officialmanual by - plugin alliance

Official Manualby

2 LION LION 3

THE BASICS 6

LION OSCILLATORS 13

CLASSIC 16

FM 24

STACKS 30

OSC FAMILY 34

GRANULAR 36

OSC FAMILY 38

EXPERIMENTAL 40

SIMPLE 50

NOISE 52

THE MIXER 57

FILTER MODES 61

BYOME EFFECTS 65

DELAYS 68

DISTORTIONS 76

DYNAMICS 86

FILTERS 90

GRANULAR 96

MIXING 100

MODULATION 104

REVERBS 112

MODULATION 117

MACRO SYSTEM 118

MIDI IN 120

MASTER ADSR 122

ANALYZERS 124

CONTROLLERS 128

ENVELOPES 132

LFOS 134

MODIFIERS 138

RANDOM SOURCES 140

SEQUENCERS 144

4 LION LION 5

6 LION LION 7

THE BASICSLION is an extremely versatile synthesizer with a very

simple signal path. The LION voice is not much differentfrom a traditional subtractive synthesizer: Two oscillatorsare mixed together and run through a filter.

Don’t let that simplicity fool you, though! LION’s mixeralone contains more timbral complexity than manysynthesizers, and that comes after LION’s flagshipfeature: each of LION’s two oscillators contain over 20modes, each with an option Stereo Mode and full Unisonsupport.

After each voice is synthesized, the voices are mixedtogether and sent to our famous BYOME processingengine. Our BYOME row contains 40 effects, eachdesigned for quick operation and deep modulation.

Of course, our signature modulation system is alsopresent, and it now supports polyphony! This means thateach voice can be independently modulated. Forinstance, if you attach an LFO to an oscillator’s pancontrol, you can either pan every voice simultaneouslywith a monophonic LFO, or pan each voice withindependent phase using a polyphonic LFO.

8 LION LION 9

Before venturing into LION’s synthesis jungle, it mightbe worth exploring the rich preset ecosystem that comeswith it. The Preset Bar contains a number of controls forexploring and randomizing these presets.

Clicking the preset name (“Juneau” in the exampleabove) will bring up a list of all factory presets. Theseare organized by style or by signature artist. To quicklyskip through presets, you can click the arrows next to thepreset name.

Clicking the Dice icon will randomize the currentpreset. By default, each control can wander by amaximum of 20% of the knob. Right-clicking the Diceicon brings up the Randomization Menu.

Here, you can decide whichsections to randomize, alongwith how deep therandomization is. Toggling“DRIFT PREVENTION” willkeep the knobs fromwandering too far past theiroriginal values.

Additionally, if you want toprevent individual controls frombeing randomized, you canright-click the control to Lock it.

Clicking the Gear icon willbring up LION’s Options Menu.Here, you can choose whetherLION uses a Light or DarkSkin.

When learning LION, youshould keep Enable Tooltipson. This will pop up brief hintsabout a control by hoveringyour mouse over it

OpenGL is a graphics library that helps speed up LION’sinterface on most systems. If you are experiencing weirdgraphics artifacts or slow-down, try disabling this optionand re-opening LION’s interface.

“True BYOME Bypass” determines what happens if youmute a BYOME effect. With the original behavior (buttonoff), bypassing a BYOME effect would preserve itsoutput gain setting, preventing a bypass from dramaticgain differences. By enabling True BYOME Bypass,bypassing an effect will also bypass its output gain.

10 LION LION 11

MIDI: Selects whichMIDI channel LIONlistens to. Additionally,you can select MPEmode here if you areusing an MPE Controller(like ROLI Seaboard orSensel Morph).

Voices: Select howmany simultaneousnotes LION is capableof playing.Monophonic andLegato modes onlyhave one active voice.In Legato mode, thereis an audible slidebetween notes whenold notes are held.

Legato: Determineshow long it takes toslide between notes inLegato mode. In TIMEmode, this is the sameamount of timebetween any twonotes. In RATE mode,the time is alsoaffected by thedistance between thenotes.

On/Off: This determineshow muchoversampling isperformed with LION.Oversampling willreduce aliasingartifacts, but it will alsogreatly increase CPUusage. The On setting isactive during typicaluse. The Off setting isused for OfflineRendering, or whenyour DAW is renderinga track for instance.

Transpose: This is themaster Transpositioncontrol. It will changethe tuning of both ofLION’s oscillatorsections. You can usethis to quickly changethe key of LION, or tomatch an instrumentthat’s slightly out oftune.

Tuning: This brings upthe custom tuningmenu. You can loadany TUN file tointroduce a custommicrotuning to LION.

WIDE: Activate this toexpand LION’sinterface. This is useful ifyou have a lot ofmodulators and/orBYOME effects.

PRESETS: Click thisto bring up thenew PresetBrowser withtagging andmetadatasupport.

LION OSCILLATORS

14 LION LION 15

LION OSCILLATOR CONTROLS

Power - Enable or disable the oscillatorArrows - Cycle through various oscillator modes

Title - Click this to bring up the oscillator list

DRIFT - When enabled, the oscillator’s tune will vary slightly over time,emulating analog behavior.

Unison - Selects the number of active Unison stacks. Each stack is a copyof the oscillator where each parameter can be slightly different. This cancreate a very thick, powerful sound.

Modulation Ports - Attach a modulation cablehere to modulate the control above it

Stereo Mode - When enabled, the oscillator will produce a widersignal using techniques specific to each oscillator mode.

QUANTIZE- When clicked, this will bring up a list of scales. When ascale is selected, the associated tuning knob will snap to semitonevalues that are part of the selected scale.

Unison Depth - When Unison is enabled, these sliders will setthe amount of variation per unison stack

16 LION LION 17

This mode covers all of the traditional waveforms in subtractivesynthesis. There are two oscillators (Main and Sub), each withindependent tuning and waveforms. Since everything is basedaround crossfading, it is very modulation friendly.

TUNE Changes the primary frequency of theoscillator.

SUB Changes the frequency of the sub oscillatoras an offset from the Main frequency.

SIN TRI Changes the waveform of the primaryoscillator from sine to triangle.

BLEND Crossfades between the primary oscillatorand the SUB oscillator.

SAW SQR Changes the waveform of the SUBoscillator from sawtooth to square.

In stereo mode, two more oscillators are introduced, but thetuning controls are swapped for the additional pair. The Subfrequency controls the Sine/Tri oscillator, while the Mainfrequency controls the Saw/Square oscillator.

DESCRIPTION

CONTROLS

STEREO MODE

THE FORMSCLASSIC

18 LION LION 19

This simple algorithm takes three sine waves and ringmodulates them together. Despite its simplicity, it can create awide range of timbres that compare to FM synthesis.

The third sine oscillator is used to pan the final waveformaround the stereo field.

DESCRIPTION

CONTROLS

STEREO MODE

RINGO

SINE 1 Sets the frequency of the first sineoscillator.

SINE 2 Sets the frequency of the second sineoscillator as an interval from the first.

SINE 3 Sets the frequency of the third sineoscillator as a percentage of the first.

ANALOG Crossfade between a digital multiplicationring modulator model and a more analogone based on diode simulation.

SHAPE Applies a Dent waveshaper to the finalwaveform mix.

20 LION LION 21

In this mode, two sine wave oscillators are sent through awavefolder, a type of foldover distortion used frequently inmodern modular synthesizers.

Donec facilisis egestas quam. Duis bibendum augue id mauris.Sed laoreet, tortor vel cursus fringilla, turpis elit vestibulum arcu,eu varius dolor leo in nulla. In sem ipsum, faucibus quis, variustristique, porta eget, lorem. Curabitur hendrerit diam et mauris.Etiam porta nunc euismod dui. Maecenas a lectus. In hac

DESCRIPTION

CONTROLS

STEREO MODE

WAVEFOLD

SINE 1 Sets the frequency of the first sineoscillator.

SINE 2 Sets the frequency of the second sineoscillator as an interval from the first.

FOLD Sets the intensity of wavefolding applied tothe oscillator mix.

BIAS Add DC bias to the wavefolder, changingthe shape of the waveforms produced.

BLEND Set the blend of the two oscillators.

22 LION LION 23

This harmonic oscillator is actually a set of eight sine wavesused to create richer timbres. The sine waves modified usingfrequency and amplitude ratios from a primary sine wave set tothe base frequency. To add more depth, the harmonic oscillatorcan be blended with an anti-aliased saw and sent through aDent waveshaper.


DESCRIPTION

CONTROLS

STEREO MODE

HARMONIC


P. RATIO Sets the frequency offset between eachsine wave in the series. Also affects thefrequency of the secondary saw.

A.RATIO Sets the amplitude falloff between eachsine wave in the series.

BLEND Crossfade between an anti-aliased sawwaveform and the harmonic oscillator.

SHAPE Sets the amount of Dent waveshaping thatoccurs after the BLEND stage.

24 LION LION 25

Straightforward 2-operator FM synthesis. The two operatorsadditionally have feedback controls for self phase-modulation.

CARRIER Sets the frequency of the carrier oscillator.

MOD Sets the frequency of the modulatoroscillator.

INDEX Sets the depth of frequency modulation.

MOD FB Sets the depth of self phase-modulation onthe modulator oscillator.

CAR FB Sets the depth of self phase-modulation onthe carrier oscillator.

The modulator operator’s output is inverted on the opposingchannel, leading to a different FM direction.

DESCRIPTION

CONTROLS

STEREO MODE

2-OP FEEDBACKFM

26 LION LION 27

Three operator FM synthesis. The two modulating oscillatorsshare one frequency control that affects them differently.


DESCRIPTION

CONTROLS

STEREO MODE

3-OP SPLIT

CARRIER Sets the frequency of the carrier oscillator(oscillator 1).

MOD Sets the frequency of the two modulatoroscillators (oscs 2 and 3). The twomodulators are set in opposite directions asoffsets from the carrier.

2 > 1 Sets the depth of frequency modulationfrom operator 2 to the carrier.

3 > 1 Sets the depth of frequency modulationfrom operator 3 to the carrier.

3 > 2 Sets the depth of frequency modulationfrom operator 3 to operator 2.

28 LION LION 29

Four operator FM synthesis. In this mode, there are two pairs orcarriers and modulators. The modulators share a commonfrequency control that affects them separately. The FM pairscan be crossfaded between. Additionally, there is an X FMcontrol that introduces another stage of FM.


DESCRIPTION

CONTROLS

STEREO MODE

4-OP PARALLEL

CARRIER Sets the frequency of the carrier oscillators.

MOD Sets the frequency of the two modulatoroscillators. The two modulators are set inopposite directions as offsets from thecarrier.

INDEX Sets the depth of frequency modulation oneach carrier-modulator pair.

BLEND Crossfade between the two carrier-modulator pairs.

X FM Sets the amount of frequency modulationthat one carrier-modulator pair introducesupon the opposing carrier.

30 LION LION 31

Quisque in augue. Donec aliquam magna nonummy enim.Proin blandit imperdiet sem. Donec malesuada, urna sit ametvarius aliquam, nibh tortor laoreet turpis, eget sodales felis nibhac sapien. Fusce eget augue. Integer sed risus. Aenean mollis.Donec facilisis egestas quam. Duis bibendum augue id mauris.Sed laoreet, tortor vel cursus fringilla, turpis elit vestibulum arcu,eu varius dolor leo in nulla. In sem ipsum, faucibus quis, variustristique, porta eget, lorem. Curabitur hendrerit diam et mauris.Etiam porta nunc euismod dui. Maecenas a lectus. In hac


DESCRIPTION

CONTROLS

STEREO MODE

MODE NAME



CONTROL 3 Description



30 LION LION 31

The superoscillator modes create dense, moving timbres bycreating a stack of oscillators. The main and SUB oscillatorsmake up the primary sound, while the rest of the oscillators arecalled the swarm. LION’s unison features are disabled forthe superoscillator modes.



OSCS Set the number of active oscillators in theswarm.

DEPTH Set the frequency variation between theswarm oscillators.

BLEND Crossfade between the primary + SUBoscillators and the swarm oscillators.

The Swarm oscillators are distributed evenly across the stereofield.

DESCRIPTION

CONTROLS

STEREO MODE

SUPERSAW/SINE/SQUARESTACKS

32 LION LION 33

In this mode, two anti-aliased square oscillators are stackedtogether. Each oscillator has independent tuning and pulsewidth.

In stereo mode, two more oscillators are introduced, but thepulse width controls are swapped on the second pair.

DESCRIPTION

CONTROLS

STEREO MODE

SMOKESTACK

SQR 1 Changes the frequency of the first squarewave.

SQR 2 Changes the frequency of the secondsquare wave as an offset from the first.

PW 1 Changes the pulse width of the first squarewave.

BLEND Crossfade between the two square waves.

PW 2 Changes the pulse width of the secondsquare wave.

34 LION LION 35

Quisque in augue. Donec aliquam magna nonummy enim.Proin blandit imperdiet sem. Donec malesuada, urna sit ametvarius aliquam, nibh tortor laoreet turpis, eget sodales felis nibhac sapien. Fusce eget augue. Integer sed risus. Aenean mollis.Donec facilisis egestas quam. Duis bibendum augue id mauris.Sed laoreet, tortor vel cursus fringilla, turpis elit vestibulum arcu,eu varius dolor leo in nulla. In sem ipsum, faucibus quis, varius







DESCRIPTION

CONTROLS

STEREO MODE

MODE NAMEOSC FAMILY

34 LION LION 35

This is a hybrid between the Subliminal oscillator mode and thevarious superoscillator modes. LION’s unison features aredisabled for this mode.

The Swarm oscillators are evenly distributed across the stereofield.

DESCRIPTION

CONTROLS

STEREO MODE

SUPERLIMINAL



DEPTH Set the frequency variation between theswarm oscillators.

SHAPE Set the amount of Dent waveshaping thatoccurs on each oscillator.

SPLIT Set the amount of Dent splitting that occurson each oscillator.

LION 37

VOSIM

STEREO MODE

CONTROLS

DESCRIPTION

The stereo features are only audible with Partial FM. Whenenabled, Partial 2’s FM depth to Partial 1 is inverted on onechannel, leading to FM occurring in a different direction.

TUNE Sets the frequency of the sawtoothenvelope, which is the most dominantlyheard frequency.

PARTIAL 1 Sets the frequency of the first internal sineoscillator.

PARTIAL 2 Sets the frequency of the second internalsine oscillator.

BLEND Crossfade between the two partials.

PARTIAL FM Sets the depth of frequency modulationbetween the two partials.

This mode implements VOSIM synthesis, a type of granularsynthesis used for creating vocal tones. Two high-frequencysine waves are enveloped by a lower frequency saw wave, towhich they are additionally phase-locked.

GRANULAR

36 LION

38 LION LION 39

Quisque in augue. Donec aliquam magna nonummy enim.Proin blandit imperdiet sem. Donec malesuada, urna sit ametvarius aliquam, nibh tortor laoreet turpis, eget sodales felis nibhac sapien. Fusce eget augue. Integer sed risus. Aenean mollis.Donec facilisis egestas quam. Duis bibendum augue id mauris.Sed laoreet, tortor vel cursus fringilla, turpis elit vestibulum arcu,eu varius dolor leo in nulla. In sem ipsum, faucibus quis, varius







DESCRIPTION

CONTROLS

STEREO MODE

MODE NAMEOSC FAMILY

38 LION LION 39

This is a classic mode of granular synthesis described by CurtisRoads. A sine wave oscillator is enveloped by a series ofwindows. This windows can be applied uniformly, randomly, orthrough the use of other algorithms. In this implementation, theuniform window stream can be masked randomly or throughmicro Euclidean rhythms.

In stereo mode, the Euclidean mask will be inverted betweenthe two channels and the random chance will be independent.

DESCRIPTION

CONTROLS

STEREO MODE

PULSAR

TUNE Sets the frequency of the internal sineoscillator for each grain.

WINDOW Sets the rate of generation for new grainwindows.

FORMANT Sets the shape of the grain window.

PROB Sets the likelihood that each window will besilent each cycle.

MASK Generates a Euclidean masking pattern forthe window.

40 LION LION 41



DESCRIPTION

CONTROLS

STEREO MODE

MODE NAME






40 LION LION 41

This is an implementation of Summation Synthesis, originallydeveloped by James Moorer and introduced to us by StephenMcCaul of Noise Engineering. This implementation features alot of our own modifications. In this mode, three sine waves areused to create extremely complex timbres through a deep mixof phase modulation and wave shaping.

TUNE Changes the primary frequency of the Sineand Saw oscillators.

SUB Changes the frequency of Sine 2 as anoffset from the Main frequency.

BRIGHT This is a complex parameter that changesthe timbre of the output through variousinternal interactions.

PM Sets the depth of phase-modulation for theprimary sine waveform from the secondsine oscillator.

BLEND Crossfade between a phase-modulatedsine and a stable saw waveform for theprimary oscillator.

The BRIGHT algorithm has a number of inverted interactionsbetween the oscillators on both channels.

DESCRIPTION

CONTROLS

STEREO MODE

SUMSYNEXPERIMENTAL

LION 43

SUBLIMINAL

STEREO MODE

CONTROLS

DESCRIPTION

The opposing channel’s instance of Dent has a different signalpath to create a slight variation on the sound.

This mode is a mashup of AM synthesis and our Dent distortion.The primary oscillator is a sine wave that runs through the Dentalgorithm. The MOD oscillator is a secondary oscillator thatchanges the Dent parameters at audio rate.

42 LION


MOD Change the frequency of the modulatoroscillator as an offset of the primaryoscillator.

SHAPE Change how much the modulatingoscillator affects the waveshape of theprimary oscillator.

SPLIT Change how much the modulatingoscillator affects the Dent Split of theprimary oscillator.

WAVE Morphs the modulating oscillator between asine and an anti-aliased square.

44 LION LION 45

This is an extremely tangled mode featuring three sine wavesthat interact in various ways, including sample reduction andbitwise mixing.

When enabled, the bitwise mixing operation swaps the orderthat inputs are received, leading to a slightly different timbre oneach channel.

DESCRIPTION

CONTROLS

STEREO MODE

CIRCUIT BENT


SUB Changes the frequency of the two sine suboscillators as an offset from the Mainfrequency.

BLEND Blends between the main oscillator and abitwise mix of main and SUB. Additionally,this adds a light amount of sample ratemanipulation.

CRUSH Changes the amount of bit destruction onthe main oscillator.

SHAPE Changes the amount of waveshaping onthe oscillators.

46 LION LION 47

In this mode, two aliasing square waves are XORed togetherand run through a samplecrusher.

the oscillators are doubled but the pulse width controls arereversed between the sets.

DESCRIPTION

CONTROLS

STEREO MODE

XOR SQUARES



S. RATE Sample crush the oscillators. Does notaffect the frequency of the oscillators.

PW Changes the pulse width of the mainoscillator.

PW SUB Changes the pulse width of the SUBoscillator.

48 LION LION 49

In this mode, two sine oscillators are chaotically intertwined.Each time an oscillator completes a cycle, it changes frequencybased on the depth of the CHAOS controls and the currentamplitude of the other oscillator.

When stereo mode is activated, four oscillators are usedinstead and two are placed on each channel.

DESCRIPTION

CONTROLS

STEREO MODE

CHAOS



CHAOS 1 Determines how much the SUB oscillatorcan affect the pitch of the main oscillator.

BLEND Crossfade between the main oscillator andthe SUB oscillator.

CHAOS 2 Determines how much the main oscillatorcan affect the pitch of the SUB oscillator.

50 LION LION 51

Each of the Simple modes provides two oscillators of the givenwaveform. These oscillators have the standard tuning controlsbut no other parameters. These modes are very low-cost andare useful when used with LION’s Unison features and Mixer.



CONTROL 3 Not used

CONTROL 4 Not used

CONTROL 5 Not used

No stereo features are available for these modes

DESCRIPTION

CONTROLS

STEREO MODE

SIMPLE SINE/TRI/SAW/SQUARESIMPLE

52 LION LION 53

This mode provides a traditional noise source, where a whitenoise generator is passed to a filter.

TUNE Not used.

SUB Not used.

DIGITAL Blends between white noise and blockynoise.

S. RATE Changes the sampling rate on the noisegenerators.

CUTOFF Applies low- or high-pass filtering to thenoise. At 50%, no filtering is applied.

A different noise generator is used on each channel.

DESCRIPTION

CONTROLS

STEREO MODE

NOISENOISE

Dust is a classic noise uGen from SuperCollider. It createsvariable-height impulses by comparing a noise source against atarget threshold. At low Density settings, these are infrequentpops that can be useful for triggers, especially for asynchronousgranular synthesis. At high density settings, this turns intocrunchy digital noise, and at 100% density, this becomes awhite noise signal. This implementation of Dust also includestwo parallel band-pass filters for turning the impulses into tonalgrains.

A different noise source is used on each channel.

DESCRIPTION

CONTROLS

STEREO MODE

DUST

FILTER 1 Sets the frequency of the first band-passfilter.

FILTER 2 Sets the frequency of the second band-pass filter as an offset from the first.

DENSITY Sets how frequently new impulses aregenerated.

BLEND Crossfade between the raw Dust impulsesand the filtered version.

RAND FREQ Sets the depth of random frequencymodulation applied to the filters with everynew impulse.

54 LION LION 55

Crackle is a classic chaotic uGen from SuperCollider. It uses adeterministic, seeded equation to create hisses, pops, andother pleasant, vinyl-like noises. In addition to the originalalgorithm, this includes the Broken mode introduced in the EuroReakt collection for Reaktor 6. This Broken mode createsintense trapped-buffer stutter effects and self-oscillations at highChaos settings, leading to digital squeals and modem noises.This implementation also includes two parallel band-pass filtersfor shaping the final signal.

The Crackle generators are seeded differently on each channel,leading to different outcomes.

DESCRIPTION

CONTROLS

STEREO MODE

CRACKLE

FILTER 1 Sets the frequency of the first band-passfilter.

FILTER 2 Sets the frequency of the second band-pass filter as an offset from the first.

DENSITY Influences the timbre of the Crackle modes.In the regular Crackle mode, raising thiswill introduce pops and skips. In Brokenmode, this will produce self-oscillations andmodem noises.

BROKEN Crossfade between the original Cracklealgorithm and the Broken mode.

FILTERED Crossfade between the raw Crackle outputand the filtered variation.

THE MIXER

58 LION LION 59

LINEAR XFADE The mixer crossfades between Oscillators 1 and2 using a linear algorithm.

EQUAL XFADEThe mixer crossfades between Oscillators 1 and2. At 50%, both oscillators will be summed attheir current amplitude without any gainreduction.

MIN-MAX

The amplitudes of the two oscillators areanalyzed and the minimum and maximumvalues are found between the two. The mixerthen crossfades between the two. At 50%, youwillhear the sum of both oscillators as theirminimum and maximum components aresummed together.

RING MODThe two oscillators are ring modulated together.This mode simulates both digital multiplicationring modulation and a more analog style withdiode simulation.

COMPARE

Many comparisons are found between the twooscillators. Additionally, some algorithms addrectification distortion. For instance, onealgorithm will sum the positive half of Oscillator1 with the negative half of Oscillator 2.

TERRAIN

A series of wave terrains are created which arethen navigated by the two oscillators. TheALGO knob crossfades between the variousterrains, essentially creating a three-dimensional terrain.

BITTERMany bitwise operations are applied to theoscillators. Examples include XOR, bitwiseinterleave, and bitshifting.

ASHVarious sample-and-hold algorithms are appliedto the oscillators. For instance, Oscillator 2 willsample-and-hold Oscillator 1 at zero-crossingsor vice-versa.

LION’s mixer is not just an ordinary summer. Instead, it isdesigned as an extension of LION’s synthesis algorithms andrich modulation section. You can create some surprisingly deepsounds using LION’s mixer combined with even the “Simple”oscillator modes.

There are eight mixer modes, each with three basic controls.Two of the controls, OSC 1 and OSC 2, are simply gain controlsfor each oscillator going into the mixer. Depending on thealgorithm, these controls can actually cause dramatic changes.

The leftmost knob changes from mode to mode. In general, itacts as a crossfader. Depending on the mode, it crossfadeseither between the two inputs or between various outputpermutations.

FILTER MODES

62 LION LION 63

LION’s filter section contains many different modes, each with aunique character. Each filter contains two additional modes:DRIVE and INVERT, meaning that there are many permutationsto discover.

When enabled, the DRIVE parameter turns on non-linearbehavior that is unique to each filter mode. The knob belowDRIVE acts as a gain controller. At 50%, the signal goes inwithout any additional gain. Beyond 50%, the signal will start topush against various saturators and clippers inside of the filter.

When INVERT is toggled, the filter’s topology is inverted bysubtracting the filter’s wet output from the dry input. Theseinverted topologies are different from their counterparts (i.e. aninverted Ladder LP will sound different from the regular LadderHP, despite both being high-pass in nature).

Like LION’s mixer, the filter section rewards exploration andmodulation.

LP12/HP12/BP12

This clean, neutral filter modelsare the same models present inour Dent/Indent saturationseries. These use very littleCPU and do not impart muchcharacter of their own.

MS LP/HP

These are very aggressive,resonant filters that model theSallen-Key topology of apopular semi-modular. TheDRIVE circuit is in the feedbackpath and reacts violently tohigh resonance settings.

ACID LP

This is a filter modeled off of aclassic silver bass box. Withdefault settings, it is quieterthan the other filter models. Besure to add some extra DRIVEand resonance. This reacts wellto modulation, especiallyenvelopes.

LADDER LP/HP/BP 12/24

These six modes are modeledoff of the ladder topology usedin a legendary mini synth. The“24” versions are 24 dB/Oct,meaning that they have asharper, more dramatic cutoffwith more prominentresonance.

SVF LP/HP/BP

These modes are modeledafter a famous filter expander.These are similar to the basicLP/HP/BP modes, but impartmore of an analog character onthe signal.

BYOME EFFECTS

66 LION LION 67

68 LION LION 69

This effect was created by breaking our Pitch Delay algorithm inan entertaining fashion. It uses a granular window to tearthrough a buffer in a rather unpredictable way, but we've put alot of effort into eliminating unwanted clicks or pops. If youattempt to use this as a traditional delay, note that the echo timewill always be around 100 ms. Changing the Delay Timeinstead changes how much the granular window traverses eachcycle.

This is a delay where you can change the Delay Timeparameter without introducing audible effects (i.e. clicks or pitchchanges). This works really well in tandem with our modulationsystem.

Glitch L/R: Sets the glitch parameter for the channel. It is anunpredictable parameter, but the best way to explain it is as abroken pitch shifter that wildly runs its way through an inputbuffer.

Link: When active, the glitch parameter will be identical for bothchannels. When inactive, they can be set independently.

Jitter: When above 0%, the delay time will be periodicallyrandomized. The period of randomization is equal to thepreviously randomized delay time. This will lead to a differentfeeling than simply attaching a random modulation signal to theDelay Time input.

DESCRIPTION DESCRIPTION

CONTROLS CONTROLS

GLITCH SHIFTER INSTANT DELAYDELAYS

70 LION LION 71

This is a delay with up to 16 separate taps. The TAPS andSPACE parameters modify these taps in musically useful wayswithout the need to dive in and edit each tap separately. Thiseffect works better with longer delay times. With shorter delaytimes and a neutral SPACE setting, you can treat this like anunusual Comb Filter algorithm.

This effect combines a traditional delay with a granular pitchshifter. The pitch shifting occurs before the delay buffer, so allfeedback is continuously shifter. This causes echoes to eitherclimb or descend in pitch. For fun, try setting each channel to adifferent pitch and turn up XFeedback. This is even moreunusual with uneven delay times.

Taps: Sets the number of active delay taps.

Space: Sets the delay time spacing of the taps. At 12 o'clock,they will be evenly spaced from 0 ms to Delay Time. At lowervalues, the taps will cluster towards earlier times. At highervalues, the taps will cluster towards the value set by DelayTime.

Amps: Sets the amplitude curve applied to the delay taps. At 12o'clock, all taps will have an equal amplitude. At lower values,the taps will decay in amplitude. At higher values, the taps willswell in amplitude.

Pitch L/R: Sets the pitch shift amount for the delay line. Thispitch shift occurs before feedback, so the pitch shift will berepeatedly applied to all echoes.

Link: When active, the pitch shift parameter will be identical forboth channels. When inactive, they can be set independently.

Quantize: When active, the pitch shifter parameter will belocked to integer semitone values.


CONTROLS CONTROLS

MULTITAP PITCH DELAY

72 LION LION 73

This algorithm uses a granular engine to reverse chunks ofaudio. Feedback has an unusual property in this algorithm:because the granular reversal occurs before the delay buffer,the echoes will alternate between playing forwards andbackwards.

This algorithm uses a granular engine to reverse chunks ofaudio. Feedback has an unusual property in this algorithm:because the granular reversal occurs before the delay buffer,the echoes will alternate between playing forwards andbackwards.

(No unique controls) Smooth: When active, the stutter buffer will be crossfaded toremove clicks.

Stutter: Activates the stutter effect, endlessly repeating the lastchunk of audio. The size of the chunk is determined by the SIZEcontrols.

Reverse: When active, the frozen stutter buffer will be playedbackwards.


CONTROLS CONTROLS

REVERSE DELAY STUTTER

74 LION LION 75

This is a classic delay algorithm that mimics the behavior of oldtape delays. Changing the Delay Time parameter will create apitch slide effect as the delay's read head repositions itself. Anadditional WOW parameter mimics the sound of an unstabletape as it warbles in pitch.

Wow: Sets the amount of pitch wobble on the tape. This effectis much more noticeable with large FEEDBACK amounts.

DESCRIPTION

CONTROLS

TAPE DELAY

76 LION LION 77

This is a lo-fi effect that mimics the behavior of old digitalequipment by lowering the resolution of the input signal. Sixdifferent bitcrushing algorithms are included for a variety oftimbres.

This is a multimode distortion unit based on Chebyshevpolynomials. A Chebyshev polynomial is an algorithm that takesin a unit sine wave and outputs a harmonic of that sine wave.However, on any other input, this is an unpredictable distortion.The timbre of each harmonic varies wildly, so it is fun toexperiment. Please note that some combinations will cause anapparent gain dip due to phase cancellations. As an example,turning up harmonics 1 and 3 simultaneously will lead to a dip inamplitude.

Bits: Sets the number of bits used to represent the signal.

S. Rate: Sets the sampling rate.Bitcrush: Traditional bitcrushing.

Bit AND: The input is converted to a 32-bit integer representation. TheBITS param generates a 32-bit number. The output is the logical AND ofthese two numbers.

Bit XOR: The input is converted to a 32-bit integer representation. TheBITS param generates a 32-bit number. The output is the logical XOR ofthese two numbers.

Bent: This algorithm simulates various failures and interactions on acircuit bent instrument.

CRISPR: This is a light algorithm that focuses on crushing mostlyinaudible bits. In general, this can add a bright crispness to a sound.

Dust: This is a different type of AND algorithm. It typically produces lessaggressive results than the main Bit AND mode.

Harmonic 1-8: Sets the amplitude of harmonic 1-8.


CONTROLS

CONTROLS

BITCRUSH CHEBYSHEVDISTORTIONS

78 LION LION 79

This is a mixing effect that is sometimes referred to as 'AudioMSG'. It is a light type of phase distortion that increases thebrightness and presence of a signal. It is recommended to usethis sparingly on signals that need it, but not the full mix.

This is a bipolar rectifier taken from Dent's top row of distortioncontrols. An input signal is split into its positive and negativecomponents. These components can then be manipulatedseparately. By setting one slider to 0%, you can achieve half-wave rectification. By setting one slider to -100%, you canachieve full-wave rectification.

Amount: Sets intensity of Contrast effect. Upper: Sets the amplitude and polarity of all signal componentsabove 0.

Lower: Sets the amplitude and polarity of all signal componentsbelow 0.


CONTROLS CONTROLS

CONTRAST DENT RECTIFY

80 LION LION 81

This effect uses the waveshaping algorithm from Dent. TheSHAPE parameter takes a waveform and either round itupwards toward a square shape or downwards toward a needleshape. The SPLIT parameter is an aggressive control that addssymmetrical DC bias to the positive and negative componentsof the signal. This effectively adds a square wave to the signal.

This is a non-linear algorithm that boosts signals below athreshold and shapes signals above it.

Shape: Sets the intensity of the waveshaping effect. 12 o'clockis neutral. Clockwise will turn the signal into a squarewave,while counter-clockwise will turn the signal into a needle.Quieter signals will drop to silence when using the needleshape, so be sure to use a loud signal if you want to use theneedle side.

Split: Adds DC bias to the positive and negative components ofthe signal in opposite amounts. 12 o'clock is neutral.

Threshold: Adjust the threshold. Below the threshold, signalsare boosted. Above the threshold, signals are shaped.

Gain: Sets the gain of the signal before it reaches the overdrivealgorithm.

Trim: Reduces the signal after overdrive has been applied.


CONTROLS CONTROLS

DENT SHAPE OVERDRIVE

82 LION LION 83

This effect contains a number of clipping and saturationalgorithms for adding harmonic content to signals. Thesealgorithms may sound similar on complex material (a drum mix,for example), but they have subtle differences that shine onsimpler material (like synth waveforms). It's easy to experiment,so find one that works for your sound! As a note, if you areusing this effect it is worth enabling oversampling in the globaloptions menu.

This effect provides three different foldover distortionalgorithms. Foldover distortion is a type of distortion that reflectsloud signals around their boundaries. This type of distortionsounds especially good on simple harmonic material (like sinewaves).

Gain: Sets the amount of gain applied to the input signal beforesaturation.

Gain: Applies gain to the input signal, effectively determiningthe number of folds.

Bias: Adds DC Bias to the input signal, changing the shape andsymmetry of the folds.

Wavefold: Reflects a signal around its boundaries by running itthrough a sine equation.

Overfold: Combines the Wavefold algorithm with an Overdrivealgorithm to provide a warmer sound for some signals.

Harsh Fold: Reflects the signal by using a quick-and-dirtyalgorithm that creates a much harsher, more digital sound.


CONTROLS CONTROLS

SATURATION WAVEFOLD

84 LION LION 85

This effect provides a basic implementation of wavesetprocessing, a technique developed by Trevor Wishart. Awaveset is a set of three zero crossings, typically one full cycleof a waveform (a single cycle of a sine wave, for instance). Inthis effect, an amount of gain is applied to selected wavesets.These wavesets can be chosen periodically or randomly.


Probability: Sets the likelihood that a waveset within a groupwill be processed.

Size: Determines what percentage of sets in a group will beprocessed.

Sets: Determines how many consecutive wavesets appear in agroup.

Gain: Sets the amount of gain that will be applied to aprocessed waveset.

Smooth: Activates an interpolator for gain changes. Eventhough the gain changes won't introduce a discontinuity, this willhelp soften up any harsh transitions.

Main: Changes the primary frequency of the oscillator.

Sub: Changes the frequency of the sub oscillator as an offsetfrom the Main frequency.

Control 3:

Control 4:

Control 5:


CONTROLS CONTROLS

WAVESET EFFECT NAME

SECTION START

86 LION LION 87

This is a small, intelligent compressor that takes a lot ofguesswork out of setting the controls. It uses the auto-thresholdalgorithm and envelope shapes from Zip to quickly dial in thesound that you need.

This is an essential dynamics effect that reduces the amplitudeof signals above a threshold. This reduces the dynamic range ofthe signal. This can be used to subtly improve a mix or tocompletely demolish a signal. For a simplified version of thiseffect, check out the Auto Compressor.

Auto Threshold: When enabled, the compressor tries toautomatically adjust the threshold in real time to create pleasingresults. Use the threshold knob in this mode to nudge it slightlyup or down.

Style: changes the speed and shape of the attack and releaseenvelopes.

Lookahead: Sets the amount of audio that the compressor willanalyze. This will add latency.

Filter: Adds filtering before threshold analysis. This will not filterthe output audio. Tilt it left to only duck on low frequency drumhits, for instance.

Threshold: Sets the threshold at which the compressor effectwill be active. Signals louder than the threshold will be“compressed”, or reduced in amplitude.

Ratio: Sets the intensity of the compressor effect.

Attack: Sets the attack time for the compression envelope, orhow quickly the compressor reaches a fully compressed stateafter the signal exceeds the threshold.

Release: Sets the release time for the compression envelope,or how quickly the compressor reaches a fully uncompressedstate after the signal drops back below the threshold.

Knee: Sets the compressor's knee, or how sharp the transitionis between the compressed and uncompressed amplitudecurves.

Makeup: Sets the amount of gain applied to the signal aftercompression.

Peak: When enabled, the compressor's meter with use peakthreshold detection. When disabled it will use RMS.

DESCRIPTION

DESCRIPTION

CONTROLS

CONTROLS

AUTO COMPRESSOR

COMPRESSOR

DYNAMICS

88 LION LION 89

A limiter is essentially an extremely rapid compressor thatkeeps a signal from exceeding a threshold. This is traditionallyused at the end of a mix chain to prevent the mix from clipping.

A noise gate is a useful utility that reduces signals below anamplitude threshold. Its most traditional usage is to removebackground noise from a signal.

Threshold: Sets the maximum amplitude level of the inputsignal.

Release: Sets how slowly the limiter's amplitude envelope willrelease after the input signal drops below the threshold.

Lookahead: Sets the amount of audio that the noise gate willanalyze. This will add latency.

Threshold: Sets the amplitude threshold below which the inputsignal will be gated.

Attack: Sets attack time. Note that the attack value means howquickly the gate opens up, so think about it as a way to changethe attack envelope of transients as they go over the threshold.

Hold: Sets hold time. This is the minimum amount of time thatthe noise gate will stay open for.

Release: Sets release time. Note that the release value meanshow quickly the gate closes when the signal goes below thethreshold.

Reduction: Sets the amount that the signal will be reducedwhen the gate is active.

Flip: When enabled, the gate's threshold detection will beinverted so only sounds above the threshold will be gated.

Hysteresis: Sets hysteresis amount. This sets a safety marginaround the threshold to prevent rapid jitter effects.

Peak: When enabled, the gate's meter with use peak thresholddetection. When disabled it will use RMS.

DESCRIPTION

DESCRIPTION

CONTROLS

CONTROLS

LIMITER

NOISE GATE

90 LION LION 91

This is a simple, traditional two-pole multi-mode filter. It is usedto reduce selected frequency bands in the incoming signal.

A comb filter is a delay line tuned to extremely short buffertimes. It can be used to add a metallic timbre to a signal. Thisparticular comb filter has an extremely wide frequency rangeand can shift quickly between being an echo effect and a timbreeffect.

Cutoff: Set the cutoff frequency of the filter.

Resonance: Sets the filter's resonance.

LP: Low-pass. Removes high frequencies.

HP: High-pass. Removes low frequencies.

BP: Band-pass. Permits a small range of frequencies.

Freq: Sets the frequency of the comb filter.

Range: Sets the possible range of frequencies for the CombFilter.

Feedback: Changes the feedback level of the comb filter. Highvalues produce a string-type effect. Negative values providephase cancellation effects.

Slew: Set how quickly the comb filter reaches new frequencyvalues. At low values, the comb filter will travel quickly, but therecould be clicks or pops. At high values, it will sound more like atape delay.

Cutoff: Changes the cutoff of the lowpass filter applied to theoutput signal. This can help shape the feedback in morepleasant ways.


CONTROLS

CONTROLS

BASIC FILTER COMB FILTERFILTERS

92 LION LION 93

This is a multi-stage low-pass filter with a lot more characterthan the Basic Filter. It is based on a famous hardwaresynthesizer filter. Changing the active stage will change theslope and resonance of the filter.

This is an extremely gentle filter. It is useful for tamingfrequencies without imparting a lot of character or color.


Resonance: Sets the filter's resonance.

Stages: This determines the overall slope of the filter. Higherstages produce a sharper cutoff slope and deeper filtering.


LP: Low-pass. Removes high frequencies.

HP: High-pass. Removes low frequencies.


CONTROLS CONTROLS

LADDER FILTER ONE POLE FILTER

94 LION LION 95

This is an effect that combines four parallel comb filters. Eachcomb filter can have a separate frequency and amplitude. Thisis a great way to add chordal sounds to any material, eveninharmonic signals like percussion loops. If you want morecontrol over a single Resonator, look at the separate CombFilter effect.

Decay: Determines how resonant the filters are.

Freq 1-4: Sets the frequency of the chosen resonator.

Gain 1-4: Sets the gain of the chosen resonator.

DESCRIPTION

CONTROLS

RESONATOR BANK

96 LION LION 97

This is a massive, sophisticated effect that takes incomingaudio and breaks it into individual grains (or small chunks ofsound). These grains can be manipulated in many ways,creating easy methods for altering a signal's pitch, timbre,speed, or stereo image.

Grain Size: Sets the size of each generated grain.

Grain Size Deviation: Sets the amount of randomization for thesize of each grain.

Speed: Sets how quickly each grain plays back its chunk ofaudio. Negative values play the chunk backwards.

Speed Deviation: Sets the amount of randomization for theplayback speed of each grain.

Alternate Speed Mode: When active, granulator speed willstay positive when you go below 0.0 but the pitch speed will bereversed.

DESCRIPTION

CONTROLS

GRANULATORGRANULAR Rate: Sets how frequently new grains are created.

Rate Deviation: Sets the amount of randomization for graingeneration. At 0%, this is synchronous granular synthesis.

Pitch: Sets the pitch of each grain.

Pitch Deviation: Sets the amount of pitch randomization foreach grain.

Quantize: When active, the Pitch control will be locked tointeger semitone values.

Freeze: Sets how much new audio gets written to the grainbuffer. At 0%, only new audio will be recorded. At 100%, onlyold audio will be recycled.

Stereo Spread: Increases the stereo image of the granulator byrandomly placing each grain in the stereo field. At highervalues, an additional pitch warble will be introduced.

98 LION LION 99

This effect changes the amplitude of a sound using aprobabilistic grain window. It can be thought of as the granularequivalent of a Tremolo or Ring Modulator. A sinusoidal grainwindow is generated at PERIOD Hz and is shaped byFORMANT. At low rates, this is a fun, probabilistic panner. Athigh frequencies, this can impart unusual timbres and stereowidth to droning timbres.

Period: Sets how frequently a Pulsar window is generated.

Range: Sets the frequency range of the pulsar oscillator.Low: 0-20 Hz. High: 0-1000 Hz.

Synced: The Pulsar’s period is tied to even divisions of the host’s tempo.

Quantized: The Pulsar’s period is tied to scaled note values.

Formant: Sets the width of the Pulsar's grain window.

Formant Spread: Sets the amount of variation in the Formantparameter per Pulsar cycle.

Probability: Sets the probability of a Pulsar being generatedeach cycle.

Width: Sets the stereo width of the Pulsar generators.

DESCRIPTION

CONTROLS

PULSAR

This effect uses a granular algorithm to change the perceivedpitch of an input. The input signal is broken down into grains.These grains are then played back faster or slower than theoriginal signal.

Shift L/R: Sets the pitch shift amount for the associatedchannel.

Link: When active, the value of the right channel's pitch shiftwill follow the left channel’s.

Quantize: When active, both pitch shift parameters will alwaysequal integer semitone values.

Size: Change the size of the grains used for the pitch shifteffect, from .1-100 ms. Note that this effect introducesuncompensated latency.

Blur: Randomize grain times to reduce metallic pitch shiftingsounds.

DESCRIPTION

CONTROLS

PITCH SHIFTER

100 LION LION 101

An equalizer is an essential tool for mixing. It allows forcontrolling the amplitudes of individual frequency bands. Thisequalizer is a quick DJ-style EQ that only breaks a signal intothree bands. This is a modulation-friendly equalizer for quick,colorful changes instead of precision.

This is a very simple effect that provides some mixhousekeeping operations. It is useful as the last effect in achain.

Freq L/H: Set the cutoff frequency for the low and highfrequency bands.

Low/Mid/High: Set the levels of each frequency band.

Unity Gain: When this is enabled then gains will always becompensated to maintain an even value when the bands aresummed. Changing the individual band gain will raise/lower theothers to compensate.

Gain: Sets the amount of gain applied to the signal.

DC Block: Activates a DC Filter to remove DC offset from thesignal.

Invert L/R: Inverts the polarity of the signal on the left or rightchannel.


CONTROLS CONTROLS

3-BAND EQ MIX UTILITYMIXING

102 LION LION 103

This effect will move a signal around within the stereo field. Youcan combine this with our modulation system to create acomplex auto-panner.

This is a collection of algorithms that are useful for boosting theapparent stereo width of a signal.

Pan: Sets the position of the audio within the stereo field.

Equal: A standard panning method that keeps the signal at thesame perceived loudness across the stereo field. However, itwill lower the amplitude of the signal by about -3 dB.

Equal +3 dB: This is the same as Equal, but it provides aconstant +3 dB boost to offset the gain loss.

Linear: A naive algorithm that changes channel amplitudes inopposite amounts. This causes an amplitude dip in the middlecompared to the sides.

Width: Sets the intensity of the stereo effect.

M/S Widener: Converts a signal into its Mid-Siderepresentation. 0% width = mono, 100% width = stereo, 200%width = super-stereo. This algorithm does not work on monomaterial.

L/R EQ: Applies opposite amounts of EQ to each channel.

M/S EQ: Applies opposite amounts of EQ to the Mid and Sidecomponents of a signal. This algorithm does not work on monomaterial.

Polarity: This adds an inverted amount of each channel to theiropposite side. This does not work on mono material and isespecially bad for mono mixdowns.

Micro Delay L/R: This applies a small amount of delay to theleft or right channel. Watch out for phase cancellation effects ina mono mixdown.

Rotation: This uses an unusual algorithm that treats eachchannel as a point in space. It then rotates these points arounda circle. At 100% Width, the signal is unchanged.

Micro Pitch: This applies a micro pitch shift to the left and rightchannels in opposite amounts. The pitch shifted copy issummed with the centered original.

Mono: Preview what the stereo signal will sound like in a monomixdown. These algorithms can have phase cancellation sideeffects in a mono mixdown, so it is useful to monitor frequently.

DESCRIPTION

DESCRIPTION

CONTROLS

CONTROLS

PANNER

STEREO IMAGE

104 LION LION 105

This is an effect that creates a rich sound by summing a signalwith detuned copies. The detuned copies are created throughthe modulation of delay lines.

This is an effect that creates a characteristic “jet” effect bysumming a signal with a modulated, delayed copy of itself.

Depth: Sets the intensity of modulation.

Feedback: Sets how much of the wet output is sent back to thechorus input.

Delay: Sets a delay buffer offset for the internal modulator. Withthe modulator's frequency set to 0, this can be manuallymodulated by the modulation system to create your ownflanger!


Feedback: Sets how much of the flanger's output is sent backto its input.

Stereo: Determines the difference of phase shift between theleft and right channels.


CONTROLS CONTROLS

CHORUS FLANGERMODULATION

106 LION LION 107

This is a complex effect related to amplitude modulation (audio-rate tremolo) and ring modulation. With a frequency shifter, auser has separate control over upper and lower sidebands. Theeffect causes a signal to shifts upwards or downwards infrequency. The signal shifts in a linear fashion, causing a veryinharmonic sound when compared to pitch shifting.

This is a complicated effect that creates modulated phase shiftsthrough the use of multiple serial all-pass filters. The originalsignal is summed with the output of the serial filter chain,creating an intentional phase cancellation. This is a great way toadd a lot of stereo interest to a sound.

Feedback: Sets how much of the frequency shifted output issent back to the input.

Stages: Sets the number of serial all-pass filters used to createthe phasing effect.

Depth: Sets the frequency range of the internal all-pass filters.

Center: Sets the center frequency of modulation for the all-passfilters.

Tune: Sets the base frequency of the all-pass filters. At 0%,every stage will be tuned in an identical manner. At 100%, eachfilter will be spaced out at a harmonic interval. Try combiningthis with high feedback values for basic modal synthesis.

Feedback: Sets the amount and polarity of the feedback.

Invert: When active, the polarity of the phaser will be flipped.

Phase: This control sets the phase of the internal LFO. If theLFO is set to 0 Hz, this can be used as a manual control tocreate your own phaser (try modulating with a different LFO).Note that you will still need to use the DEPTH control to set howaudible the phase shift is.

Stereo: Determines the difference of phase shift between theleft and right channels.

DESCRIPTION

DESCRIPTION

CONTROLS

CONTROLS

FREQUENCY SHIFTER

PHASER

108 LION LION 109

This is a classic, inharmonic timbre effect that is achieved bymultiplying a signal with another signal, typically an oscillator.This ring modulator provides both the typical digitalmultiplication version along with a version that emulates thediode ring in an analog unit.

This is an emulation of a classic hardware effect that rotated aspeaker rapidly inside of a cabinet.

Analog: Changes the behavior of the ring modulator to soundcloser to an analog diode-based modulator.

Frequency: Sets how quickly the simulated speaker rotates.

Size: Sets the apparent size of the rotation.

Cutoff: Sets the split frequency between the two speakerrotors. Signals above this frequency are sent to one rotor, whilesignals below this frequency are sent to the other. This can beused to shape the timbre of the effect.


CONTROLS CONTROLS

RING MODULATOR ROTARY SPEAKER

110 LION LION 111

This is a very simple effect that is created by periodicallymodulating the amplitude of a signal.

This is a simplified version of the Chorus effect. Instead ofcreating multiple detuned copies of a signal, this provides onlyone detuned copy.

Waveform: Sets the waveform used by the internal LFO.

Phase: Sets the initial phase value of the internal LFO. Whenrestarting your project's playback, the LFO will reset to thisphase.



CONTROLS CONTROLS

TREMOLO VIBRATO

112 LION LION 113

This is a rich, powerful reverb sound that works well on justabout anything. It is especially capable of producing long,frozen tails that sustain seemingly forever.

This is our take on a Schroeder Reverb, the digital reverbalgorithm used by many famous computer music pioneers.While these algorithms have a bit of a metallic sound comparedto modern reverbs, they excel when applied to syntheticsounds. We have included a large number of tunings toexperiment with.

Pre-delay: Sets the amount of time the dry input is delayed forbefore being sent to the reverb algorithm.

Size: Sets the apparent room size.

Time: Sets the overall length of the reverb.

Damping: Sets the intensity of low-pass filtering applied to theechoes. Higher values produce a darker sound.

Bandwidth: Sets the reverb's bandwidth, or how much low-pass filtering is applied to the tail. Lower values will tighten upthe echoes by removing the more diffuse tail.

Early: Sets the amplitude of the early reflections.

Tail: Sets the amplitude of more diffuse echoes occurring laterin the reverb.

Flush: Clears the reverb buffer.

Pre-delay: Sets the amount of time the dry input is delayed forbefore being sent to the reverb algorithm.

Gain: Sets the amount of gain applied to the input before beingsent to the reverb algorithm.

Decay: Sets how long the effect will reverberate for.

Damp: Sets the amount of low-pass filtering that occurs in theinternal delay buffers. Higher Damping values will create adarker sound.


CONTROLS

CONTROLS

DEEP REVERB LO-FI REVERBREVERBS

114 LION LION 115

This reverb algorithm is taken from our first plugin, the RenounReverb Rack Extension for Reason. It is an emulation of aclassic blue-box hardware reverb, but we've expanded thecontrol set and ranges to more experimental extremes. You canuse this for bright shimmer effects or noisy sci-fi modulationbursts. This effect copies the algorithm behind Sandman Pro’s

DIFFUSE control. It is a simple all-pass network that works wellwhen applied to a delay. Try placing this after Instant Delay for amore spacious sound.Pre-delay: Sets the amount of time the dry input is delayed for

before being sent to the reverb algorithm.

Bandwidth: Applies low-pass filtering to the input. At 100%, thesignal is untouched. At 0%, the signal is entirely filtered out.

Damping: Sets the amount of low-pass filtering that occurs inthe internal delay buffers. Higher Damping values will create adarker sound.

Decay: Sets the overall length of the reverb.

Mod Rate: Sets how rapidly the internal delay lines aremodulated.

Mod Depth: Sets the intensity of modulation for the internaldelay lines.

Diffuse: Sets the amount of crosstalk that happens betweeneach section of the reverb.

Tail: Sets the amplitude of later echoes.

Amount: Sets the amount of feedback for the internal diffusers.Higher values will lead to more echoes.

DESCRIPTION

DESCRIPTION

CONTROLS

CONTROLS

RENOUN REVERB

SANDMAN DIFFUSE

MODULATION

118 LION LION 119

MACRO SYSTEMDue to BYOME’s infinite nature, we needed to create a quickand easy system for automating any control. In previousUnfiltered Audio plugins, we used a right-click mappingsystem. This has been scrapped and replaced with a faster,more flexible Macro system.

The Macro Modulator is a modulator that is present in everypreset. It is always the first modulator in the row.

When creating a new patch, you willonly see the Macro 1 knob. Doubleclicking the Macro header will expandthe Macro Modulator into “patchingview”. As you connect modulationcables, more Macros will appear. Thereis a maximum of 32 Macros.

Each macro output behavesidentically to the rest of themodulation system. Simply drag acable from the Macro knob’soutput to the control that you wishto automate. Turning the Macroknob will then manipulate thatcontrol via the modulation system.

Two important things to keep inmind:

1) You can connect multiplemodulation cables to the sameinput. In that situation, everyconnection will be added together.

2) You can create multiple cablesfrom the same output. This meansthat you can use one Macro knobto modulate as many controls asyou want. You can do something assimple as a one-to-one automationby connecting a Macro to a singleknob, or do something as complexas a preset morph by using oneknob to modulate every knob onthe screen.

After creating your mapping, youcan rename the Macro knob bydouble-clicking on its title (i.e.“Macro 1”). The title will be savedwith your current preset. Due tolimitations of many DAWs, theMacro’s name will not show up inthe DAW’s automation list (instead,the parameter names are alwaysnamed “Macro 1,” “Macro 2,” etc.).

When you have finished assigningMacros, double-click the Macroheader to exit the patching view.Now, only the assigned Macros willbe visible.

120 LION LION 121

MIDI IN

This modulator provides modulation outputs for all MIDIand MPE articulation sources.The top two drop-down menus (that say 12 by default)control pitchbend depth, in semitones. In regular MIDImode, this depth will affect the pitch wheel. In MPE mode,this will affect the pitch wheel, but not per-note bends.Per-note bends are +/- 48 semitones, which is the MPEstandard. This will provide intuitive slides on MPE controllerslike the ROLI Seaboard, the Sensel Morph, and theLinnstrument.To activate MPE mode, click the MIDI box in the bottomleft of the interface (by default, it will probably say “MIDI:All Channes”). From the drop-down menu, select MPE.

OUTPUTSN: Note number. This will output a 0.0 for MIDI note 0, anda 1.0 for MIDI note 127. This is useful for, say, mapping thefilter’s cutoff to the current note.

V: Velocity. This is the value of the Note One message’sVelocity, or how hard the note was pressed. In MPE Mode,this is the “Strike” parameter.

MW: Mod Wheel. This outputs the current value of MIDI CCmessage 1, which is usually the value of the Mod Wheel onyour controller keyboard.

PB: Pitch Bend. This is the value of the Pitch Wheel inMIDI/Monophonic mode, or the value of the per-notebend in MPE/Polyphonic mode.

A: Aftertouch. This is the value of the current channel’sAftertouch (or “Pressure” in MPE terms).

T: Timbre (MPE Only). This is the value of the current note’sY position on the keyboard. If you are using a ROLISeaboard or Sensel Morph, for instance, this is the verticalposition of your finger on the note.

#: Voice number. This is a nomalized value based on whichvoice the active note is assigned to compared to themaximum number of allowed voices (i.e. in Poly 8 mode,this is 8 voices). This is only useful if the MIDI In modulator isset to be polyphonic. This is great for creating variationbetween each active voice.

G: Gate. This outputs a positive value while the currentvoice is active.

R: Release Velocity (MPE Only). This modulator will outputa value based on how quickly you remove your fingerfrom the keyboard. This can be used to create release-stage articulations.

122 LION LION 123

MASTER ADSR

The Master ADSR is included by default in every patch. Fora basic explanation of the ADSR and its controls, see theregular ADSR description in the Envelopes section.

The Master ADSR controls the amplitude of your synthpatch. It is essentially always connected to an invisibleGAIN control at the end of the synth voice (but before theBYOME row).

The Master ADSR is also available at each output on thismodulator, allowing you to link other controls’ modulationto the amplitude of the voice output. Each of theseoutputs is affected by the AMP control. The AMP controldoes not affect how much the ADSR controls theamplitude of the synth voice.

The DEPTH control decides how much the velocity of eachnote affects the amplitude of the assigned voice. At 100%,you will have the most expressive range, but softly pressednotes will be hard to hear. At 0%, the velocity does notaffect the ADSR. By default, this is set to 50% for a goodbalance.

124 LION LION 125

This takes in another modulation signal and produces a gate.The gate is active when the modulation signal exceeds athreshold. As an example, you could use this to create a squarewave from a sine wave. The pulse width of the square wavewould be related to the Threshold setting.

This generates a modulation signal based off of the plugin'saudio input. The modulation signal is based on the amplitude ofthe input. The Smooth parameter can help remove jitter fromthe modulation.

Threshold: Sets the threshold for the comparator. If the inputsignal's amplitude exceeds this threshold, the output of thecomparator will be true.

Hysteresis: Sets the hysteresis amount. This sets a safetymargin around the threshold to prevent rapid jitter effects.

Smooth: Determines how quickly the envelope followerresponds to changes in amplitude. Increase smoothing if yourmodulation signal is too jumpy.


CONTROLS CONTROLS

COMPARATOR INPUT FOLLOWERANALYZERS

126 LION LION 127

This is a simple tool for visualizing your modulation signals. Like the Input Follower, this modulator uses the plug-in's audioinput to derive a modulation signal. While the Input Followeronly uses the input's amplitude, the Spectral Follower analyzesthe input's frequency content.

Lissajous Mode: When enabled, the signals will be plotted asXY coordinates on a Cartesian plane. Otherwise, the signals willbe plotted on top of each other.

Smooth: Determines how quickly the envelope followerresponds to changes in amplitude. Increase smoothing if yourmodulation signal is too jumpy.

Brightness: The follower output is related to the amount ofhigh-frequency content in the signal. It is the inverse ofDarkness.

Darkness: The follower output is related to the amount of low-frequency content in the signal. It is the inverse of Brightness.

Noisiness: The follower output is related to how much noise orunstable frequency content is present in the signal. It is theinverse of Tonalness.

Tonalness: The follower output is related to how harmonicallystable the input signal is. It is the inverse of Noisiness.


CONTROLS

CONTROLS

SCOPE SPECTRAL FOLLOWER

128 LION LION 129

This modulator can act as a manual control knob capable ofoutputting values to multiple parameters. This allows controlover many parameters with a single gesture. Alternatively, youcan patch many modulation sources into the amplitude knobinput port, turning the Meta control into a summing modulationbus.

This modulator connects to the excellent ROLI Lightpad(https://roli.com/products/blocks) for use as a performancecontroller. Please note that because this is part of themodulation system, this modulator is not intended for writingautomation. If you want to use the Lightpad for automation, youcan use the ROLI Dashboard for loading the interface of yourchoice and sending MIDI CC.

To get started, connect the Lightpad to your computer usingeither its USB-C cable or Bluetooth. For instructions on settingup a Bluetooth connection, see the Lightpad’s manual.

Once a Lightpad is connected to your computer, it shouldappear in the drop-down menu on this modulator. Select it andclick “Connect”. The interface should turn white. You are now inLocation + Pressure Mode. To change the active mode, clickthe large control button on the side of the Lightpad.


META ROLI LIGHTPADCONTROLLERS

130 LION LION 131

This modulator provides a useful widget for controlling twooutputs at once with a mouse.

DESCRIPTION

XY PAD

132 LION LION 133

This is a percussive Attack-Decay envelope. This envelopedoes not have a Hold/Sustain stage, so the length of theincoming gate or trigger does not matter. It generates a risingAttack stage that is followed immediately by a falling Decaystage. This type of envelope is frequently used for synthesizingdrum hits.

This is the classic Attack-Decay-Sustain-Release envelope,perhaps the most common type of envelope seen onsynthesizers. Upon the reception of a gate, the rising Attackstage is started. Once the Attack stage is complete, the fallingDecay stage will lead to an amplitude set by Sustain. TheSustain stage will be active for as long as the input gate is true.Once the input gate goes low, the falling Release stage willbring the envelope down to zero.

Duration: Sets the total duration on the envelope.

Tilt: Sets the attack-decay ratio of the envelope. At 100%, theenvelope will have an instantaneous attack with a decay equalto the length of the envelope's duration. At -100%, the envelopewill have an instantaneous decay. At 0%, the attack and decaylengths will be equal.

Shape: At 0%, the attack and decay stages will be linear. At100%, the attack will be exponential while the decay will belogarithmic. At -100%, the decay will be exponential while theattack will be logarithmic.

Attack: How quickly the envelope rises to 1.0.

Decay: How quickly the envelope falls to the level set bySustain.

Sustain: Set the level to decay to after the maximum envelopevalue is reached.

Release: How quickly the envelope falls to 0.0 after the inputgate goes low.


CONTROLS CONTROLS

AD ENVELOPE ADSR ENVELOPEENVELOPES

134 LION LION 135

This is an LFO that generates a signal that can smoothly morphbetween a sawtooth, a triangle, and a ramp.

This simple LFO generates a cyclical sine wave at a givenfrequency.

Shape: This control determines the shape of the modulator'soutput, from ramp, to triangle, to saw, and then (at the very end)to ramp again. 0.0 = ramp, 0.5 = triangle, 0.98 = saw, 1.0 =ramp (again). It transitions smoothly to ramp at the very end toavoid abrupt direction flips when smoothly modulating thiscontrol.


CONTROLS

SAW/TRI LFO SINE LFOLFOS

136 LION LION 137

This LFO generates a pulse wave, often known as a squarewave. The width of this pulse wave can be modified.

Width: This control determines the pulse width of themodulator. At 50%, the output will be high and low for equalamounts of time.

DESCRIPTION

CONTROLS

SQUARE LFO

138 LION LION 139

This will change the shape of a modulation signal by raising it toa power. At 12 o'clock, the signal is raised to the first power andis unaffected (linear). Clockwise, the signal reaches its squareand becomes more exponential. Counter-clockwise, the signalreaches its square root and becomes more logarithmic.

This modulator provides arithmetic combinations of twomodulation inputs. It provides the sum, difference, andmultiplication of the two signals. Additionally, > and < outputswill provide which input is the loudest or quietest of the two.

Exponent: Sets the exponentiation of the input signal. At 12o'clock, no exponentiation will occur. Clockwise, the signal willbe made more exponential. Counter-clockwise, the signal willbe made more logarithmic.

+: Outputs the sum of both inputs.

-: Outputs the difference of both inputs.

X: Output the product of both inputs.

>: Outputs the value of the input with the greater value.

<: Outputs the value of the input with the lesser value.


CONTROLS OUTPUTS

EXPONENT LOGIC MIXMODIFIERS

140 LION LION 141

This modulator is similar to the Noise modulator, but its output isbased on the Logistic Map. The Logistic Map is a chaoticalgorithm that can oscillate in a predictable fashion (at lowCHAOS values) or generate wild, random, linear shapes. Unlikethe Noise modulator, the output can frequently fall into cyclicalpatterns.

This is an advanced version of the S+H Noise modulator whererandom values can be trapped and looped as a sequence.These values can then evolve slowly over time depending onthe probability settings.

Chaos: This control determines how unpredictable the output ofthis modulator is. At 0, there will be a stable triangle oscillation.At full, the output will be very unpredictable.

Slew: This control determines how quickly the modulatortransitions between new values. With no slew, the new value isreached immediately (creating a random, stepped sequence).When slew is 100%, the time required to reach the new step isequal to the generation rate, meaning that the output will alwaysbe smooth.

Trig: Trigger input. If the button is clicked or the modulationinput transitions to a positive signal, the sequencer’s activestage will increase by one.

Reset: Reset input. This includes both a manual button and amodulation input. If the button is clicked or the modulation inputtransitions to a positive signal, the sequencer’s active stage willreset immediately to the first stage of the sequence.

Rand: Randomize input. This includes both a manual buttonand a modulation input. If the button is clicked or the modulationinput transitions to a positive signal, every value in thesequence will be randomized. If you set RAND to 0%, triggeringthis can provide a stream of new, looping sequences.

Steps: Choose the number of steps in the sequence. To get abetter understanding of how this works, try setting RAND to 0%and change this value.

Random: Whenever a step is accessed, this determine theprobability that the step will be a new, random value. At 0%, aperfect loop will occur. At 100%, a fully random stream of valueswill occur. Around 5-10% is a good setting for creating a steadilyevolving sequence.

DESCRIPTION

DESCRIPTION

CONTROLS

CONTROLS

CHAOS

LOOPING RANDOMRANDOM SOURCES

142 LION LION 143

This is essentially a square wave LFO, but the state isdetermined randomly at the beginning of each cycle. Forinstance, if the cycle length is 1/8th, every eighth note the valueof the output will randomly be high or low, the probability ofwhich is determined by the PROB control.

This is similar to the LFOs, but it generates random,unpredictable values instead of repeating waveforms.Depending on the amount of slew, these sequences can becompletely smooth or stepped.

Probability: This control determines how likely the gate will behigh during each cycle. At 100%, the gate will always be high.At 0%, the gate will always be low.

Slew: This control determines how quickly the modulatortransitions between new values. With no slew, the new value isreached immediately (creating a random, stepped sequence).When slew is 100%, the time required to reach the new step isequal to the generation rate, meaning that the output will alwaysbe smooth.


CONTROLS CONTROLS

PROBABILITY GATE S+H NOISE

144 LION LION 145

This is a simplified version of the Step Sequencer. While thevalue of the Step Sequencer's outputs can be smoothlydetermined, the Gate Sequencer's outputs can only be true orfalse. This sequencer is a much quicker way to programrhythmic patterns. The T (Trigger) output is useful for triggeringother modulators (like the AD Envelope or a Step Sequencer).

This is a bank of up to 16 values that can be accessed insequential or random order. The sequence can runautomatically or be manually triggered.

Length: This control determines how many active steps areavailable in the sequence, from 1 to 16.

Start: This control determines which step of the sequence is thestarting step. This step is selected when playback restarts orwhen a trigger is received on the reset input.

Length: This control determines how many active steps areavailable in the sequence, from 1 to 16.

Start: This control determines which step of the sequence is thestarting step. This step is selected when playback restarts orwhen a trigger is received on the reset input.

Slew: This control determines how quickly the sequencertransitions between steps. With no slew, the new step isreached immediately. As you increase slew, you will hear amore prominent slide between values.


CONTROLS CONTROLS

GATE SEQUENCER STEP SEQUENCERSEQUENCERS

146 LION LION 147

CREDITS

146 LION LION 147

LION was written by Joshua Dickinson and Michael Hetrick.The visual theme of BYOME, Triad, and LION was createdby Wes Milholen.

Thank you:Many thanks to Emilie Gillet of Mutable Instruments for hermany contributions to synthesizer design. LION was inspiredby elements of Braids, Plaits, Warps, and Shruthi.Stephen McCaul for his implementation of SummationSynthesis.Lance Putnam for creating Gamma, the foundational DSPlibrary that we use.Aaron Anderson for allowing us to use his Wave Terrainresearch for our Terrain mixer algorithms.

Our spectacular preset creators:Hans Besselink (Oddiction)EmptyVesselignatiusJohn “Skippy” Lehmkuhl (PluginGuru.com)Drew Madden (Audilepsy)Liam Mclean (Joker)Peter “Glaca” MohamedAlex RetsisJohn TejadaTomavatars

officialmanual by - plugin alliance

Documents