Are you using
VST plugins or
Audio Units and need an instrument which provides
interesting wave table textures?
Then the Space Synth is one of the plugins you should definitely have a look at.
The Space Synth available as a VST plugin for Windows and Audio Unit on Mac OS X.
About the Space Synth
The Space Synth produces ambient sounds suitable for music genres, such as ambient techno, space-music and traditional ambient music. The MIDI synth comes with 256 presets (in version 2.0) and a manual (Adobe Acrobat).
You may download a demo here.
This one and our other plugins have been tested with Cubase SX, Cubase VST, Garage Band, Muzys, Orion Pro, Logic, Acid Pro, Magix Music Studio, Audio Mulch and SONAR using various adapters. The Space Synth should work with all VST compatible hosts on Windows and all Audio Unit compatible hosts on Mac as long as they follow the spec.
The Space Synth was designed to produce sounds, which can be used to create ambient music, space-music or just moody electronic music in general. The odd signal path, modulation routings and sequencer controls make it possible to come up with a vast array of sounds, which have a moving and organic character.
It's different from other plugins, both in terms of sound and architecture.
The ensemble creates a big and wide sound. The resonator stands for fatness in combination with a screaming feedback control. The filter gives the sound a warm analog character and the sequencer controlled evolving oscillator generates tones you have never heard before.
Sound Examples
Here are a couple of MP3 files that demonstrate the sound of the Space Synth (of course, you can create your own sounds, in addition to the presets, and save them to disk). Each demo was created using the Space Synth, as the only instrument, and Cubase VST. No effects were used. What you hear is what you get.
No other plugins were used.
Preset 1 - Huge Universe (441 KB)
Preset 2 - Machine Talk (572 KB)
Preset 16 - Vox Pad (554 KB)
Preset 23 - Float in Space (454 KB)
Preset 25 - Space lead (231 KB)
Preset 27 - Big Thing (302 KB)
Preset 37 - Atmosphere (541 KB)
Preset 42 - Angel Talks (472 KB)
Preset 45 - Whispers (700 KB)
Preset 50 - Captain fat (207 KB)
Or listen to
this MP3 file (2.4 MB), which contains around 2-3 minutes of the Space Synth (4 simple
notes are played with different presets).
Features
Full polyphony is provided.
Thus the number of voices that you'll get from the plugins voice scheme is only dependant on the power of your CPU. If you have a computer which can handle 47 voices, then you'll get 47 simultaneous voices etc.
The Space Synth uses a resonator, to create that famous sweeping sound, and an ensemble effect to give the synth that lush and smooth sound.
Many parameters can be controlled by the built-in analog style sequencer, for example the waveform of the oscillator, which can be set to make smooth or abrupt transitions. Unusual patches can be created. For example, the resonator can be swept with an LFO that has a random shape. Or the sequencer can control the filter cutoff.
Two delays add an extra dimension to the sounds. The delay time can be synchronized to MIDI or they can run on their own.
An intelligent patch generator, called IPG, can help you to create the patches you want. You just type in which kind of sounds you like and it will generate a bank of 64 such sounds for you.
Modulation Heaven
A wide range of exotic patches, with an ambient feel, can be created using the extensive modulation capabilities of the SpaceSynth. How about sequencer control of the filter's resonance parameter? Or how about modulating the resonator LFO's rate with random values? Or let the plugins sequencer control the ensemble effect's vibrato depth.
The Space Synth is available as trialware, which means that you may test drive the 30 days free trial.
Then the free trial stops to work. And it can only be tested 3 minutes at the time.
Space Synth - Online and Slightly Shortened Version of the Manual
NOTE: This is a slightly shortened version of the manual and it's for version 1.5b. The PDF version is included when you install the software.
Overview
The Space Synth is a VST Instrument (VSTi) for Windows and Audio Unit on Mac OS X.
This and most of our other plugins run as plugins to VSTi compatible programs on Windows,
such as Cubase DX, Acid Pro, Logic and other programs, which can execute VST Virtual Instrument plugins. Or it can be used with AU compatible programs on Mac
OS X.
Requirements
You will need a VST Instruments or Audio Unit (on Mac OS X) compatible host software, such as Cubase VST, Cubase SX, Orion Pro, Muzys, Logic, Acid Pro
or any other compatible software, which can execute VST Instrument (or AU) plugins.
If you use a sequencer program, which doesn’t support VST (or AU) plugins,
then you can use an adapter. For example on Windows there’s VST-DX (http://www.fxpansion.com) or ToneWise’s DirectiXer, to enable the Space
Synth in such a program. SONAR 2.0 is an example.
Installation
Windows:
Our plugins should always be installed in your personal VST plugins folder,
that is the folder, which your host software (e.g. Cubase VST) uses to store all its plugins. When the installation procedure starts, you will be asked where this folder is located. If you don’t know, then quit the installation program immediately, read your host software’s manual and restart the installation procedure.
Mac OS X:
Drag the component (the SpaceSynth.component folder) to the place where your Audio Units are kept. This is usually [HOME]/Library/Audio/Plug-Ins/Components/.
Performance
Although this one and many of our other plugins contain many advanced features,
especially when it comes to modulation, this one is not hard on the CPU. We have optimized the code to make
it execute as efficient as possible. You will easily get 8 voices on a 233 MHz Pentium
II. However, it depends on how many applications you run in parallell of course.
If you have many background programs running, for example in the system tray, and
if you replay a number of hard disk tracks at the same time as this one and a number of
other plugins execute,
then the CPU will of course be under more pressure. In that case, a less number of
voices will be available for you.
The Knobs and Sliders
The fastest way to learn how the Space Synth works is to remember that
the knobs, which are labelled with orange colored arrows are used for sequencer modulation.
Sequencer modulation
Each sequencer modulation knob selects how much the sequencer should affect
the value of the slider next to the knob. The mod knob decides how much the sequencer should
change the slider’s value. If the knob is turned to the left, then the sequencer
output decreases the slider’s value (that’s why it has a - at the left hand side of it). If
the knob is turned to the right, then the sequencer output increases the slider’s value (that’s
why it has a + at the right hand side of it). The more a sequencer modulation knob is turned to the left, the more it decreases
the value of the slider, which is positioned next to it. And the more such a
knob is turned to the right, the more it increases the value of the slider, which is positioned
next to it. Thus, how much the value should be decreased or increased depends on the
current value of the sequencer and how much the knob is turned.
The Different Sections
The Space Synth contains a number of logical sections, which process
the sound in a certain way. Let’s go through them one by one.
Sequencer
The sequencer is used to modulate all other sections, except the stereo delay.
It’s an analog style sequencer, which can change the sound dramatically if it’s used
the right way.
The Steps
There are 16 knobs, each representing one step. If you use all 16 steps,
then the sequencer runs from step 1 to step 16 and then begins at step 1 again and
repeats forever. Each step has a positive value only going from zero, when the knob
is turned fully anti-clockwise, to max value when the knob is turned fully clockwise.
If you want to use the sequencer to change the waveform, then you must first
turn the sequencer modulation knob either to the left or right. If it points at 12
o clock, then the sequencer steps won’t affect it. So if the sequencer modulation knob (in
the evolving waveform section) is in either a left or right poisition, then turn each
step knob to select waveform. As you tun the step knob, you can see that the waveform display
shows which waveform the step corresponds to.
So, to summarize: If you use the sequencer to modulate waveform, then first
select how much modulation you want by setting the sequencer modulation knob. Then adjust each step by turning it and at the same time watching the waveform
display.
Length
If you don’t need to use all 16 steps, you can adjust the length slider to
make it shorter.
A display shows you how many step you have selected, when the slider is moved.
Speed
The speed is also adjusted with a slider. If you the sync button is deselected,
the sequencer uses the plugins own clock.
Synchronization
The sequencer can also be synchronized to the host software’s tempo by selecting
the sync button. In that case, the speed slider will decides how much the sequencer’s speed is divided with respect to the host software’s speed. That’s why the
speed display will show you a / character followed by a number, when the sync button
is pressed down.
Phase
The phase knob adjusts how the sequencer should be shifted/delayed with respect
to the host software’s position. For example, the host software has a number
of MIDI tracks and you record at bars 0, 1, 2, 3 etc. The sequencer’s steps normally
start at a whole bar (0, 1, 2, 3 etc) but you might want to have a slight lag sometimes.
Then you can adjust the phase knob to make the sequencer steps start slightly after
a whole bar in the host software.
Portamento
The porta knob adjusts the transition between each step. If the portamento
is set to zero then the transition between each step value will be abrupt. However,
if the portamento knob is set to max value, then there will be a ramp from a step
value to the next. For example, assume that step 1 is set to zero and step 2 is set to
max value (turned fully clockwise). If the portamento knob is set to max then the sequencer
will output zero and then it will increase its output bit by bit until it reaches
max. Thus, the transition between step 1 and 2 will be a ramp rather than an abrupt change.
This can be used for a number of things. Here are a couple of examples.
· Modulate the oscillator waveform with the sequencer and the
sequencer portamento knob set to max. Then you will get a perfect crossfade between the waveforms.
· Modulate the filter cutoff frequency with the sequencer and
the sequencer portamento knob set to max. Then the cutoff will “glide” between the values rather than maxing an abrupt change.
Evolving Waveform
The oscillator is the actual sound source in the Space Synth. The sound
starts here and then gets processed by the other sections.
Waveform
The oscillator has a number of waveforms. As you pull the base waveform slider, you
can see in the display which waveform that is being selected.
If you pull the base waveform slider to the far right, then the oscillator
will be silent.
This can be very good if the sequencer modulates the base waveform. Then
you can create stuttering effects by using the silent waveform. For example, if the
base waveform is pulled to the far left, selecting the sawtooth wave and you maximize
the sequencer modulation knob by pulling it to the far right, then a max value
in the sequencer will play the silent waveform and a min value in the sequencer
will play the saw waveform. Sequencer values in between will play all the other waveforms.
Note that all these waveforms changes will take place either abruptly or they
will crossfade depending on the sequencer’s portamento setting.
Envelope Settings (ADSR)
The oscillator has a classic ADSR envelope.
Attack (A)
Higher values means that when you press a key on the keyboard it will take
longer time before you can hear the sound. The sound will be faded in. If the attack
is set to zero, then the sound will start immediately and it will not be faded in.
Max value is 30 seconds. The sound will appear immediately if the attack is set to zero.
Decay (D)
After the attack comes the decay. This setting decided how fast the sound
should go to the sustain value. Max value is 30 seconds. Max value is zero seconds.
Sustain (S)
The sustain value adjusts the volume level after the decay.
Release (R)
Release is how long time it should take for the sound to fade out when you
have relased the key from keyboard. Zero value means that the sound stops immediately when you release the keys. Max value means that it will take 30 seconds before
the sound has faded out).
Filter
The filter in the Space Synth is a resonant 4th order lowpass filter.
It has the following controls.
Cutoff Frequency
There’s a slider to adjust the cutoff frequency. When you pull it down, the
sounds eventually gets inaudible and 100% filtered out. When the slider is crannked
fully up the sound is not filtered at all. The cutoff frequency can be modulated by
the sequencer. This is carried out using the sequencer modulation knob, as described earlier.
Q (Resonance)
The resonance can be adjusted with the slider that is labelled Q. Resonance
is a phenomena, which amplifies the frequencies near the cutoff frequency. It
can be used to creat a certain type of sounds. Experiment with it and you’ll notice quickly
how it changes the sound. The Q slider has an associated sequencer modulation knob,
next to it, to make it possible to modulate this parameter from the sequencer.
Rate
In addition to the sequencer, the filter can be modulated by an LFO (Low
Frequency Oscillator). The LFO moves the cutoff frequency according to a certain shape,
e.g. sine (see shape below). If you move the rate slider up, then the movement
is carried out faster. Pull the slider down and the movement is done slower. If the
sync button is selected, then the movement is carried out in speed with the host software.
Then the rate selecteds how much the LFO should be divided with the host software’s
tempo. The rate can be modulated by the sequencer, by adjusting the sequencer modulation knob.
Depth
The depth slider decides how much the movement, described above, should affect
the cutoff frequency. IIf it’s set to its min value, then there’s no move at
all. If it’s pulled to the top, then the movement goes from the current setting of the cutoff slider
to the max value. The depth parameter can be modulated by the sequencer as well, by
adjusting the sequencer modulation knob.
Sync (with the host software)
As mentioned earlier, the LFO can be synchronized to the host software’s
tempo. In that case, the rate slider works as a tempo divider.
Phase
The phase knob in the filter section, decides the lag of the LFO with respect
to the host software’s tempo. It works similar as the sequencer’s phase knob.
Shape (SRP)
When the LFO is used to sweep the cutoff frequency, the shape knob selects
which shape the sweep should have. The knob can be used to select one of the following three LFO modes.
1. Sine (S)
2. Random (R)
3. Pulse (P)
Sine makes the LFO sweep up, down, up, down etc. Random picks random values
for the LFO and pulse has the shape of a square.
Resonator
The resonator in the Space Synth creates a certain type of rich sweeping sounds, which are often used to create powerful pads.
Frequency
The frequency slider selects which frequency the resonator should resonate
at. The resonator is usually modulated by its LFO or by the sequencer. In that case,
the frequency slider selects the base frequency. All modulations then either
add or subtract from that position, depending on the depth or amount of sequencer modulation.
Feedback
Feedback adjusts how much of the resonator’s output that should be fed back
to its input. More feedback creates an accentuated and more powerful effect while
low settings create a subtle and less noticable effect. NOTE that if use crank
the feedback slider all the way up, the resonator might go wile and you can get some nasty distortion, because you’re simple feeding too much back. The amount of feedback
can be modulated by the sequencer by adjusting the sequencer modulation knob
for the feedback.
Rate
Similar to the filter, the resonator can be modulated by an LFO (Low Frequency Oscillator). The LFO moves the resonator’s frequency according to a certain
shape. If you move the rate slider up, then the movement is carried out faster. Pull
the slider down and the movement is done slower. If the sync button is selected, then
the movement is carried out in speed with the host software. Then the rate selecteds
how much the LFO should be divided with the host software’s tempo. The rate can
be modulated by the sequencer, by adjusting the sequencer modulation knob.
Depth
The depth slider decides how much the sweep should affect the frequency.
IIf it’s set
to its min value, then there’s no move at all. If it’s pulled to the top,
then the movement
goes from the current setting of the cutoff slider to the max value. The
depth
parameter can be modulated by the sequencer as well, by adjusting the sequencer
modulation knob.
Sync (with the host software)
The LFO can be synchronized to the host software’s tempo. In that case, the
rate
slider works as a tempo divider.
Phase
The phase knob in the resonator section, decides the lag of the LFO with
respect to
the host software’s tempo. It works similar as the sequencer’s phase knob.
Shape (SRP)
When the LFO is used to sweep the resonator’s frequency, the shape knob selects
which shape the sweep should have. The knob can be used to select one of
the
following three LFO modes.
1. Sine (S)
2. Random (R)
3. Pulse (P)
Sine makes the LFO sweep up, down, up, down etc. Random picks random values
for
the LFO and pulse has the shape of a square.
Ensemble
The ensemble is used to make it sound like there are many sound sources
(oscillators).
Amount
The amount adjusts how much of the ensemble should be applied to the sound.
Note
that this slider can be modulated by the sequencer by adjusting the sequencer
modulation knob next to the amount slider.
Vibrato Rate
Vibrato can be added to the ensemble to make the sound more human and less
cold.
The rate slider selects how fast the vibrato should be. This parameter can
also be
modulated by the sequencer by adjusting the sequencer modulation knob.
Vibrato Depth
The depth slider select how much vibrato that should be applied to the ensemble.
It’s
possible to have the sequencer modulate this parameter as well.
Stereo Delay
A stereo delay can be used to add slap back delay or other effects to the
synth’s
overall sound.
Left and Right Delay time
The time sliders adjust the delay time for the left and right channel delays
respectively.
The delay time is shown in a display next to the slider. Note that is the
sync button is
selected, the display shows how much the time is divided with respect to
the host
sequencer’s tempo.
Sync
When this button is clicked, the delay is locked to the host software’s tempo.
Just click
this button and the delay time with the host software’s tempo (e.g. the tempo
in
Cubase VST). When you move the time slider, the time is divided with the
tempo in
the host software.
Left and Right Feedback
This is how much of the delay that should be fed back again. Higher values
result in
more echoes, but no longer time between the echoes, just more echoes. The
time
between the echoes is adjusted with the left and right delay time sliders.
Left and Right mix
This is the wet/dry setting for the left and right delay respectively.
