you raise the mod wheel, the
LFO modulation will be increasingly applied, along
with the Wave Index modulation we assigned to the
mod wheel earlier.
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LEARNING FALCON 108: MAKE A DRUM KIT FROM SAMPLES
MAKE A DRUM KIT FROM SAMPLES
Creating new programs from samples is just as easy
as creating a synth-based program. Most of Falcon’s
controls are used in the same way whether you’re
using synth oscillators or sample files. Let’s create a
drum kit from sample files.
Open the right-hand sidebar and use the
BROWSER tab to locate a folder containing some
drum samples on your system.
Select the drum samples you want to use and drag
them onto the MAPPING EDITOR.
Now let’s set the imported samples to be “one shot”
samples, so that the entire sample will be played
back when the note is triggered.
Choose SELECT ALL from the MAPPING EDITOR
MENU, then press the BATCH button and choose
SET PLAYBACK TYPE > SET AS ONE SHOT.
We might also want to adjust the settings of
individual samples. For example, if a sample needs
to be panned or have its pitch adjusted, select the
keygroup and then edit the value in the Mapping
Editor’s toolbar.
Lastly, let’s set an exclusive group for the hi-hat
sounds. This will mimic the natural behavior of hi-
hat sounds cutting each other o, such as a hi-hat
closing and cutting o a ringing open hi-hat.
Select the hi-hat keygroups, then set EX. GROUP
to 1 in the Keygroup section.
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LEARNING FALCON 109: MAKE A DRUM KIT FROM A LOOP
MAKE A DRUM KIT FROM A LOOP
Drum loops often provide great source material
for building a drum kit, especially if the loop has
distinct hits where the dierent kit elements aren’t
overlapped. By slicing and mapping the hits in the
loop, we can easily take a single loop and turn it into
a full kit.
Let’s start by loading a drum loop into an empty
part. Navigate to the UVI TUTORIAL SET
soundbank and double-click LOOPSREX > 100
HIP HOP BEAT.RX2.
You’ll see that the sample is loaded within the
SLICE oscillator, with slices marked at each
transient. Press Play in Falcon, and the slices are
played back in sync with Falcon’s tempo.
You can convert these slices to separate
keygroups, in order that each slice can be triggered
independently. Press the MAP button, and a new
layer will be created with the slices mapped to
individual keys.
The original keygroup containing the loop will still
be present in a muted layer. To hide it, open the
TREE view and select only the “MAPPED” layer.
Play a few notes on your keyboard to trigger
the new sliced keygroups. You can now easily
rearrange the slices to the mapping of your choice,
such as a standard drum mapping.
Each slice from the mapped loop is actually referring
back to the original sample, with custom start and
end markers to define the slice within the larger
sample.
To adjust the slice boundaries, select a KEYGROUP
to toggle the Sample oscillator view and then grab
the “S” (start) or “E” (end) markers and drag them as
desired.
DOUBLECLICK THE SAMPLE WAVEFORM
between the start and end markers to select it, from
here you can RIGHTCLICK to reveal a number of
common wave editor commands such as reverse,
normalize, fade in/out and silence. Changes made
here still reference the original file so they will eect
all slices.
Slices can be tweaked and tuned in limitless ways.
Try changing the sample oscillator type to Stretch
and adjusting the Tempo Factor, or adding eects to
a specific keygroup to eect only one slice, or at the
layer level to eect them all.
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LEARNING FALCON 110: MAKE A DRUM KIT WITH SYNTHESIS
MAKE A DRUM KIT WITH SYNTHESIS
Instead of starting with a looped sample or a
collection of sampled drum hits, we can also create
entirely new drum sounds from scratch with Falcon’s
Drum synth oscillator.
Open the right-hand sidebar and choose the
Oscillators tab. Expand the SYNTHESIS > DRUM
folders, and you’ll see all of the drum synth oscillator
presets.
Before we get started zoom in a bit in the MAPPING
EDITOR to see the key range we’re going to focus
on in greater detail. Click the + button on the bottom
right of the editor to zoom in.
Let’s start by adding the BD preset ‘BD SAVING’
to cover the range B0 to C1. As you drag-and-drop,
the vertical position within the Mapping Editor
determines the key range of the keygroup, with
wider ranges set near the top and narrower ranges
near the bottom.
The Drum oscillator consists of two sound
generators, a pitched oscillator and a noise
generator. The two can be independently edited,
then the mix between the two is set the with the
Mixer. The Master section adjusts the combined
signal, with EQ, distortion, and other settings.
To give the kick a little more edge, let’s change the
Oscillator waveform from sine to TRIANGLE, and
move the OSC/NOISE SLIDER to add a little noise.
Now let’s import the ‘SD MANIAC’ preset from
the SD folder to D1, and play a few notes to see
how the kick and snare sound. Let’s bump up the
DISTORTION, and lower the Q on the noise filter.
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LEARNING FALCON 110: MAKE A DRUM KIT WITH SYNTHESIS (PART 2)
For toms, let’s drag over a preset from the Electric
Tom folder, ‘LARGE TOM’, to F1.
We can then tune the tom with the oscillator
FREQUENCY SLIDER.
To use this customized tom as the starting point for
additional toms, right-click the keygroup and choose
“DUPLICATE SELECTED KEYGROUP.”
The duplicated keygroup will initially appear stacked
on top of the existing one; grab the new keygroup
and drag it over to G1, then adjust its frequency to
change the tom’s pitch.
To change the length of time the toms ring out let’s
tweak their amplitude envelope. If it’s not already
displayed, toggle visibility of the Modulation Editor
with its button in the upper right of the Edit view.
Then click and drag a selection over each of the
tom keygroups, then click on the “AM P. E NV ” tab
in the MODULATION EDITOR. When you adjust
the envelope’s RELEASE knob, you’ll be editing the
release time for all of the selected keygroups.
We can also use the Drum oscillator for synth lead
or bass sounds. For example, drag in a preset
from the Synth folder, such as ‘CLEAN SYNTH’, to
cover the range C2 TO C3. Moving this keygroup
to a separate layer will give us more flexibility with
eects routing and other program settings, so let’s
move the keygroup.
Right-click the synth keygroup in the Mapping Editor
and choose MOVE KEYGROUP TO > NEW LAYER.
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Falcon has an extensive selection
of audio eects and modulation
sources that can be configured
in both simple and extremely
complex ways to achieve powerful
eects. The majority of these
modules all function based on
a similar set of principles and
interactions.
If you’ve followed the examples in
the previous chapter you should
already be familiar with the basic
concepts and use of eects and
modulators in Falcon. Here we’ll
build on that experience and
explore some ways to further
enhance your ability to both
design sound and get hands-on
with your patches.
For a detailed overview of each
eect module and modulation
source please consult:
Appendix: Modules > Eects, and
Appendix: Modules > Modulations.
201 USING DUAL DELAY
202 USING SPARKVERB
203 USING EFFECTS RACKS
204 USING MACROS
205 USING HOST AUTOMATION
206 USING STEP ENVELOPES
207 USING MULTI ENVELOPES
208 USING OSC
LEARNING FALCON 200:
EFFECTS + MODULATION
TOPICS:
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LEARNING FALCON 201: USING DUAL DELAY
USING DUAL DELAY
Dual Delay is a delay eects module that is capable
of a wide range of time-based eects, from classic
delays to reverb-like decays to more unusual
eects, with an immersive interface to visualize the
stereo and phase adjustments being made.
Let’s start with a LEAD preset from the FALCON
FACTORY soundbank, find and double-click
‘RETRO LEAD’ to load it.
Switch to the EFFECTS tab, right-click the Analog
Tape Delay eect header and choose the DUAL
DELAY > BASIC STEREO preset.
First lets increase DELAY > TIME to “1/4“ for a more
pronounced delay eect. The delay time can be
specified in milliseconds, or in bars/beats if tempo-
sync is enabled (as it is here).
The Stereo and Phase graphs are the centerpiece
of the Dual Delay interface. As you adjust the
parameters below, the graphs are updated in
realtime. Let’s turn the DELAY > FEEDBACK knob
up to 70%, you will see both the number of delay
taps and their magnitude increase.
Time and Feedback can be the same for the left
and right channels, or one channel can be shifted
relative to the other. Turn the TIME L/R knob
counter-clockwise to “L X 0.50” and you will see
the left channel delay taps are half the duration of
the right channel delay taps.
Let’s add some gentle pitch modulation to our
sound to give it a chorusing eect. Change
MODULATION > DEPTH to “1.00 CENTS“ and
MODULATION > RATE to “0.1 HZ“.
Now let’s adjust the filter to clean up the low
frequency content, set FILTERS > LOW CUT to
“1.6 KHZ”.
Once you have the eect where you like it you
can save it’s state as a preset. In the upper right of
the eect module, press the Preset File menu and
choose SAVE PRESET, and enter a name for the
preset, here we’ll title it “MY PRESET”.
You’ll now see your custom presets in the Browser,
within a User Presets folder alongside the factory
presets for the module.
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LEARNING FALCON 202: USING SPARKVERB
1
USING SPARKVERB
SparkVerb is a unique and versatile reverb with
an extraordinarily light CPU footprint. A single Size
parameter emulates room reflections from 4m to
50m while Decay can be shaped globally and with
independent low and high frequency multipliers,
each with adjustable crossovers.
Let’s create a quick set of loops using the UVI
TUTORIAL SET soundbank. Navigate to it and
create new parts for 096DRUMLOOP, 100FUNK
BASS and 100SHAKER by dragging them over to
the parts list. If the loops aren’t playing automatically
hit Play in Falcon’s header or in your DAWs transport
if you’re using Falcon as a plugin.
Now that we have some loops let’s put SparkVerb
on an Aux channel. This will allow us to use 1
instance of SparkVerb for as many parts as we
Let’s send some signal from our 3 loops over to
SparkVerb. Set the Aux1 sends for them as “16DB”,
“60DB” and “30DB”, respectively. We can now
hear all three tracks eected by the reverb.
Now, finally, lets toggle SparkVerb’s POWER
button on/o to A/B the results. From here, we can
continue exploring SparkVerb’s settings and if we
find one that works well that we want to save, we
can make a preset to recall later.
You can also create interesting textures from
SparVerb’s decay with its Freeze function. For
example, while a drum loop is playing, press the
Freeze button just after a snare hit — the decay will
hold indefinitely, even if the drum loop stops. That
decay will be held until Freeze is disabled.
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like. Click the MIXER button in Falcon’s header to
change the current view. Now we can see our 3
instrument parts on the left and 4 aux channels and
the master on the right.
Click the + button at the top of the AUX1 channel
and select REVERB > SPARKVERB > 05  ROOM
> AMBIENCE ROOM, you should now see the
SparkVerb interface at the top.
At the center of the SparkVerb interface is the
spectral display. frequency is mapped across the X
axis (low to high) and decay time along the Y axis.
Since we’ve instanced SparkVerb on an eect bus
let’s turn the MIX amount up to “100%”, as we’ll
control the wet amount with individual track sends.
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LEARNING FALCON 203: USING EFFECT RACKS
USING EFFECT RACKS
The Eect Rack is a special kind of eect module
that creates a new eects path inline where the
Eect Rack module is added, similar to patching in
an external rack of eects from a mixing console.
Macros can then be added for “front-panel” control
of the eects in the Eect Rack’s FX chain.
To see it in action load a program, then switch the
EFFECTS Tab and add an EFFECT RACK.
When the Eect Rack is added, it doesn’t add any
audio processing on its own; instead, it creates
a new FX chain. Navigate to the TREE tab and
toggle open the our new Eect Rack. Inside we see
‘Chain1’, can right-click this chain to add as many
eects as we like.
If you want to change the layout of the Macro panel
hit ctrl-e (cmnd-e on OS X) to enter EDIT MODE.
Select both macro knobs and right-click over the
background for helpful layout options. You can also
add a custom background by dragging an image
onto the panel. Hit ctrl-e (cmnd-e) again to exit Edit
mode when your changes are complete.
To set the overall level of the FX chain, adjust the
FX Chain’s VOLUME SLIDER in the Tree view.
We can even add whole additional FX chains to a
single Eect Rack for parallel processing. To do this
right-click the Eect Rack in Tree view and select
‘ADD FX CHAIN’.
If you save an Eect Rack preset, the settings for all
of its loaded eects will also be saved along with all
macro assignments and customizations.
Let’s add a delay and a filter to chain 1,
ANALOG TAPE DELAY and LOWPASS 24.
Enable the Modulation Editor by clicking the
VISIBILITY TOGGLE in the EDIT TOOLBAR.
Now right-click the DELAY knob in the Analog Tape
Delay eect and select ‘ASSIGN EFFECT RACK
MACRO > ADD NEW MACRO’. In the Editor below
you will see the Macro modulator we just created
along with all of its editable parameters. Locate
a field titled ‘DISPLAYNAME’, double-click and
rename it to ‘Delay’. Do the same for the filter cuto,
renaming it ‘CUTOFF’.
Now let’s head back to the Eect Rack “front panel”
by selecting the Eect Rack in the Tree view. Now
we see our two macros and the names we set for
them.
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LEARNING FALCON 204: USING MACROS
USING MACROS
Macros are intermediary modulation sources which
modulate other controls, useful for placing a small
number of important controls on the “front panel”
of a patch. Any parameter that can be modulated
can be assigned to a macro, and single macros can
drive any number of parameters.
Let’s start with a program that already has some
macros assigned, such as the ELECTRIC PIANO
program from the UVI TUTORIAL SET soundbank.
Load the program, then switch to the INFO tab in
the Main view.
There are two types of macros: continuously-
adjustable knobs and on/o toggle buttons. You can
adjust these controls just like any other knobs or
buttons, and even modulate the macros with other
mod sources. For example, you might want to make
MIDI or Host Automation assignments so you can
control the macros from your MIDI keyboard or host
application.
To see which parameters the macros are assigned
to, switch the left sidebar to the TREE view. Press
the ARROW next to the macro name to expand it
and display its assignments.
Let’s create a new macro. To create an adjustable
vibrato, we can modulate keygroup pitch with an
LFO and assign a macro to control the depth of the
LFO.
Switch to the EDIT view, right-click the Keygroup
PITCH knob, and choose ADD MODULATION >
KEYGROUP > NEW LFO.
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LEARNING FALCON 204: USING MACROS (PART 2)
On the new LFO, set the FREQUENCY to 5.8 HZ
and turn the DEPTH knob down to ZERO, then
right-click it and choose ASSIGN TO MACRO >
ADD NEW MACRO.
Switch back to the INFO tab, and you’ll see the new
macro knob. Adjust the KNOB, and you can hear
the depth of the LFO modulation increasing.
To help remember what the macro is modulating, we
can give the knob a more meaningful label. Press
the EDIT button in the top left, then double-click the
label and enter a new name, such as “VIBRATO.”
You can assign macros one-to-one, for remote
control of a single parameter as above, or you can
assign one macro to multiple parameters for simple
control over complex transformations. For example,
you could assign one macro to both filter cuto and
resonance, but with dierent ratios: 1.0 for cuto,
and -0.5 for resonance. As you turn up the macro
knob, it would raise the cuto frequency but lower
the resonance, with the resonance value adjusted
by half of the amount that the cuto value was
adjusted.
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LEARNING FALCON 205: USING HOST AUTOMATION
USING HOST AUTOMATION
In addition to Falcon’s extensive internal modulation
sources, when using Falcon as a plug-in you
can take advantage of your host application’s
automation capabilities. Each Falcon instance has
128 automation connections that can be assigned to
individual controls.
To make a host automation assignment, right-click a
parameter, choose Assign to Host Automation, and
choose one of the available items.
For example, right-click Part 1’s VOLUME slider and
choose ASSIGN TO HOST AUTOMATION > HOST
AUTOMATION 1.
The name of the assigned parameter will be
displayed in the TREE view.
If your host application supports it, the name of the
assigned parameter may be displayed in the host
application. Otherwise, the numbered parameter
name (such as “Host Automation 1”) will be
displayed.
Each host automation connection can be assigned
to one parameter at a time. If you assign a host
automation connection that’s already assigned to
a dierent control, the original assignment will be
removed when the new assignment is created. If
you want to create a one-to-many connection try
first setting up a macro and then assigning the
macro control to host automation.
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LEARNING FALCON 206: USING STEP ENVELOPES
USING STEP ENVELOPES
The Step Envelope is a programmable envelope
for creating time-based eects, and makes a great
programmable pattern sequencer.
A good way to understand the Step Envelope
is to use it to modulate keygroup gain. Load the
ANALOG STRINGS from the UVI TUTORIAL SETS
soundbank.
Right-click the KEYGROUP GAIN knob and choose
ADD MODULATION > KEYGROUP > STEP
ENVELOPE. Play a few notes, and you’ll hear the
signal gated on the empty steps, and full volume on
the steps with full bars.
Each step doesn’t have to be fully on or fully o,
however — you can continuously adjust the value of
each step between the two.
Adjust the value of a few steps to be HALF or
QUARTER, and you’ll hear an eect similar to
delay feedback taps. You can also apply smoothing
between steps to avoid transitions that are too
abrupt, pop/click, and so on.
You can also configure the number of steps, as well
as the length (in Hertz, or in bars/beats when the
module is tempo-synced). When the Step Envelope
is tempo-synced, the number of steps is often set
to a multiple of the number of beats in the current
time signature. However, non-multiples can result
in interesting, shifting patterns that don’t obviously
loop.
To enable TEMOSYNC for the Step Envelope click
the sync icon in the MODULATION HEADER.
Tempo-syncing can be especially helpful if the
envelope is modulating pitch, as can be the Bipolar
option. Enabling Bipolar mode puts zero in the
center and values can step above to +1 or below
to -1. To set the pitch range for the envelope, adjust
the modulation ratio. For example, with a ratio of +12
and the Bipolar option enabled, the envelope with
modulate ±1 octave (12 semitones).
You can also create LFO-like patterns that glide
smoothly from step to step. With Interpolation Mode
set to SPLINE, a continuous line is interpolated from
the individual bars, creating a continuously variable
modulation source that’s suited for pitch sweeps,
wobbles, and so on.
Be sure to explore the Step Envelope preset folders,
as they contain over 1,000 ready-to-use patterns.
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LEARNING FALCON 207: USING MULTI ENVELOPES
USING MULTI ENVELOPES
The Multi Envelope is an envelope with a user-
defined shape, consisting of any number of points.
This allows for truly customized envelopes beyond
classic DAHDSR envelopes, such as sweeps that
evolve over a long period of time or looped LFO-
like shapes.
A good way to understand the Step Envelope
is to use it to modulate keygroup gain. Load the
ELECTRIC PIANO from the UVI TUTORIAL SETS
soundbank.
Go to the MAIN > EDIT view, right-click the
KEYGROUP GAIN knob and select EDIT
MODULATIONS.
A pop-up editor will appear showing all of the
modulation sources linked to the control. Right-click
the AM P. E NV. name and replace it with a MULTI
ENVELOPE.
Now let’s load a Multi Envelope preset, use the
PRESET MENU to select ENVELOPES ONE SHOT
> ENVELOPE SWELL, and play a few notes.
To change the envelope shape, grab an existing
point and drag it, double-click to insert a new point,
or Shift–right-click to remove a point. You can also
drag the lines between the points to adjust the
curvature of the line.
If you’d like a bigger canvas to work on, press the
“EYE” button next to the Preset File menu.
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LEARNING FALCON 208: USING OSC
USING OSC (OPEN SOUND CONTROL)
Open Sound Control is a protocol used to
communicate between dierent computers and
other audio devices. OSC is commonly used as a
way for remote software control, such as from a
central sequencer that’s driving Falcon installations
on multiple networked computers, or for
touchscreen control from a wireless mobile device.
To start using OSC in Falcon the OSC server needs
to be enabled. Go to Falcon’s PREFERENCES
window, select the OSC tab, and enable OPEN
SOUND CONTROL SERVER. This will make Falcon
discoverable on the network by other OSC-enabled
applications. Falcon will automatically negotiate a
unique name and port number.
Once enabled, Falcon can be controlled remotely
by any application or device that supports OSC.
Each one of Falcon’s parameters that can be
controlled externally has an OSC Path that uniquely
identifies it, such as “/uvi/Part 3/Program/Layer
1/Gain”. When a parameter is right-clicked, the
contextual menu displays the parameter’s OSC path.
There is also a convenient shortcut provided for
copying the parameter’s OSC path to the clipboard.
You can then use that OSC path in any OSC-
equipped application to control that parameter.
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We’ve looked at ways to create
and eect sounds and we’ve
looked at ways to modulate them,
now lets take a look at Event
processors.
Event modules can generally
be thought of as MIDI eects,
processing incoming MIDI signals
or generating them, though with
the Scipt Processor it’s possible
to extend that paradigm to
include extremely sophisticated
creative devices and interface
customization.
The most commonly used Event
processors are the Arpeggiator,
MicroTuner and MIDI filters like the
Chorder, Harmonizer and Strum.
These are easily mastered devices
providing great performance utility.
In the following chapter we’ll take
a look at a few of these devices
and some of the ways that we can
eectively implement them in our
own projects.
301 USING THE ARPEGGIATOR
302 USING THE MICROTUNER
303 USING THE SCRIPT PROCESSOR
LEARNING FALCON 300:
EVENTS
TOPICS:
100
LEARNING FALCON 301: USING THE ARPEGGIATOR
USING THE ARPEGGIATOR
The Arpeggiator is a classic synthesizer eect
which modifies the incoming notes and plays them
in a programmable pattern to create a dynamic
sequence.
Let’s start by loading the ELECTRIC PIANO
program from the UVI TUTORIAL SET soundbank.
In EDIT mode change the play mode to POLY
PORTAMENTO.
Switch over to the EVENTS tab, hit the + button
and select the ARPEGGIATOR > ARP BASIC > 2
OCTAVE UP preset.
Since the Arpeggiator is always tempo-synced,
the number of steps is often set to a multiple of
the number of beats in the current time signature.
However, especially when layered, non-multiples
can result in interesting patterns without obviously
loop points.
Let’s slow the SPEED down to 1/8 and add a few
more steps to this pattern. Change NUMSTEPS to 9
and enable step 9 by clicking the STEP STATE box
underneath it, so that steps 1, 2, 3, 4, 6, 8, and 9 are
On and steps 5 and 7 are O.
Now let’s customize the value of these steps, adjust
the VELOCITY amount by click-dragging in the
graph, and modify the GATE by shift-click-dragging.
To give the pattern a more defined groove let’s
change NUM STRIKE to 2 and shift-click the STEP
STATE button on step 7 to merge it with the step
before it.
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LEARNING FALCON 301: USING THE ARPEGGIATOR (PART 2)
The number of notes played is a combination of
the Octave, Repeat Top, Repeat Bottom, and Num
Strike parameters. The Octave parameter takes
each triggered note and adds octaves of the same
note above or below it. Repeat Top and Repeat
Bottom will repeat the lowest or highest played note
an additional time. Num Strike sets the number of
consecutive strikes for every note.
The play mode determines how the arpeggiator
cycles through the played notes (and any repeated
notes and octaves). For example, if the play mode
is “Up & Down”, the lowest note will be played first
and cycle up to the highest, then cycle down to
the lowest. So if C2, F2, and G2 are held, they will
be played as C2, F2, G2, F2, C2, F2, and so on.
The “Chord” play mode is notable because all held
notes are played at once, rather than cycled; the on/
o state, velocity, and pitch values are still applied.
The Arpeggiator has three layers: Velocity and Pitch
for notes, and MIDI CC for generating a MIDI CC as
an additional control signal. Right-click the step grid
to change which layer is displayed. The step state
(on, o, or merged) is shared between the three
layers, but the velocity, pitch, and MIDI CC value for
the step is independent.
The Pitch layer has a range of ±48 semitones (4
octaves), with zero in the center. The pitch value
of each step is also displayed above the step grid,
as is always visible regardless of the layer you’re
currently viewing.
The MIDI CC layer is useful for generating an
additional modulation source, especially one that
is also cyclical. For example, you could modulate
the cuto frequency of a filter in sync with the note
pattern of the arpeggiator; in this way, the MIDI CC
layer can be thought of as a kind of user-defined
LFO. To choose which MIDI CC is generated by the
Arpeggiator, set the MIDI CC menu.
7
7
102
LEARNING FALCON 302: USING THE MICROTUNER
USING THE MICRO TUNER
The Micro Tuner allows the exploration of many
unique and interesting temperaments, both modern
and classical. It also allows ethnic instruments to be
played in their natural tuning.
For this example we’re going to create an instance
of Falcon in 12-tone Pythagorean temperament with
C4 at 256Hz. Pythagorean tuning is based on a
stack of intervals called perfect fifths, each tuned in
the ratio 3:2, and creates exceptional harmonics.
Navigate to the TREE tab, right-click the MASTER
node and select ADD EVENT PROCESSOR >
MICROTUNER. Placing the MicroTuner at the
Master level means that all parts in Falcon will be
eected, this is a great way to ensure that any and
all instruments loaded or created from here on out
will be in tune.
Double-click the new MicroTuner to reveal it in the
EVENTS editor to the right. In it’s default state the
MicroTuner doesn’t do anything. From here we
could load an existing preset, but for this example
we’re going to use a custom Scala file.
Let’s create a new Scala file to describe 12-tone
Pythagorean temperament. Create a new text
document and paste in the following:
! pyth_12.scl
!
12-tone Pythagorean scale
12
!
2187/2048
9/8
32/27
81/64
4/3
729/512
3/2
6561/4096
27/16
16/9
243/128
2/1
Save this document as “pyth_12.scl” (UTF-8
encoding) and drag the resulting file onto your
MicroTuner. You can save this as a MicroTuner
preset and it will be available for future projects.
Now change the GLOBAL TUNE in Falcon’s header
to 430.5 HZ. With A4 tuned to 430.5 Hz, C4 will
be at 256 Hz. This would be a good time to save
out the Multi if you wanted to create a template or
even ‘Save as Default Multi’ if you consistently use a
particular tuning.
Now lets load a patch to hear the results, something
with a long release, try PADS > BEAUTY IS SIMPLE
2 from the FALCON FACTORY soundbank.
There are many MicroTuner presets that come
with Falcon, and that can be expanded easily with
custom Scala files.
1
2
3
3
4
5
5
1
4
2
103
LEARNING FALCON 303: USING THE SCRIPT PROCESSOR
USING THE SCRIPT PROCESSOR
The Script Processor module provides custom
event processing capabilities, using the Lua-based
scripting language UVIScript.
The Script Processor module has two primary sets
of controls: the standard controls for interacting
with the script itself, and the controls defined by the
loaded script (knobs, buttons, menus, and so on).
Let’s load the Spanish Guitar program from the UVI
Tutorial Set soundbank. Then go to the MAIN >
EVENTS tab, add the Script Processor module, then
load the PERFORMANCE > STRUM preset.
This script has one parameter, Lag, with a value
range of 1 to 200 ms. Adjust LAG and play a chord,
and you’ll hear the notes played in succession as if
strummed rather than triggered all at once.
Falcon includes numerous factory preset scripts
for a variety of purposes, such as automatic
harmonization, unison voice generation, MIDI CC
filtering, and more. You can also write your own
scripts to further customize Falcon.
Let’s start with a simple script that prints some
information about each note to the Script
Proccessor console. Enter the following code into a
text editor and save the file as “printer.lua”:
In the Script Processor module, press the LOAD
SCRIPT button on the left and choose the “printer.
lua” file.
Then enable the “SHOW CONSOLE OUTPUT”
option, which is generally used for displaying debug
messages, and play a few notes—you will see that
as each note is triggered and released, a line of
information about the note is printed to the console
so long as the script’s PRINT button is enabled.
If you disable the Print button, the messages no
longer print to the console.
printer = OnOffButton(“Print”, true)
function onNote(e)
if printer.value == true then
print(“On : “, e)
end
postEve nt(e)
end
function onRelease(e)
if printer.value == true then
print(“Off: “, e)
end
postEve nt(e)
end
1
1
2
2
3
3
4
5
4
5
Falcon includes 7 sampling
oscillators each equipped with a
unique feature set suited for a variety
of tasks from basic playback, loop
slicing, to advanced time stretching
and granular processes.
APPENDIX A:
SAMPLING OSCILLATORS
105
SAMPLE
APPENDIX A: SAMPLING OSCILLATORS » SAMPLE
The Sample oscillator uses the
traditional method of audio sample
playback. When a sample is
triggered at a pitch higher than its
base note, the sample is played
back more quickly; when below its
base note, the sample is played
back more slowly.
SAMPLE START sets the starting point for playback
when the sample is triggered, as a percentage of the
time between the Sample Start and Sample End markers
in the sample file (see: [Interface > Main > Sample Editor]).
The INTERPOLATION MODE sets the quality of the
transposition. Choosing Lo-fi will reduce the amount
of processing needed to transpose the file compared
to Standard mode, and likewise choosing Best will
increase the processing overhead. (For other styles of
transposition, try the other sampling oscillators as well.)
When ALLOW STREAMING is enabled, the sample will
be streamed from disk if the program has Streaming
enabled. When disabled, the sample will always be
played from memory and not streamed from disk, even if
Streaming is enabled for the program.
106
SLICE
APPENDIX A: SAMPLING OSCILLATORS » SLICE
The Slice oscillator is ideal for
percussive or strongly rhythmic
samples which can be sliced into
discrete sections. Slices of the
sample can be played back in the
original order, or rearranged to
create new sounds.
TEMPO
To set the loop’s tempo, choose its TIME SIGNATURE
and enter the loop’s duration in BARS and BEATS. The
BPM field will update as you change the other tempo
parameters.
If you’d like to playback the loop at a multiple of its
original tempo, use the TEMPO FACTOR parameter for
coarse speed adjustments (up to 4x faster or slower).
DETECTION
The MARKERS setting determines whether to use slices
already saved in the file (imported) or the slices you’ve
defined (user markers). Loops in UVI soundbanks will
have imported slices, as will common loop formats such
as REX and Apple Loop files.
If you choose to create your own slices, use the
SENSITIVITY slider to automatically detect and create
slices. At the far left, slices will be created only by very
prominent beats and there will be a small number of
slices; at the far right, slices will be created by more
subtle variations in the sample and there will be a larger
number of slices.
To add a slice manually, double-click in the space
between the sample’s waveform and the time ruler. You
can also add multiple slices at once on divisions of the
musical grid by right-clicking, choosing ADD MARKERS
WITH GRID SETTING, and choosing a beat division
such as eighth note.
Existing slices can be moved by clicking and dragging
anywhere along the slice. To protect a slice from being
edited, right-click the slice and choose LOCK. The slice
can be ignored by right-clicking it and choosing MUTE,
or it can be removed entirely with DELETE.
PLAYBACK
A single slice can be auditioned by clicking anywhere
on its waveform. When a slice is selected, you can also
use the forward/back AUDITION buttons to audition
the next/previous slice. The Audition play and stop
buttons can be used to playback the entire file. When
107
SLICE
APPENDIX A: SAMPLING OSCILLATORS » SLICE (CONTINUED)
AUTOPLAY is enabled, the loop will be triggered when
Falcon’s playback begins. (This button is the same as the
AutoPlay button in the Parts List.)
SYNC determines how the loop interacts with Falcon’s
tempo and playback position. When set to “position,”
the sample is played back at Falcon’s tempo and also
locks to its playback position; in “tempo” mode, only the
tempo is matched. When set to “o,” Falcon’s tempo and
playback position are ignored and the sample is played
back at its original tempo.
In all Sync modes, the START control sets the slice
where playback begins when the loop is triggered,
with zero being the first slice in the loop. The SPEED
parameter adjusts the loop’s playback tempo, up to 50%
faster or slower.
For MAP, see: Exporting and converting the loop.
EXTENSION
When the loop’s playback tempo is slower than its
original tempo, you can choose to extend the slices so
that the loop is still continuous. With SLICE EXTENSION
set to AUTO, extension of the slices will be configured
automatically. When disabled, use the AMOUNT
and TIME parameters to fine-tune how the slices are
extended.
ENVELOPE
You can also optionally enable a slice envelope. When
enabled with the ENVELOPE button, the ATTACK,
HOLD, DECAY, SUSTAIN parameters adjust an
amplitude envelope that is applied to each slice as it is
triggered.
EXPORTING AND CONVERTING THE LOOP
The entire loop can be exported as a new audio file
with the WAV button. When you press on it and drag, it
creates a new audio file that can be dragged to your host
application or desktop. The new audio file is created with
all of the current settings applied: tempo, envelope, etc.
Or, to export the slices with each as an individual audio
file, choose EXPORT and specify the folder where the
samples will be saved. To save a program with the slices
mapped to individual keys, press on the PART button
and drag it to the Parts List or to the desktop or other
folder.
If you would prefer to create a new layer in the current
program rather than a separate program, press the MAP
button in the Playback section. This will Mute and MIDI
Mute the original layer, and create a new layer with the
slices mapped to individual keys.
This will also change the audio drag & drop button to a
MIDI button. When you press on it and drag, it creates a
MIDI file that can be dragged to your host application or
desktop. The MIDI file triggers the slices in their original
order and timing, which you can then edit for new
arrangements of the slices.
108
STRETCH
APPENDIX A: SAMPLING OSCILLATORS » STRETCH
The Stretch oscillator pitch-shifts
the sample when triggered above
or below its root key, but keeps
the speed of the sample constant.
The Stretch oscillator will pitch-shift the sample ±2
octaves from its root key. Beyond that range the pitch
will be constant, even if the keygroup’s key range
extends further.
PLAYBACK
SAMPLE START sets the starting point for playback
when the sample is triggered, as a percentage of the
time between the Sample Start and Sample End markers
in the sample file (see: [Interface > Main > Sample Editor]).
Additionally, when LEGATO MODE is enabled, if a new
note re-triggers the sample, playback will continue from
the current sample position but at the new pitch. With
Legato mode disabled, playback will always begin from
the sample’s start position.
SAMPLE TEMPO
Although the speed of sample playback is constant
across its key range, setting the SYNC mode to
“TEMPO” will sync the sample’s playback speed to
Falcon’s tempo. Set the sample’s base tempo with the
TEMPO field, which can be modified with the TEMPO
FACTOR (±400%) and TEMPO FINE (±50%) controls.
ANALYSIS
To fine-tune the pitch-shifting, adjust the GRAIN SIZE
and SENSITIVITY parameters. For highly rhythmic or
percussive material, try increasing Sensitivity for better
transient preservation. Additionally, if a sample contains
a solo instrument, try enabling SOLO MODE for the best
pitch-shifting; for polyphonic samples, turn o
Solo Mode.
109
IRCAM GRANULAR
APPENDIX A: SAMPLING OSCILLATORS » IRCAM GRANULAR
The IRCAM Granular oscillator
uses granular synthesis to create
a wide range of sounds. The audio
sample is divided into small grains
which are then re-combined and
played back in new ways to create
realistic pitch shifting or as the
basis for a textured soundscape.
GRAIN
The GRAIN section configures the shape of the grains.
SIZE sets the duration of the grains. DENSITY
determines how many grains will be played at once,
with 1.00 representing standard playback. With values
less than 1.00, there will be silence between the grains
with a rhythmic result similar to tremolo; with values over
1.00, there is increasingly more overlap of grains with
a harmonic result similar to a chorus or sometimes a
ring modulator. JITTER varies the consistency of grain
playback timing.
FADE sets the amount of the grain aected by the
fades of the grain envelope’s attack and decay, as a
percentage of the full grain size. At the default 100%, the
full grain can be faded, which results in a triangle-shaped
envelope. At less than 100%, there is a plateau in the
middle, resulting in a more trapezoidal envelope.
SYMMETRY changes the skew of the grain window
by balancing the grain envelope attack and decay, as
percentages of the grain size:
• 0% sets an attack of 0% and decay of 100%; this results
in more percussive grains
• 50% sets an attack of 50% and decay of 50%; this is the
standard, balanced window
• 100% sets an attack of 100% and decay of 0% means;
this results in reversed grains
WINDOW sets the shape of the window (an envelope
applied to the signal when creating grains); choose from
Triangle, Hanning or Welch curves, or Square.
PITCH VARIATION adds randomization to the pitch of
each grain, from minor variations of a few cents to an
entire octave.
PITCH CORRECTION sets how grains will be
transposed. The Grain Size option keeps grain size
constant, while the Period option adjusts the size of
the grain.
110
IRCAM GRANULAR
APPENDIX A: SAMPLING OSCILLATORS » IRCAM GRANULAR (CONTINUED)
POSITION
The POSITION section controls determine the playback
position in the sample file.
POSITION determines the starting point for playback, as
a percentage of the duration between the sample start
and end markers. With Speed set at or near zero, this
can be used to manually scrub to any location within the
file. POSITION VARIATION adds randomization to the
current position, with a range of zero to 500 ms from the
current position.
SPEED sets the scrubbing speed factor, with 1.00 as
normal speed, zero as staying in place on the current
grain, and 10.00 as 10x faster. DIRECTION sets the
direction of scrubbing, from +1.0 for fully forward to -1.0
for fully reverse.
If there is a loop in the audio file, the Loop Mode sets
how it will be handled:
• NONE: The loop will be ignored
• FORWARD: The looped section is played forward; when
playback reaches the end of the loop, playback begins
again from the loop start point
• FORWARDBACKWARD: The looped section is played
alternately forward (from the loop start to loop end) and
reverse (from loop end to loop start)
111
IRCAM MULTI GRANULAR
APPENDIX A: SAMPLING OSCILLATORS » IRCAM MULTI GRANULAR
The IRCAM Multi Granular
oscillator is a multi-voice variant
of the IRCAM Granular oscillator.
Each voice can be varied in
multiple ways to achieve a range
of unison eects.
VOICES
The VOICES section set the voice-specific settings.
VOICES sets the number of unison voices. With a single
voice, the result will be similar to the standard IRCAM
Granular oscillator.
The other Voice controls set relative variations for each
voice; TIME SPREAD adjusts the timing of each voice’s
trigger, and POSITION SPREAD sets the position within
the sample file.
GRAIN
The GRAIN section shapes the grains themselves. Most
of the GRAIN parameters are the same for the IRCAM
Multi Granular oscillator as the IRCAM Granular oscillator;
for details, see: [Appendix A: Modules > Oscillators >
IRCAM Granular].
• SIZE
• DENSITY
• JITTER
• WINDOW
• FADE
• SYMMETRY
• PITCH VARIATION
• PITCH CORRECTION
This module also has additional Grain settings not found
in IRCAM Granular:
DURATION VARIATION sets the amount of grain size
variation. Enable Reverse will reverse the individual
grains (not the overall playback direction, which is
controlled with Direction).
POSITION
The POSITION parameters are the same for the IRCAM
Multi Granular oscillator as the IRCAM Granular oscillator;
for details, see: [Appendix A: Modules > Oscillators >
IRCAM Granular].
• POSITION
• VARIATION
• SPEED
• DIRECTION
• LOOP MODE
112
IRCAM SCRUB
APPENDIX A: SAMPLING OSCILLATORS » IRCAM SCRUB
The IRCAM Scrub oscillator is
similar in usage to IRCAM Granular,
with random-access scrubbing and
speed/direction control, but uses
the same top-quality algorithm as
the IRCAM Stretch oscillator. As
with IRCAM Stretch, this requires
more processing power than the
standard granular oscillator.
PLAYBACK
The Playback parameters are the same for the IRCAM
Scrub oscillator as the IRCAM Granular oscillator; for
details, see: [Appendix A: Modules > Oscillators > IRCAM
Granular > Position].
• SPEED
• POSITION
• DIRECTION
ANALYSIS
The Analysis parameters are the same for the IRCAM
Scrub oscillator as the IRCAM Stretch oscillator; for
details, see: [Appendix A: Modules > Oscillators > IRCAM
Stretch > Analysis].
• WINDOW
• PADDING
• OVERLAP
OPTIONS
The Options parameters are the same for the IRCAM
Scrub oscillator as the IRCAM Stretch oscillator; for
details, see: [Appendix A: Modules > Oscillators > IRCAM
Stretch > Options].
• TRANSIENTS
• SHAPE
• ENVELOPE
• STEREO
113
IRCAM STRETCH
APPENDIX A: SAMPLING OSCILLATORS » IRCAM STRETCH
The IRCAM Stretch oscillator is
similar to the standard Stretch
oscillator, but uses very high
quality PhaseVocoder time-stretch
and pitch-shifting with transient
and envelope preservation. This
requires more processing power
than the standard pitch-shifting
used in other oscillators, so it
is best used when the source
material requires the highest
quality pitch shifting.
PLAYBACK
SPEED sets the scrubbing speed factor, with 1.00 as
normal speed, zero as staying in place on the current
grain, and 10.00 as 10x faster. SAMPLE START sets the
starting point for playback when the sample is triggered,
as a percentage of the time between the Sample Start
and Sample End markers.
SAMPLE TEMPO
The tempo parameters are the same for the IRCAM
Stretch oscillator as the standard Stretch oscillator; for
details, see: [Appendix A: Modules > Oscillators > Stretch
> Sample Tempo].
ANALYSIS
WINDOW sets the size of the sampling window for grain
size. Grain size is optimally set to a size proportional
to the fundamental note of the sample, with grain size
twice the duration of the fundamental. PADDING sets
the amount of oversampling, to x1 (no oversampling),
x2, or x4. As oversampling is processor intensive, it’s
recommended to apply oversampling as little as is
necessary to reduce unwanted artifacts. Often, no
oversampling will be needed. OVERLAP sets the relative
amount of grain overlap. As with oversampling, higher
values are more processor intensive.
REMIX
Remix mode separates the signal into 3 discrete
components and allows you to mix and automate their
levels. The 3 signal components are SINE (harmonics),
NOISE and TRANSIENTS.
OPTIONS
• TRANSIENTS: Transient preservation; helpful for highly
rhythmic or percussive samples
• ENVELOPE: Envelope preservation; helpful for avoiding
unwanted pitch artifacts with some samples
• STEREO: Phase locks between stereo channels
• SHAPE: Shape preservation; helpful for preserving the
character of voices and other monophonic sounds
• LEGATO: New voice playback position will start where
currently playing voices are located
Falcon includes 8 synthesis-oriented
oscillators including featured VA,
analog stack, percussion, noise,
organ, FM, wavetable and a physical
string modeling oscillator.
APPENDIX A:
SYNTHESIS OSCILLATORS
115
ANALOG
APPENDIX A: SYNTHESIS OSCILLATORS » ANALOG
The Analog oscillator is a classic
virtual analog synthesizer.
The Analog section contains the primary oscillator
controls. WAVEFORM sets the shape of the waveform;
choose from saw, square, triangle, sine, noise, or pulse.
PWM (pulse width modulation) modifies the shape of the
waveform, and is often modulated with an LFO. START
PHASE adjusts the point in the waveform at which
playback will begin, and POLARITY reverses the polarity
of the waveform.
The Hard Sync section determines the phase sync
between voices. When SYNC is enabled, voices are
phase-synced to a control oscillator that is not displayed
or heard; SHIFT sets the amount of drift from the control
oscillator.
The Unison section sets the number of voices and
how they will be modified. VOICES sets the number of
simultaneous voices, and STEREO toggles between
mono and stereo. PHASE SPREAD sets the style of
phase spread for the voices. When stereo is enabled, the
STEREO SPREAD knob controls the amount of stereo
spread and the menu chooses the style of stereo spread.
The DETUNE knob and menu adjust the amount and
style of pitch adjustment to each voice.
116
ANALOG STACK
APPENDIX A: SYNTHESIS OSCILLATORS » ANALOG STACK
The Analog Stack module is
similar to the Analog oscillator, but
designed specifically for easily
layering multiple oscillators. Each
Analog Stack module contains
eight oscillators.
Each oscillator has a subset of the controls available
on the full Analog oscillator: ENABLE/DISABLE,
WAVEFORM SHAPE, PWM, START PHASE, and
POLARITY. For details on those parameters, see:
[Appendix A > Oscillators > Analog].
Additionally, oscillators 2-8 have an SYNC TO OSC 1
option to sync their phase to oscillator 1.
The Mixer section adds GAIN and PAN controls for
balancing the level and stereo placement of each
oscillator.
The Transposition section has four controls for
adjusting each oscillator’s pitch: OCT and SEMI for
MIDI transposition, and CENTS and PITCH for audio
transposition.
117
DRUM
APPENDIX A: SYNTHESIS OSCILLATORS » DRUM
The Drum oscillator is designed for
creating percussive sounds. There
are two sound sources: a pitched
oscillator and a noise generator.
OSCILLATOR
The pitched oscillator begins with a WAVEFORM
SHAPE; choose from sine, triangle, saw, or pulse. Set
the base pitch of the oscillator with FREQUENCY, and
then use the PITCH MODULATION controls to further
adjust it. DEPTH sets the amount of modulation in
semitones, and RATE determines how quickly that pitch
range is modulated. The SHAPE of the modulation
can be exponential (a rapidly decaying envelope), sine
(traditional up and down LFO), or noise (semi-random
walk).
The AMPLITUDE ENVELOPE is a simple AD envelope,
with ATTACK and DECAY parameters.
NOISE
The Noise generator provides a FILTE R. The Filter TYPE
can be set to low-pass, band-pass, or high-pass, and
both CUTOFF FREQUENCY and Q can be adjusted.
The AMPLITUDE ENVELOPE oers ATTACK and
DECAY, same as the pitched oscillator. Additionally, you
can choose a DECAY STYLE of exponential or linear;
exponential decay is more rapid at first, while linear
decay is a constant rate.
MIXER
The MIXER sets the relative levels for the oscillator and
noise generators. When centered, the two are mixed
together in equal amounts; drag the slider up or down for
relatively more or less of each sound source.
MASTER
The Master section provides overall adjustment and
eects for the oscillator: EQ GAIN, EQ FREQUENCY,
DISTORTION, and VOLUME.
VELOCITY SENSITIVITY levels can also be set
independently for Oscillator Volume, Oscillator Pitch
Modulation, and Noise Volume.
118
FM
APPENDIX A: SYNTHESIS OSCILLATORS » FM
The FM oscillator is an FM
(frequency modulation) synth.
FM synthesis uses multiple signals
with frequencies in the audible
range to modulate each other
and create unique and complex
sounds.
OPERATORS
There are four operators. Each operator has a
RATIO which defines its frequency relative to the base
frequency. At 1.0, the frequencies are the same; at
2.0, the frequency of the operator is double the base
frequency; and so on.
The HZ toggle changes the operator from a relative ratio
frequency to an explicit frequency set in Hz.
The FINE control provides fine tune adjustment of
+/- 1200 cents. If HZ mode is enabled the functionality
changes to a FREQUENCY MULTIPLIER, allowing
oscillator frequencies from 0.001 Hz to 20 kHz.
The PHASE control sets the start phase for the operator.
The SNAP toggle locks RATIO to harmonic intervals (e.g.
x1, x2, x3 etc.). In HZ mode this control is disabled.
The LEVEL control sets the output level for each
operator. Depending on the topology chosen, this control
will instead adjust the modulation index for operators, B,
C, and D.
MASTER
The relationship between the operators and how they
modulate each other is chosen with the TOPOLOGY
menu. Additionally, operator D can be fed back into itself,
with the FEEDBACK knob setting the amount.
119
NOISE
APPENDIX A: SYNTHESIS OSCILLATORS » NOISE
The Noise oscillator generates
a variety of dierent pre-defined
noise types.
The NOISE TYPES are laid out on a grid; select a
name to choose the noise type. Depending on the
selected noise type, a VALUE control may be available
to changes a characteristic of the noise, such as Rate,
Density, Chaos, and so on. (Some noise types, however,
don’t have any parameters.)
120
ORGAN
APPENDIX A: SYNTHESIS OSCILLATORS » ORGAN
The Organ oscillator emulates an
electric organ.
There are eight drawbars, each representing a dierent
harmonic, labeled with the traditional pipe sizes originally
used on pipe organs. The 8’ drawbar is the base note,
and each doubling or halving of the pipe size represents
an octave upward or downward. For example, when a C3
is triggered, 8’ plays C3, 16’ plays C2, and 2’ plays C5.
Each drawbar has GAIN and PAN controls. The Gain
slider is used in the traditional drawbar style, where
pulling it towards you (in this case, downward) increases
the gain for that harmonic.
The PERCUSSION section adds a percussive harmonic,
when enabled with the ON button. This harmonic is
chosen with the HARMONIC knob, and the FAST mode
toggle determines its decay speed. This additional
harmonic decays quickly, even when notes are otherwise
sustained.
121
PLUCK
APPENDIX A: SYNTHESIS OSCILLATORS » PLUCK
Pluck is a physically inspired
string synthesis module, aimed
toward synthetic sounds with a
natural decay. A short excitation
waveform is triggered and fed
through a filtered delay line; the
characteristics of the decay are
determined by the waveform, filter
style, and other adjustments.
MIXER
There are three sources for the initial excitation: a
pitched oscillator, a noise oscillator, and an audio sample.
You can blend the levels of each sound source with the
MIXER section’s SAMPLE, SYNTH and NOISE sliders.
SAMPLE
To load an AUDIO SAMPLE, press on the menu above
the waveform image and choose from the menu of
factory preset samples. Alternatively, you can load your
own audio file by dragging and dropping it onto the
sample area. NEXT and PREVIOUS buttons are also
present, for browsing samples. START sets the sample
start time. DETUNE provides sample pitch control of
+/- 48 cents. KEYFOLLOW sets the amount of influence
of key position over filtering. INTERPOLATION MODE
chooses the quality of sample playback. Standard is ideal
for most scenarios.
SYNTH
EXCITATION BRIGHTNESS adjusts the brightness of
the excitation sources by changing the duty cycle of the
source, similar to pulse width modulation.
PICK
The Pick parameters adjust the character of the
plucking point. Enable the PICK FILTER to add a picked
simulation to the string excitation; set the position on
the string with PICK POSITION and the intensity of the
picking with PICK DEPTH.
CONTOUR
SHAPE adjusts the relative roundness or thinness of
the excitation sources; negative values are rounder, and
positive values are thinner. ROLLOFF is a lowpass filter
of the excitation sources.
DYNAMICS sets the range of high frequency attenuation
(in dB) between the minimum and maximum note-
on velocity. At lower velocities, more high frequency
attenuation is applied.
FINGER
With a HARMONIC RATIO of 1.00, the fundamental of
the triggered note is played; above 1.00, a harmonic
note above the base note is played. The value is a ratio
relative to the base note: 2.00 is one octave higher
than the fundamental, and so on. Just as with a physical
122
PLUCK
APPENDIX A: SYNTHESIS OSCILLATORS » PLUCK (CONTINUED)
string, not all ratios will produce a clear harmonic tone.
Some more commonly used ratios include whole integer
values (1.0, 2.0, etc.) and simple integer ratios such as 1.5
(3/2), 1.33 (4/3), and 1.25 (5/4). Additionally, a ratio of 1.01
is useful for simulating a palm-muted string. To dampen
the harmonic, increase HARMONIC DAMP.
When STRETCH is enabled, each sample is either
processed through the delay and filter or passed through
unprocessed. Increasing the Stretch value will increase
the likelihood of samples passing through unprocessed.
With more unprocessed samples, there result is a slight
buzzing sound which is useful for noise or drum sounds.
TUNING & COUPLING
By default, one plucked string is simulated; for two
strings, change the STRINGS value. When there are two
strings, the COUPLING MODE determines how they
interact and the COUPLING amount sets the amount of
interaction.
• SERIAL: The two strings are in series, with the first
feeding the second. With Coupling at zero, only the
first string is heard; at 1.00, the first string is not directly
heard, and only the second string (excited by the first) is
heard. A Coupling of 1.00 results in a slower attack time,
similar to a cello.
• BRIDGE: A small amount of the first string’s energy is fed
to the bridge and excites the other string through cross
feedback.
• BEATING: Strings are coupled trough a rotation matrix,
causing the sound to beat at a few Hz. As Coupling
increases, the beating will be faster. Detuning the second
string also has an impact on the depth and complexity of
this beating.
• INHARMONIC: Similar to Beating, but the beating
frequency is in the audible range. This can result in bell-
like or plate-like sounds, similar to a ring modulator.
To tune the second string relative to the first, set
COARSE TUNE to the interval in semitones (up to +2
octaves) and FINE TUNE in cents (up to 20 cents).
Some string materials, such as steel piano strings, are
more inharmonic than others, such as nylon guitar
strings. INHARMONICITY controls the amount of stretch
of the string partials from the harmonic series.
DECAY
DECAY and RELEASE set the durations for the
amplitude envelope decay time. BRIGHTNESS highlights
or attenuates a high frequency shelf for the decay, and
DECAY CUTOFF sets the cuto for a lowpass filter.
BRIDGE LOSS sets an amount of additional high
frequency dampening applied. On physical strings,
high frequencies dampen more quickly than lower
frequencies; applying some additional dampening can
help make the decay sound more natural.
DECAY TYPE chooses the filter type used to dampen
the decay:
• MA: The classic damping mode as used in the
pioneering Karplus-Strong paper on plucked-string
synthesis.
• MA2: A linear phase damping filter that is more
controllable than the MA filter.
• LP1: The MA and MA2 have a gentle dampening
and may be too bright for some uses. LP1 is a more
progressive filter that dampens high frequencies more
than MA or MA2. Conversely, LP1 may dampen too much
for some sources, but is a good fit for sounds like muted
basses.
• SHELF: Compromises between MA and LP1; high
frequencies are not dampened as much as with LP1, but
the filter curve is more progressive than the MA or MA2
filters.
123
WAVETABLE
APPENDIX A: SYNTHESIS OSCILLATORS » WAVETABLE
The WaveTable oscillator uses a
table containing multiple waveform
shapes. While a single waveform
is played at any given time,
modulation between the dierent
waveforms produces distinct and
unique sounds.
First, a wave is chosen. Press on the waveform menu to
choose from one of the many factory preset waves or
use the next/previous buttons to browse. Additionally,
you can load your own audio files (or even image files) by
dragging and dropping them onto the waveform area.
Audio files are imported with one slice per channel.
Slices will also be imported if slices are arranged one
after the other within an audio file, and the number of
slices is specified the end of the file name following an
underscore (e.g. “MySweep_128.wav”). Image files are
imported with each row of pixels as the wave cycle,
with one slice per row. (Very large image files may be
resampled or cropped.)
If the wave has multiple slices, the WAVE INDEX
determines which slice in the wavetable will be played.
Commonly, this is modulated to sweep through slices
while playing.
Depending on the wavetable, transitioning from slice to
slice has the potential to be abrupt. There are therefore
two smoothing options: SMOOTH WAVE INDEX and
SMOOTH OCTAVES.
PHASE DISTORTION MODE chooses the style of the
phase distortion, and PHASE DISTORTION AMOUNT
sets the amount.
To set the point within the waveform cycle where it
will begin when triggered, change the START PHASE
control. For simple waveforms, the image of the
waveform will update to show the result of the phase
change.
The majority of the UNISON controls for the WaveTable
module are the same as found on the Analog module;
for details, see: [Appendix A > Oscillators > Analog >
Unison]. There is one additional Unison parameter for
the WaveTable oscillator, WAVE SPREAD, which sets the
range of Wave Index values for each voice.
Falcon includes over 80 high-
quality eects, categorized for
easy navigation: Delays, Reverbs,
Modulation, Filters, Equalizers, Amps
and Stereo, Drive and Distortions,
Dynamics, Analysis and more. With
eects suited for nearly every need
from creative mangling to precise
sound sculpting, mixing and analysis,
Falcon provides a tremendous sound
design facility.
APPENDIX A:
EFFECTS
125
ANALOG TAPE DELAY
APPENDIX A: EFFECTS » DELAYS » ANALOG TAPE DELAY
Analog Tape Delay is inspired by
classic analog delays using reel-
to-reel tape loops.
DELAY
DELAY sets the length of delay, in ms or bars/
beats (if tempo-synced), and FEEDBACK chooses
the percentage of signal fed back into the module.
SPREAD sets the amount of stereo spread, from zero
percent (mono) or 100 percent (full stereo).
DISTORTION
DISTORTION MODE set the style of distortion (Tape,
Tape/Tube, and Analog), and TRASH set the amount
of distortion.
MIX
DRY and WET knobs set the balance between the
dry (unaected) and wet (aected) signal sent to the
module’s output.
TEMPO SYNC
126
DUAL DELAY
APPENDIX A: EFFECTS » DELAY » DUAL DELAY
Dual Delay is a delay module with
multiple controls for modifying
one or both channels to produce
a rich array of time-based eects,
with an immersive interface to help
visualize the stereo and phase
adjustments being made.
DELAY
TIME sets the length of delay, in ms or bars/beats (if
tempo-synced). FEEDBACK chooses the percentage
of signal fed back into the module. Both Time and
Feedback have L/R controls to adjust the value for
one channel or the other as a percentage of the main
value.
PEAK EQ
A peak EQ located in the feedback loop. FREQ sets
the EQ frequency. GAIN sets the EQ gain amount (+/-).
Q sets the filters bandwidth.
MODULATION
DEPTH chooses a detune amount for the delay taps,
and RATE sets the speed of modulation. OFFSET
adjusts the phase oset of the delay line LFO.
FILTERS
The filters aect only the wet signal; the dry signal is
not filtered. LOW CUT rolls o lower frequencies, and
HIGH CUT rolls o higher frequencies.
ROTATION
The Rotation section adjusts the phase of the INPUT,
OUTPUT, and FEEDBACK signals.
WIDTH
INPUT adjusts the stereo spread of the signal input
to the eect, and OUTPUT adjust the spread of the
output signal.
MIX
DRY/ WET knob sets the balance between the dry
(unaected) and wet (aected) signal sent to the
module’s output.
DISPLAY
The display shows a visual representation of how the
controls will aect the STEREO and PHASE output of
the module.
TEMPO SYNC
127
DIFFUSION
APPENDIX A: EFFECTS » REVERB » DIFFUSION
Diusion spreads the signal
over time, creating a simple yet
versatile decay with reverb-like
results.
The DIFFUSION control sets the amount of diusion
applied. DIFFUSION START chooses the time delay
until diusion beings to be applied.
MIX sets the balance between the dry (unaected)
and wet (aected) signal sent to the module’s output.
128
IREVERB
APPENDIX A: EFFECTS » REVERB » IREVERB
IReverb is a convolution reverb.
Given an impulse response for a
physical space or a piece of gear,
IReverb can accurately reproduce
what the input source would
sound like if it were actually in that
space or played through that piece
of hardware.
If there is audio passing through the IReverb while
parameters are being adjusted, the dry signal will be
heard momentarily. This is because convolution is
a processor-intensive eect and briefly muting the
processing signal is necessary to avoid pops/clicks or
other artifacts.
IMPULSE
To load an IMPULSE RESPONSE, drag and drop an
audio file to the sample area, or load one of the factory
presets.
REVERB
TIME sets the duration of the wet signal, specified as
a percentage of the impulse response’s duration. PRE
DELAY sets the amount of delay before the wet signal
is heard.
WIDTH adjusts the stereo width of the impulse
response. At negative values, the left an right channels
are swapped.
DAMP
To filter the output, use LOW DAMP and HIGH DAMP
to dampen the low or high frequencies, respectively.
MIX
DRY and WET knobs set the balance between the
dry (unaected) and wet (aected) signal sent to the
module’s output.
IMPULSE FILES
To save the currently loaded impulse, choose SAVE
IMPULSE to save the current file or SAVE IMPULSE
AS to save as a new file.
129
SPARKVERB
APPENDIX A: EFFECTS » REVERB » SPARKVERB
SparkVerb is a unique and
versatile algorithmic reverb,
centered around a frequency-
based spectral display.
The sound can be shaped with
separate frequency bands, or
adjusted globally.
DECAY
The central DECAY parameter controls the duration
of the reverb decay. Low and Hi frequency bands can
further tailor the decay response across frequencies.
Choose frequency for each band with LO XOVER and
HI XOVER, and set the decay ratio (relative to the
main Decay time) with LO DECAY and HI DECAY. If
you would rather cut the Low or Hi bands instead, use
DECAY LOWCUT and DECAY HICUT.
ROOM
ROOM SIZE sets the size of the simulated space, from
small rooms (4 meters) to very large rooms (50 meters).
SHAPE sets the delay distribution and distortion of the
room, from zero (highest echo density) to 1.00 (highest
spectral mode density). PRE DELAY sets the amount
of delay before the wet signal is heard. DENSITY
changes how dense the reflections will be; lower
values will be more like distinct echoes.
MODULATION
DEPTH chooses the depth of the decay modulation,
in cents. RATE chooses a relative ratio, from 1/4 to
4x, for each delay line. MODE sets the modulation
interpolation style; choose from Dark (default; some
high-frequency decay damping), Lo-Fi (more high
frequency diusion), or Bright (more precise high-
frequency response, but more processor intensive).
DIFFUSION
DIFFUSION ON/OFF toggles the short-term diusion
option. When enabled, DIFFUSION START sets the
delay time until the diusion is heard, and DIFFUSION
AMOUNT sets how much diusion will be applied.
OUTPUT
MIX sets the balance between the dry (unaected)
and wet (aected) signal sent to the module’s output.
WIDTH adjusts the stereo spread of the module’s
output. ROLLOFF sets the cuto frequency of an
overall lowpass filter to adjust the brightness of the
wet signal. Enabling FREEZE will hold the current
decay infinitely, until Freeze is disabled.
130
ANALOG CHORUS
APPENDIX A: EFFECTS » MODULATION » ANALOG CHORUS
Analog Chorus is a chorus module
that is inspired by a popular
analog eects pedal.
SPEED sets the speed of the modulation, WIDTH
adjusts the width of the stereo spread, and
INTENSITY sets the depth of the eect.
TRANSIENT ENHANCEMENT adjusts how much
transients are aected by the module. Higher values
allow for more prominent, unmodulated transients.
131
ANALOG FLANGER
APPENDIX A: EFFECTS » MODULATION » ANALOG FLANGER
Analog Flanger is a flanger module
that is inspired by a popular
analog eects pedal.
SPEED sets the speed of the modulation, and
INTENSITY sets the depth of the eect. WIDTH adjusts
the delay times and modulation depth to increase the
stereo width of the eect.
TRANSIENT ENHANCEMENT adjusts how much
transients are aected by the module. Higher values
allow for more prominent, unmodulated transients.
132
ENSEMBLE 505
APPENDIX A: EFFECTS » MODULATION » ENSEMBLE 505
Ensemble 505 is an ensemble
chorus eect, inspired by the
ensemble eect section of a
popular synth.
MODE chooses the style of ensemble, with mode I being
a less pronounced eect and mode III being the most.
A lowpass filter is applied after the ensemble; TONE
adjusts the cuto frequency.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
133
FLANGER
APPENDIX A: EFFECTS » MODULATION » FLANGER
Flanger is a classic flanger eect,
where the input signal is delayed
with a variable time delay and fed
back onto itself.
SPEED sets the speed of the modulation (in Hz, or bars/
beats if tempo-synced), DELAY TIME adjusts the amount
of delay applied, and DEPTH sets the depth of the
eect.
FEEDBACK sets the percentage of signal fed back into
the module, and MIX sets the balance between the
dry (unaected) and wet (aected) signal sent to the
module’s output.
TEMPO SYNC
134
PHASOR
APPENDIX A: EFFECTS » MODULATION » PHASOR
Phasor is a variable 12-order
automatic phaser eect
ORDER
NOTCHES changes the number of filters in sequence
which correlates to the number of peaks and valleys you
see displayed in the visualizer.
CONTOUR
In Phasor an LFO sweeps between two variable
frequencies, these are controlled with MIN FREQ and
MAX FREQ. FEEDBACK controls the amount of the
eected signal reinjected.
LFO
SPEED sets the speed of the LFO, which defaults to a
free-running frequency between 0.01 Hz and 10.00 Hz.
Toggling the TEMPO SYNC icon in the header allows
the LFO to sync’d to the host clock and set between 1/64
tri and 32x. LFO SHAPE controls the shape of the LFO
which can be set to TRIANGLE, SINE, S&H or RANDOM.
MIX
SPREAD emphasizes the stereo eect. DEPTH controls
the wet/dry mix amount.
TEMPO SYNC
135
ROTARY
APPENDIX A: EFFECTS » MODULATION » ROTARY
Rotary is a highly-customizable
speaker emulation eect modeled
after the classic two-way rotating
designs created for electric organs
in the 1940s
CABINET
MODEL changes the cabinet type. RADIUS sets the size
of the cabinet. DRIVE sets the amount of overdrive in the
cabinet circuit.
SPEED sets the rotary style:
BRAKE = none
CHORALE = slow speeds
TREMOLO = fast speeds
Chorale and Tremolo speeds are controllable with the
CHORALE and TREMOLO knobs below.
HORN FILTER sets the filter mode of the cabinets horn.
HORN VOLUME adjusts the rotating horn level.
DRUM VOLUME adjusts the rotating drum level.
ORDER sets the number of box reflections being
simulated. REFLECTION sets the mix amount for the
reflected signal.
BOX REVERB arms or disables a reverb on the cabinet.
MICS
MIC DISTANCE sets the distance of the mics to the
cabinet.
MIC ANGLE sets the angle between the mics relative to
the cabinet.
136
ROTARY
APPENDIX A: EFFECTS » MODULATION » ROTARY (BACK PANEL)
Directivity Type
- Horn: standard directivity with
deflector
- Omni: No AM
- Cardio: Classic polar pattern (sound
cancellation when horn is o-axis)
- SoftCardio: Softer version of cardioid
(with noo-axis cancellation)
- Unipolar: heavy pulsating tone
(pronounced AM)
- Drum : directivity with less side lobes -
less wide sound (usable on horn)
- Drum Cardio: standard drum directivity
(usableon horn)
- Drum Cardio 2: More pronounced o-
phasesidelobes (drum exclusive)
- Drum Cardio 3: Most pronounced o-
phasesidelobes (drum exclusive)
SETTINGS
DELAY COMPENSATION removes latency caused by
mic distance.
SPHERICAL DAMPENING controls the amount of
attenuation that is applied to reflections with propagation
distance
DRIVE PREEMPHASIS controls the amount of pre-
emphasis that is applied before amplifier drive
REFLECTION controls the absorption of reflections
within the cabinet
ORDER controls the order of ray traced early reflections.
RADIUS changes the length of horn and drum
speakers
BOX REVERB
POWER enable diusion
LEVEL sets the amount of diusion
TYPE sets the Cabinet type
HORN
ACCELERATION TIME set the horn acceleration time
DECELERATION TIME set the horn deceleration time
FILTER set the horn frequency response
DIRECTIVITY choose horn directivity type
DRUM
ACCELERATION TIME set the drum acceleration time
DECELERATION TIME set the drum deceleration time
FILTER set the drum frequency response
DIRECTIVITY choose drum directivity type
137
THORUS
APPENDIX A: EFFECTS » MODULATION » THORUS
Thorus is a variable 8-voice chorus
that provides an exceptionally
clear eect and a number of useful
color controls
CHORUS
VOICES set the number of chorus voices utilized from
2-8. SPEED sets the chorus frequency from 0.1 Hz to 1.0
Hz. DEPTH sets the pitch modulation depth from 1 to 40
cents. MODE influences the percieved the stereo eect
and can set to either Standard or Wide.
COLOR
CROSSOVER sets the crossover frequency between the
Low (pass-through) signal and the High (chorused) signal.
LOW GAIN controls the level of the low (pass-through)
signal. EDGE controls the feedback amount of the High
(chorused) signal. TONE controls the frequency of the
low-pass filter.
OUTPUT
MIX controls the wet/dry mix amount of the eect.
138
ANALOG FILTER
APPENDIX A: EFFECTS » FILTER » ANALOG FILTER
Analog Filter is a multimode filter
inspired by the filter section found
on a popular American analog
synth.
MODE chooses the type of filter: low pass (LP), high pass
(HP), or band pass (BP).
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
139
BIQUAD FILTER
APPENDIX A: EFFECTS » FILTER » BIQUAD FILTER
The classic swiss-army knife
multimode filter.
MODE chooses the type of filter: low pass (LP), high pass
(HP), band pass (BP), or notch.
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
140
BRICKWALL FILTER
APPENDIX A: EFFECTS » FILTER » BRICKWALL FILTER
Brickwall Filter is a filter with a
steep slope, for “brickwall” filtering
beyond the cuto frequency.
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5.
TYPE chooses the type of filter: low pass (LP) or high
pass (HP). SLOPE sets how sharply the filter slopes
downward at the cuto frequency.
SOFT BYPASS lets the signal continue to pass through
the module, but the output signal is unaected. This
is an ideal way to bypass the eect while playing, as
the regular bypass can potentially pop/click if enabled/
disabled during playback.
141
COMB FILTER
APPENDIX A: EFFECTS » FILTER » COMB FILTER
A classic comb filter, where a time
delayed version of the signal is
fed back into itself and added or
subtracted. This results in a unique
frequency peaks and valleys
where the phase of the signals
combine or cancel each other out.
MODE chooses the type of comb filter applied: Plus
(frequencies are added) or Minus (frequencies are
subtracted).
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
142
CROSSOVER FILTER
APPENDIX A: EFFECTS » FILTER » CROSSOVER FILTER
Crossover Filter has a selectable
filter type and variable crossover
frequencies for the aected band.
TYPE chooses the type of filter: low pass (LP), high pass
(HP), or band pass (BP).
LOWMID FREQ and MIDHIGH FREQ set the
frequency boundaries for the crossover. When Low Pass
is chosen, only the Low-Mid knob can be adjusted; the
Mid-High Freq knob is disabled. Likewise, when High
Pass is chosen, only the Mid-High knob can be adjusted.
Both knobs can be adjusted when Band Pass is chosen.
143
LOWPASS 12
APPENDIX A: EFFECTS » FILTER » LOWPASS 12
LowPass 12 is a 12 dB/octave low
pass filter.
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
144
LOWPASS 24
APPENDIX A: EFFECTS » FILTER » LOWPASS 24
LowPass 24 is a 24 dB/octave low
pass filter.
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
145
ONE POLE
APPENDIX A: EFFECTS » FILTER » ONE POLE
A gentle and very ecient 6dB/
octave lowpass or highpass filter.
The most ecient of all filters
by far.
MODE chooses the type of filter: low pass or high pass.
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. KEY TRACKING adjusts
how the cuto frequency is adjusted relative to the
note played.
146
PHASOR FILTER
APPENDIX A: EFFECTS » FILTER » PHASOR FILTER
A manual version of the Phasor
eect
ORDER
NOTCHES changes the number of filters in sequence
which correlates to the number of peaks and valleys you
see displayed in the visualizer.
CONTOUR
FREQ sets the filter frequency. FEEDBACK controls the
amount of the eected signal reinjected.
MIX
SPREAD emphasizes the stereo eect. DEPTH controls
the wet/dry mix amount.
147
REZ FILTER
APPENDIX A: EFFECTS » FILTER » REZ FILTER
Rez Filter is inspired by the filter
section found on a popular
Japanese synth.
MODE chooses the type of filter: low pass (LP), high pass
(HP), or band pass (BP).
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
148
SVF
APPENDIX A: EFFECTS » FILTER » SVF
SVF is a state variable multimode
filter.
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
KEY TRACKING adjusts how the cuto frequency is
adjusted relative to the note played.
FILTER MODE chooses the type of filter: low pass (LP),
high pass (HP), band pass (BP), peak, or notch. Drive
Mode chooses the style of overdrive, linear or soft.
149
UVI FILTER
APPENDIX A: EFFECTS » FILTER » UVI FILTER
UVI Filter is a filter that is
continuously adjustable between
low pass and high pass modes.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies
a low-pass filter and drops the cuto frequency. The Q
control sets the filter’s shape.
If you load presets saved in older versions of MachFive
or UVI Workstation, MAPPING MODE will be set to
Legacy; otherwise, use Standard.
150
VOWEL FILTER
APPENDIX A: EFFECTS » FILTER » VOWEL FILTER
Vowel Filter is a dual filter version
of the classic talkbox eect.
MODE chooses the style of filter: low pass (LP2), band
pass (BP2), or high pass (HP2). Two vowel sounds can
be chosen for the filter, set with FILTER A and FILTER B,
and the blend of the two is controlled with MORPH. The
Q control sets the filter’s shape.
Set the number of formants with NUM FORMANTS, the
formant frequencies are shifted higher or lower with the
FORMANT control.
151
WAHWAH
APPENDIX A: EFFECTS » FILTER » WAHWAH
WahWah is a wah filter eect with
full manual control over the wah
amount, same as with an eect
pedal.
WAH sets the filter frequency, which is commonly
modulated or controlled with a pedal or other MIDI
controller. DRIVE sets the amount of overdrive applied,
and MODEL sets the style to a variety of common wah
pedal models.
MASTER sets the output gain level.
152
XPANDER FILTER
APPENDIX A: EFFECTS » FILTER » XPANDER FILTER
A highly-customizable multi-mode
filter with 37 shapes, vintage
and modern algorithms, built-in
saturation and oversampling.
MODE
MODE sets the filter shape. Click the image to choose
between 37 dierent options or use the left/right arrows
to scroll through them.
Filter types include:
LP - low pass
HP - high pass
BP - band pass
AP - all pass
PK - peak filter
T - twin filter
The number indicates the order of the filter (e.g. LP1 is a
low pass filter with a 6 dB/octave slope).
FILTER
CUTOFF sets the frequency for the filter; the note
name of the corresponding frequency is also displayed
(e.g. 2.00 kHz (B5)). RESONANCE adjusts how much
emphasis is given to the cuto frequency. THICKNESS
overdrives the filter at lower frequencies to compensate
for DC gain drop (e.g. crank it when you want more
OOMPH than SIZZLE). KEY TRACKING adjusts how the
cuto frequency is adjusted relative to the note played.
ALGORITHM allows you to choose between two modes:
MODE I emulates a classic constant-Q filter solver,
MODE II is a modern zero-delay filter solver. 2X enables
oversampling for the filter and provides the cleanest
results when active.
OVERDRIVE
TYPE sets the style of overdrive used: Soft Saturation,
Hard Clip, or Linear. AMOUNT sets the amount of
overdrive used.
153
3 BAND SHELF
APPENDIX A: EFFECTS » EQUALIZER » 3 BAND SHELF
The 3 Band Shelf has Low, Mid,
and High bands. The Mid band is a
bell curve, while the Low and High
bands are shelves.
The crossover points between the bands are set with the
LOW/MID FREQ and MID/HIGH FREQ controls.
Each of the three bands have a GAIN control for
boosting or cutting its frequency.
154
8 BAND EQ
APPENDIX A: EFFECTS » EQUALIZER » 8 BAND EQ
The 8 Band EQ is a parametric
EQ with multiple types of bands,
all laid out on a large, graphical
display.
The eight bands are:
• two rollos: high-pass (HP) and low-pass (LP)
• two shelves: low-shelf (LSHELF) and high-shelf
(HSHELF)
• four peaks: PEAK1, PEAK2, PEAK3, PEAK4
Each band can be enabled or bypassed by pressing its
name. When enabled, the button is colored in.
All bands have a fully variable FREQUENCY. The high-
pass and low-pass bands have a fixed slope, while the
remaining shelf and peak bands have adjustable GAIN
and Q.
In addition to the knobs and toggle switches, the bands
can also be edited graphically in the frequency graph:
• Press and drag a point to adjust its frequency by
dragging right/left, or its gain by dragging up/down.
• Press and drag a band’s color bars to adjust Q.
• Right-click a point to enable/disable the band.
• Double-click a point to return it to its default value.
• When a band is selected, an information box is displayed
in the upper left. As the band is adjusted, its Gain,
Frequency, and Q values update in realtime.
To view a larger graph, drag the bottom edge of the
module to resize it.
Press the EXTERNAL WINDOW button in
the module title bar to open the graph in a
separate window to view it even larger.
POP-OUT EDITOR
155
BIG PI TONE
APPENDIX A: EFFECTS » EQUALIZER » BIG PI TONE
An emulation of the tone circuit in
a popular fuzzbox guitar pedal.
TONE adjusts the amount and type of filter applied. At
zero a lowpass filter is applied, at 10.00 a highpass filter
is applied, and the interim values are a blend of the two.
The blended result is similar to a shelving filter with a
notch in the middle.
156
CONVOLVER
APPENDIX A: EFFECTS » EQUALIZER » CONVOLVER
Convolver is a simple convolution
processor, ideally suited for
emulating EQs, cabinets, and so
on. For reverb, the IReverb eect
is recommended; see:
[APPENDIX A > Eects > Reverb >
IReverb]
IMPULSE
To load an IMPULSE RESPONSE, drag and drop an
audio file to the sample area.
MIX
DRY and WET knobs set the balance between the
dry (unaected) and wet (aected) signal sent to the
module’s output.
IMPULSE FILES
To save the currently loaded impulse, use the Preset File
menu and choose SAVE IMPULSE to save the current
file or SAVE IMPULSE AS to save as a new file.
157
TILT
APPENDIX A: EFFECTS » EQUALIZER » TILT
The Tilt module has two shelf
bands, a low shelf and a high shelf,
which are applied inversely.
The TILT control sets the amount of gain applied each to
band. With negative values, the low shelf is boosted and
the high shelf is cut; the opposite occurs with positive
values.
CUTOFF sets the frequency for the EQ; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5.
158
TONE STACK
APPENDIX A: EFFECTS » EQUALIZER » TONE STACK
Tone Stack emulates the tone
controls found on many common
amplifier heads.
MODEL chooses the style of amplifier head, and the
BASS, MID, and TREBLE controls set the relative levels
for each tone band. GAIN sets the module’s output gain,
as a percentage of its input.
159
AUTOPAN
APPENDIX A: EFFECTS » AMP & STEREO » AUTOPAN
Autopan varies stereo panning
with an LFO.
SPEED sets how quickly one auto-pan cycle is
completed, in Hz or bars/beats (if tempo-synced).
DEPTH sets how far across the stereo field the auto-pan
will cover, with 100 percent covering the full distance
from hard left to hard right.
MODE chooses the pan law for the auto-pan cycle.
TEMPO SYNC
160
GAIN
APPENDIX A: EFFECTS » AMP & STEREO » GAIN
Gain is a simple level adjustment
module, used to boost or cut the
signal level.
VOLUME sets the amount of boost or cut, from +12 dB to -∞.
161
GAIN MATRIX
APPENDIX A: EFFECTS » AMP & STEREO » GAIN MATRIX
Gain Matrix sets the gain level
and phase of each channel. This
allows for simple per-channel gain
adjustments, or for specialized
gain/phase transformations.
Factory presets provide some
common transformations, such as
decoding mid-side to stereo.
The INPUT channels are listed down the side, and the
OUTPUT channels are listed across the top. Each in/out
relationship can be edited by typing in a new value or
clicking and dragging the value:
• At 1.00, the signal is passed through at full strength and
its original phase
• At 0.00, output is silenced for that channel
• At -1.00, the output is passed through at full strength but
with the opposite phase
Gain Matrix also supports multi-channel configurations,
such as quad, 5.1, 7.1, and others.
162
TREMOLO
APPENDIX A: EFFECTS » AMP & STEREO » TREMOLO
Tremolo varies amplitude with
an LFO.
FREQUENCY sets how quickly the LFO cycle is
completed, in Hz or bars/beats (if tempo-synced). DEPTH
sets how far across the gain range the cycle will cover,
with 100 percent covering the full distance from -∞ to
0 dBFS.
TEMPO SYNC
163
UVI WIDE
APPENDIX A: EFFECTS » AMP & STEREO » UVI WIDE
UVI Wide is a stereo width
enhancer with a high-shelf filter.
WIDTH adjusts the stereo spread of the module’s
output. At zero, the stereo image of the input signal is
unaected. Positive values increase the stereo spread
and negative values reduce it, down to a mono signal at
-100%.
DELAY sets the amount of delay applied to one channel
to help create a wider a stereo image.
EXTRA WIDTH provides additional frequency control
by way of a high-shelf EQ. EXTRA WIDTH FREQ sets
the EQ frequency, EXTRA WIDTH GAIN controls the EQ
gain adjustment (+/-).
164
ANALOG CRUNCH
APPENDIX A: EFFECTS » DRIVE & DISTORTION » ANALOG CRUNCH
Analog Crunch is inspired by
overdrive/distortion eect pedals
commonly used with electric
guitars.
INPUT GAIN sets the gain adjustment into the module,
before any distortion is applied.
OVERDRIVE and TRASH set the amount and character
of the distortion, and MIX sets the balance between the
clean and overdriven signals.
OUTPUT GAIN sets the final, post-distortion gain
adjustment.
165
DIODE CLIPPER
APPENDIX A: EFFECTS » DRIVE & DISTORTION » DIODE CLIPPER
Diode Clipper is a circuit-modelled
diode clipping stage similar to
those found in many overdrive
stomp boxes.
CLIPPER
DRIVE controls the overall eect intensity.
ASYMMETRY shifts the saturation symmetry between
the two diodes, eecting the even/odd harmonic ratio.
CONTOUR
The circuit of Diode Clipper includes a passive non-
linear, dynamic-driven HP/LP filter that exhibits eects
like hysterisis when saturated. TONE sets the frequency
of the LP filter, while HIGH PASS controls the HP filter
frequency.
166
DRIVE
APPENDIX A: EFFECTS » DRIVE & DISTORTION » DRIVE
Drive oers a straight-ahead drive/
distortion, with three dierent
flavors of distortion.
MODE set the style of drive (Analog, Mild, or Strong), and
AMOUNT sets the amount of drive.
Use OVERSAMPLING to set the amount of oversampling
applied (if any), from 2x to 16x. As oversampling
is processor intensive, it’s recommended to apply
oversampling as little as is necessary to reduce
unwanted aliasing. Often, no oversampling will be
needed.
167
EXCITER
APPENDIX A: EFFECTS » DRIVE & DISTORTION » EXCITER
Exciter is a classic exciter eect,
adding brightness and saturation.
AMOUNT chooses the amount of excitation applied,
MIX sets the balance between the clean and excited
signals. MODE sets the style of exciter, using common
characteristics of Tape or Tube exciters.
168
FUZZ
APPENDIX A: EFFECTS » DRIVE & DISTORTION » FUZZ
Fuzz is inspired by classic fuzz
guitar and bass eect pedals.
INPUT GAIN sets the gain adjustment into the module,
before any fuzz is applied.
OVERDRIVE and TRASH set the amount and character
of the fuzz, and MIX sets the balance between the clean
and fuzzed signals.
OUTPUT GAIN sets the final, post-fuzz gain adjustment.
169
GUITAR BOXES
APPENDIX A: EFFECTS » DRIVE & DISTORTION » GUITAR BOXES
Guitar Boxes emulates a guitar
cabinet, with multiple cabinet
models and mic types.
MIX sets the balance between the original and amplified
signals.
SEPARATION sets the amount of delay, in ms, from
amplifier to the microphone. SPREAD sets the amount of
stereo spread, from zero percent (mono) or 100 percent
(full stereo).
MODEL chooses the style of amplifier, from well-known
amp models to general device types to unusual FX
simulations. MIC TYPE adjusts the characteristic of the
microphone capturing the amplified signal, as a Dynamic,
Condenser, or Ribbon mic.
170
OVERDRIVE
APPENDIX A: EFFECTS » DRIVE & DISTORTION » OVERDRIVE
Overdrive emulates overdrive
distortion commonly used on
guitars.
INPUT GAIN sets the gain adjustment into the module,
before any distortion is applied.
OVERDRIVE and TRASH set the amount and character
of the distortion, and MIX sets the balance between the
clean and overdriven signals.
OUTPUT GAIN sets the final, post-distortion gain
adjustment.
171
WAVE SHAPER
APPENDIX A: EFFECTS » DRIVE & DISTORTION » WAVE SHAPER
Wave Shaper distorts the input
signal by transforming the shape
of the waveform, which often
results in heavily distorted sounds.
INPUT GAIN sets the gain adjustment into the module,
and PRE FREQ sets the frequency of lowpass filter
applied before any waveshaping.
Choose the WAVE SHAPE by clicking the waveform
selecting a wave from the menu, then use AMOUNT and
KNEE to adjust characteristics of the wave shape.
Use OVERSAMPLING to set the amount of oversampling
applied (if any), from 2x to 16x. As oversampling
is processor intensive, it’s recommended to apply
oversampling as little as is necessary to reduce
unwanted aliasing. Often, no oversampling will be
needed.
POST FREQ sets the frequency of a highpass filter
applied after waveshaping. OUTPUT GAIN sets the gain
adjustment, after waveshaping is applied.
MIX sets the balance between the clean and overdriven
signals.
172
3 BAND COMPRESSOR
APPENDIX A: EFFECTS » DYNAMICS » 3 BAND COMPRESSOR
The 3 Band Compressor is a multi-
band version of the compressor,
with adjustable crossover
frequencies.
The 3 Band Compressor has Low, Mid, and High bands.
The crossover points between the bands are set with the
LOW/MID FREQ and MID/HIGH FREQ controls.
Each of the three bands have standard compressor
controls: THRESHOLD, RATIO, ATTACK, RELEASE,
MAKEUP. For more information on compressor settings,
see: [Appendix A: Modules > Eects > Dynamic >
Compressor Expander]
173
3 BAND LIMITER
APPENDIX A: EFFECTS » DYNAMICS » 3 BAND LIMITER
The 3 Band Limiter is a multi-band
version of the Studio Limiter, with
adjustable crossover frequencies.
The 3 Band Limiter has Low, Mid, and High bands. The
crossover points between the bands are set with the
LOW/MID FREQ and MID/HIGH FREQ controls.
Each of the three bands have standard limiter controls:
THRESHOLD, MARGIN, and RELEASE. For more
information on limiter settings, see:
[Appendix A: Modules > Eects > Dynamic > Studio
Limiter]
174
COMPRESSOR EXPANDER
APPENDIX A: EFFECTS » DYNAMICS » COMPRESSOR EXPANDER
Compressor Expander is a dual
dynamics processor —the
compressor tames signal peaks
over a chosen threshold, and the
expander gates the signal below a
second, independent threshold.
Both the compressor and gate have Threshold, Ratio,
Attack, and Release controls. THRESHOLD sets the
level at which the compressor or gate will be applied.
RATIO sets the ratio between input gain and output
gain. ATTACK and RELEASE set the speed at which
the compressor or gate begins or stops processing the
signal after it has crossed the threshold.
MAKEUP GAIN applies a manual gain adjustment to
compensate for the gain reduction of the compressor. Or,
to have makeup gain applied dynamically, enable AUTO
MAKEUP.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
Lastly, the INPUT METER on the left side of the module
displays the level of the input signal, and the GAIN
REDUCTION METER on the right side of the module
displays the amount of gain reduction applied. Note that
the righthand meter is not an output meter.
175
GATE
APPENDIX A: EFFECTS » DYNAMICS » GATE
Gate is a traditional gate, silencing
signals below a chosen threshold.
THRESHOLD sets the level at which the gate will be
applied. ATTACK and RELEASE set the speed at which
the gate begins or stops processing the signal after it has
crossed the threshold.
176
MAXIMIZER
APPENDIX A: EFFECTS » DYNAMICS » MAXIMIZER
Maximizer is a look-ahead limiter
with a graphical timeline to
visualize the dynamic range of the
input and output.
THRESHOLD sets the level at which limiting will be
applied, and CEILING sets the maximum output level.
LOOKAHEAD sets the amount of time the module will
lookahead at the input signal; longer lookahead times
can achieve a better response for transients and other
sudden changes in amplitude.
RELEASE sets the speed at which the limiter stops
processing the signal after it has fallen below the
threshold.
The INPUT METER on the left side of the module
displays the level of the input signal, and the GAIN
REDUCTION METER on the right side of the module
displays the amount of gain reduction applied. Note that
the righthand meter is not an output meter.
The TIMELINE displays the input signal and gain
reduction over time. The blue graph rises from the
bottom of the timeline and indicates the amplitude of the
input signal; the red graph grows downward from the top
of the timeline and indicates gain reduction.
177
STUDIO LIMITER
APPENDIX A: EFFECTS » DYNAMICS » STUDIO LIMITER
The Studio Limiter is a high-quality
limiter, suited for individual parts or
for full stereo mixes.
THRESHOLD sets the level at which limiting will be
applied. MARGIN sets the maximum output level,
which can also be thought of as the margin between
the maximum signal output by the limiter and zero
dBFS. RELEASE sets the speed at which the limiter
stops processing the signal after it has fallen below the
threshold.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
178
PHASE METER
APPENDIX A: EFFECTS » ANALYSIS » PHASE METER
The Phase Meter displays the
phase correlation of the signal.
When the signal is fully mono,
a vertical bar is displayed; with
stereo channels that are fully
out of phase, a horizontal bar is
displayed.
REFRESH sets how quickly the audio signal is measured,
and DECAY sets how quickly the measurement fades
from the display.
AMP MODE chooses a scale for the amplitude of the
input signal, Linear or dB.
To view a larger meter, drag the bottom edge of the
module to resize it.
Press the EXTERNAL WINDOW button in
the module title bar to open the meter in a
separate window to view it even larger.
POP-OUT EDITOR
179
SPECTRUM ANALYZER
APPENDIX A: EFFECTS » ANALYSIS » SPECTRUM ANALYZER
The Spectrum Analyzer displays
the frequency content of the
signal. Frequencies are displayed
on the X-axis, increasing from left
to right, and amplitude is displayed
on the Y-axis, increasing from
bottom to top.
FFT SIZE defines the length of the frequency sampling
window; larger sizes are more precise, but require more
processing power. WINDOW TYPE chooses the function
used for sampling.
MAX DB sets the maximum value that can be displayed
in the analyzer (the very top of the graph), and DB
RANGE sets the range below the maximum value that
will be displayed. X SCALE chooses the scale used for
the horizontal axis: Linear, Log, Semitones, or 3rd Octave.
The labels on the left and top sides of the graph update
as you adjust the Max dB, dB range, and X scale settings.
DRAW TYPE chooses how the frequency response
will be drawn on the graph: as a single continuous line
(Line), as multiple thin lines (Bin), or thick bars (Bands).
REFRESH sets how quickly the graph is re-drawn.
To view a larger graph, drag the bottom edge of the
module to resize it.
Press the EXTERNAL WINDOW button in
the module title bar to open the graph in a
separate window to view it even larger.
POP-OUT EDITOR
180
TUNER
APPENDIX A: EFFECTS » ANALYSIS » TUNER
The Tuner is a chromatic tuner with
a needle-style meter, accurate
to 1 cent increments. The Tuner
is a helpful tool when adjusting a
sample’s pitch with its keygroup
Fine Tune parameter.
REFRESH sets how quickly the tuner reacts as the audio
signal changes.
FREQ MIN and FREQ MAX set boundaries for the
lowest and highest frequencies that the tuner will detect.
To view a larger tuner, drag the bottom edge of the
module to resize it.
Press the EXTERNAL WINDOW button in
the module title bar to open the tuner in a
separate window to view it even larger.
POP-OUT EDITOR
181
EFFECT RACK
APPENDIX A: EFFECTS » MISC » EFFECT RACK
The Eect Rack creates a new
eects path inline where the Eect
Rack module is added. Macros are
added for front-panel control of
the eects that are added to the
Eect Rack’s FX chain.
When the Eect Rack is added, it creates eight MACROS
and one FX CHAIN. To view the FX chain, choose
the FX chain in the Tree view or via the Eects Tab’s
navigation nodes. You can then add the desired eects
to the FX chain.
The Eect Rack macros can be used as FRONT PANEL
controls for parameters on eects in the FX chain. To
assign a macro, right-click a parameter on an eect in
the FX Chain and choose ASSIGN TO EFFECT RACK
MACRO. To change a macro’s name, double-click the
macro’s name on the Eect Rack and enter a new name.
The overall level of the FX chain can be adjusted in the
Tree view, or the chain can be disabled with the POWER
button. You can also create additional FX chains under
the same Eect Rack module, by right-clicking its node in
the Tree view and choosing ADD FX CHAIN.
182
REDUX
APPENDIX A: EFFECTS » MISC » REDUX
Redux is a resampler for creating
lo-fi eects such as extreme bit
reduction.
RESAMPLING
FREQUENCY sets the resampling frequency, with
JITTER introducing time variations to the resampling.
BITS sets the bit depth, and DITHER sets the amount
of dither (a type of low-level randomized noise).
TYPE chooses the style of resampling: DECIMATE
inserts zeroes in between sampled values, and
BLOCKER holds a sampled value until the next
sampled value.
QUANTIZE LAW sets the type of quantization to one of
two common algorithms: linear or mu-law (also known as
μ-law).
The ANTIALIASING toggle sets whether an anti-aliasing
filter is enabled. When disabled, frequencies over the
sampling rate may WRAP AROUND when resampled
and cause unusual harmonics.
FILTER
FILTER POSITION chooses whether the filter is o,
before resampling (pre), or after (post). FILTER MODE
chooses the type of filter: low pass (LP), high pass (HP),
or band pass (BP).
FILTER FREQUENCY sets the frequency for the filter,
and FILTER RESONANCE adjusts how much the cuto
frequency is emphasized.
OUTPUT
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
183
UVINYL
APPENDIX A: EFFECTS » MISC » UVINYL
UVinyl is a vinyl simulation eect.
VINYL
Choose the general vinyl characteristics with YEAR,
RPM TYPE, and amount of WEAR.
NOISE
To add noise to the record, add ELECTRICAL NOISE or
MECHANICAL NOISE with their Gain controls.
DUST AND SCRATCH
To add DAMAGE to the record, add DUST or SCRATCH
with their Gain controls. The relative frequency of dust
and scratches can be adjusted with the DUST AMOUNT
and SCRATCH AMOUNT controls.
OUTPUT
The signal can be folded down to mono with the
MONO toggle.
The Legacy FX modules were
included in past versions of
MachFive and UVI Workstation.
When older program and multi files
are loaded, Legacy FX modules may
be recalled.
For new programs and multis, it’s
recommended to use the standard
eects modules.
APPENDIX A:
LEGACY EFFECTS
185
FX DELAY
APPENDIX A: LEGACY EFFECTS » DELAY » FX DELAY
FX Delay is a stereo delay with
auto-panned stereo modulation.
DELAY TIME sets the length of delay, in ms or bars/
beats (if tempo-synced), and FEEDBACK chooses the
percentage of signal fed back into the module.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
The delay is also auto-panned; SPEED controls the auto-
pan rate, in Hz or bars/beats (if tempo-synced).
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
186
FAT DELAY
APPENDIX A: LEGACY EFFECTS » DELAY » FAT DELAY
Fat Delay uses multiple delay lines
and diusion to produce a dense
delay tail.
DELAY TIME sets the length of delay, in ms or bars/
beats (if tempo-synced), and FEEDBACK chooses the
percentage of signal fed back into the module.
DIFFUSION sets the density of the delay taps.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
187
PING PONG DELAY
APPENDIX A: LEGACY EFFECTS » DELAY » PING PONG DELAY
Ping Pong Delay is a standard
delay with additional stereo
processing.
DELAY TIME sets the length of delay, in ms or bars/
beats (if tempo-synced), and FEEDBACK chooses the
percentage of signal fed back into the module.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
SPREAD controls the stereo spread of the module’s
output. At zero, the output is mono; negative values feed
the input to the left channel first, and positive values to
the right channel first.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
188
SIMPLE DELAY
APPENDIX A: LEGACY EFFECTS » DELAY » SIMPLE DELAY
Simple Delay is a general-purpose
delay.
DELAY TIME sets the length of delay, in ms or bars/
beats (if tempo-synced), and FEEDBACK chooses the
percentage of signal fed back into the module.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
189
STEREO DELAY
APPENDIX A: LEGACY EFFECTS » DELAY » STEREO DELAY
Stereo Delay oers a configurable
stereo delay with separate
delay paths for the left and right
channels.
The left and right channels have independent delay time
assignments; LEFT DELAY TIME and RIGHT DELAY
TIME set the length of each channel’s delay, in ms or
bars/beats (if tempo-synced). FEEDBACK chooses the
percentage of signal fed back into the module.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
190
GATE REVERB
APPENDIX A: LEGACY EFFECTS » REVERB » GATE REVERB
Gate Reverb provides a gate
for cutting o the reverb decay
abruptly.
PRE DELAY sets the amount of delay before the wet
signal is heard, in ms or bars/beats (if tempo-synced),
and DECAY TIME sets the duration of the reverb decay.
GATE TIME sets the time duration, in ms or bars/beats (if
tempo-synced), until the gate is applied to the decaying
signal.
HIGH DAMP sets the amount of dampening applied to
high frequencies.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
191
PLAIN REVERB
APPENDIX A: LEGACY EFFECTS » REVERB » PLAIN REVERB
Plain Reverb is a general-purpose
reverb.
DECAY TIME sets the duration of the reverb decay, and
HIGH DAMP chooses the amount of dampening applied
to high frequencies.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
192
PREDELAY VERB
APPENDIX A: LEGACY EFFECTS » REVERB » PREDELAY VERB
Predelay Verb is a standard reverb
fed through a delay line.
PRE DELAY sets the amount of delay before the wet
signal is heard, in ms or bars/beats (if tempo-synced),
and DECAY TIME sets the duration of the reverb decay.
HIGH DAMP chooses the amount of dampening applied
to high frequencies.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
193
SIMPLE REVERB
APPENDIX A: LEGACY EFFECTS » REVERB » SIMPLE REVERB
Simple Reverb provides an
optional lowpass or highpass filter
before the signal is fed into the
reverb.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
DECAY TIME sets the duration of the reverb decay, and
HIGH DAMP chooses the amount of dampening applied
to high frequencies.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
194
CHORUS
APPENDIX A: LEGACY EFFECTS » MODULATION » CHORUS
Chorus is a classic chorus, where
the input signal is combined with
multiple time- and pitch-modulated
variations of the input signal for a
shimmering unison eect.
SPEED sets the speed of the modulation (in Hz, or bars/
beats if tempo-synced), DELAY TIME adjusts the amount
of delay applied, and DEPTH sets the depth of the
eect.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
195
CROSS PHASER
APPENDIX A: LEGACY EFFECTS » MODULATION » CROSS PHASER
Cross Phaser is a phaser that also
applies auto-panning to produce a
wider and more varied eect.
SPEED sets the speed of the modulation (in Hz, or
bars/beats if tempo-synced), and MIN FREQ and MAX
FREQ set the minimum and maximum frequencies of the
frequency sweep.
DEPTH sets the depth of the eect, and FEEDBACK
sets the percentage of signal fed back into the module.
TEMPO SYNC
196
PHASER
APPENDIX A: LEGACY EFFECTS » MODULATION » PHASER
Phaser is a classic phaser eect,
where the input signal is phase
modulated and fed back onto
itself.
SPEED sets the speed of the modulation (in Hz, or
bars/beats if tempo-synced), and MIN FREQ and MAX
FREQ set the minimum and maximum frequencies of the
frequency sweep.
DEPTH sets the depth of the eect, and FEEDBACK
sets the percentage of signal fed back into the module.
TEMPO SYNC
197
AUTO WAH
APPENDIX A: LEGACY EFFECTS » FILTER » AUTO WAH
Auto Wah is a wah pedal eect,
with its filter frequency set
automatically from the module’s
input level.
GAIN sets the input level to the module. SENSITIVITY
sets the intensity of the auto wah filter, and the Q
control sets the filter’s shape. DRIVE applies post-filter
overdrive.
198
FX FILTER
APPENDIX A: LEGACY EFFECTS » FILTER » FX FILTER
The FX Filter module has two
filters, lowpass and highpass,
applied in series.
LOW FREQ enables and sets the cuto frequency for the
lowpass filter; likewise, HIGH FREQ enables and applies
the highpass filter. The LOW Q and HIGH Q controls set
the shape of each filter band.
199
TALKBOX
APPENDIX A: LEGACY EFFECTS » FILTER » TALKBOX
Talkbox simulates the vowel
shaping and filtering of a classic
talkbox eect pedal.
FILTER MODE chooses the type of filter: low pass
(LP), high pass (HP), or band pass (BP). VOWEL MODE
chooses the vowel sound for the filter.
CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ B5. RESONANCE adjusts how
much the cuto frequency is emphasized.
200
2 BAND EQ
APPENDIX A: LEGACY EFFECTS » EQUALIZER » 2 BAND EQ
The 2 Band EQ has Low and High
bands.
Both bands have a FREQUENCY control for setting its
central frequency and a GAIN control for boosting or
cutting around that frequency.
201
3 BAND EQ
APPENDIX A: LEGACY EFFECTS » EQUALIZER » 3 BAND EQ
The 3 Band EQ has Low, Mid,
and High bands. The Low and
High bands have fixed frequency
assignments, while the Mid band is
adjustable.
The Mid band has a FREQUENCY control for setting the
band’s central frequency and a Q control for the band’s
shape. Each of the three bands have a GAIN control for
boosting or cutting its frequency.
202
ROTARY SIMPLE
APPENDIX A: LEGACY EFFECTS » AMP & STEREO » ROTARY SIMPLE
Rotary Simple is a single-speaker
emulation of a rotary speaker.
SPEED sets the rate of the speaker rotation, and DEPTH
sets the intensity of the eect; at higher Depth values,
the pitch is also markedly aected.
Miking the speaker is also simulated, with MIC
DISTANCE setting the distance of the mic from the
speaker.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
203
ROTARY SPEAKER
APPENDIX A: LEGACY EFFECTS » AMP & STEREO » ROTARY SPEAKER
Rotary Speaker is a dual-speaker
emulation of a rotary speaker, with
an adjustable crossover.
CROSS FREQUENCY sets the crossover point for the
Low and High frequency bands. LOW SPEED and HIGH
SPEED set the rate of the speaker rotation for each
band, and DEPTH sets the intensity of the eect; at
higher Depth values, the pitch is also markedly aected.
Miking the speaker is also simulated, with MIC
DISTANCE setting the distance of the mic from
the speaker.
204
DOUBLE DRIVE
APPENDIX A: LEGACY EFFECTS » DRIVE & DISTORTION » DOUBLE DRIVE
Double Drive is a filter sandwiched
by two drive stages.
PRE DRIVE sets the initial amount of overdrive, followed
by the filters. HIGH FREQ and LOW FREQ controls set
the amount of high pass and low pass filter applied (if
any). Post-filter drive is applied with POST DRIVE, with
GAIN providing the final output level adjustment.
205
UVI DRIVE
APPENDIX A: LEGACY EFFECTS » DRIVE & DISTORTION » UVI DRIVE
UVI Drive is a drive module with a
post-drive UVI Filter included.
DRIVE sets the initial amount of drive applied, followed
by the filter.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies
a low-pass filter and drops the cuto frequency. The Q
control sets the filter’s shape.
GAIN provides the final output level adjustment.
206
COMPRESSOR
APPENDIX A: LEGACY EFFECTS » DYNAMICS » COMPRESSOR
Compressor provides standard
dynamics compression.
THRESHOLD sets the level at which the compressor
will be applied; when applied, RATIO sets the amount
of compression applied. ATTACK and RELEASE set
the speed at which the compressor begins or stops
processing the signal after it has crossed the threshold.
MAKEUP applies a manual gain adjustment to
compensate for the gain reduction of the compressor.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
207
LIMITER
APPENDIX A: LEGACY EFFECTS » DYNAMICS » LIMITER
Limiter is a standard limiter,
compressing the signal with a
fixed ratio that is higher than
the ratios available with the
Compressor.
GAIN sets the input level to the module. THRESHOLD
sets the level at which limiting will be applied, and
CEILING sets the maximum output level. RELEASE sets
the speed at which the limiter stops processing the signal
after it has fallen below the threshold.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
208
UVI MASTERING
APPENDIX A: LEGACY EFFECTS » DYNAMICS » UVI MASTERING
UVI Mastering is a mastering
processor for stereo mixes, such
as Falcon’s main outs. It provides
multiband compression, a limiter,
and tube saturation.
UVI Mastering has Low, Mid, and High bands. The
crossover points between the bands are set with the
LOW/MID FREQ and MID/HIGH FREQ controls.
Each band has a VOLUME control, which sets the gain
of the band before the combined signal is fed to the
compressor, limiter, and tube saturator. COMP ATTACK
and COMP THRESHOLD set the compressor attack time
and threshold, followed by the LIMITER THRESHOLD,
and finally, TUBE AMOUNT.
209
BEAT REPEAT
APPENDIX A: LEGACY EFFECTS » MISC » BEAT REPEAT
Beat Repeat slices the incoming
audio on the grid that you specify,
and when activated will repeat the
most recent slice. This enables
glitch eects and variations in
a live performance or looped
samples.
ACTIVE enables beat repeating; the most recent beat
will be repeated until beat repeating is disabled. Once
disabled, playback continues from where it left o.
TIME sets the length of time that will be repeated, in ms
or bars/beats (if tempo-synced).
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
TEMPO SYNC
210
RING MODULATOR
APPENDIX A: LEGACY EFFECTS » MISC » RING MODULATOR
Ring Modulator combines the
input signal with a modulation
frequency, and both subtracts and
adds the modulation frequency to
the input frequency. For example,
with an input of 600 Hz and a
modulation frequency of 250 Hz,
the output will include both 350
Hz (600 minus 250) and 850 Hz
(600 plus 250).
FREQUENCY sets the frequency of the modulation
signal.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
211
ROBOTIZER
APPENDIX A: LEGACY EFFECTS » MISC » ROBOTIZER
Robotizer starts with a ring
modulator, with some additional
modulations.
FREQUENCY sets the frequency of the ring modulation,
and DEPTH adjusts the intensity of the modulation.
FM controls a modulation signal that modifies the ring
modulation frequency.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
212
UVI DESTRUCTOR
APPENDIX A: LEGACY EFFECTS » MISC » UVI DESTRUCTOR
UVI Destructor is resampler and
bit reducer, with optional overdrive
and filter following the bit depth
and sample rate reduction.
BIT SIZE sets the bit depth, and SAMPLE RATE sets the
resampling frequency.
DRIVE sets the amount of pre-filter overdrive applied.
CUTOFF sets the type and amount of filter. At the center
position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cuto frequency. Likewise, further left of center applies a
low-pass filter and drops the cuto frequency.
MIX sets the balance between the dry (unaected) and
wet (aected) signal sent to the module’s output.
Falcon’s Event section provides
control over pre-synthesis data,
namely the manipulation, analysis or
generation of MIDI. Event processors
can do anything from arpeggiating
incoming notes or strumming them
like a guitar to applying micro
tunings, playing back MIDI files or
creating generative sequences.
APPENDIX A:
EVENT PROCESSORS
214
ARPEGGIATOR
APPENDIX A: EVENT PROCESSORS » ARPEGGIATOR
The Arpeggiator is a classic
synthesizer eect which modifies
incoming notes and plays them
in programmable pattern to
create a dynamic sequence.
Falcon’s arpeggiator provides
many advanced controls such as
per step length, gate, pitch and
velocity as well as 27 dierent
performance modes.
TRIGGER MODE determines how the arpeggiator is
triggered:
• NOTE: Each note resets the arpeggiator position to the
first step
• LEGATO: When multiple notes are played
simultaneously, each new note continues from the
current step
• SONG POSITION: The arpeggiator continually cycles,
and any notes played are triggered at the current step
MODE chooses the pattern of how notes will be
triggered, from a simple upward progression to zig
zags, spirals, and more. OCTAVE chooses the number
of octaves triggered in addition to the actual notes that
were played. When Octave is not zero, OCTAVE MODE
sets whether the pattern of notes will be repeated
individually within each octave (Repeat Pattern) or
whether the pattern will be completed once in total
across all notes in all octaves (Repeat Keys).
NUM STEPS sets the number of steps in the grid, and
RESOLUTION sets the beat value of each step, from 32
bars down to 64th note triplet. STEP LENGTH sets the
duration of the trigger within the step duration; the lower
the Step Length value, the more staccato each step will
be. A Step Length Value >100% will result in each note
slightly overlapping the next note. GROOVE AMOUNT
chooses the amount of swing applied to the grid.
NUM STRIKE chooses how many times each note will be
triggered before moving to the next note in the pattern.
REPEAT BOTTOM and REPEAT TOP selectively repeat
the bottom-most or top-most note in the pattern.
Enabling HOLD will latch all notes as they are played as if
they were being held down; to release the notes, disable
Hold.
ARP/VEL. BLEND sets the blend of the arpeggiator
velocity value and the original note-on velocity values.
At zero percent, the resulting velocity is fully controlled
by the arpeggiator; at 100%, the resulting velocity is
fully controlled by the note velocity and the arpeggiator
velocity values are ignored.
215
ARPEGGIATOR
APPENDIX A: EVENT PROCESSORS » ARPEGGIATOR (CONTINUED)
MIDI CC sets which MIDI CC is output by the MIDI CC
layer of the arpeggiator, if any (see below). Choose o to
disable, or 0-127 to set the desired MIDI CC.
STEP GRID
The STEP GRID sets and displays the values for each
step. There are three independent layers to the step grid:
VELOCITY, PITCH, and MIDI CC.
To change which layer is displayed,
right-click and choose a layer from
the contextual menu.
• STEP VALUE
The size of the vertical bar within the step determines
the step’s value. The larger the bar, the higher the value.
Note that when viewing the Pitch layer, the bar is bipolar,
with zero displayed in the vertical center of the step. To
change the duration of the step, hold the Shift key while
dragging the bar horizontally within its step.
• STEP STATE
Beneath each step is a toggle that can pressed to set the
step’s state. When enabled, the step outputs the value
displayed in the bar above; when disabled, the step does
not output any value. Additionally, you can merge a step
with the one before it to create steps than are longer
than one step of the grid. To merge a step, hold the Shift
key when pressing the step’s state button. The step state
button for merged states is red. Alternatively, you can tie
a step to the one before it; the second step will still have
a unique value, but it will be triggered in a legato style.
To tie a step, hold the Alt/Option key when pressing the
step’s state button. The step state button for merged
states is blue.
• PITCH OFFSET
The values of the Pitch Layer are displayed as text above
each step. You can also edit these values directly for
more precise control.
216
MIDI PLAYER
APPENDIX A: EVENT PROCESSORS » MIDI PLAYER
The MIDI Player module plays
back a Standard MIDI File, tempo-
synced with Falcon.
To load a MIDI file, press the BROWSE button and
choose a Standard MIDI File using the standard file
browser. When a MIDI file is loaded, its name is displayed
next to SEQUENCE NAME.
The BASE NOTE chooses which note will trigger
playback of the MIDI sequence. Other notes will play
back as usual. When TRANSPOSE is enabled, every
note will trigger playback of the MIDI sequence,
transposed relative to the Base Note. When disabled,
only the Base Note will trigger playback.
When the MIDI file is triggered, it will play back once.
If LOOP is enabled, the MIDI file will be looped
continuously. Additionally, AUTOPLAY can be enabled
to automatically begin MIDI file playback when Falcon
begins playing.
By default, the MIDI Player will play back all sixteen
channels saved in the MIDI file. Press a channel’s
BYPASS button to bypass it.
217
MICRO TUNER
APPENDIX A: EVENT PROCESSORS » MICRO TUNER
The Micro Tuner provides alternate
tunings to the standard twelve-
tone equal temperament tuning.
The NOTE GRID displays the mapping of each note in
each octave. In standard tuning, each note is mapped
to a whole number: C-2 = 0.00, C#-2 = 1.00, D-2 = 2.00,
and so on. The note grid is display only; to edit the tuning
assignments, import Scala files as described below.
The Micro Tuner module’s preset browser has two
additional items in its Preset File menu.
• IMPORT SCALA TUNING: Import an .scl file
• IMPORT SCALA MAPPING: Import a .kbm file
• IMPORT ANAMARK TUNING: Import a .tun file
For more information on Scala, see:
http://www.huygens-fokker.org/scala
218
SCRIPT PROCESSOR
APPENDIX A: EVENT PROCESSORS » SCRIPT PROCESSOR
The Script Processor module
provides general event processing
capabilities beyond the specific
event processors described
earlier.
This module has some standard controls at the top, with
the script-defined controls below.
STANDARD CONTROLS
To load a script, press the LOAD A SCRIPT button and
choose a UVIScript file from the standard file browser.
When a script file is loaded, the SCRIPT NAME is
displayed in the center of the script module title bar, and
its script-defined controls will be displayed below.
To edit the script file, press the EDIT SCRIPT IN
EXTERNAL EDITOR button and the script file will be
opened in your default text editor application.
If you would like to add a password to the current
script, press the PROTECT SCRIPT button and enter a
password. After a script is protected, you must enter the
script password to open the script for editing.
Press the RELOAD CURRENT SCRIPT button to reload
the current script from disk, and reset its parameters
to their default values. Hold the Alt/Option key while
reloading to keep the current state of the script
parameters. The WATCH FOR SCRIPT CHANGES
option will automatically reload the script whenever the
script file is modified; this can be useful while developing
a script and making repeated changes.
The script console displays debug and print messages
and is useful for debugging scripts. Toggle the SHOW/
HIDE CONSOLE OUTPUT button to show or hide the
script console. Press the CLEAR CONSOLE OUTPUT
button to clear the current console messages.
SCRIPT-DEFINED CONTROLS
The script itself defines what sort of controls will be
displayed. This includes knobs, buttons, menus, and
other controls similar to those seen in other Falcon
modules.
MORE INFORMATION
For more information on UVIScript, see:
[Appendix B: Scripting]
Modulation generators can be
instanced at any level in a patch
allowing them to control nearly any
parameter, be it on an oscillator,
eect or even on another modulator.
This system allows you to paint
motion into your sounds almost
eortlessly, from subtle variation
over time to complex on-demand
sequences.
APPENDIX A:
MODULATORS
220
AHD
APPENDIX A: MODULATORS » AHD
The AHD envelope (attack, hold,
and decay) is a simpler envelope
than a full DAHDSR envelope,
similar to envelopes found on
some classic synths.
The ATTACK, HOLD, and DECAY values can be set by
the sliders, or by adjusting the points in the envelope
editor. Additionally, the curve of the Attack and Decay
ramps can be changed by dragging the line itself. For
more details on editing the envelope graphically in the
envelope editor, see: [DAHDSR > Envelope Editor]
To choose if and how velocity will aect the envelope,
use the VELOCITY AMOUNT and VELOCITY
SENSITIVITY controls, as described in:
[DAHDSR > Velocity Amount and Sensitivity]
221
ANALOG ADSR
APPENDIX A: MODULATORS » ANALOG ADSR
The Analog ADSR envelope
(attack, decay, sustain, and
release) is an envelope with decay
characteristics similar to classic
analog envelopes, providing a
more vintage feel than a precise
digital ADSR.
The ATTACK, DECAY, SUSTAIN, and RELEASE controls
set the basic envelope shape, and DYNAMIC RANGE
controls the amount of the output range controlled by the
trigger velocity.
Two modes alter how the envelope is triggered and
processed. If the ATTACK/DECAY mode is set to AD,
only the attack and decay phases of the envelope are
used; sustain and release will have no eect. When set
to ADSR, all phases of the envelope can be configured.
The Analog ADSR’s TRIGGER MODES are the same as
for the LFO module; for details, see: [LFO>Trigger mode].
You can choose how velocity aects the envelope’s
attack and decay with the VEL > ATTACK and VEL
> DECAY controls. Additionally, you can INVERT
VELOCITY to invert the velocity values as they aect
they envelope from the actual played velocity.
Likewise, you can choose how key follow aects the
envelope’s attack and decay with the KEY > ATTACK
and KEY > DECAY controls.
The manual TRIGGER button allows for the envelope to
be triggered on-demand, and can be controlled remotely
via automation or modulation.
222
ATTACK DECAY
APPENDIX A: MODULATORS » ATTACK DECAY
The Attack Decay envelope
is the simplest modulation
envelope provided. An Attack
Decay envelope is often used for
percussive sounds that don’t need
a sustain or release.
DECAY is set to a time value, and ATTACK is set as a
percentage of the Decay time.
223
DAHDSR
APPENDIX A: MODULATORS » DAHDSR
The DAHDSR envelope (delay,
attack, hold, decay, sustain, and
release) is a classic synthesis
envelope style. It is an extension
of the common ADSR envelope,
with an additional delay phase at
the beginning and a hold phase
between attack and decay.
The DELAY, ATTACK, HOLD,
DECAY, SUSTAIN, and RELEASE
values can be set by the sliders,
or edited graphically by using the
envelope editor.
To choose if velocity will aect
the envelope, use the VELOCITY
AMOUNT control. At zero percent,
velocity will have no eect.
VELOCITY SENSITIVITY remaps
the velocity input curve; values
between zero and 100% use a
progressively more exponential
curve, and values between -100%
and zero use an increasingly
logarithmic curve.
The ENVELOPE EDITOR is a
graphical, interactive display
of the envelope shape. Each
point represents a phase of the
envelope. Points can be adjusted
by dragging or double-clicking,
and the curve of ramps can be
changed by dragging the line
itself.
When dragging points, you can
hold dierent modifier keys to
adjust the result:
• Shift: fine control
• Command (Mac) » Control
(Windows): constrain to vertical
movement only
• Alt/Option: constrain to horizontal
movement only
• Shift+Command (Mac) »
Shift+Control (Windows):
temporarily change absolute/
relative mode (see below)
When a point is adjusted, it will
aect the values on both sides
of the point while keeping the
shape of the overall envelope
constant. For example, when the
Hold point is moved, both the
Hold time before the point and the
Decay time after the point will be
adjusted, but the total envelope
time will remain the same. If you
would like to adjust the value of
only one envelope segment at a
time, enable RELATIVE MODE
under the Envelope Editor’s menu.
The menu can be opened by right-
clicking anywhere in the envelope
display.
While a note is held, the envelope
loops on the sustain phase
by default. However, you can
change the looped portion of the
envelope by right-clicking a point
and choosing SET AS LOOP
START or SET AS LOOP END.
Loop endpoints are highlighted
orange.
Scrolling up and down with your
mouse or trackpad will zoom the
editor’s display in and out, and the
Auto Zoom to Fit option snaps the
display to the current size of the
envelope.
224
DRUNK
APPENDIX A: MODULATORS » DRUNK
The Drunk module generates
a random walk signal which
simulates the natural randomness
that occurs in cases such as the
drift in pitch or amplitude of a
sustained note.
The INITIAL VALUE sets the starting point for the signal.
From there, the signal varies semi-randomly around
that value, fluctuating with the BANDWIDTH speed.
The signal varies up or down, weighted according to
the BIAS. The SMOOTH speed determines the rate of
smoothing applied as the value varies.
The default range of the Drunk module is bidirectional
from the starting value (bipolar). For a range that
moves in a single direction relative to the starting value
(unipolar), disable BIPOLAR mode.
The Drunk module’s TRIGGER MODE determines how
the module is triggered. The trigger modes are the same
as for the LFO module; for details, see: [LFO > Trigger
mode].
225
LFO
APPENDIX A: MODULATORS » LFO
The LFO, or low frequency
oscillator, is an oscillator that
generates a cyclical modulation
signal below the audible threshold.
The LFO WAVEFORM can be one
of the classic LFO shapes (Sine,
Square, Triangle, Ramp Up, Ramp
Down), or one of these additional
shapes:
• ANALOG SQUARE
• RANDOM SAMPLE & HOLD
• CHAOS LORENZ
• CHAOS ROSSIER
• USER
The FREQUENCY control sets the
duration of one cycle of the LFO.
When TEMPO SYNC is enabled,
the cycle duration ranges from
32 bars down to 64th-note triplet,
synced to Falcon’s tempo. When
TEMPO SYNC is disabled, the
cycle duration is in Hz (cycles per
second).
To set the point within the LFO
cycle where it will begin when
triggered, change the PHASE
control. The image of the
waveform will update to show the
result of the phase change (except
for random/chaos waveforms, as
the images are approximations of
randomly-generated waveforms).
The User waveform is a custom,
editable waveform shape. To edit
the waveform, right-click to open
it in a large overlay view. Click and
drag to draw a waveform shape,
or right-click and choose RESET
TO DEFAULT to start over. Press
anywhere outside the overlay to
close it.
DELAY TIME is a time delay
between when the LFO is
triggered and when LFO playback
begins. DEPTH controls the
vertical value range of the
LFO’s cycle, and RISE TIME is
a time period during which the
Depth ramps up to its full range.
SMOOTH sets a time value that
smooths out transitions between
values in the LFO’s cycles. These
adjustments can be used to
create more varied and nuanced
modulations, such as a subtle
vibrato that occurs only while a
note is sustaining after its initial
attack and decay.
The default range of the LFO cycle
is from -1 to +1 (bipolar). For a range
of zero to +1 (unipolar), disable
BIPOLAR mode.
TRIGGER MODE determines how
the LFO is triggered:
• RETRIGGER: Each trigger of the
LFO starts from the beginning of
the LFO’s cycle.
• LEGATO: Any simultaneous
triggers of the LFO will not trigger
the LFO again, and will start at the
same place as any other triggers
currently. All triggers will be
released together when the last
one is released.
• NO RETRIGGER: The LFO runs
continuously, triggering from the
beginning when Falcon’s playback
starts or stops.
TEMPO SYNC
POP-OUT EDITOR
226
MACRO
APPENDIX A: MODULATORS » MACRO
Macros are a special type of
internal modulation. When a macro
is added, a corresponding control
appears on the Info tab. When this
macro control is adjusted, so is the
control assigned to it.
A control can be assigned one-to-one to a macro, as a
shortcut for a commonly used control in the program, or
multiple controls can be assigned to a single macro, for
complex transformations of multiple controls by adjusting
a single knob or button.
NOTE: Although macros can be assigned to any
control in a program that can be modulated, the macros
themselves are only added to the Program node.
The default range of a macro is from zero to 100%
(unipolar). For a range of -100% to +100%, enable
Bipolar mode.
VALUE is the actual value sent when the macro is
adjusted, either directly via this knob or via the macro’s
control on the Info tab.
STYLE chooses the style of control that will appear on
the Info tab for the macro. CONTINUOUS displays a
continuously-variable knob, and ON/OFF displays a
toggle button with only two states.
To change a macro’s name, double-click the macro’s
DISPLAY NAME and enter a new name. This will change
the macro’s displayed name on the Info tab and in the
modulation assignment menu.
227
MULTI ENVELOPE
APPENDIX A: MODULATORS » MULTI ENVELOPE
A user-definable envelope that
can be created with any number
of points and interactive curve
shapes by manually drawing or
drag’n-dropping MIDI or audio
files. Allows for long and highly-
expressive modulation sequences
and can be looped for LFO-like
behavior.
The Multi Envelope can be tempo-
synced or set to discrete time
values.
Because there can be any number
of points in the Multi Envelope,
unlike the other envelope modules
in Falcon, there are no knobs or
sliders for setting the values of
each envelope phase. All editing
is done in the graphical Envelope
Editor. In addition to the Envelope
Editor’s basic usage described
in [DAHDSR > Envelope Editor],
the Envelope Editor for the
Multi Envelope has a number of
additional features:
• Shift-click or double-click: Add a
new point
• Shift-right-click an existing point:
Remove the point
• Right-click an existing point:
Contextual menu, with options to
remove the point or set it as the
loop start/end
• Alt/Option-click-drag: Draw line to
create two new points
The Multi Envelope has two loop
options. By default, the envelope
is looped, but the loop can be
removed via the REMOVE LOOP
option in envelope editor’s
contextual menu. If you wish to
add the loop back, choose Add
Loop. The envelope release is not
looped by default, but you can
change this via the SET RELEASE
LOOPED option in the menu.
To change it back, choose SET
RELEASE NOT LOOPED.
When TEMPO SYNC is enabled
for the Multi Envelope, the GRID
option in the Envelope Editor
menu becomes available and sets
the metric division of the grid.
SPEED sets the time factor for
the envelope. At 1.0, the time is
as shown on the grid. At larger
values, the speed is multiplied
and the envelope plays back
more quickly; at smaller values,
the opposite. For an example
value of 200 ms between points,
with Speed = 1.0 the transition will
be 200 ms, Speed = 0.10 will be
2000 ms, and Speed = 10 will be
20 ms. SMOOTH sets the amount
of smoothing applied to each step.
The Multi Envelope’s TRIGGER
MODE determines how the
envelope is triggered. The trigger
modes are the same as for the
LFO module; for details, see [LFO
> Trigger mode].
To choose if and how velocity
will aect the envelope, use
the VELOCITY AMOUNT and
VELOCITY SENSITIVITY controls,
as described in [DAHDSR >
Velocity Amount and Sensitivity].
DRUGnDROP AUDIO to create
envelope points, then choose
an extraction method from the
following:
• RMS: extract the average level of
the audio file
• PEAK: extract the peak level of
the audio file
BRIGHTNESS: extract the
brightness envelope (i.e. spectral
centroid / center of mass evolution
over time) of the audio file
TRANSIENTS: extract the
transients of the audio file
TEMPO SYNC
POP-OUT EDITOR
228
STEP ENVELOPE
APPENDIX A: MODULATORS » STEP ENVELOPE
The Step Envelope is a
programmable pattern sequencer.
The Step Envelope can be tempo-
synced for steps of musical
divisions, or set to discrete time
values.
The value of each step can be set by clicking and
dragging vertically. You can also click and drag
horizontally to draw a shape over multiple steps. To clear
all steps, right-click and choose RESET TO DEFAULT.
To view the step editor in finer detail, choose edit button
in the module header to open it in a large overlay view.
Press anywhere outside the overlay to dismiss it.
The number of steps in the grid is set with STEPS
control, from 1 step up to 128 steps. The FREQUENCY
control sets the duration of each step. When TEMPO
SYNC is enabled, step duration ranges from 32 bars
down to 64th-note triplet, synced to Falcon’s tempo.
When tempo sync is disabled, step durations are in Hz
(steps per second).
The default range of each step is from zero to +1
(unipolar). For a range of -1 to +1, enable BIPOLAR mode,
which is useful for LFO-like patterns.
The Step Envelope’s INTERPOLATION MODE
determines how each step’s value transitions to the next.
With the default Hold mode, each value is held for the
duration of the step, then immediately jumps to the next
step’s value; with the alternate Spline mode, each value
transitions to the next with a continuous spline curve.
The Step Envelope’s TRIGGER MODE determines how
the envelope is triggered. The trigger modes are the
same as for the LFO module; for details, see [LFO >
Trigger mode].
SMOOTH sets the amount of smoothing for each step.
SPLINE MODE OFF
SPLINE MODE ON
TEMPO SYNC
POP-OUT EDITOR
APPENDIX B:
SCRIPTING IN Lua
230
SCRIPTING IN LUA
Scripting in Falcon uses UVIScript,
a domain-specific scripting
language built on top of the Lua
scripting language. Scripts in
Falcon are essentially MIDI eects
with advanced capabilities, with
access to all of Falcon’s synthesis
engine modules. Scripts can also
define their own interface, so that
you can interact with the script in
realtime.
UVIScripts are saved as text documents with a `.lua`
extension, and loaded with Falcon’s Script Processor
module. For general information on using the Script
Processor module, see [Interface > Main > Events Tab]
and [Appendix A > Event Processors].
EXAMPLE
To help demonstrate UVIScript, here’s a simple example
script for a pitch inverter (available in the Script Processor
module as a factory preset, under Utilities > Invert Pitch).
CenterPitch = Knob(“Center Pitch”, 60,
0, 127, true)
function onNote(e)
local center = CenterPitch.value
local delta = e.note-center
local note = center - delta
if note>=0 and note<=127 then
playNote(note, e.velocity)
end
end
function onRelease()
--
end
Here’s what this script looks like in Falcon’s script
processor.
This script creates one knob, which sets the script’s
center pitch value (line 1). When a Note On event occurs
(line 3), the note’s pitch value is evaluated and modified
relative to the center pitch value (lines 4-6), and then the
note is played with its modified pitch value (lines 7-8).
For example, if the center pitch is set to C3, when a C2 is
triggered a C4 would be played instead.
FULL DOCUMENTATION
For more information on writing your own UVIScripts,
please refer to the latest online documentation at:
http://www.uvi.net/uviscript/
For more information on the underlying Lua scripting
language, see http://www.lua.org/docs.html
APPENDIX B: SCRIPTING IN LUA
1
1
231
LINKS
UVI
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EXTENDING FALCON
UVIscript . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .http://www.uvi.net/uviscript
Lua . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .http://www.lua.org/docs.html
OSC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://opensoundcontrol.org
Scala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .http://www.huygens-fokker.org/scala
ILOK
Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ilok.com
iLokLicenseManager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ilok.com/ilm.html
FAQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ilok.com/supportfaq
LINKS
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