serenity pro manual

5/25/2018 Serenity Pro Manual

1/11

Serenity Pro Manual V.1.1

The heavenly choir and string pad synthesizer

Serenity - what it is and what it is not: This synthesizer is aimed to create various choir and string padsounds but it is not meant to emulate this or that vintage string and/or choir machine. Though you might getsounds resembling quite nice the flavours of the old machines. Serenity is more about heading towards thefuture not the past of the old machines. So don't get yourself restricted in pursuing emulations of old

machines instead mae use of the possibilities offered by this fully fledged synthesizer with filters! "#$!various effects and especially the Twin %therify effect to create some more stunning flavours to e&pand yourcreativity. n addition the internal waveset has been carefully selected to provide you with a wide range ofstring! choir and vocal waves plus some more comple& padsounds. (ost of these waves have beenprocessed widely from prior versions and some new waves have been added.

(ain features )based on *ro version+:, & *( wave oscillators with , waves & #ilter - 0 types )"o*ass! 1i*ass! 2and*ass+! 34S5 %6 with 0 5esponse (odes! 7el control on 3 8 4! & 9 channel adaptive mi&er for cutoff modulation with selectable mod sources & 73 %6 )34S5+ with 0 5esponse (odes and 7el control on 3ttac 8 4ecay & *an0 & "#$

& S81 & 4"#$ )4ouble "#$ with two outputs and phaseshifting+ & special *itch "#$ with Speed p/4own options & Twin %therify #ormant #ilter & 6ator not only on "evel but optional for #ilter and delay *an too & 4elay with several options for panning delayed signal & Stereo #langer & Stereo 5everb & 2ass %nhance & ; controls for , destinations and optional display for "#$ 8 3ftertouch motion0 & "azy 2uttons, voices! over ?>@ patches ) internal ban! A e&ternal bans+

4ifferences of #ree version:Freeversion: 0 voices! no internal patch management! no (4 "earn! no velocity control on 3ttac / 4ecayof 7# / 73 %6! only 9 =oypad ontrollers! no S#, "oad! less patches! but an easter egg gimmic B-+


2/11

The Soundsources

Two pcm wave oscillators serve as sonic heart )using sf, files with carefully selected waves+. %ach oscillatorhas options for semitone settings )@ to C+! octave )-, to C,+. 4etune slider to spread both slightly off tune.

%ach oscillator has a (ute 2utton and a level nob for level adDuastment. 2oth oscillators can be balanced toto direct out )of 73+ or #ilter.

The Filter section

There are three types of different resonant filters selectable: ,9d2 "ow*ass! ,d2 1igh*ass! and 2and*ass.utoff and 5esonance nobs are quite obvious. #or modulating utoff there is a 9 channel adaptive mi&er ofdifferent selectable modsources. The mi&er is adaptive which means with one nob at ma& and the others atmin the one up provides @@E mod amount! with two nobs at ma& each one contributes A@E mod amount!with there at ma& each one 00!0E mod amount and all four at ma& each ,AE mod amount. So @@E willnever be e&ceeded. 5aising one will lower others amount respectively. This allows the creation of verydistinctive modulations esp.! when different "#$ are selected to get a new waveshape out of the two.

There is a dedicated 34S5 %6 for the filter with three response modesB Formal! %&ponential and reverse%&ponential )wchich allows most snappy evelopes+.! 3lso 3ttac and 4ecay can be modulated by velocity toshorten or to legthen time.

ut$ff (i&(od : 7el C! 7el -! GTrC! Gtr-ut$ff (i&(od ,: #%6 C! #%6 -ut$ff (i&(od 0: (an! "#$ ! "#$ ,! "#$ 0! S n 1! (odH! 6ator! 3Tch C! 3Tch -ut$ff (i&(od 9: (an! 4"#$! 4"#$,! "#$ ! "#$ ,! "#$ 0! (odH! 6ator


3/11

Mod Sources

There is a dedicated *itch "#$ which can also be controlled by 3ftertouch or (odwheel and allows settingfor speeding up or down.

There are 0 "#$! Sample 8 1old )S81+ 4ouble "#$ with two wave outputs and phaseshifting betweenthese waves )best used for the stereo flanger+! 34S5 %6 0 )for each voice played+ and 6ator which isusable not only the affect the output level

The 6ator is basically to affect the audio level but here also optional for #ilter utoff and panning of delayedsignal. Tempo of the 6ator can be set in divisions related to bpm with optional offset $ffset )$ff! (HSpdp!3T Spdp+. se Shuffle to mae the gating effect groove. 6ate"en)gth+ determines the length audio signalwill pass through the gate. Hith 3ttac and 5elease you can shape the gate to open/close from hard to

softer. 3 further interesting option is you can mi& the amount of gate affecting the audio signal even withoptional modulation so this gives some more nice e&pressiveness to the sound.

3s further realtime modsources via (4 3ftertouch and modwheel can be selected on many destinations.

VCA section

34S5 73 %6 for shaping the audiosignal in level! with thre response modes: "inear! %&p)onential+! and5ev)erse+ %&p)onential+ with the that being best for snappy envelopes. 3ttac and 4ecay can be lenghtendor shortened by velocity.


4/11

The Joypad

features > Doy-controllers labelled from 3 to # which are connected to two destinations )as there is ; and


5/11

"utput section

$ator Mi%& Mi% and Pan

6ator (i& )with selectable modsource+ controls the amount of the 6ator on the output from the 73 outputwhile (i& 4ir:%th balances the output of the 73 to the output of Twin %therify.

6ator (i& modsources: (an! (odH! 3T C! "#$ ! "#$ ,! "#$ 0! S n 1

*an has different modes as it cotrols both the undelayed and the delayed signal. Formal pan is to haveundelayed and delayed signal move to left or right together. Fe&t is to move delayed signal into opposite

direction of undelayed signal. 3nd some further modsources allow even more options for the delayed signale.g. lie 6ator.

*an options:K-*an-L - normal J undelayed and delayed signal move to same direction*K-L4ly - undelayed and delayed signal move to opposite direction J one to left the other to right*K4lyL - spreads the delayed signal wider than Dust to one side."0K4lyL - "#$ 0 modulates *an of delayed signal3tCK4lyL! 3t-K4lyL - 3ftertouch modulates *an of delayed signal6tK4lyL! 6t-K4lyL - 6ator modulates *an of delayed signal

'elay

Though 4elay is a mono delay it has dedicated pan option with modulations at the *an Section! so you canreally spread the sound in panorama. 4elay is bpm synced in divisions of notelength plus settings and nobfor manual offset. Gnobs for 4elay "evel and feedbac do what they are supposed to.

Flanger

Stereo #langer gives what you e&pect it for with basic controls for 4epth! #eedbac and (i& plus there aredifferent modsources selectable for 4epth and (i&. 3s there are two modulatable parameters you should trya manual setting for 4epth and modulate (i&.

#langer 4epth: (an! 4"#$! "#$ ! "#$ ,! "#$ 0! S n 1! 6ator! (odH! 3Tch -#langer (i&: (an! "#$ 0! (odH! 3Tch C! 3Tch -! $ff


6/11

Stereo (ever)

Stereo 5everb with basic controls for Hidth and 5oom/Size and 5everb (i& nob. n addition there is also a"ow ut nob to remove unwanted low rumbling frequencies in order to prevent the reverb from 'shattering'.


7/11

1ard Steal - %ach new note is allocated a fresh unused voice. %nvelopes always start from zero.The older voice is faded-out to prevent the old note's release tail from sounding 'under' the new note.$verlap )in most cases to be preferred or best for padlie sounds+ - Same as above! e&cept the older voicecontinues to sound along with the new one. seful for ensemble sounds lie string sections where severalinstruments can play the same note.

(ono (ode can be set with option for "egato )if (-5etrig $ff+ or (-5etrig.)if $n+

1int: sing long attac and/or release settings will increase *-usage - remedy: lower release at filter34S5! lower release at 34S5 at 73 %6 and raise delay level instead.

Gnown issue: loading an f&p )single patch+ file to stpatch slot mayfail to set the correct data for the wavesselected. 1owever this does not happen when loading an f&b )patch ban+ file which simply load fine.

redits and further infoThe Synthesizer has been created by 1. 6. #ortune with Synthedit by =eff (clintoc.

*atches were indly done by 'i*itri Sch+oda ,'S-& u/ashi ,J-& EdTen Eyc+ ,E'T-& Paule A*ca ,PA-&Sa* Charles ,SC-& Phil $arrison ,P$-& Stanley ing ,SM-

This 7STi uses further modules by 4avid 1aupt! Gelly 4. "ynch! *eter Schoffhauzer! 4az 4iamond! "ance*utnam! $li "arin! %tric van (ayer! et al.

Than you! guysM

7ST by 1. 6. #ortune:(ore 7ST: http://www.hgf-synthesizer.de1. 6. #ortune

6. 1ager3lmaweg 9NA009? 3lfter@,,/A099,@?6ermanyemail: fortuneOflomo-art.de

www.hgf-synthesizer.de

official support forum on vr: http://www.vraudio.com/forum/viewforum.phpPfJ9N

16#ortune Synthesizer on faceboo )feel free to use lie B-+:16#ortuneSynthesizer

$pen group for users! fans! friends and supporters: on www.faceboo.comThis is not a technical support forum but is for news! communication among users e.g. sharing ideas!images! videos and music.
http://www.facebook.com/pages/Wavespan/194524650572175http://www.hgf-synthesizer.de/http://www.hgf-synthesizer.de/http://www.kvraudio.com/forum/viewforum.php?f=149http://www.facebook.com/pages/HGFortuneSynthesizer/158843300815610http://www.facebook.com/group.php?gid=100924309965541&ref=mfhttp://www.hgf-synthesizer.de/http://www.hgf-synthesizer.de/http://www.kvraudio.com/forum/viewforum.php?f=149http://www.facebook.com/pages/HGFortuneSynthesizer/158843300815610http://www.facebook.com/group.php?gid=100924309965541&ref=mfhttp://www.facebook.com/group.php?gid=100924309965541&ref=mfhttp://www.facebook.com/pages/Wavespan/194524650572175


8/11

Appendi% 1

"ist of , waveforms in ban Q@

@@@ R$rc3rco-elli@@ R$rc3rco-7iolas@@, R$rc3rco-7iolins@@0 R$rc2ig$rchStr

@@9 R$rc2owed@@A R$rc2owedStrs,@@> R$rc%nsemble@@? R$rc%nsemble *ad@@ R$rc%nsemble,@@N R$rc5eal7iolins@@ R$rcStringsTremolo@ R$rcSwellstrings@, R$rcSymphonyStr@0 R$rc7iola7ioloncell@9 RStr3rconicStr@A RStr2owed,@> RStr2owTension,@? RStrinematique@ RStrlassicStrn,@N RStr#airyStrings

@,@ RStr#astStrngs,@, RStr#ineStrngs@,, RStr#ogString,@,0 RStr"iteStrings,@,9 RStr"usher@,A RStr(, Strings@,> RStr(egaStrngs,@,? RStr(ellow@, RStrSlow%volv,@,N RStrSmearTape,@0@ RStrSoftpudding,@0 RStrSolina,

@0, RStrStarStrngs@00 RStrStrings*ad@09 RStrStringz,@0A RStrSwellStrings,

@0> RStrSymphony 7#;@0? RStrSynStrings,@0 RStrSynStrinngs,@0N RStrTender@9@ RStrHideStrngs,@9 RSyn#";-Strgbrite@9, RSyn#";tring@90 RSyn#ree6liding,@99 RSyn"o$ctString,@9A RSyn(orningSun,@9> RSynSawy Strings@9? RSynStringed7oice@9 RSynStringSect,@9N RSyn;tra$rchst,@A@ Rho3ir7oice@A Rho3ngelics

@A, Rho3spiration,@A0 Rho2reath7o&@A9 Rho2reathy $ohh@AA Rho2reathySyn7o&@A> Rhohoiresque@A? Rhohoiring@A Rho#ae7o&,@AN Rho#atuyer,@>@ RhoGwaier@> Rho(agihoir,@>, RhoSad#emale@>0 RhoSuperSoft7oice

@>9 RhoSyn7o& #em3ah@>A RhoSyn7o& $ohh@>> RhoSyn7o& $ohhh@>? Rho7ocFo7o&,

@> RhoHhisper7o&@>N RhoHidehoir,@?@ R$rc3rt2reath@? R$rc2esthoir,@?, R$rc2ighoir@?0 R$rc2rite1eavenly@?9 R$rchoral 3ahh@?A R$rc#em 3aa$hhhs@?> R$rc#em hoir brite@?? R$rc#em hoir soft@? R$rc6rumbling,@?N R$rc1eavenly$hh,@@ R$rc1uuoouh,@ R$rc"ong$oouh@, R$rc"ow7o&,@0 R$rc(ale 7o&%ns

@9 R$rc(ons)"o+,@A R$rc7oice 3hh@> R$rc7o&3hhh@? RSyn3iry7oices@ RSyn3ngel7oice@N RSyn2riteHhisper@N@ RSyn%ishauch@N RSyn#oggy7o&@N, RSyn#oguyer,@N0 RSyn6houls,@N9 RSyn1orrifical,@NA RSynFo7ocal ,

@N> RSyn$ut2ac7oice@N? RSynSynvoice-7S@N RSynTabled 7o&@NN RSyn7o&odont

@@ R*d2ig#antasy@ R*d1eavy*ad@, R*d1eliopolis@0 R*d"adyFature@9 R*d"uring7oice@A R*d(ysticon@> R*dSarah%lissa@? R*dSparle7o&@ R*dSyn7oc*ad@N R*d7erte&@ R*dHhite*ad R*dHide$pen, R*dSosiness0 R*dS4eepString9 R*dS#ull*adA R*dS6uevercin-,

> R*dS"ateSunset? R*dSHhitelouds R#&hordedFzeN R#&1aunted,@ R#&(ysthooh, R#&Fature*ad,, R#&Slow(ystSing,0 RS#&Space2irds,9 RS#ull2lown,A RS#&$rc1it*ad,> RS#&$rchTuning,? RS#&$rc2reaSplit

order in the sf, file:$rc - samples from acoustic sources

Str - quite typical string soundsSyn - synth strings with more touch of synths

ho - quite typical choir / vocal sounds$rc - as aboveSyn - as above for choir sounds

*d - pad hoir*dS - pad Strings#& - hoir #;S#& - String #;

Fote: (ost of these waves have been processed widely from prior versions and some new waves have been

added.

Patch)an+s0 Pro version Free Version. Serenity-nit.f&b Serenity-nit.f&b,. Serenity-nternal.f&b Serenity-nternal.f&b

0. SerenityU*[email protected]&b SerenityU*[email protected]&b9 SerenityU*3U@,.f&b SerenityU*3U@,.f&bA. SerenityU4SU@,.f&b>. SerenityU4SU%4T.f&b?. SerenityUG=.f&b. SerenityU&c-#[email protected]&b )V+

)V+ contains randomly selected patches from:SerenityUG=.f&b! SerenityU4SU%4T.f&b! and SerenityU4SU@,.f&b.


9/11

Appendi%

M2'232*ple*entation o M2'2 CC or )uttons& sliders ! +no)s )recognized data valid from @-,?+

(ain 7ol2ass%nh*an (od*an5ev (i&5ev $n/$ff5ev olor5ev "owut5evHidth5evSize5ev*re4elay#langer(i&(od(i&)src+

#eedbac4epth4epth(od)src+#langer $n/$ff4elay "vl#eedbacbpm $ffset4elay bpm4ly $ffset(od4elay $n / $ff

%ther $n/$ff%ther (i& 3:2

%th (i& (odSrc(i& 4ir:%ther

J ?J J NJ @J J ,J 0J 9J AJ >J ?J J N

J ,@J ,J ,,J ,0J ,9J ,AJ ,>J ,?J ,J ,N

J 0@J 0

J 0,J 00

6ator (i&6ator (i& Src6ator $n/$ff6ator bpm6ator Shuffle6ate"en)gth+3ttac5elease73 %6 3tc73 %6 4cay73 %6 Sust73 %6 5els7# %6 3tc

7# %6 4cay7# %6 Sust7# %6 5els7# (od 7# (od src7# (od ,7# (od , src7# (od 07# (od 0 src7# (od 97# (od 9 srcutoff5esonance

n.a./avoid V

J 09J 0AJ 0>J 0?J 0NJ 9@J 9J 9,J 90J 99J 9AJ 9>J 9?

J 9J 9NJ A@J AJ A,J A0J A9J AAJ A>J A?J AJ ANJ >@

J >J >,J >00! >9->N

$sc Have$sc (ute$sc "vl$sc $ct$sc Semit.$sc , Have$sc , (ute$sc , "vl$sc , $ct$sc , Semit.$sc 4ir:#ilt$sc , 4ir:#ilt%ther 3 Select

%ther 3 ShiftShift3 (odSrc%ther 3 #ine %ther 3 #ine ,%ther 3 #ine 0%ther 3 5eso%ther 2 Select%ther 2 ShiftShift2 (od Src%ther 2 #ine %ther 2 #ine ,%ther 2 #ine 0%ther 2 5eso

J ?@J ?J ?,J ?0J ?9J ?AJ ?>J ??J ?J ?NJ @J J ,

J 0J 9J AJ >J ?J J NJ N@J NJ N,J N0J N9J NA

"#$ Hav"#$ bpm"#$ , Hav"#$ , bpm"#$ 0 Hav"#$ 0 bpmSn1 (odeSn1 bpm4"#$ Hav4"#$ bpm4"#$ *haseGSync -0GSync 4"#$

*itch"#$bpm(odSrc(ode"#$ Show0 "azy butt. )fi&ed set.+

J @,J @0J @9J @AJ @>J @?J @J @NJ @J J ,J 0J 9

J AJ >J ?J J N


10/11

Ter*s o ?icense Agree*ent0


11/11

3ppendi& 0 - additional 4ata for %therize #ormant filter

" 47S$F $# *S,http://www.phon.ucl.ac.u/home/wells/formants/table-.htm

7owel and eyword

#ormant #requency )1z+ )# to #0+/i/ heed # ,A #, ,0?0 #0 0@// hid # 0A> #, ,@N #0 ,>N>/%/ head # A>N #, N>A #0 ,>0>/X/ had # ?9 #, ?9> #0 ,9>@/3/ hard # >?? #, @0 #0 ,A9@// hod # ANN #, N #0 ,>@A/$/ haw'd # 99N #, ?0? #0 ,>0A// hood # 0?> #, NA@ #0 ,99@/u/ who'd # 0@N #, N0N #0 ,0,@/7/ 1ud # ?,, #, ,0> #0 ,A0?/0/ heard # A #, 0 #0 ,90>)The above are used as initial settings in the plugin+

$ther data for different settings:#ormants for Selected 7owel Sounds by *eterson and 2arney )see W5eferencesW section+ have compiled alist of formant frequencies for common vowels in 3merican %nglishB refer to #igure 0: )Fote: there is an 'a'lie in 'hard' mising+

#igure 0: #ormant frequencies for common vowels in 3merican %nglish )from *eterson and 2arney! NA,+

#or chinese vowels:# #, #0

"i 00N ,0@0 0@0@"a ,?> ,@9

"u 0> N, ,>A?"e A,N 0@9 ,>N,"Y 0A NA> ,90"ai @ 99? ,?@@"ei >09 ?9 ,?A@"ao ? >, ,??>"ou >@, ?A ,?0"ia 9 0N ,>0>"ie A?, N09 ,?,,"uo A? >0 ,?N@"Ye AN ?9, ,A?,"iao >N 0A0 ,>A"iou 9@ 0 ,9,

)4erived from table , of: ntra- and inter-speaer variations of formant pattern for lateral syllables in Standardhinese by uiling Zhang! =oost van de HeiDer! =ing&u uiB ,@@9 / ,@@A+

serenity pro manual

Documents