Professional Documents
Culture Documents
Users Manual
3.5
3.6
3.7
3.8
3.9
3.10
3.11
3.12
3.13
3.14
Contents
1 Introduction
1.1 Installation . . . . . . . . . . . . . . .
1.2 Compatibility . . . . . . . . . . . . . .
1.3 System Requirements . . . . . . . . . .
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2 Basic Operation
2.1 Selecting a patch . . . . . . . . . .
2.2 Choosing a category . . . . . . . .
2.3 Playing a patch . . . . . . . . . . .
2.4 Loading/Saving patches and banks
2.5 Pitch Bend and Modulation Wheel
2.6 Setting the number of voices . . . .
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3 Sound Parameters
3.1 Patch Structure . . . . . . . . . . .
3.2 Oscillators . . . . . . . . . . . . . .
3.2.1 Oscillator 1+2 . . . . . . . .
3.2.2 Oscillator 3 . . . . . . . . .
3.3 Noise Generator . . . . . . . . . . .
3.4 Common oscillator controls . . . .
3.4.1 Pulse Width . . . . . . . . .
3.4.2 Ring Modulation (RM) . . .
3.4.3 Frequency Modulation (FM)
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Filter Controls . . . . . . . . .
Filter Models . . . . . . . . . .
Unison Section . . . . . . . . .
Output Section . . . . . . . . .
Modulation Envelope . . . . . .
Filter Envelope . . . . . . . . .
Amplitude Envelope . . . . . .
LFOs . . . . . . . . . . . . . . .
Arpeggiator . . . . . . . . . . .
Effects . . . . . . . . . . . . . .
3.14.1 Distortion . . . . . . . .
3.14.2 EQ-1 . . . . . . . . . . .
3.14.3 EQ-2 . . . . . . . . . . .
3.14.4 Chorus, Flanger, Phaser
3.14.5 Delay . . . . . . . . . .
3.14.6 Reverb . . . . . . . . . .
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4 Modulation Matrix
4.1 The differential unison engine (DUNE)
4.2 List of Sources . . . . . . . . . . . . . .
4.3 List of Destinations . . . . . . . . . . .
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5 MIDI Reference
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6 Legal Information
6.1 Trademarks . . . . . . . . . . . . . . .
6.2 End User License Agreement (EULA) .
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Appendix
55
sure to choose the correct directory for your host software. Refer to your host softwares manual if you are
unsure about where the host softwares VstPlugins directory is located. The plugin file "Dune.DLL" and
the manual and presets will be placed in the chosen
directory. The next time you start your host software
Dune will appear in the VST instrument list.
If you use a 64-bit host such as Orion 64, be sure to
install the 64-bit edition of Dune and choose the VstPlugins directory of your 64-bit host. Choosing the
wrong version will either cause the plugin to not appear in your host, or cause a serious performance drop.
1 Introduction
Dune is a next-generation software synthesizer plugin
designed for creating music on a computer. It was developed with the highest possible audio quality in mind
and offers exceptional flexibility. The latter is achieved
by its modulation system, the new differential unison
engine (DUNE) hence the name. Despite the complexity of the synthesizer, the highly optimized code
allows Dune to run even on older computers. On current hardware, many instances can be run in parallel,
making Dune the perfect everyday studio workhorse.
Dune was tested by professional music producers
to guarantee its ambitious design goals were met. It
comes with high quality sounds, mostly created by professional sound designers.
Installation Mac
Dune comes with a dedicated installer application. Download and open the file named "Dune Installer.dmg". Afterwards, double-click on the installer
icon to begin the installation process. The installer
will guide you through the necessary steps. The plugin files will be placed in the proper directories automatically. In contrast to the PC version you do not
need to select any directories manually, as the plugin
directories are identical for every Mac. The next time
you start your host software Dune will appear in the
AU and/or VST instrument list, depending on which
format your host software supports.
1.1 Installation
Installation PC
Unzip Dune and run SETUP.EXE to commence with
the installation process. The installer will guide you
through the necessary steps. You will be asked to select the location of your VstPlugins directory. Make
4
1.2 Compatibility
PCs require Windows XP or later and a singlecore CPU with 2 GHz or better or alternatively
a multi-core processor with 1 GHz or better.
Ableton Live
Apple Logic Studio
Cakewalk SONAR
Image Line FL Studio
Steinberg Cubase
Synapse Audio Orion
2 Basic Operation
2.1 Selecting a patch
Each musical sound that you can play is called a Patch.
Dune comes with three sound banks, each bank contains 128 patches. The last patch in bank C is the Init
Patch, which sets all sound parameters to default values. It can be used as a starting point to create new
patches.
To select a patch, either click on the patch name or
use the arrow buttons. You may also choose a patch
from your host.
bend wheel is used to temporarily shift the pitch upor downwards. When released, it automatically snaps
back to center position. The modulation wheel typically controls vibrato type effects, but can be used to
modify other sound parameters as well. It remains in
whatever position it was set to.
The Bend up/down parameters specify by how many
semitones a sound is pitch shifted up or down, when
the pitch bend wheel is turned all the way up or down.
When you load or save a project from your host sequencer, Dune will automatically recall all settings for
the last active patch. Sometimes, however, you may
wish to send patches to a friend or use them in a different host sequencer.
You can load and save individual patches by clicking on the PATCH label. Patches are stored in Cubase
FXP format, a common format for storing sounds. As
explained previously, patches are organized in banks
of 128 patches each. To load or save a bank, click on
the BANK label. Banks are stored in Cubase FXB
format.
3 Sound Parameters
This section describes how a Dune patch is constructed, the operation of all front panel knobs and
switches, the effect section and the arpeggiator.
On their own, the three basic building blocks synthesize a completely static sound. This is in contrast
to acoustic sounds, where pitch, timbre and volume
change over time. In order to obtain this possibility in
a synthesizer, so called envelopes are used to add dynamic variation to a sound. The most important envelope is the amplitude envelope ("Amp Env"), which
is essential to fade in and fade out notes and thus to
make a synthesizer playable like a real instrument in
the first place. Also important is the filter envelope
("Filter Env"), which dynamically controls the brightness and thus the timbre of a sound over time. The
modulation envelope ("Mod Env") can be freely assigned to any sound parameter, and is typically used
to change the pitch progression.
While envelopes nicely control the overall progression of a sound, it is sometimes desirable to add periodic modulations. Such modulations can mimic vibrato or tremolo effects known from acoustic instruments, and can be added by using one or more of the
low frequency modulation ("LFO") blocks.
9
LFO-1
LFO-2
LFO-3
Periodically
modulate the
sound
Periodically
modulate the
sound
Periodically
modulate the
sound
OSC 1-3
Filter
Amp
Timbre and
Pitch control
Brightness
control
Volume
control
Mod Env
Filter Env
Amp Env
Adjust any
parameter
over time
Adjust the
brightness
over time
Adjust the
volume
over time
Effects
+
Distortion, EQ,
Phaser, Delay,
Reverb
Voice #1
Voice #2
Voice #3
...
3.2 Oscillators
Waveform
An oscillator can create different waveform shapes.
The LED buttons in the sections labelled OSC 1 and
OSC 2 allow choosing between the classic sawtooth,
pulse and sine/triangle shapes. Furthermore, a waveform from a table containing 69 additional shapes may
be selected. The last 10 waveform shapes are special
waveforms containing chords or click sounds. The latter are useful when only a single cycle is triggered.
This can help form the transient of a sound, particularly good for percussive sounds.
Switching oscillators from regular periodic playback
to one-shot mode is accomplished via the modulation
matrix (see chapter 4).
Pulse
50%
Sine
SEMI
Triangle
11
FINE
FAT
When this parameter is at zero (knob turned fully
counter-clockwise), the oscillators act like those found
in traditional synthesizers, creating a single waveform
of the selected shape. Set to nonzero values, a stack of
7 oscillators of the same type are synthesized simultaneously. The tuning increasingly diverges as the knob
is turned clockwise, controlling the thickness of the
sound. If FAT is enabled for both oscillators, a total
of 14 oscillators will be audible per voice. Combined
with the sub oscillator (described below) and Unison
mode, up to 120 oscillators can be fired per key, allowing very rich patches that few synthesizers are capable
of generating.
The FAT mode works on any chosen waveform, not
just the classic sawtooth, square and triangle shapes.
OSC SYNC
When enabling Oscillator Sync, the second oscillator
is reset whenever the first oscillator has completed one
waveform cycle. This leads to interesting new waveform shapes for the second oscillator. When choosing
sawtooth or pulse and sweeping the 2nd oscillators
frequency without changing the pitch of the 1st oscillator, the classic sync sweep sound is achieved. When
choosing the sine, the reset effect often leads to waveforms resembling a sawtooth, but sounding softer.
In Dune, all waveform shapes including the wavetables can be synced. Note that the FAT knob has no
meaning for the 2nd oscillator when SYNC is enabled.
This is because the detuning effect is only possible with
oscillators that are in free run mode. Of course FAT
can still be used on the 1st oscillator.
OSC MIX
The OSC MIX knob blends seamlessly between the
level of the first and second oscillator. Turned fully
12
3.2.2 Oscillator 3
25%
50%
75%
13
A further interesting effect that can be applied to oscillators 1 and 2 is to multiply them with each other.
This can be seen as one oscillator modulating the other
in its amplitude (see fig. 3.4). The effect depth can be
controlled using the RING MOD knob. Set to zero,
the ring modulator output is inaudible.
Mathematically, the result of this process is that
the sums and differences of both signals frequencies
are generated. If the oscillators are detuned, this will
typically lead to inharmonic, metallic sounds.
1
0
-1
0
0.2
0.4
0.6
0.8
0.2
0.4
0.6
0.8
0.2
0.4
0.6
0.8
1
0
-1
0
1
0
-1
0
Time (s)
Figure 3.4: Ring modulating two sinusodials with frequencies 2 Hz and 50 Hz.
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Magnitude
Frequency
Cutoff frequency
Magnitude
CUTOFF
Frequency
Cutoff frequency
Magnitude
Magnitude
Cutoff frequency
Frequency
Frequency
Cutoff frequency
Magnitude
Frequency
Cutoff frequency
RESO
If the output of a filter is fed back to its input, resonance occurs, which is a sinusodial oscillation near the
cutoff frequency (see fig. 3.5). The RESO knob controls the depth of this effect. At lower settings, resonance can be used to add presence to a sound. Using
higher settings, the sinusodial oscillation gets strong
When a comb filter is chosen, the frequency spectrum looks like a comb with a series of regularyspaced spikes in it. The cutoff knob adjusts the
spacing of the spikes.
16
enough to use the filter in a similar fashion as an oscillator. This property can be useful to create special
effect sounds such as laser guns, electronic bass drums
etc.
Magnitude
Resonance
Frequency
KEY TRACK
Cutoff frequency
ENV
This knob controls how much the filter envelope (described later in this chapter) affects the cutoff frequency. Set to zero, the filter envelope has no effect
on the cutoff frequency. At 100%, the envelope spans
the entire cutoff range from the minimum to the maximum value. Most sounds will use a low-pass filter
with an envelope amount setting in between the two
extremes and the envelope attack and sustain set to
their minimum values. This creates the most common
timbre which is a bright start followed by a darker
sustain stage, a property shared by many acoustic instruments. Note that when a dual filter is used, the
filter envelope affects both filters simultaneously.
OFFSET
The meaning of this knob depends on the chosen filter,
and is thus discussed separately for each filter type in
the following section.
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LP Ladder 12/24 dB
Two more low-pass filters with 12 and 24 dB attenuation, respectively. This type was painstakenly modelled after the filters of legendary analog hardware
synthesizers, which employed a transistor ladder structure. This filter combines a great sound with authentic
behavior of cutoff frequency movements as well as response to resonance. Thus it requires more CPU than
the two previous low-pass filter models.
Lowpass 12 dB
The first filter is a low-pass type, thus attenuating frequencies above the cutoff frequency. The slope of attenuation is 12 dB per octave, which is relatively soft.
Additionally the CPU usage of this filter type is very
low, making it an excellent choice for a wide range of
sounds. The OFFSET knob has no effect on this filter
model.
Lowpass 24 dB
This type is identical to the first filter, but features
a slope twice as steep. Starting from the cutoff frequency, each octave upwards is attenuated by 24 dB
instead of 12 dB. This creates a much stronger filtering effect than the previous filter model. If the cutoff
frequency is set to 1000 Hz, for instance, it means that
frequencies at 4000 Hz will be attenuated by roughly
48 dB and thus become practically inaudible. Note
that the 24 dB filter model needs slightly more CPU
than the 12 dB type. The OFFSET knob has no meaning in this filter mode.
OSC
Signal
Low-pass filter
#1
Low-pass filter
#2
Adjust cutoff using
OFFSET knob
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This dual filter structure consists of a 12 dB bandpass followed by a 12 dB low-pass filter. Once more,
OFFSET adjusts the low-pass filters cutoff frequency.
LP12+Dist
A low-pass filter preceded by a distortion effect. The
distortion effect models the typical characteristic of
analog semiconductors. The OFFSET knob controls
the gain level of the signal before being fed into the
effect. Note that at center position, some distortion is
already audible. Turn the knob to the right to increase
the gain and thus the distortion, turn it to the left to
decrease the effect.
This filter model can be used to either add some
spice to sounds by using negative gain settings resulting in only a subtle effect, or to create very harsh
sounds by turning OFFSET fully clockwise. As the
distortion effect is processed before the low-pass filter, the effect of the distortion is most audible at high
cutoff frequencies.
LP12+Bitcrush
Similar to the LP+Dist filter, a low-pass filter is preceded by a distortion effect. Here, the distortion is not
achieved by a virtual analog model but by simple bit
reduction of the signal coming from the oscillators, resulting in harsh quantization noise. The OFFSET con19
LP/BP/HP Sweep
This multimode filter sweeps from lowpass over bandpass to a highpass type, according to the OFFSET
knob. The middle position yields a bandpass response.
LP12+Follow
LP12/LP12 Split
LP24+Saturation
A low-pass filter based on the LP ladder model with
a saturation effect in series. The OFFSET knob controls the amount of saturation. The effect is more
subtle than the LP12+Dist model, it can substantially
enhance the feel and overall character of a sound, however.
OSC 1
Low-pass filter
#1
OSC 2+3+N
Low-pass filter
#2
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BP12/LP12 Split
mon change is to slightly detune the stacked voices, resulting in thick bass, lead or pad sounds. Another frequently used technique is to spread the stacked voices
in the stereo field, making the sound more spatial.
Note that the Differential Unison Engine (DUNE) described in chapter 4 allows to modify any parameter
of stacked voices in a simple fashion, taking the unison
concept to an entirely new level.
The basic unison parameters can be found in the
UNISON section located below the oscillators.
BS12/LP12 Split
Same as the previous model, but with a band-stop filter instead of a band-pass.
VOICES
This knob controls the number of voices to use for each
note played. Note that the global polyphony is reduced
by this setting. When using four voices per note, the
global polyphony will be reduced by a factor of four.
Make sure to increase the polyphony if necessary (see
chapter 2).
HP12/LP12 Split
Same as the previous model, but employing a highpass filter.
This parameter detunes the unison voices. Higher settings correspond to more variation, a minimum of two
voices is necessary to create an audible change. The
detuning is always centered around the note pitch.
When playing e.g. A4 (440 Hz) and detuning two
voices by 1 Hz, the two pitches would be 339 Hz and
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MONO
SPREAD
Spreads the unison voices in the stereo field. A minimum of two voices must be dialed in using the VOICES
knob to create an audible effect. At maximum position, the voices will be fully spread in the stereo field
in the case of using two voices, one voice will be
hard left and the other one hard right. In case of three
voices, one voice will be hard left, one dead center and
one hard right, etc.
GLIDE
When nonzero, this parameter causes each note to
smoothly adjust its pitch from the previous note to
the new one. Higher settings correspond to a slower,
more noticeable glide effect. Sometimes this parameter
is referred to as portamento. Note that when MONO
is enabled, GLIDE affects only notes which overlap.
SOLO
VOLUME
Level
SUSTAIN
Sustain
Attack
Decay
Time
Release
RELEASE
Key pressed
Key released
ATTACK
The filter envelope modulates the filter cutoff frequency and thus the timbre of the sound. Many sounds
start with a bright timbre and then decay to a darker
tone. This behavior can be modelled with the filter
envelope. The depth of the effect is controlled with
the ENV knob in the filter section. The filter envelope
has the same shape as the modulation envelope (see
fig. 3.9).
DECAY
After reaching the peak, the decay stage commences.
During the decay stage, the envelope falls back to a
23
SUSTAIN
Level
Sustain
Attack
Decay
Time
Release
RELEASE
Key pressed
Key released
ATTACK
The ATTACK parameter specifies the duration it
takes for the envelope to reach its maximum value.
Most sounds use a setting near the minimum in order
to start bright.
Located below the Filter envelope, the amplitude envelope controls the progression of the volume of a sound
(see fig. 3.10). It works in the same manner as the
filter and modulation envelopes, but offers two extra
parameters, SPIKE and HOLD.
24
HOLD
Level
Spike
Sustain
Attack
Hold
Decay
Time
Release
DECAY
Key pressed
Key released
SUSTAIN
ATTACK
RELEASE
SPIKE HARD/SOFT
3.12 LFOs
Sawtooth
Sine
Pulse
Noise
Shape
Use the four LEDs to select one of the four waveform
shapes depicted in fig. 3.11. Sawtooth, Pulse and Sine
are periodic waveforms, the fourth shape is S+H Noise
(Sample-and-Hold Noise). S+H Noise is a signal with
random, abrupt changes. It can be used for special
effects or to simulate the behavior of old analog hardware, by employing a very slow and subtle modulation.
The three LFOs are controlled by the sections labelled LFO 1, LFO 2 and LFO 3 on the left side of the
user interface. Assigning destinations to LFOs and adjusting the modulation depth is performed in the modulation matrix, which is covered in the fourth chapter
of this manual.
RATE
By default, LFOs run at a constant rate specified in
Hz, independent of the MIDI note played. Typical settings are between 3-6 Hz for vibrato or tremolo effects.
26
When the SYNC switch is enabled, the rate is specified in units of the current song tempo, such as quarters, eights or sixteenths notes, with either their standard durations, or in triplet (T) or dotted (*) form.
Examples:
Pulse
25%
50%
75%
FADE-IN
SKEW
The SKEW knob is used to change the shape of the
LFO waveforms. It can be used on all LFO waveforms.
Using SKEW, the sawtooth can be tweaked into an
exponential shape using values above 50%, and into a
logarithmic shape using lower values (see fig. 3.12). If
the pulse shape is chosen, SKEW controls the pulse
width, with 50% corresponding to a square wave. The
sine wave can be changed towards either a parabolic
or triangular shape. When S+H noise is selected, this
parameter serves to soften the abrupt signal coming
RESET
Instead of the one-shot mode, LFOs 2+3 offer a
RESET switch. When disabled, it causes the LFO
to run continously, independent of whether any keys
are pressed. When enabled, the LFO is reset each
27
VEL
The notes generated by the arpeggiator need a velocity, which can either be the velocity of the MIDI key
pressed, or the velocity specified in the arpeggiator
pattern. The VEL control blends seamlessly between
both options, the leftmost setting corresponding to the
velocity of the MIDI key pressed and the rightmost using the pattern velocities only.
3.13 Arpeggiator
An arpeggiator (short: ARP) is a module that generates melodic or rhythmical patterns from incoming
MIDI notes. The pattern employed is programmable
per patch and contains a note list controlling the sequence as well as extra information that can be used to
alter other properties of the sound, such as its volume
or timbre. The ARP module is enabled or disabled
using the ARP ON switch in the OUTPUT section.
The arpeggiator parameters as well as its pattern are
accessed by choosing ARP PAT in the center screen.
The following sections describe the key parameters to
control the ARP module, which are located right below the pattern data.
LENGTH
The notes generated by the arpeggiator usually have a
length of a single step, followed by a break of the same
duration. Using the LENGTH control, the duration of
the notes can be increased or decreased. Turned to the
left, the notes get a staccato feel, while the opposite
direction yields smoother sounding sequences.
RATE
SWING
Arpeggiator Modes
tions of basic playback of fixed sequences only transposed up- or down. The outcome of the dynamic mode
depends on two factors: how many keys are pressed
simultaneously by the user, and how the underlying
arpeggiator pattern is programmed. If just one key is
pressed, the dynamic mode is identical to the simple
mode, playing back the programmed sequence transposed according to the MIDI note of that key. If two or
more keys are pressed simultaneously, the programmed
sequence is transposed according to the lowest MIDI
key. The second, third etc. keys then override individual notes of the sequence, allowing the musician to
create a wealth of new melodies from very basic patterns.
The notes to override are specified in the arpeggiator pattern. In the pattern, the second column next to
each MIDI note allows to set either no override (), in
which case that note behaves just like it would in Simple mode, or it is set to 2nd, 3rd, 4th... corresponding
to the second, third, fourth etc MIDI key held down,
counting from the leftmost key.
CHORD
In this mode, if one or more keys are held down simultaneously, the sound will be rhythmically varied
according to the sequence programmed in the arpeggiator pattern. Note that the pitch information contained in the arpeggiator pattern is not used in this
mode.
DUOPHONIC
In duophonic mode, the arpeggiator plays back a fixed
sequence of up to two notes simultaneously. Those
notes are sequenced using the two columns in the
arpeggiator pattern. The sequence is transposed according to the key you press. Pressing multiple keys
has no effect in this mode, only the lowest key will be
used.
MOD
In this mode, the arpeggiator does not create any audible sequence. It is actively sending note and velocity
information to the modulation core, however, which
allows you to use the arpeggiator unit as a pure modulation source. This can be useful for a variety of ef-
DYNAMIC
This arpeggiator mode is a new development available
exclusively in Dune. It is designed to assist the musician in a creative manner and overcome the limita29
3.14 Effects
SIMPLE
When in simple mode, the arpeggiator will play back
a pre-programmed sequence when hitting a single key.
The sequence is automatically transposed according
to the MIDI note of that key. Pressing multiple keys
simultaneously has no effect in this mode.
ONE-SHOT
Same as SIMPLE, except that the sequence plays only
once and stops afterwards.
VOICE 2/4/6/8
Identical to SIMPLE mode, except that the arpeggiator only fires the even-numbered voices. The oddnumbered voices are not affected by the arpeggiator
and play normally. This is useful for athmospheric
textures or soundscapes with one sustained note accompanied by an arpeggiated sequence.
3.14.1 Distortion
A distortion effect amplifies the signal in a nonlinear manner, creating new overtones and thus a rather
harsh sound. A total of seven different types may be
chosen:
30
TYPE
HP Only is a high-pass filter without any distortion applied. This can be useful to either remove unwanted low frequency content in the inaudible range (e.g. below 10 Hz), or to roll off the
bass for sounds where too many low frequencies
are undesirable (for instance percussive or lead
sounds).
LP+Crunch is a distortion effect with a lowpass filter in series. The low-pass filter is used to
roll off higher frequencies. High frequencies may
be objectionable when applying a lot of distortion.
HP+Crunch is a distortion effect with a highpass filter in series. The high-pass filter is used to
roll off lower frequencies, which can be useful in
combination with low AMOUNT settings. The
effect is then similar to that of an Exciter, which
adds high frequencies to a signal to increase its
brightness and presence.
COLOR
This controls the low-pass or high-pass filters cutoff
frequency in Hz.
DRIVE
Adjusts the gain applied to the signal when entering
the nonlinear distortion stage. Higher settings cause
more distortion.
AMOUNT
LP Only is a low-pass filter without any distortion applied. This can be useful to reduce the
overall brightness of the sound.
3.14.2 EQ-1
An EQ is used to boost or attenuate a certain frequency range. It features three basic types:
Magnitude (dB)
Amount (+)
TYPE
0 dB
Amount (-)
Frequency
Cutoff frequency
Magnitude (dB)
Amount (+)
FREQ
0 dB
Amount (-)
Peak frequency
Magnitude (dB)
Magnitude (dB)
Q=1
Amount (+)
0 dB
0 dB
Amount (-)
Frequency
Frequency
Peak frequency
Cutoff frequency
32
GAIN
the delay time is continuously varied. The timedelayed copy can be added or subtracted from
the dry signal, each option resulting in a different sound.
3.14.3 EQ-2
This section is identical to EQ-1. It allows further processing of a different frequency region if required. For
example, you could roll off low frequencies using EQ-1
and boost high frequencies using EQ-2.
RATE
3.14.4 Chorus, Flanger, Phaser
FREQ
Sets the center frequency for the Phaser when selected.
For the Chorus/Flanger types, this parameters specifies the frequency range to include. Usually this should
be set to 100% to include the entire frequency spectrum.
FEEDBACK
Flanger +/- Summing a signal with a timedelayed copy of itself creates a flanging effect, if
DEPTH
COLOR
AMOUNT
3.14.5 Delay
A delay effect produces a series of echoes. The duration of the echoes is always locked to the host tempo
in order to guarantee a musically useful result. A total
of nine delay programs are available.
F-BACK
The feedback parameter allows you to adjust how often the echoes are repeated. The percentage specifies
the level change from one echo to the next, so 100%
creates an infinite series of echoes, 50% cuts the level
of each subsequent echo in half etc.
TYPE
Simple creates a series of echoes centered in the
stereo field.
RATE L/R
PP 75, PP 50, PP 25 and PP 12 are identical to Ping-Pong, except that the stereo image
is reduced towards the center.
34
Note that the reverb programs computing early reflections also create a realistic echo buildup pattern,
going from a sparse distribution of early echoes to an
increasingly dense pattern. Thus they are more CPU
demanding than the two diffuse types.
AMOUNT
Blends between the dry and processed signal.
3.14.6 Reverb
PREDELAY
TYPE
Diffuse-1 is a reverb type creating diffuse
echoes. It does not emulate a specific room size.
DAMP
Diffuse-2 is a variation of Diffuse-1, which consumes less CPU and can be used whenever performance is an issue.
Room simulates a real room including early reflections. Reverb time should be set to 1 second
or less if an authentic effect is desired.
35
DECAY
Sets the reverb time in seconds.
LOW CUT
The low-cut filter in the reverb effect can be used to
remove unwanted low frequencies from the processed
signal. This is useful for sounds containing strong bass
frequencies, such as bass drums etc. Note that the dry
signal is not affected by this, only the reverberated
signal.
AMOUNT
Blends between the dry and processed signals.
36
4 Modulation Matrix
side of the stereo panorama, which creates a very spacious effect. The Synapse Audio WASP is such a synthesizer.
The idea behind Dune is to make the power of the
unison mode accessible to sound designers. Why restrict the unison mode to just detuning or panorama
changes? In Dune, any sound parameter can be
changed in unison mode, relative to the basic parameter settings. This is accomplished by the modulation
matrix. Apart from the classic source, amount and
destination parameters, Dune adds the "Voice" parameter, which allows to restrict the modulation to one or
more unison voices. This concept is best explained by
a simple example matrix:
Here we modulate two parameters, filter cutoff and filter resonance. The modulations are set to affect the
second unison voice. As a source, we chose "Const",
which means constant. The result of those modulations is to simply adjust the two filter parameters relative to the knob settings. For example, if the Cutoff
knob is set to 50%, the second voice will have a cutoff
setting corresponding to 100% (50% + 50%).
39
PWheel
The MIDI pitch wheel data. Note that the pitch bend
wheel always changes the pitch up or down dependent
on the Bend up/down setting in the main panel. Set
both to zero if you wish to use the pitch wheel exclusively for a different purpose.
ATouch
Quality MIDI keyboards not only transmit velocity,
but send pressure information as well. This parameter
is called Aftertouch. In contrast to velocity, the aftertouch information is sent permanently and for the
entire keyboard, not per key. It is transmitted for as
long as any key(s) are being pressed. Note that there
is a few keyboards which support sending pressure information per key. This is called polyphonic aftertouch. While polyphonic aftertouch is supported by
the MIDI standard, such keyboards are very rare and
never found wide usage. Hence, polyphonic aftertouch
is not supported.
Velocity
The MIDI Note-On velocity information, which is
transmitted once at the instant a key is pressed. The
harder a key is hit, the higher the transmitted value.
Note #
The MIDI Note number, using E4 (=64) as the center. Higher keys than the center key transmit positive
values, lower keys negative values.
Const
MWheel
Breath
Random
Foot
Expr
MIDI Expression controller (#11).
LFO-1
Arp Note
LFO-2
Current value of LFO-2.
LFO-3
Current value of LFO-3.
LFO*MW
Arp Vel
LFO*AT
The value of LFO-1, LFO-2 or LFO-3 multiplied by the
aftertouch data. Useful to create vibrato type effects
when applying pressure on the keyboard.
Voice #
The unison voice number counting from zero, i.e. the
first unison voice sends 0, the second voice sends 1,
the third 2, and so on. This source can be useful to
quickly set a parameter of each unison voice to a different value.
Mod Env
Filter Env
Current value of the filter envelope.
Amp Env
Current value of the amplitude envelope.
42
This parameter sets the key tracking of the 1st/2nd oscillator and is only available in the modulation matrix.
An amount of +100 corresponds to the regular key
tracking, where each MIDI key number corresponds to
one semitone. By changing this parameter to values
other than +100, you can either realize strange tunings or turn off key tracking entirely by setting KeyTrk
to 0. This is often done for drum sounds, which have
no defined pitch.
43
Osc 2 OneShot
Pulse Width
Noise Level
Osc 3 Level
Adjusts the level of oscillator 3. The value range corresponds to the front panel knob.
Noise Colour
Osc 3 Phase
Ring Mod
Adjusts the amount of ring modulation relative to the
front panel knob, using the same value range.
Osc Mix
FM 1
Sets the mix between the 1st and 2nd oscillator. This
is a very important destination in the modulation
matrix, as it allows you to realize dynamic timbre
changes. In the context of the differential unison engine, choosing this parameter as a destination adds
another degree of flexibility, as you can restrict the
modulation to a specific unison voice.
FM 2
FM Amount 2. The meaning of the parameter depends
on the selected FM mode (see chapter 3).
44
FM Depth
Filter Type
Lowpass 12dB
Lowpass 24dB
LP Ladder 12dB
LP Ladder 24dB
LP24 -> LP12
BP12 -> LP12
BS12 -> LP12
HP12 -> LP12
Comb -> LP24
LP12+Dist
LP12+Bitcrush
LP12+Follow
LP24+Saturation
LP/BP/HP Sweep
LP12/LP12 Split
BP12/LP12 Split
BS12/LP12 Split
HP12/LP12 Split
Filter Cutoff
Adjusts the filter cutoff frequency relative to the front
panel knob and using the same value range.
Matrix Name
LP12
LP24
LP12b
LP24b
LP>LP
BP>LP
BS>LP
HP>LP
Comb>LP
LP+Dist
LP+Bitc
LP+Folw
LP+Sat
LP/BP/HP
LP/LP
BP/LP
BS/LP
HP/LP
Filter Type
Filter Env Amt
Filter Reso
Spike Hard
This parameter introduces a short spike into the amplitude envelope (see chapter 3) and is only available
in the modulation matrix.
Filter Offset
Spike Soft
This parameter introduces a short spike into the amplitude envelope (see chapter 3) and is only available
in the modulation matrix.
Amp Hold
Filter KeyTrk
Sets the key tracking for the filter, which specifies how
much the cutoff frequency changes according to which
MIDI note number a voice is playing. The parameter
works in the same manner as the front panel knob,
however you may specify negative values, too. Negative values cause low keys to have a higher cutoff
frequency than high keys.
LFO as a source is not possible or if you want to modulate the amplitude of LFO-1 using LFO-2 or LFO-3.
Note that setting LFO-1 -> Pitch Semi is the same as
setting Const -> LFO1*Semi.
LFO1*Fine
The tuning in cents, multiplied with the current value
of LFO-1.
LFO1*Pulse Width
Magnitude
-100
0
+100
LFO2*Cutoff
Breath / Mod Wheel / Velocity
The filter cutoff parameter, multiplied with the current value of LFO-2.
LFO2*Env
LFO1*Semi
LFO2*FXDly
The filter envelope parameter, multiplied with the current value of LFO-2.
47
LFO3*Amp
LFO3*Pan
MM Amount 1-24
LFO3*Comb
When the Comb->LP24 filter type is selected, this destination modulates the comb filters delay according to
LFO-3, otherwise it has no effect. Technically, modulating the comb filter delay time is the same principle
employed by a flanger effect.
Volume
FX Dry/Wet
This parameter allows you to set the depth of the entire effect chain. You can specify the dry/wet effect
mix for each voice or voice combinations separately, if
desired. Another possible application is to modulate
the effect depth with an LFO or envelope.
Pan
The overall panorama. Modulate this parameter using
one of the three LFOs as a source in order to move
the sound in the stereo field.
Detune
Adjusts the unison detune parameter relative to the
front panel knob, and using the same value range.
Pitch Semi
The coarse tuning of the first, second and third oscillator combined. An amount value of +1 corresponds to
one semitone, so +12 transposes both oscillators one
octave up, -12 one octave down etc. Note that the
third oscillator is always slaved to the first. Thus, unless you restrict this parameter to a particular unison
voice, the entire sound will be pitched up or down.
In the context of the differential unison engine,
choosing Pitch Semi as a destination allows you to
specify arbitrary tunings for each voice. For example, you could transpose the first voice one octave up
or build entire chords with this parameter, each voice
Pan Spread
Adjusts the unison spread parameter relative to the
front panel knob, and using the same value range.
Level (dB)
Allows you to adjust the level in decibels, which is useful to attenuate or boost individual voices. Be careful
when using positive values, as the gain can be very
high. To protect your hearing as well as speakers in
case of improper use of this parameter, positive values
49
Pitch Fine
The fine tuning of the first, second and third oscillator
combined. Modulate this parameter using a LFO as a
source in order to obtain vibrato effects.
50
5 MIDI Reference
Most knobs and buttons on the front panel can be
remote controlled via MIDI. Dunes default controller
assignments follow common conventions and the MIDI
standard as much as possible. The number of sound
parameters Dune offers, however, is higher than the
amount of available MIDI controllers. Most effect parameters and large parts of the modulation matrix are
thus not assigned to any MIDI controller.
To override the default MIDI assignment, rightclick on a knob and select "MIDI Learn", then
move your hardware controller knob. To remove
an assignment, choose "MIDI Forget". Once you
close Dune, the changes will be made persistent
and apply to any future instance of Dune.
Dune Parameter CC # MIDI Ctrl Name
Common
Modulation Wheel
1
Modulation Wheel
Glide
5
Portamento Time
Sustain Pedal
64
Sustain Pedal
Bank Select
0, 32
Bank Select
Volume
111
51
Dune Parameter
Filter Cutoff
Filter Reso
Filter Env Amt
Filter Key Track
Amp Envelope
Amp Attack
Amp Decay
Amp Sustain
Amp Release
Effects
EQ 1 Gain
EQ 2 Gain
Reverb Amount
Delay Amount
Phaser/Chor Amount
Distortion Amount
Mod Matrix
MM Amount 1
MM Amount 2
MM Amount 3
MM Amount 4
MM Amount 5
MM Amount 6
MM Amount 7
MM Amount 8
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Attack Time
Release Time
89
90
91
92
93
94
Effect
Effect
Effect
Effect
1
2
3
4
Depth
Depth
Depth
Depth
112
113
114
115
116
117
118
119
Grant of license
6 Legal Information
You are granted a personal, non-exclusive, nontransferable and limited license to install and use the
Software for the purposes set forth herein. Unless you
have purchased additional licenses, you may only install and use a single copy of the Software on a computer, and/or move the software to another computer,
provided that you are the only individual using the
software. If you are an entity, you may appoint one
individual within your organization to have the right
to use the Software under the terms of this License
Agreement. This software, including all of its components and any additional files included with the distribution, is protected by copyright law and international
copyright treaties. The total number of copies of the
software used by you, may not exceed the number of
licensed copies paid for by you, except that you may
make one copy of the software solely for archival or
backup purposes. The term of this license is perpetual,
unless terminated under the conditions provided in the
License Agreement. Except as provided in the agreement, you receive no rights to transfer, rent, lease,
lend, copy, modify, market, transmit or reverse engineer the software, any component hereof, or any file
provided with the distribution. The software, and any
files included with the distribution, including sampled
sounds, presets and demonstration songs, is licensed
but not sold to you, for use in music production. If
6.1 Trademarks
VST is a trademark of Steinberg Soft- und Hardware
GmbH. All other trademarks and trade names are the
properties of their respective owners, and do not imply
owners endorsement of this product, or guarantee full
compliance with owners standards.
Disclaimer
The software, any component hereof, and any files distributed with the software, is provided "as is", and
there is no warranty of any kind, either express or implied - including, but not limited to, the implied warranties of merchantibility and fitness for any particular
purpose. The risk as to the quality and performance
of the program is with you, and the licensor will not be
held responsible for any damage or loss, to your person or property, as incidential or consequential result
of installing or using this software.
Termination
Your license to use the software is effective from the
date you agree to the terms and conditions of this License Agreement. You license is automatically terminated if you fail to comply with the limitations described in the License Agreement, and no notice shall
be required from the licensor to effectuate such termination. Upon termination of this License Agreement
for any reason, you shall make no further use of the
54
Appendix
Sound Design Reference
The last two characters of every patch name are the
authors initials. The following table lists all sound
designers who contributed patches to Dune, and a
website where you can learn more about their work.
Ab.
DG
EDT
IW
LE
MH
MK
PK
RH
RL
Author Name
David Goodwin
Ed Ten Eyck
Ingo Weidner
Lance Emmerich
Mark Holt
Michael Kastrup
Piet Kaempfer
Richard Hoffmann
Rob Lee
Email or Website
kriminal@ntlworld.com
http://www.edtaudio.com
ingo_weidner@web.de
lance.emmerich@gmail.com
http://flavors.me/markholtuk
http://www.xsynth.com
www.protonica.de
www.synapse-audio.com
www.basslinerecords.com
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