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38 / Computer musiC speCial

> zebra2

Sometimes we’remet with a product soimpressive that anything wewrite about it is

going to sound as if we’re on the developer’spayroll. Zebra2 is one of those. We gave it a rareten out of ten score whenwe reviewed it in ,but rest assured, Zebra2 deserved every last dropof praise we could pour on it.

A cross-platform semi-modular synthesiser?Surely it could only elicit a ho-hum reaction –after all, we’ve seen just about every imaginablevariation on the theme. Nevertheless, with itsmodule routing grid (unusual at the time of itsrelease) and fully decked-out feature list, Zebra2is undeniably special.

However, it’s the developer’s dedication tobesting our favourite hardware synths thatallows Zebra2 to really sprint ahead of thecompetition. Urs Heckmann has amassed arespectable collection of hardware classics andstudied them deeply. He’s been inspired by the

old favourites but hasn’t taken the path of directemulation, instead copying the best bits,improving on them and adding entirelymodernfunctions. Make nomistake, theman knows howto emulate an analogue synth – for proof, youneed look no further than u-he’s DIVA, which alsoappears in the pages of this Special.

Zebra2 is no clone, then, but a sound designpowerhouse all its own. Digital additive synthesiscomingles with analogue subtractive techniquesand a whole lot more to form a creative sonicplayground for those willing to dive into Zebra2’scomplex brainwaves. For those who just want toget on with playing, there are scads of fantasticpresets from u-he’s master patch programmers(including the inimitable Howard Scarr,interviewed opposite) as well as user-createdpatches scattered all over the internet.

First impressionsZebra spreads a lot of functionality over aninterface that owes little or nothing to thehardware synths that modelled by some otherdevelopers – there are no faux-wood panels orphotorealistic knobs here. For that reason, thereis a slight shortage of familiarity that might leaveyou scratching your head at first. After a bit of

u-heZebra2

MODULESRoute Zebra2’s many magnificentmodules in this handy patching grid

LFOThe LFO is justone of Zebra2’smany mod sources

GLOBALGet access to thebits that affect theoverall synthesiserby clicking theGlobal tab

FMOGood old-fashioneddigital FM synthesisis available forcrystalline sounds

NOISE GENERATORYeah, the oscillators are cool, butevery synth needs a noise generator

“A lot of thought hasgone into ensuringthat your journeyaround the GUI issmooth and simple”

If a virtual synthesiser could be considered a classic, u-he’s mightymodular masterpiece would certainly be deserving of the title

DELAYThe manyparameters of anyselected effect willbe displayed here

MORE MODULESThis is where you patchup the various availableeffects modules

VCFWe don’t need to tellyou that u-he makesfabulous filters

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playing about, however, it becomes obvious thata lot of thought has gone into ensuring that yourjourney around the GUI is smooth and simple.

Upon first firing up the synth, you’remet withthe Perform functions, comprising a quartet ofX/Y pads that allow quick access to parametersof your choosing. Zebra2 is divided into a pair oftabbed panels. These X/Y pads take up thetopmost panel and represent the lion’s share ofthe screen real estate. You can tab between thispage, another for Synthesis, and anotherdedicated to the patch browser.

The synthesists among youwill, natch, spendmost of your time on the Synthesis page. Hereyou’ll find an unusual take onmodular synthesis– the centre of the page is given over to a patchrouting schemewherein different modules areplaced in one of four columns, with the signalflowing from top to bottom. That’s not to say youcan’t patch from one column to the next,however. Modules are inserted via dropdownmenus that appear when clicking on amoduleslot. To the left you’ll find the editors for anymodules you’ve inserted, and to the right are theeditors for anymodulation gubbins youmighthave assigned. Modulation is assigned toindividual sources via yet moremenus.

Fully loadedWe don’t have the space here to cover everyavailable module, but as you can imagine, thereare basic analogue-style oscillators, FMoperators, multimode filters and more. Theoscillators are among Zebra2’s best features –there are custom wavetables available, and eventhe waves within them can be user-created usinga keen waveform display that appears on one ofthe tabbed Osc sections below the main view. FMsynthesis is of the DX variety, similar to synthslike the much-loved DX21 and TX81Z. Like theother oscillators, the FM operators have a tabbeddisplay at the bottom of the GUI.

The oscillators have a dedicated set of Osc FXthat can be assigned in the lower half of themodule. These effects are specifically designed to work on the signal at this earliest stage. There

are two dozen to choose from, andwith bizarrenames like Scrambler, Turbulence and Trajector,it’s obvious from the get-go that these aren’t yourstandard algorithms.

Modulation options abound, with envelopegenerators, LFOs, multisegment envelopes,arpeggiator/sequencer and, of course, MIDI. MIDILearn is available, as are themost commonMIDIcontrollers likemodwheel, breath controller andaftertouch. In other words, you’ll have no excusefor static, boring timbres, as Zebra2makes it tooeasy to get ’emmoving.

Like anymodern instrument, Zebra2 sports abevy of built-in effects processors – in fact, theyget their ownmodule routingmatrix. Delays,compressors, more filters and reverb are

if Zebra2presents vistas of unexplored sonicterritory, it’s only fitting that it should bemappedout by abona fide sonic pioneer.Developers u-hemust have recognisedexactly thatwhen they enlisted synthesisthowardscarr toprovidemanyof its numerouspreset patches. scarr is quicklymakinghisnameas a sounddesignerwith anewgenerationof u-he aficionados, butmore, shallwe say, ‘experienced’music fanswill recognisehimas aone-timemember ofGongand,moreimportantly, Zorch, theuk’s first all-synthgroup,whomade their debut back in 1973.

Zorchhad thedistinctionof being theonlyband to record in peter Zinovieff’s eMs studioin putney and, in fact, theymademuchuseofeMs synthesisers. howard – thenknownasGwyoZepix – andZorch co-pilot basil brookshauled three eMs synths to their gigs and,coupledwith an extensive light show,wowedaudienceswith their psychedelicimprovisations. “My first two synthswerebotheMssynthis, oneof themwith that little blueks sequencer keyboard, the otherwith aDk2,”howard recalls. “i foolishly sold them forpeanuts in the late 70s, but recently bought ananywaretinysizer in a fit of analoguenostalgia. it’s cheaper, it’s built like a tank andthepatching system is puregenius.”

sohowdoeshoward feel Zebra2 comparesto thosepioneeringeMs instruments? “iwouldn’t compare Zebra2 to the eMssynthi –u-he’s aCe is conceptuallymuch closer,” hesays. “on theother hand, Zebra2 is by farmyfavourite synth thesedays. except for a fewfeatures thatmight appear in a ‘Zebra3’, youcanpractically go as deepas you likewithoutZebra ever saying, ‘sorry, i can’t handle that’ or‘ok, here’s your horrible sound!’

“My favourite programming trickwhenpatchingZebra2 is adding a resonant all-passfilter in parallel, thenmodulating the cutoffwith amod-mapper inkeymode. it’s great forstrongper-note tonal offsets.”

on thequestionof revivinghis analoguepast, howardhas anever-say-never approach.“Zorch are not active now,” he says, “butwhoknowswhat the futuremight bring..?”

“You’ll have no excusefor static, boringtimbres, as Zebra2makes it too easy toget ’emmoving”

provided, alongwith various other options. Theeditors for thesemodules appear in the Globalsection, with only one visible at any given time.The various parameters available to the effectscan be lashed tomodulation sources in the (youguessed it – tabbed) Matrix display.

This being a u-he product, you’ll already knowthe sound quality is unassailable. That alone sellsZebra2, even to those who can’t be bothered withrolling their own patches. Still, patching is whatZebra2 is all about, and the factory set shows offits abilities to great effect. There are poundinganalogue basses, searing leads, rich, evocativepads and rhythmic song-on-a-key creations. Mostof the patches are tasteful, musical and inspiring.Add all this together and you’ve got themakingsof a truemodern classic.

Don’t let thedefault page fool you. Zebra ismore than aperformance synth – it’s a sounddesignpowerhouse

HowardScarr

DEVELOPER CHAT

Without somuch as breaking a sweat, Zebra2 cango from being a basic, single-layered synth,offering the standard Nintendo beeps andmelodies, to a highly complexmulti-oscillatingmonster that can dominate the frequencyspectrum from every angle. Zebra2 has theability to create huge stereo sounds that retain awarm tone, somethingmany software synths justhaven’t quite got right in the past. No longer willyour lead lines soundmetallic and your chordprogressions seem empty – for big, rich sounds,this is your go-to synth!

Here we’re going to look at the built-infunctions Zebra2 has to offer, focusing on theunique oscillator effects. These facilitate a greatdeal of modulation andmanipulation of yoursynth’s sound before going anywhere near thestandard LFO, envelope and effects units that arecommonly associated withmost synths.

The layout of this superb synth is one of themost user-friendly and easy to understand outthere. There’s no hiddenwiring, and everyoscillator, filter and envelope is perfectlyorganised so that getting to grips with Zebra2takes literally the length of this tutorial.

We’ll start by showing you how to turntraditional house-style synth chords into huge,

beautiful chord patterns. Keeping everythinguser-friendly to the extreme, we’ll look at routingand linking the outputs of the oscillators andpatching to create new layers. We’ll go into asmuch depth as space permits, getting under thehood of each oscillator and filter, but don’t forgetto experiment. If you like the soundwe’vecreated at the end of a patch-building section,you could perhaps try changing one of the voicesor linking an output with, for example, an FMoscillator. Look into each dropdownmenu forvoice settings and play around to create newideas, and don’t forget those useful oscillatoreffects when things need spicing up. All of thesewill be explained throughout the tutorial.

We’ll also look at creating a gated synth withthe easy-to-usemulti-segment envelopegenerator, and finish off bymaking an epic leadsound in four easy steps.

We’ll start by taking a quick look at the basics. Go to the Patcheswindow and load the patch called basic.h2p. This is a

single-oscillator organ-type preset (it sounds like powerchord1.mp3). We’re using a skin called Unempty Dark Horse (downloadedfromKVR at bit.ly/lu3Zyu) as it displays everything clearly. Now,tab over to the Synthesis page.

1

Evenwith a single oscillator, we can create a huge-soundingsynth by upping the number of voices used. Go to the poly

parameter (just under the Osc 1 label in the default skin) andchange the voices toquad. Youmay need to turn the volume downnow, asmore voices equals a louder sound! Use theWidth knob toincrease the stereo spread (powerchord3.mp3).

3

Vibrato is automatically linked to LFO 1, so to give the notessomemovement, increase thevibrato fully in the Osc 1 module.

As the initialised vibrato is a little slow, increase therate slightly togive it a buzzier sound. Now rather than have it kick in straightaway, go to the LFOmodule and use theDelay function to restrictthe vibrato to affecting only the longer notes (powerchord2.mp3).

2

Nowwe’ll start working with the oscillator FX. Open up the FXsection on the oscillator and select the dropdownmenu for FX 1.

Choose brilliance and turn thevalue knob to around 3 o’clock. Thiswill increase the higher harmonics to add some extra shine to yoursound (powerchord4.mp3).

4

> Step by step Power chords

“Zebra2 has the abilityto create huge stereosounds that retain awarm tone”

Zebra2 in black and white

40 / Computer musiC speCial

> zebra2

TuTorial

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Sticking with the oscillator FX, assign FX 2 to a Filter setting.Thevalue should be all the way down. Click the empty knob to

the right of thevalue control and assignenvelope 2 to connect thenew filter effect to that envelope. Set the newly assigned parameterto full and turn theDecay in Envelope 2 down to about 9 o’clock tocreate a short, stabby prog-house sound (powerchord5.mp3).

5

Things can get a little complicated here, so in order to be able tohear exactly what you are doing to the sound in lane 2, mute the

first lane by clicking on the little red box next to the wordMain.Turn Comb 1’s tune up by an octave (12.00 semitones) and leavethenoise parameter on full to give a bright shine to the new layer.

7

In Envelope 2, turn therelease up to full – we’re going routesome parameters through here from the comb oscillator, and

with therelease turned down the sounds will not be able to ringout. Now click the empty knob to the right of theDamp setting andchoose envelope 2 as its modulation source. Turn this knob fullycounter-clockwise (powerchord7.mp3).

9

Now let’s create amore varied texture. Go to the grid and clickon the second slot down in the second column, then selectMix

1. This links the output of Oscillator 1 with whatever you connectMix 1 to. Now click on the slot just below the newMix 1 module andselect a Comb 1module (powerchord6.mp3). Obviously, you couldadd prettymuch anything here.

6

Crank up the inputwithin the comb oscillator to get some ofthe original sound running through, and turn theDamp and

Width parameters up to full. Increase theDetune a little to give anice ringing sound, set both tone and Flavour to about 1 o’clockand set theDistort parameter to about 10 o’clock.

8

Finally, in any new patch, all lanes of the synth are routedthrough Envelope 1. As this second layer feels like it should have

a longer release, set lane 2’s output to Envelope 3 and set a longerrelease to give a bell-like quality. Turn the sustain up so the longernotes don’t cut off (power chords.h2p, powerchord8.mp3).

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Let’s knock up a rhythmic filtered sound using Zebra’smulti-stage envelope generators (MSEGs) to get the gated

effect. Start with your basic patch. ClickMultistageeG in thebottomwindow. Draw a pattern in the display using Cmd/Ctrl-clickto add nodes, then click and drag on lines to adjust their curves.Make sure your loop (blue nodes) starts at 1 and finishes at 16.

1

Select turbulence as FX 1 for Osc 2 and crank up thevalue.Add a third oscillator into the grid, again settingMSEG 1 to the

volume parameter, and this time to tune as well. Set the tune to+12 and theModulation to -12. This creates a strange retro bend tosit in the background of your sound.

3

Place VCF 1, 2 and 3 on lanes 1, 2 and 3, just belowOscs 1, 2 and 3.Set VCF 1’s filter mode to lpvintage (for warmth), its Cutoff to

12 o’clock and itsresonance to 10 o’clock, and assign the thirdknob to envelope 2, set to 3 o’clock. Set VCF 2 and VCF 3 toenvelope 3, set to 3 o’clock with the Cutoff at full.

5

Add another Oscmodule in the second grid lane, then reducethevolume of both oscillators. Set theModulation knobs to

MseG 1 and crank the amounts. Detune each oscillator by equaland opposite amounts. In Osc 1’s FX section, set FX 1 to bandworksandmodulate with LFO G1 for filter movement. Add brilliance tobring out the highs (Gatedpad1.mp3).

2

Put Osc 4 in the final lane, then assignMseG 1 as the volumemodulator and crank it up, with the volume of the oscillator

down. Click theMoreosc4 tab at the bottom, and leave the voicingat spectroblend. Having a basic sound holds down the chordbefore we start placing filters on everything (Gatedpad2.mp3).

4

On all of your envelopes (1, 2 and 3), set therelease to about 12o’clock. Theattack on Envelope 2 should also be set to about 12

o’clock to give a gentle sweeping sound to Oscillator 1. Set theCutoff to 11 o’clock on VCF 2 and 2 o’clock on VCF 3, and theresonance to 9 o’clock on Filters 2 and 3.

6

> Step by step Gated pad

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> zebra2

Add a noise oscillator in the grid belowOsc 4. Set it to stereo byclicking the circle above themodule’s pan knob. The noise’s

Filter 1 knob should be at zero. AttachMSEG 1 to the Filter 1 knoband turn it up, then set theWidth to full. Set Filter 2 to 2 o’clock –this removes unwanted low-frequency noise (Gatedpad3.mp3).

7

Now the patch needs to bemixed in the right way so themainoscillators aren’t drowned out by the background sounds. We

look to themixer underneath the four lanes to balance it out – thebest way to start is by soloing each part and listening to what eachoscillator is bringing to the sound.

9

ClickGlobal/FX in the bottomwindow to bring up yet anothergrid. On theMaster effects line, first place Delay 1 and set itsMix

to about 11 o’clock. Filter out the clashing frequencies by bringingthehighpass up to 11 o’clock and the lowpass down to 2 o’clock.For a wider stereo sound, change Delay 1’s sync1 rate to 1/8.

11

In the grid, add a filter below the noise oscillator. In VCF 4allocate LFO G2 to the third knob, setting the Cutoff to 3 o’clock.

Set theresonance at 10 o’clock. Increase LFO G2 to affect the filterby the tiniest amount, so that we hearmovement but retainmostfrequencies, then crank theDrive up to 2 o’clock.

8

Oscillators 1 and 2 should be the dominant sounds because theenvelope on Osc 1’s filter weakens the attack; however, the

bell-like sound of Oscillator 2 recovers it. Bring up the levels of 3and 4 so that the textures and space created by these twooscillators are audible but not overwhelming. Adjust speakervolume if that helps.

10

Put your sound into some space by adding a Reverb into yourchain. Bring up the Reverb’sDry parameter to 3 o’clock so that

your original signal isn’t lost, and increase theWet control to 12o’clock. Finally, add a little bit of extra brightness to your overallsound by boosting the High-end Shelf EQ at 4kHz (filter gate.h2p,Gatedpad4.mp3).

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44 / Computer musiC speCial

> zebra2

In this tutorial we’ll make a quick ripping lead. Load upOscillators 1 and 2, both withDual voices (in theMix section)

andwith theWidth turned right up. Set Oscillator 1’s tune anoctave up and Oscillator 2’s an octave down. Set thevibrato to bedelayed andmake therate faster, then set your voices to legatoand yourGlide to 10 o’clock.

1

Attach the VCF 1 filter into the chain below the oscillators andset the Cutoff to 1 o’clock, theresonance to 8 o’clock and the

Drive to 12 o’clock. Although some of the legato notesmay befiltered, this creates a raspy sound and addsmovement within thefrequencies (ripping lead2.mp3). Assign Env 3 to the third knoband crank it. Set itsDecay and sustain to about 10 o’clock.

3

Go toMoreosC2 in the bottomwindow and select a squarewave. In Osc 2’s FX, set the first FX slot to syncMojo and assign

Envelope 2 tomodulate it. Set Env 2’sDecay to 9 o’clock – this addsa plucky element to the attack of the sound. In FX 2, insert thebrilliance setting again for added glisten (ripping lead1.mp3).

2

To finish your sound, go to the Global/FXmatrix and in theMaster lane addModFX 1. Set this to phaser and turn theMix

up to full. Using similar ideas to our gated pad patch (p43, Step 11)and a Delay and Reverb, set theWet/Dry ratio on the Reverb soyour patch isn’t soaked in reverb and arrange your Delay to have anice stereo bounce (ripping lead.h2p,ripping lead3.mp3).

4

> Step by step Ripping lead

apart from the elementswehave lookedat inthis tutorial, twoadditional keyparts ofZebra2 are theModMatrix andperformer. thefirst of these enables anymodulation toberouted to any adjustable parameterwithinZebra2.When looking at thebasic oscillators,we’ve already seen that eachone isaccompaniedbyanempty assignablemodulationparameter,which enables theuser tomodulate specific parameters.

theModMatrix encourages theuser to goone step further. For example, suppose youwanted tomodulate theDetuneof anoscillatorwith lFo3. there’s no set parameterfor this purpose, but you could achieve it bysimply going to theModMatrix, selectingoscillator 1-Detune in thetarget section andselecting lFo3 in theMod section.With up to12 spare slots, you’re literally spoiled forchoice inwhat you canmodulate.

theperformer function allows auser tomanipulate four assignedparameters of theirchoicewith anX/y controller. this canbehandy if youuse your soft synths in a liveenvironment, as they canbemapped to aMiDicontroller. assigning theseparameters is easy:simply right-click onwhatever parameter youdesire. then, usingCutoff as an example,assign it toX2, then choose a secondparameter, resonance, and assign that toy2.nowwhenyoumove the cursor along theX/ypad, you canaffect bothof theseparametersat the same time.

if you’re not satisfiedwith theway theX/ycontroller is affecting your sounds, you canevenadjust the amount changed. this isachievedbygoing intoXyassign andadjusting thedegrees of automation there.these can all be automated in the samewayasanyother parameterwithin Zebra2.one

methodwouldbe togo into theGlobal sectionof the automationmenuand choose theXoryparameter youwish to automate; or if, forexample, you areusing logic, use the latchfunction andautomatebothXandyparameters at the same time, thengobackand tidyupwhat youhavedrawn in.

The ModMatrix and Performer

Multi-modulatinghas never beenas easy aswith Zebra2

Computer musiC speCial / 47

my favourite synths <

FXpansionDCaM: synth squaD“Cypher, Strobe and Amber work in any wayyouwant – you can create amazing soundsthat are as close to analogue as you can get.I’ve used Cypher for leads and pads onalmost all my tracks, and it’s great for chordsand FX too.”

u-he Zebra2“I love Zebra becausemost of the time youend up turning it down! The pads and leadssound likemy Juno-106, but it’s easier toedit. It has the capability tomake anythingfrom a kick, snare or bass to a lead or hugesaw. I would rather take the time andmake apatch than browse presets forever. I usuallymake different versions – I have a bass lead Istarted on about two years ago that hasmorphed 33 times since then!”

GForCe iMposCar2“When GForce brought out impOSCar2, Iknew it would be a badass. Poly leads inUnisonmode scream and, right out of thegate, the basic settings are good to go. It hasnine built in-filter types to help shapewhatever you are working on, and I reallylike the interface because I feel like I’m on areal keyboard and not a soft synth GUI.

GForce stuff has a unique character and richwarmth that I love, and impOSCar is one ofmy go-to synths for every project.”

XFerreCorDsnerve“Nerve has become one ofmy favourite softsynths of all time because of how quickly itenables you to cut up and slice loops anddrums. It allowsme to scan throughmy

sample library like nothing else I have. SteveDuda has added elements of his LFO toolplug-in so any of the 16 pads can beassigned as your sidechain source and youcan add sidechain by amount to each.”

native instruMentsreaktor“What’s great about Reaktor is that you caneasily tie two different ensembles togetherto create a synth rack or synth plus effectrack. It has a sonic payoff that is nothingshort of first-rate.”

Dean ColemanNewYork-based, Grammy-nominated producer/composer Dean Coleman lets us in on his faves

DeanColemanearnedaGrammynomination for IWantYou andproduced the tracks Set ItOff and If LooksCouldKill for timomatic.www.djdeancoleman.com

“GForce stuff has aunique character andrich warmth that I love”

native instruMentsraZor“After a long break I recently startedventuring back into the studio, firmly in themindset that I need to be having fun – andthis synth really helps with that. Razor isreally easy to understand and entertainingto use because of the display, but mostimportantly, it sounds great.”

robpapenalbino“Rob Papen’s Albino is great for sub-basses,FX and leads. Sonically, it’s a real class act. Itisn’t trying to emulate a real analogue synthand failing – it is its own beast.

“Whether you’re an experiencedproducer or just starting out, you shoulddefinitely seek out Razor and Albino – onceyou get to grips with them, you’ll find youdon’t really need to look anywhere elsewhen you’re in the studio! ”

James Zabiela launches his labelborn electric in september.www.twitter.com/jameszabiela

Which soft synths does thiselectronicwhizz-kid favour inthe studio?

“Razor is really easy tounderstand andentertaining to usebecause of the display,but most importantly, itsounds great”

my favourite synths

James Zabiela

FXpansion’s DCAM: Synth Squad took very littletime to become one of our favourite plug-inbundles. In this set of walkthroughs we’ll guideyou through some of the key features of each ofthe three DCAM synths and uncover a few hiddensecrets along the way.

We’ll start with Strobe, the simplest of thethree synths and the easiest for beginners to getto grips with. Strobe’s single-oscillatorarchitecture is inspired by classic 70s analoguesynths such as the Roland SH-101 and YamahaCS-10, both of which could achieve huge soundsdespite their apparently limited feature sets.Whatmay not be immediately apparent is that aclevermodulation trick allows access to a‘hidden’ oscillator within Strobe. With the numberof unison voices set to 2 and Unison1+ selected asa TransMod slot source, modulation depths canbe used to control the settings of the second

unison voice. Youmaywell ask why it’s necessaryto go to all of this trouble when you could juststart with a dual-oscillator synth or even Cypher,but Strobe’s unusual approach is muchmorepowerful than it may first appear: not only does itenable you to use a second oscillator, but it alsoeffectively gives you access to a second filter,LFO, envelopes and so on.

Next up, we’ll use Cypher to take a closer lookat the TransModmodulation routing systemincluded in all three DCAM plug-ins. TransMod isone of the keys to unlocking these synths’ hugepotential. Dozens of modulation sources can berouted to just about any parameter, allowingmodulation setups to be as complex andinterwoven as you as you like. It’s even possibletomodulate themodulation sources themselvesor send onemodulation source via another. We’llinvestigate some of themain options by creatinga dynamic, evolving pad sound.

Finally, we’ll program a classic analogue stringsynth sound in Amber, DCAM’s dedicated stringmachine. Amber is relatively straightforward, butgetting to grips with its retro approach,independent synth and ensemble sections andformant filter options is crucial if you want to getthemost out of it.

Here we’ll use Strobe’s hidden oscillator to create a percussivelead. Starting from Strobe’s init patch, head to theMixer section,

turn the default sawwave all the way down and set the sqrwave tomaximum instead. Use the central pulseWidth knob to dial in aslightly more hollow sound – somewhere around 25% duty cycleshould work (strobe 1.mp3).

1

We use a standard 4-pole low-pass filter, with the Cutoffrelatively high and amediumresonance setting. Driving the

filter by around 15db adds amore aggressive edge to the sound.Leave key tracking set to 100%, then add a little envelopemodulation. The default modulation envelopeDecay setting of500ms is fine for our purposes (strobe 3.mp3).

3

Down in the Amp Envelope section, we can now set theattacktime to its absoluteminimum for the punchiest possible sound.

We also turn the sustain level down slightly and add a shortDecayto emphasise the attack transient. Arelease time of around100mswill help smooth out the tails of the notes (strobe 2.mp3).

2

To thicken up the sound slightly, we’ll add a sub-oscillator anoctave down from themain oscillator pitch – somewhere

around 60%on the sine submixer setting should work well. Toomuch sub can easily overwhelm yourmix, taking up space whereyour bassline should sit. A very small hint ofnoise (somewherearound 5%) adds a little bit of dirt to our patch (strobe4.mp3).

4

> Step by step Synth Squad’s hidden treasure

“A clever modulationtrick allows access to a‘hidden’ oscillatorwithin Strobe”

Unlocking the potential of DCAM: Synth Squad

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> dcam: synth squad

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So far, everything we’ve done could be achieved in almost anysynth – now it’s time to unlock Strobe’s secret oscillator and take

things to the next level. In a TransMod slot, selectunison1+ fromthe polymenu as amodulation source. Down in the Settingssection, turnunison up to 2. The number of voices willautomatically increase, but the patch is still monophonic.

5

With the pitchmodulation depth put back to zero, we continuebuilding our sound. Wewant to split the sound into two distinct

elements. Themain part will be the square wave oscillator we’vealready set up. To set up the hidden oscillator, we go back to theMixer section and adjust themodulation depths to create the twoseparate voices (strobe 7.mp3).

7

Even the filter can have different settings for each voice. Westick with the low-pass filter on themain voice but change to a

high-pass on the second oscillator. The interplay between the twoelements of the sound creates amore complex sound than a singleoscillator, both rhythmically and in terms of frequency range(strobe9.mp3).

9

Strobe will now play both unison voices simultaneously, butuntil we change one of the parameters wewon’t hear the

difference. The quickest way to hear the effect of the hiddenoscillator is to detune it. In the Oscillator section, adjust themodulation depth of themain pitch setting. You shouldimmediately hear the difference in tuning (strobe6.mp3).

6

For our second voice, which we’re using for the noise andsawtooth parts of the sound, we change the amp envelope

settings dramatically. A slowattack, quickerDecay, lower sustainand zeroreleasewill make these parts of the sound fade in slowlyfor each note, creating amuchmore interesting effect than we’dotherwise be able to achieve (strobe8.mp3).

8

And finally, here’s the patch in the context of a loop. The sky’sthe limit as far as differences between the voices go. With the

exception of just a few settings, nearly every parameter can bedifferent between themain voice and the hidden oscillator – andwehaven’t even touched the LFO ormodulation routing options in thisexample (strobe 10.mp3,CMspecial – strobe.strobe).

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Basicmodulation of themaster cutoff frequency can beachieved using the env1 and env2 knobs next to the large scale

knob. We’ll set Env 1 to create a slow filter sweepwith each keypress. For a pad, it’s usually a good idea to create slowmodulationsthat gradually ebb and flow over the course of long, held notes(cypher 5.mp3).

5For greater control over the envelopemodulation, we also routeEnv 2 to each filter’s individual scale control via a TransMod slot.

The beauty of the TransMod approach is that we have completecontrol over the direction and range of each filter’s sweep. Theindependentmovement of two filters around a similar frequencyrange creates interesting tonal shifts (cypher 6.mp3).

6

The complexity of Cypher’s three-oscillator architecturemakesit slightly trickier to program than Strobe, but its versatility also

means it can be used to create an incredible range of sounds. Herewe investigate the potential of the TransMod system. Start with theinit patch and increase the number ofvoices to 8 so we canmakea polyphonic pad sound (cypher 1.mp3).

1

Cypher has two independent filters, each with its ownwaveshaper (which can be inserted pre- or post-filter). Each

oscillator can be routed to either or both of the filters using thefader found next to itsGain control. We adjust these for all threeoscillators to ensure that they’re all reaching both filters invarying proportions.

3

The init patch is an unfiltered sawtooth. We start tomake thesoundmore complex by turning on the other oscillators, one set

to a complex wave (osc2Wave 75%) and one to a triangle(osc3Wave0%). To tune Oscillator 3 an octave down, right-clickthe scale knob and ensure equal is selected, then turn the scaleknob down to -12.00 semitones (cypher 2.mp3).

2

The two filters can also be routed in four different ways. We gofor 1+2, which places them in parallel. Filter 1 is a low-pass by

default. Ensure Filter 2 is turned on and then set it to high-pass. Thelarge knob in the centre of this section can be used to adjust thescale (cutoff) of both filters simultaneously (cypher 4.mp3).

4

> Step by step Complex modulation in Cypher

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Various standardmodulation options are built into Cypher, butthemost powerful options come from the TransMod slots. We’ll

use the lFo1+ viaramp+ slot. Modulating the FM level of Oscillator2 via the ramp generator ensures there’s a short delay each time anew note is pressed, before the sound begins to break up asfrequencymodulation is applied (cypher 7.mp3).

7

Don’t forget to include a few performance-based routings usingmodulation sources such as velocity, aftertouch and themod

wheel. We route Env 1 to the filterresonance via thevelocity,which enables us to hit the keys harder for amore resonant filtersweep. Even a simple velocity-basedmodulation like this allows usto play the patchmuchmore expressively (cypher 9.mp3).

9

LFO 2will be used for a very slowmodulation of Oscillator 2’sphase and the oscillators’ filter routings. Be aware that it’s easy

to end upwith a sloppymess if you add toomanymodulations to asound. Don’t be afraid to go back andmake a few of yourmodulation depths a little more subtle if things begin to soundmuddled (cypher 8.mp3).

8

We use the filter spread control to add stereo width to thesound, panning the two filter outputs left and right. The result is

a dynamic, evolving pad sound that should addmovement andinterest to any simple chord progression. Experimenting with theTransMod systemwill reveal numerous other ways to createinteresting sounds (cypher 10.mp3,CMspecial – Cypher.Cypher).

10

theFusor shell instrument for theDCaMsynths allowsup to three instances of strobe,Cypher oramber (or any combination) to bestacked together on a single track – but thereare a few things to consider before you startpiling themon. like somanyof themostpowerful synthplug-ins, theDCaMinstruments canbe seriously Cpu-hungrybeastswhenprovoked. Dial in complexpolyphonic patches andyou can soonuseupabig chunkof your computer’s processingpower – andneedless to say, stacks of synthsin Fusorwill have anevengreater impact onyourCpu load.

optimalworkflowswill always differ fromoneproducer to thenext, butwe’d generallyrecommendonly loading theDCaMsynths viaFusorwhenyou really need to take advantageof its unique features. these include theadditional lFos andenvelopes, the excellent

animator sequencer/arpeggiators and theability to split sounds across keymaps.perhapsmost notably froma synthesisstandpoint, Fusor allows each loaded instanceof aDCaMsynth tobemodulatedbyanyother. thepotential of a nine-oscillator synthmadeupof three instances of Cypher ismind-bogglingly huge.

on theother hand, if you justwant to useFusor’smost basic effects, such as a reverboreq, youmaybebetter off addingyour plug-insto theDCaM instrument’s channel strip ratherthanhousing them in Fusor. if youdodecide touse Fusor, remember thatmostDaWscan takeadvantageof itsmulti-out options, allowingeach synth instance tobe routed to its ownmixer channel for further processing.

Given that presets canbe saved in astandalone instanceof eachDCaMsynth andthen reloaded inside Fusor,we’d also suggest

that inmost cases you’d bebest off starting inthe standaloneplug-in unless youknow forsure that you’re going tobe employingFusor’sadvancedoptions.

Fusor

Fusor’s ability to combineDCaMsynths has awesomepotential, but it comeswith aheavy cost onyourCpu

Cypher and Strobe offer extensive oscillator options, but thesetup in Amber is muchmore simple, based on classic 70s

string synths like the ARPOmni. We begin with the init patch andfocus first on the Ensemble section. To start, turn the synth sectionall the way down using themixer controls and turn off Chorus toget a better idea of the raw ensemble sound (amber 1.mp3).

1

The formant filter is the real heart of Amber’s ensemble section,essentially comprising a bank of four band-pass filters in

parallel, allowing four frequency bands to pass simultaneously.Note that the filters can also be switched to notch settings. Turn thefilter on, then try adjusting the Frequency andGain settings tohear how they affect the sound (amber 3.mp3).

3

Finally, we reintroduce the synth section. This has amore basicsynth architecture, with just 8’ and 4’ octaves plus optional

noise. The same high- and low-pass filters are present, but the synthoscillators then feed into a paraphonicmultimode filter. We use thisin low-passmode and route themodulation envelope to the filterCutoff in theModEnv+ TransMod slot (amber 5.mp3).

5

There are just three controls for the ensemble oscillators,allowing us to adjust the levels of the 8’, 4’ and 2’ pitches, each

an octave apart. We can create a rich, thick tone using amixture ofall three. The low- and high-pass filters can also be used to shapethe basic tone of the oscillators before they hit the formant filter(amber 2.mp3).

2

Now let’s apply some of the dynamicmodulation effects thatmake string patches sound somuchmore interesting. The

chorus effect is a classic for string synths. Amber’s stereo chorusoffers threemodes with the usualrate and speed controls, but foramore hands-on approach we also route the LFO to the formantfilter scale (frequency) using a TransMod slot (amber 4.mp3).

4

The synth section can behave quite differently depending onthe settings you use in the Perform section. We stick with the

defaultMononotemode but change the keying priority to thelowest note so that the synth section plays a simple bassline inharmonywith our chord progression (amber6.mp3, CMspecial –amber.amber).

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> Step by step Creating a classic string synth patch in Amber

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