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Vengeance Producer Suite Avenger Version: 1.1 Date: December 2016

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  • Vengeance Producer Suite

    Avenger

    Version: 1.1

    Date: December 2016

  • Vengeance Producer Suite Avenger

    2

    Contents

    Introduction............................................................................................6

    Installation..............................................................................................7

    Windows..................................................................................................... 7

    Mac............................................................................................................. 7

    An overview of the features in Avenger ..................................................8

    Quick guide................................................................................................. 8

    Generators........................................................................................................................... 9

    Transformers ....................................................................................................................... 9

    Effects................................................................................................................................ 10

    Modulation sources............................................................................................................ 11

    Selection............................................................................................................................ 13

    Avengers features in detail ..................................................................14

    The preset browser................................................................................... 14

    Searching for preset names....................................................................... 16

    The file browser / importing drums .......................................................... 18

    Importing multisamples............................................................................ 19

    Importing / creating OSC shapes............................................................... 21

    The oscillator area.................................................................................22

    Overview .................................................................................................. 22

    The functions in detail .............................................................................. 23

    Further parameters for the oscillator in the waveform display ................. 27

    Multisamples ............................................................................................ 29

    Sample Stacker ......................................................................................... 31

    Wavetables / Resamples........................................................................... 33

    V-Saw ....................................................................................................... 34

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    Voicing...................................................................................................... 35

    Chorder.............................................................................................................................. 35

    Sub osc .............................................................................................................................. 35

    General.............................................................................................................................. 35

    Routing ..................................................................................................... 37

    Drums....................................................................................................... 38

    Drums main page ............................................................................................................... 38

    Drum sample editor ........................................................................................................... 39

    Drums routing.................................................................................................................... 40

    Drums routing (multi-selection) .......................................................................................... 40

    Drum kit / sequences browser ............................................................................................ 41

    The amp section....................................................................................42

    Overview .................................................................................................. 42

    The filter section ...................................................................................45

    Overview .................................................................................................. 45

    The shaper section ................................................................................47

    Overview .................................................................................................. 47

    The mod matrix.....................................................................................48

    Overview .................................................................................................. 48

    Mod matrix routing via drag & drop.......................................................... 50

    The LFO section.....................................................................................51

    Overview .................................................................................................. 51

    Macro area............................................................................................54

    Overview .................................................................................................. 54

    Lock buttons .........................................................................................55

    Overview .................................................................................................. 55

    The readout display ..............................................................................56

    The MIDI controller bar.........................................................................57

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    MIDI controllers to mod wheel .............................................................59

    The FX section .......................................................................................60

    The central display ................................................................................62

    Editor with normal waveforms (FFT) ......................................................... 62

    Controls in the FFT editor ................................................................................................... 64

    Editor with free waveforms (freeform) ..................................................... 65

    Controls in the freeform editor ........................................................................................... 65

    Resampler / Wavetable editor .................................................................. 66

    The Arpeggiator ........................................................................................ 71

    The drum sequencer ................................................................................. 73

    The step sequencer................................................................................... 75

    The pitch module ...................................................................................... 77

    The modulation envelopes........................................................................ 79

    The mixer area.......................................................................................... 81

    Key and velocity zones.............................................................................. 82

    System page ............................................................................................. 83

    MIDI learn .............................................................................................85

    Connecting external MIDI controllers........................................................ 85

    Deleting and managing existing MIDI connections .................................... 86

    Extras ....................................................................................................87

    Tips on working ........................................................................................ 87

    Right-clicks and menus ....................................................................................................... 87

    The middle mouse button / double-click ............................................................................. 87

    Turning the dials (fine) ....................................................................................................... 87

    Effects as send effects ........................................................................................................ 87

    Master filter....................................................................................................................... 87

    Arrow keys / preset choice ................................................................................................. 88

    MIDI controller (pedals)...................................................................................................... 88

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    New features via update .......................................................................89

    Release notes........................................................................................89

    Support & contact .................................................................................89

    Glossary ................................................................................................90

    List of category prefixes ............................................................................ 90

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    Introduction

    Dear customer,

    Thank you for purchasing the plugin Vengeance Producer Suite Avenger (which we will hereafter

    simply refer to as: Avenger). Possibilities you have never dreamed of await your discovery! Three

    years of planning, development and love have flowed into Avenger to make this synthesizer the most

    comprehensive and best that there is on the market. Avenger is capable of many common and new

    forms of synthesis and has almost unlimited modulation possibilities. It boasts a wonderful, as well as

    informative, graphic interface by which you can experience live and direct exactly what is happening

    to the sound at any given moment.

    We wish you a lot of enjoyment with your Vengeance Producer Suite Avenger!

    The Vengeance-Sound team

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    Installation

    Windows

    Start the win_vpsAvenger_1.0.0.exe and follow the instructions on the screen to install the plugin

    to your sequencers VST plugins folder.

    The plugin should now be available the next time you start your sequencer.

    Mac

    Unzip the file vps Avenger installer.zip and start vpsAvenger.pkg. Follow the on-screen

    instructions to proceed with the installation.

    Listed below are the standard installation paths for the various plugin formats:

    Format Path

    VST /library/audio/plug-ins/vst

    VST3 /library/audio/plug-ins/vst3

    AU /library/audio/plug-ins/components

    AAX /library/application support/avid/plug-ins

    After installation, please check that the files for Avenger can be found in these locations.

    The plugin should now be available the next time you start your sequencer.

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    An overview of the features in Avenger

    Quick guide

    Avenger is an incredibly powerful synthesizer and the latest development from Vengeance-Sound

    and Keilwerth Audio. There is almost nothing that Avenger cannot do. A preset in Avenger begins

    simply and grows to accommodate the complexity of your ideas. Individual components can be

    added or removed at will via the tabs (such as oscillators, LFOs, filters, effects) and linked in many

    creative ways to sculpt your sound. Every waveform can be manipulated through the interface in real

    time or by use of modulation sources for example to bend and shape its frequency content (FFT) all

    of that with a very low CPU usage and an amazing alias-free sound quality.

    Avenger features a multitude of synthesis forms for sound generation such as complex wavetables.

    In this form of synthesis, the relationship between the harmonic and disharmonic overtones can be

    regulated by FFT. The results can be seen in the central display that shows the state of the waveform

    at any given time. Avenger comes with a very clean and CPU friendly supersaw mode named V-

    Saw, a chorder to stack notes, a multisample stacker for layering samples and separate drum kits

    complete with a drum sequencer. Thus, very complex arpeggios and sequences can be created.

    The flexible FX routing system is also one of the highlights. There are insert, send and master effect

    racks. The oscillators (oscs) and busses are freely routable (for example: rack 1 -> rack 2). There is the

    shaper with many different distortion types, which can be placed before or after the filter. Naturally,

    there are many filter types. We invested a great deal of time into achieving the perfect balance

    between quality sound filters and high performance.

    Modulations have never been so complex yet so easy to configure. Almost anything can be combined

    with anything else. You can do this in the mod matrix or simply be dragging and dropping between

    source and destination. There are arpeggiators, step sequencers, a drum sequencer, pitch and mod

    envelopes, special wavetable envelopes with patterns for wobble sequences, keyzones, velocity

    zones, macro controls, MIDI controller/pedal support and much more.

    On top of that, there is an interactive library with a tag/cloud keyword filter. The library will let you

    search for presets quickly and to find files from your hard drive. This lets the user import their own

    samples, waveforms, wavetables and drums, expanding the possibilities even further.

    Before continuing with the overview, you may be interested to learn that Vengeance-Sound has

    produced many product videos explaining the synthesizers features. You can find these by visiting

    the Vengeance-Sound YouTube channel.

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    Generators

    Classic VA synthesis

    This is where you will find the classic waveforms, sine, saw, pulse, triangle etc.

    Oscillator shapes

    All single cycle waveform samples can be converted and used as oscillator shapes to be

    manipulated and bent in any direction 100% clean and free of any aliasing.

    Wavetables

    These are oscillator shapes in series (up to 256), which you can smoothly transition

    through. Avenger comes complete with a huge collection of wavetables; you can however

    also create your own.

    Resampler

    Similar to the wavetable mode but differs by letting you load longer wave files. You can then

    transition through microscopically small grains to use as your sound source.

    Multisamples

    An oscillator can also play multisamples. With our sample stacker, you can layer up to 4

    samples of your choice per osc from the many wave files that are included. Special samples

    such as attack clicks and organic noises can also be found here.

    Drum kits

    These are not your ordinary multisamples but rather real drum kits with many editing

    options and their own specially optimized drum sequencer.

    Transformers

    FM/AM

    Frequency and amplitude modulation can be used on each of the above-mentioned synthesis

    forms (apart from the drum kits).

    X-bend / formant shift / bitcrush

    The generated waveforms from each of the synthesis types (apart from multisamples and

    drum kits) can be bent, squashed, stretched or crushed. All of this controlled and modulated

    in real time or by envelopes/LFOs.

    Osc sync

    Each form of synthesis (apart from the drum kits) can be synced. An integrated sync

    envelope can be used as modulation source.

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    FFT filter (free / harmonic / bin)

    Apart from multisamples and drum kits, the synthesis types can be cut up using an FFT filter.

    Root tones, individual harmonics, fifths or disharmonic frequency content can be individually

    boosted, reduced or completely rejected.

    V-Saw

    The V-Saw is our equivalent to the well-known supersaw (unison) sound and functions with

    all the synthesis forms (apart from the drum kits). The V-Saw can generate up to seven softly

    detuned voices and allows them to be spread across either the panoramic field or by octave.

    Adding to this, there is a vibrato LFO that can be applied to all of the voices uniformly or even

    to oscillate each voice independently. All the while, the CPU usage is kept happily to a

    minimum.

    Noise

    The noise generator can be mixed with all the synthesis forms. The sample rate and color of

    the noise can also be set.

    Chorder

    A comfortable note stacker. With the chorder you can quickly generate a further 4 voices,

    for instance a +12 voice on top or a -12 bass voice, a fifth or any other interval/chord. All

    voices can be panned, volume levels can be adjusted and the detune amount set.

    Sub-bass module

    Avenger includes a dedicated sub oscillator, which can be mixed in with all the synthesis

    forms (apart from the drum kits). The 4 oscillator shapes that can be chosen from are sine,

    triangle, square and sawtooth.

    Effects

    Insert FX rack

    Avenger offers you up to 4 insert FX racks with up to 8 individual effects per rack. The output

    of one insert FX rack can be routed to another (to serialize them), alternatively to the master

    FX rack or directly to the output. Avenger includes a plethora of high-quality effects such as a

    sidechain, reverbs, a delay, distortion and lo-fi effects, dynamic and chorus effects as well as

    special effects like tape stop. Seven premium ArtsAcoustic effects are also included.

    Send FX rack

    There is a separate FX rack solely for send effects (up to 8 in parallel). Therefore, multiple

    oscillators can make use of the same effect without duplicating the cost on the CPU.

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    Master FX rack

    At the end of the effects chain is the master FX rack. This includes a further 8 effects slots.

    The master FX rack is ideally suited for EQs, compressors and limiters. Individual FX busses or

    oscillators can be routed to bypass the master effects. So for example, you can route a bass

    drum to bypass the master limiter, whilst heavily compressing the rest of the drums.

    Shaper

    The shaper is a distortion module on an oscillator level with two integrated special EQs. It

    includes numerous distortion models and can be routed flexibly, for instance before or after

    a filter.

    Filter / master filter

    We paid a lot of attention to the development of the filter. You have the possibility to choose

    between many filter types such as special filters for vocal/robot sounds, a TB-303 filter,

    comb, FM and lo-fi filters. Many of these filter types can be overdriven (drive).

    Mixer

    To improve the simplicity of each preset, Avenger offers a mixer page on which you can

    clearly see all your drums, oscs and amp groups, as well as the master fader, allowing you to

    mix them together with ease.

    Modulation sources

    Mod matrix

    The heart of all your modulations: we have given the traditional mod matrix a completely

    new look in Avenger! It is now childs play to organize whole modulation groups and to edit

    them with just one click. All the sources listed below, including external MIDI or

    mathematically produced sources, can be combined with any imaginable destination for

    instance visible dials and almost any possible setting.

    LFOs

    You can have up to 4 LFOs. LFOs function as modulation sources and can also receive

    modulation, for instance to reduce their own oscillation speed. You can choose between

    many included LFO forms or easily draw up to three of your own.

    Modulation envelopes

    Other sources of modulation are the modulation envelopes in short mod envs. These are

    freely editable envelope curves, which means that you can add as many points as you

    require simply by double-clicking. Mod envs can also be looped and synced to the song's

    tempo.

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    Pitch envelopes

    The pitch envelopes, with their bi-directionality and relevant controls, are perfectly suited to

    modulate the pitch of oscillators. However, pitch envelopes are not limited this and can be

    routed, just like mod envs, to any destination. Settings such as poly/legato mode and the

    range for the pitch bend wheel are found here.

    Step sequencer

    Formerly known as the Trancegate effect from VPS Phalanx, this step sequencer can now

    however do much more than simply influence volume. As with the rest of Avengers mod

    sources, it can be routed to virtually any parameter or setting. The step sequencer offers

    amazing possibilities with regard to exact timing and synchronized modulation.

    Arpeggiator

    Avengers arpeggiator was also born out of its predecessors: an arp can consist of up to 4

    patterns (A, B, C and D) which can be played back in series or individually. The arpeggiator is

    also a powerful and accurate source of modulation: the pitch of a note could for instance

    control the filter cutoff amount at the same time as controlling velocity and reverb mix.

    Drum sequencer

    The drum sequencer is a totally new development specifically designed for working with the

    drum kits. A major difference to the arp is that you can play more than one note at the same

    time (kick + clap). Apart from that, it offers numerous special functions such as various

    copy/paste modes, a drum roll mode notes in quick succession, group selections and velocity

    flags.

    Key/velocity zones

    Zones are used to define the playability of any preset. You can freely set different velocity

    zones, which for instance could mix in more oscillators the harder a key is pressed. You may

    also use keyzones to split the keyboard into different voice areas. Everything is clearly and

    graphically editable. Seamless blends between the areas are naturally also possible.

    Wavetable envelope / envelope patterns

    This is an envelope that traverses the wavetable index, which obviously can also be routed to

    anything else. This envelope offers many features that are especially suited for use with

    wavetables, for instance the pattern editor to generate wobble sequences in various

    successive speeds.

    Macro controls

    Avenger offers you 3 macro controls and 2 macro switches as modulation sources. These

    macros typically control modulation groups and thus totally change the sound. All the macro

    controls and switches can be named and naturally, they are saved within the preset. All the

    factory presets have had their macros preassigned, allowing you to instantly influence each

    sound.

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    External MIDI pedals

    As most of the presets have also been assigned suitable modulation to the mod wheel, with a

    single click you can route an external controller to it to take advantage of its modulation

    destinations. The MIDI pedal for instance would then behave identically to the mod wheel

    that it is now routed to.

    Quick modulation assign

    A comprehensive modulation matrix is great but there are times when things need to be

    quick and easy. You can therefore assign almost any visible source with almost any visible

    destination, simply via dragging and dropping from one to the other and then directly setting

    the modulation depth from the GUI. It could not be easier. As each dial has a surrounding

    LED ring, you can always see when a dial is being modulated and all in real time.

    Selection

    Preset library

    The new preset library in Avenger allows you to organize all your installed sound banks. The

    library is not simply text-based; it uses graphics and icons for things like banks and

    expansions to improve usability.

    Tag / search

    Avenger comes with a huge number of presets. To give clarity and find the sound you want,

    Avenger uses a tag cloud. With this, you can select sounds by genres (house, EDM, dub etc)

    or by sound characteristics (aggressive, warm, bass etc). Your chosen tags will then limit the

    search results.

    Import / organize

    You can also import your own (multi)samples, wavetables, drums etc from your hard drive.

    On top of that, you can create your own custom expansions with all presets and used

    samples contained in one file. You can also specify your own icon for the expansion.

    Preset browser everywhere

    Within every subsystem in Avenger you have the possibility to save presets. There are very

    many presets for each effect type, such as arp sequences for the arpeggiator, step sequencer

    sequences, FFT filter settings, wavetable envelope shapes, chorder presets, drum sequence

    presets etc.

    Undo

    Avengers amazing undo function should also be mentioned! Whatever you have done

    loaded another preset by mistake, changed the filter or deleted an arp note anything can

    be undone with a single click. A real life safer in many situations.

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    Avengers features in detail

    The preset browser

    To help make use of the many presets that come with Avenger, the synthesizer has an integrated

    preset browser. This works on many levels. The first level is the choice of bank or expansion. Above

    you can see the factory preset bank.

    Other installed expansions would also be shown here. As soon as you click on one of these banks, the

    category choice menu will open.

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    You are now in this chosen bank, the second level, ready to explore its contents. The categories in

    this bank can be seen on the left. In the case of the factory bank that would be arpeggios, leads, bass,

    effects or sequences. By clicking on a category, you select it and the third menu level opens to the

    right where you can now browse the presets individually. To load a preset, double-click on its name

    or use the arrow key (see: Extras > Tips on working). Don't forget that you can use your

    mousewheel to scroll through these menus as well as by using the scroll bars.

    You can go back to the previous level at any time by simply clicking on the arrow at the top left.

    A right-click allows you to do numerous things such as deleting or renaming presets. The presets can

    also be organized directly from hard drive. Youll find these in your Avenger folder under presets.

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    Searching for preset names

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    This is Avengers search window. Here you have three different ways to search for presets:

    Category search: at the top left you can find the well-known categories such as AR (arpeggios), BA (basses) etc. By selecting one or more of these, your results will be shown on

    the right. These results will only include the categories that you have chosen.

    Text search: at the bottom, you can find a text field. You can enter anything here that you would like to search for. The results are then shown above. For instance, you can type

    piano and you will be shown presets that only contain that word.

    The tag cloud (keyword search):

    You can also search for various genres, sound types and characteristics to quickly find the sound you

    are looking for. Our preset designers have tagged each preset with descriptive keywords and you are

    encouraged to do the same for the presets that you save. A sound may therefore be tagged with

    Trance, Bass and Aggressive. These characteristics are saved within each preset and can be

    used by you in your search to easily find your sounds later. Choose Trance, Bass and Aggressive

    and Avenger will show you all the sounds in your collection that have these keywords associated with

    them. You can further narrow your search by activating Snappy/Short. Now your results will only

    include snappy and short aggressive trance basses. You can also search for a specific author/artist.

    Search for authors: This is a new feature, which came with release of VPS Avenger. You can select an author as search term and all presets designed by this sound designer will be

    displayed as a result.

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    The file browser / importing drums

    The third tab in this section takes you to the file browser. Here you can browse through all your

    drives and import your own content (wave files). This functions simply with drag and drop. Change to

    the drums page and drag your chosen drum samples to the appropriate slots. Multisamples or osc

    shapes can also be converted here.

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    Importing multisamples

    Please choose the folder which contains the multisample. The files must be in wav format and

    named in accordance with the following scheme:

    1_c0.wav 2_e0.wav 3_f#0.wav 4_c1.wav 5_e1.wav etc

    This is an example of 4th

    intervals. You may choose any interval that you wish. Another example

    would be the following octave interval:

    1_c0.wav 2_c1.wav 3_c2.wav 4_c3.wav 5_c4.wav 6_c5.wav

    Every other interval is also possible. Instead of using numbers at the beginning, you can also use any

    text that you wish. The only important thing is that the note name at the end (before the .wav) is

    included. We recommend however that you do use numbers as this helps keep the files displayed in

    order. You can only use sharp notes (#) in note names; no flat (b) half notes.

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    By right-clicking the folder that contains the wav files, you can choose the destination for the

    multisample to be created inside Avenger. Having done so, your wav files have been converted into a

    multisample and from then on is available within Avenger's library. The multisample gets the name

    of the folder which contains the wav files. For this reason, please name the folder in the way that you

    wish the multisample to be named within the library.

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    Importing / creating OSC shapes

    Instead of choosing a folder (as with multisamples), creating osc shapes requires you to select a

    single wav file to import. Click on your chosen wav with the right mouse button and then choose the

    destination path in Avenger's library where you wish to import the osc shape to. An osc shape needs

    to be exactly the length of one waveform cycle. Please make sure that the waveform is cut cleanly

    and that there are no audible clicks at the beginning or end. However, you may intentionally want

    such clicks to create more overtones. After importing you can use the waveform in Avengers engine,

    totally alias free.

    Avenger can also create new shapes internally. As soon as you have created an interesting waveform,

    you can create a new shape preset simply by right-clicking the central display and selecting create

    shape. The currently shown shape will then be added to your Avenger osc shape presets after

    naming it and setting the destination folder. Your new osc shape is available to be used from then

    on.

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    The oscillator area

    Overview

    The oscillator area is the heart of Avenger with up to 8 single oscillator modules and drums. An

    oscillator module can however be far more than just a single voice. Every osc module has its own V-

    Saw, its own chorder and sub oscillator. All 8 oscillators will barely ever be needed to create a full

    sound. You can mute and solo single oscillators by hovering over an osc tab and clicking the M for

    mute or S for solo that appears. You can also rename the osc tabs. To do this, simply double-click

    on the tab and type in the name that you wish. This is handy to help keep orientated in complex

    presets or sqs. For instance, you may choose to name one osc bassline and another lead.

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    The functions in detail

    Avengers graphic architecture is based on tabs. You can create new tabs (for instance oscs) or

    delete them at will. By clicking on the + symbol in the header you will create a tab. To delete one,

    right-click it and select delete tab from the menu. If you delete a tab by mistake, you can simply

    use the undo button in the header above to restore it.

    Tip: many of the dials in Avenger have an inner ring which can be controlled by the right mouse

    button. The inner rings have added functions that the main dials do not.

    Each of the 8 oscillators are identical. Here are all the controls:

    Level: here you set the volume of the oscillator.

    Level inner ring: here you set the panning.

    Transpose: this dial sets the pitch of the oscillator. The range is -48 to +48 semitones.

    Fine: the fine adjustment of the pitch. The range is -1 to +1 semitone. It is thus a much finer adjustment compared to the transpose dial.

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    Fine inner ring: the inner dial's function depends on the direction it is being turned. Turn the inner ring from the middle position (0) to the left and every note played will have a random

    fine value. The more that you turn the inner ring the more intense the randomness. Turn the

    inner ring from the 0 position (middle) to the right and the pitch will no longer be

    randomized but rather alternate between two fixed minimum and maximum values. The

    difference between these values will be greater the more you increase the inner dial.

    Noise: every oscillator can include noise. The label of the noise dial is clickable and opens a popup menu, which gives you the choice between 3 stereo width settings. Noise 100% is full

    stereo width; the left and right channel are totally different. Noise 50% has only half the

    width and noise mono, as the name suggests, has no stereo width at all.

    Noise inner ring: with this, you can control the color of the noise. You can mix smoothly between white, pink and brown noise.

    Noise horizontal control: a third setting here is the horizontal slider under the noise dial. This is a rate reducer just for the noise. Perfect for lo-fi sounds or percussion.

    X-side/mid: these dials on the right-hand side directly shape the waveform. Beginning with the x-side control, this allows you to squash the left or right side of the waveform, depending

    on which direction you turn the dial from its central position (neutral). The dials label above

    is clickable and opens up a menu in which you can choose an alternate mode, the x-mid

    mode. Unlike x-side mode, x-mid does not squash the sides of the waveform but rather

    zooms the middle of it in or out, depending on the direction in which you turn the dial from

    its central position.

    Formant cut/fade: the formant dial controls the pulse width of the waveform. Turn it left from its neutral position and the waveform is squashed towards the left-hand side. Turn it to

    the right and the waveform increases in size, expanding beyond the right-hand side. The part

    of the waveform that is now beyond the display, will either be simply cut off (audible clicks)

    or gently faded out depending on the mode that you are in. The formant dials label is

    clickable and allows you to choose between formant-cut and formant-fade.

    Rate / bit reducer: this dial sets the sampling frequency, bit depth or both. This effect is on the oscillator level and acts differently than most normal audio effects that you may know. It

    actually draws numerous steps and inaccuracies into the waveform. A click on the name of

    the dial lets you choose between rate (sampling frequency reduction), bit (bit depth

    reduction) and both (a combination of both).

    Sync add/pure: you can sync the waveform to another oscillator (sine generator). The pitch of this 2nd oscillator and thus the sound of the sync effect is controlled by this dial. You can

    choose between 4 modes: add (windowed), pure (windowed), add (non-windowed) and pure

    (non-windowed). The difference between add and pure is that add mixes the 2nd oscillator

    with this one and pure lets you hear only the 2nd (synced) oscillator. The difference between

    windowed and non-windowed is that with windowed the second synced oscillator is faded in

    and out so that clicks are avoided when a pitch that would be outside the original waveform

    occurs. This can be easily heard in the non-windowed mode.

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    Sync inner dial: the sync dial has its own small modulation envelope which can be bent up or down. This is set by the inner dial. The envelope is bent upwards by turning the dial past its

    central position. Turning the dial left of its central position and you will bend the envelope

    downwards.

    Sync horizontal control: the horizontal control under the sync dial sets the amount of modulation to be sent to the internal sync modulation envelope. This control has a neutral

    position (0, no modulation). Move it to the right and the sync dial will be positively

    modulated. Move it to the left and negative modulation occurs.

    FM: frequency modulation (FM) means that the pitch (frequency) of an oscillator (also known as a carrier) is modulated rapidly by a second oscillator (also known as a modulator).

    The depth of the modulation can be set here. You can also choose the modulators osc shape

    from numerous waveforms by clicking on the name under the FM dial to reveal a popup

    menu. Doing so on the name above the FM dial presents 3 choices:

    o FM (normal): this mode continuously generates FM signals. It is thus completely

    smooth. Because of this, aliasing can occur in the highs (which could be wanted in

    some cases).

    o FM (table mode): this FM mode generates an FM signal in blocks, similar to a

    wavetable. Intermediate steps, which do not fit in the table, sound different from

    the FM normal mode. We suggest harmonic or octave mode for the FM rate. In

    these rate modes, all the waveforms fit perfectly within a table. Table mode is crystal

    clear in the highs and has no aliasing artifacts.

    o FM (table mode windowed): equivalent to the normal table mode with the

    difference that a fade in and fade out takes place at the beginning and end of the

    table respectively. This makes sure that clicks are dampened when a wave doesnt fit

    properly within a table.

    AM: the opposite of FM is amplitude modulation (AM). This dial acts exactly like the FM dial but with one difference: instead of the modulating the frequency (pitch) of a carrier osc, this

    modulates the amplitude (volume).

    Rate: FM and AM share the same rate dial which sets the high speed of the modulator osc. Because even intervals (octaves) or fifths sound more harmonious than odd intervals, you

    can set various rate modes underneath the dial which constrain the rate to various intervals:

    o Free: the grid is off. The pitch of the modulating oscillator can be freely set.

    o Harmonic: only octaves (+12), fourths (+5) and fifths (+7) allowed.

    o Semitone: the rate dial is fixed to semitone steps.

    o Octave: only octaves allowed.

    o Chord octave min/maj: only octaves and minor/major thirds (+3/+4) allowed.

    o Chord octave 5th/7th: only octaves and fourths/fifths (+5/+7) allowed.

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    o Phase lock on/off: this sets the start phase of the modulator oscillator for FM/AM.

    If phase lock is set to on, the phase is the same as the main voice. If phase lock is set

    to off, the modulation phase is random. You can see the result better if you set a

    start offset for the main carrier oscillator.

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    Further parameters for the oscillator in the waveform display

    Osc browser: at the top of the display you can see the name of the currently used oscillator. You can click on the name to open a menu containing the Avenger oscillator library or use

    the two arrows to step through them.

    Warning: when you click on a wavetable or a multisample, that will change the osc area.

    More info further down.

    Filter bar: directly underneath the oscillator's name is a simple high and low-pass filter. The bar has two handles. The left is the high-pass filter (HPF) and on the right is the low-pass

    filter (LPF). If your oscillator is a normal oscillator or a wavetable (not a multisample), then

    the HPF and LPF are linked to the FFT area (more info in the FFT section of this handbook). If

    the current oscillator is a multisample then the HPF and LPF are resource friendly 6dB/oct

    filters.

    Waveform view: the central part of the display shows a real-time view of the current waveform.

    Osc phase (random/%): in bottom left of the display is the setting for the osc start. This can be random or fixed to a specific phase position. Click and hold on random and move the

    mouse cursor upwards to set the start phase. A green bar appears in the waveform view to

    aid you.

    Gain: if you are using very quiet waveforms or samples, you can use the gain control to raise the volume. The gain has a further function. It influences only the oscillator itself, not any

    noise that might be mixed in. Thus, you can turn the gain completely down to only hear the

    noise. This is useful when designing various drum sounds.

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    Micro fade-in: in certain start phase positions the oscillator may cause audible clicks. This may be desired for bass drum sounds for instance, generally however, clicks are not wanted.

    For this reason, you can use a tiny micro fade (up to 5ms) to fade in the waveform so that

    such clicks are eliminated.

    Phase invert: the small icon in the bottom right flips the phase 180. This is useful to create very specific cancelations between two oscillators.

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    Multisamples

    Choose a multisample and the waveform display changes to that of the sample. The left-hand side

    with level, transpose, fine tune, noise and FM/AM remains the same. The right-hand side changes to:

    Sample start: here you can set an offset to the sample start. A green line appears in the waveform display. The sample now plays back from the green line when a key is pressed,

    skipping over anything that lies before it. With this, you can for instance miss out the attack

    phase of a piano and so creating a pad sound.

    Random start: turn this dial and a gray area appears over the waveform. Inside this area, a random sample start position will be chosen each time you press a key. This is very useful

    when using the V-Saw so that all seven voices have a different phase length. With arpeggios,

    you can use the same function to avoid any machine gun effect.

    Delay: here you can set a delay for the samples. After pressing a key, the sample will play after the delay time has passed. This is useful for instance with a group of bells that you

    would like to play with slightly different start times.

    Rate/bit reducer: this effect is similar to the rate/bit reducer in the normal oscillator. Its sound however is more akin to that of an external rate reducer/bitcrusher effect.

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    There are more multisample options. These are to be found in the central display editor below the

    oscillator module and will be explained further on in this handbook.

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    Sample Stacker

    Avenger offers you a very comfortable way to stack samples on top of each other (layering): the

    sample stacker. You reach the sample stacker mode by first loading a normal multisample then

    pressing the + symbol in the bottom right-hand corner of the waveform display. The library opens

    once again and lets you choose another sample. As soon as you load a second sample, the layers

    appear below the waveform with your newly loaded sample on layer 2 and the original on layer 1.

    You can layer up to 4 samples per oscillator. A new set of controls become visible when you have two

    or more samples layered.

    Here are the following controls:

    Numbering/delete: each layer is numbered (1-4). When you hover over a layer number, it allows you to remove the layer via the x symbol.

    Name: this shows the loaded sample per this layer. A click on this opens the browser where you can swap the sample with another. The arrows to the right allow you to step through

    the samples without having to open the browser.

    Volume: a simple volume control for each layer.

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    Remember, a sample stacker needs much less CPU than if you were to load every sample on its own

    oscillator module. For this reason, always use the sample stacker if you can. To take the sample

    stacker apart again you simply need to delete all but one of the layers or choose another

    multisample or osc shape from the main browser.

    There are more controls for the sample stacker. These are however in the central display editor and

    are explained further on in this handbook.

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    Wavetables / Resamples

    Wavetables and resamples have the same parameters and controls as normal oscillator shapes do.

    The only differences are to be found in the editor of the central display and are explained further on

    in this handbook.

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    V-Saw

    Avengers V-Saw is a classic supersaw unison module with its own

    special features. With this, you can quickly and efficiently create really

    fat and detuned sounds, which are essential in modern club music.

    Voices (vcs): Avengers V-Saw can generate up to 6 additional voices based upon the oscillators voice. Here you can define

    how many voices are played in total per note (2-7).

    Octaves (octs): using this control, the 6 voices can be spread over up to 4 octaves.

    Voices display: a small display shows the number of generated voices (the yellow dots), their octave spread, detune amount

    and panning. The green dot is the original oscillator voice.

    Mix: with this slider you can set the mix level of the V-Saw. At 0 (slider completely down) the V-Saw is not active and thus uses

    no CPU. If the mix slider is set to fully wet (dragged to the top)

    it means the generated voices will be as loud as the original.

    Detune: the largest and most important control in the V-Saw is the detune dial. This sets how much the generated voices are

    detuned apart from each other.

    Pan: here you can set how much the voices are spread out across the stereo field.

    Vibrato LFO waveform: the V-Saw includes its own special vibrato LFO. This modulates the pitch of the V-Saw. You can choose between two modes:

    o Global: the vibrato LFO modulates the pitch of all the voices as a whole.

    o Independent: the vibrato LFO modulates the pitch of each voice individually. This

    gives you new possibilities and allows you to create even wider sounds.

    Under the global/independent selector, you can choose the waveform of the vibrato LFO.

    Click on the waveform graphic to take your pick.

    Vibrato LFO rate: this sets the speed of the LFO.

    Vibrato LFO amount: this sets the amount of pitch modulation (depth of the vibrato).

    Vibrato LFO fade in: the pitch modulation depth can be faded in to smoothly reach the set amount. This dial sets the length of time required to reach from no depth to the set

    modulation depth. You can set the shape of the transient response with the curve control

    located under the fade in dial.

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    Voicing

    The Voicing tab contains numerous options for generating additional voices.

    Chorder

    Avengers chorder, as the name suggests, can generate chords and

    other intervals. On top of that, the chorder can act as a second unison

    module as you can set the panning, volume and tuning of each voice

    individually.

    Chorder preset browser: numerous chorder presets are included and can be selected through the browser at the top.

    On/off switches: here you turn the individual voices on or off. The chorder can generate a maximum of 4 additional voices.

    Coarse tune (crs): here you can set the pitch. The range of the dial is from -24 to +24 semitones.

    Fine tune (tn): with the tune dial you can do fine adjustments to the pitch. The range of the dial is from -1 to +1 semitone.

    Pan: you can position each of the voice of the chorder across the stereo field. The dials are center-panned by default.

    Volume: the volume of each chorder voice.

    Sub osc

    In every oscillator in Avenger, you can mix in a sub oscillator which is one octave below the main

    voice. This saves resources and is self-contained rather than using a completely new oscillator to

    generate it.

    Volume: volume of the sub osc. Set to -dB (fully to the left), the sub osc uses no CPU.

    Shape: the sub osc can have various osc shapes. From left to right: sine, triangle, square and sawtooth.

    General

    Voices: this sets the voice limit for the selected oscillator. This can be used to save on CPU (for instance with pads that have a long release time) or if you want the oscillator to operate

    monophonically).

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    Endless sub mode: this is a special mode designed for bass sounds used in sequencers (sqs). If the endless sub mode is active, there are only 2 octaves of bass that continuously blend

    with each other. This means that even if you play far left on the keyboard the bass stays

    clearly audible and powerful. This is important with sequencer and arpeggio runs.

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    Routing

    The entire right side of the oscillator mode consists of the routing

    section. In principle, this allows you to see the path the selected

    oscillator takes in the chain, to influence it and to add effects etc. You

    can add new modules (for instance a further shaper or filter) at any

    time by clicking on the + button in the top right corner.

    Some modules such as the arp or amp are fixed and cannot be

    rearranged within oscillator chains. Other modules can be moved. It

    makes a huge difference whether or not a shaper module is before or

    after a filter for instance. You can move a module by clicking with the

    left mouse button and dragging the module to where you would like it

    to be. If a module is moveable, you will immediately see where you can

    move it to. Experiment with the routing to get an idea of which

    modules can be moved where. With a simple left-click of your mouse

    you can open a menu where additional functions such as remove are

    found.

    You can also add send effects by using the + button. The send effect

    obviously has to be added first to the send rack before it can be seen

    listed here. Send effects are a resource friendly way to use effects such

    as reverb or delay. The effect is only loaded once and can have differing

    send mix settings per oscillator.

    At the end of the chain, you can route the oscillator to one or more of the 4 insert FX channels or

    directly to the master FX. The master filter can also be turned on and off from here.

    Warning: insert effects and other shaper modules must actually exist first before they appear here in

    the list. Use the + button next to a modules tab to create a new one.

    Should you ever lose your bearings you can use the go to function. To do this, click on the left of a

    module (or use a simple right-click and choose go to). Avenger will bring your attention to where

    the module can be located on the GUI by drawing a red target around it.

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    Drums

    You can also find the tab for the drums / drum kits amongst the osc tabs. This osc module differs

    quite largely from the normal oscs. The V-Saw and voicing sections are not present and these make

    way for an octave of vertical keyboard keys. The keys of this keyboard can be assigned drum

    samples. All together, this makes for a complete drum kit which you can use over and over again.

    Following is a short overview of all the elements:

    Drums main page

    Vertical keyboard/sample fields: every key has a sample loaded on it. For better orientation, the names are set (C = Bass drum, D# = Clap). This aligns with the general MIDI standard.

    Naturally, you load different samples or even your own.

    Waveform view: a miniature waveform view shows the form of the sample. A running line show you the current position during playback. Hover over one of these waveforms with

    your mouse and the text edit appears, which you can then left-click on to enter the sample

    editor below.

    Mute/solo (M/S): using these buttons you can mute or solo the individual drum parts.

    Volume (vol): this sets the volume of the specific drum slot. Another way of raising or lowering the volume is by using the gain dial. This is in the sample editor and will be

    explained further on in this handbook.

    Pan: this positions the sample within the stereo field.

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    Pitch: this sets the pitch of the specific sample. This dial is set to step in semitones, however a pitch control that can be set freely can be found in the sample editor.

    Save drum kit: a right-click on the drums main page opens you the menu. Here you can save the current drum kit or initialize it the default state.

    Drum sample editor

    By clicking on edit in the miniature waveform view of a specific sample, you reach the drum sample

    editor. Here you can do various things that only affect that sample.

    Following are the controls in detail:

    Sample start and end flags: these two flags are to be found in the large waveform and represent the start and end points of the sample.

    Monophonic/polyphonic mode: if very fast successive overlapping notes are used (for instance for snare drum roll), then this control sets whether the notes can overlap

    (polyphonic) or are cut off (monophonic).

    Gain: if the normal volume dial is not enough you can use the gain dial to further adjust the volume. This is helpful if you are using very loud or very quiet samples.

    Envelope: overlaid with the waveform graphic is the envelope. It is possible to add new points to the curve by double-clicking and to delete points by right-clicking on them. The

    menu that appears when you right-click on the envelope contains many other functions such

    as mirroring or rotating of the curve.

    Volume: this dial is the same as the volume dial that you already know from the drums main page.

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    Pitch: this dial is the same as the pitch dial on the drums main page with the difference that it isnt fixed to turn in semitone steps. It has a finer resolution.

    Pan: another duplicate control; the same as the pan dial found on the drums main page.

    Spike: this gives the sample an additional accent on the attack (for the first few milliseconds of the sample).

    Delay: this control has two function both for sliding the sample off the grid. You can use it to delay the sample's playback (right of center) or to trigger the sample earlier in the drum

    sequencer (left of center). If you delay the sample, it will be played back later in time and the

    waveform moves to the right. Trigger the sample earlier in time and a green bar appears to

    reflect that. This bar represents the anchor point of the sample in the drum sequencer (the

    gridline that it sits upon). This makes it possible to precisely position handclaps, snares or

    short FX swooshes for example.

    LP/HP: a simple 6dB/oct filter. Well suited to thin out hi-hats or dampen kicks.

    Drums routing

    In principle functionally the same as the normal oscillators (see: The

    oscillator area > Routing). The drum routing is however not quite so

    involved. You do have the possibility to add send effects, FX busses or

    shaper modules. The routing is per drum sample, thus it only affects the

    sample that is currently selected on the left. The first entry however is

    an exception; Drum sq is global and turns the internal drum

    sequencer on and off for the entire drums section.

    Drums routing (multi-selection)

    You can multi-select the drums by pressing

    and holding the [Shift] key as you do. Every

    change that you do to the routing will then

    affect all the selected drums. With the [Ctrl]

    key pressed and held you can also add or

    subtract drums from the current selection. This

    way you can select everything in one go, then

    deselect the bass drum for instance to easily

    add a reverb insert effect to everything else.

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    Drum kit / sequences browser

    Under the routing area, you can find the browser for drum kits and

    drum sequences (the tabs Drums and Seq.). You can load drum kits

    (whether they be from the factory bank, expansions or your own) from

    the Drums tab. Similarly, the Seq. tab allows you to load drum

    sequences. Between both these tabs resides a green lock symbol. If this

    is activated (solid green), then whenever you load a drum kit the

    related drum sequence is also loaded (and vice versa).

    Tip: if you wish to link your own drum kit and sequence so that they

    can be loaded together, then they must both share the same filename

    and be placed respectively into the drum kits and sequences folders

    that exist within your Avenger folder.

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    The amp section

    Overview

    This area is Avengers amplifier. To put it briefly, everything that has anything to do with volume or

    panning happens here. Each osc must be connected to an amp to be heard (see: The oscillator area

    > Routing). Avenger gives you the possibility to create 4 independent amp modules.

    Here are the elements found in an amp:

    Volume: this dial sets the volume of the amp module.

    Volume velocity: with this vertical slider, you set the reactivity of the volume to the note pressure (velocity). If the slider is at its maximum (set to the top), then the volume reacts

    100% to the input velocity. That means if a note is played at full velocity (128) then the

    volume is 100% of the set amp volume. If the note velocity is only half as much (64) then this

    means it is played at 50% of the set volume. At velocity 0, the volume is 0.

    Spike: the spike function adds a very short set amount of volume to the start of each note. Thus it accentuates the attack. A high spike value gives you very percussive sounds.

    Spike inner dial: with the inner dial, you can set the shape of the envelope which affects the attack. If the dial is completely to the left then the env curve is bent downwards (closing

    quickly at the start and slowly by the end). If to the right, then the env is bent upwards

    (closing slowly at the start and quickly by the end).

    Spike velocity: the spike function can also react to key pressure (velocity). The harder the key pressure (high velocity) the higher the spike value.

    Pan: with this you set the position of the amp in the stereo field.

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    Pan keytrack: the pan can also be linked to the keyboard. This way you can have the deeper notes panned slightly to the left and the higher one somewhat to the right. This is in fact how

    a real piano sounds when played; setting the dial a bit to the right will emulate this. Turned

    to the left, the effect is mirrored. The central setting of this dial is the neutral position.

    Spread: the spread dial allows you to set whether you want individual notes to alternate or randomly move within the panoramic field. The central position is neutral and spread is not

    in effect. Turning the dial to the left will set the amount of random panning to occur. Turning

    the dial to the right will set the amount of an alternating panoramic spread (alternating

    between the left and right channels).

    The amp section runs subsequently through an envelope. This has various phases: attack, hold,

    decay, sustain and release (also known as AHDSR). Here are the phases described in detail:

    Attack: the first phase of the envelope is the attack. This sets how quickly a note reaches its maximum value after its played.

    Attack inner dial: the inner dial lets you set the form of the attack phase allowing it to be bend in both directions. The neutral position, in the center, is a linear form. Turning the

    dial to the right bends the linear form upwards into a curve and the opposite is true

    when turning the dial left.

    Hold: the second phase of the envelope is the hold phase. After the attack has reached its maximum level, the length of time that this level should be kept before moving onto

    the next phase is set by the hold parameter.

    Decay: the third phase is the decay. Here you can set how quickly it decays into the fourth phase.

    Decay inner dial: the decay dial also has an inner dial with which you can set the form. The central position is neutral (linear).

    Sustain: the fourth phase is the sustain. This phase is a special one. It doesnt have a fixed time but rather affects the level of the held volume. The sustain phase is active for

    as long as a note is being played.

    Release: the fifth and final phase is the release phase. This phase starts as soon as a note or key is released. At this point, the phase moves on from sustain to release and the

    sounds fade out. Release always ends at zero.

    Release inner dial: this lets you set the form of the release phase. A negative (downward) bend sounds more natural to the ear as it mimics how we perceive sounds

    fading in nature.

    Tip: You should keep an eye on the number of voices / CPU shown in the readout display

    (at the very top of the synth), because notes that can barely be heard with a long release

    still use CPU.

    External source: with this drop-down menu you can bypass the amps own internal envelope and instead use a mod envelope or the envelope from another amp module for

    instance. As soon as you have chosen another source, the internal amp envelope is no

    longer active.

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    Status LED: this light gives you visual feedback for your envelope. The greater the level and/or value in the envelope the brighter the light.

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    The filter section

    Overview

    Filters are inherent in modern music production. It's the filter that gives a sound its form and

    character. Avenger gives you the possibility to create and use 4 independent filter modules. You can

    also route the filters to be in serial (one after another) via the routing section found within each

    oscillator. There are many different filter types you can chose from.

    Described below in detail are the elements found within a filter module:

    Keytrack: the keytrack sets if and by how much the filter reacts to the pitch of an incoming note. If the keytrack is set to 0% then the filter doesnt react to the pitch at all and sounds

    the same no matter which key is pressed. Set it to 100% and the cutoff of the filter will open

    more and more as the pitch of the notes being played increases. At 100%, the keytracking

    relates 1:1 to the note pitches, that means you can create a tonally playable whistling tone

    by now setting the filters resonance very high.

    Type: this is the filters type and it defines the main characteristic of the filter itself.

    Cutoff: the cutoff dial is the most important dial in the filter section and sets how open or closed the filter is.

    Cutoff velocity: the value of the cutoff dial can also obviously be controlled by velocity. Set the velocity slider high and the cutoff value will be low when a key is played softly. Play with

    more velocity and the cutoff value will be higher.

    Resonance / Q-factor: the resonance dial sets the level of amplification on the cutoff edge frequency. High resonance values sound very shrilling, like the whistling sound mentioned

    above. The resonance moves whenever the cutoff value changes.

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    Resonance velocity: the level of the resonance can also be influenced by note velocity. This can be set with this slider.

    Drive / band / comb: this dial has numerous functions depending on the filters type:

    o Drive: this is the distortion resulting directly from the filter being overdriven.

    o Band: on most of the bandpass or notch filter types you can use this to set the

    distance between the high and low bands very important for creating vocal-like

    filter sounds.

    o Comb: a comb filter can be added to many of the filter types and creates many

    interesting phase cancelations. If comb is selected, then the filter envelope also

    reacts to the strength of the comb effect.

    Envelope amount: the intensity with which the filter envelope acts upon the cutoff is set here. The central setting is neutral (no effect). Negative values are also possible.

    Envelope amount velocity: the intensity of the cutoff for the filter envelope can react to note velocity by this slider.

    The filter section then goes through an envelope. Identically to an amps envelope, the filter has

    various phases: attack, hold, decay, sustain and release (see: The oscillator area > The amp

    section). The external source function and LED light are the same as those featured in the amp

    modules.

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    The shaper section

    Overview

    The shaper module in Avenger is a very effective distortion unit which can be positioned before or

    after the filter. Two parametric EQs are placed before the distortion allowing you to color it. You can

    have up to 4 shaper modules which can be positioned after one another (in serial). You can also

    route as many osc modules to a shaper as you wish.

    Here are the controls in detail:

    Drive / distortion model: here you can choose the type of distortion from the drop-down menu and set the level of distortion with the dial.

    Drive velocity: the level of distortion can also be controlled by velocity. The amount is set with this slider. A key played at maximum velocity (128) always relates to the currently set

    level.

    EQ gain1/2: here you can set the amount of amplification or reduction to the gain of the frequency. Central position is neutral and deactivates the EQ band.

    EQ freq1/2: this dial sets the frequency of the EQ band.

    EQ freq1/2 inner dial: the inner dial sets the EQ bands Q-factor (or width). Narrower settings reduce the area in which the EQ is operating.

    EQ split: with this button you can position band 1 far left and band 2 far right in the stereo field. This allows for an extreme widening of the stereo signal.

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    The mod matrix

    Overview

    Avenger has a very powerful mod matrix. A mod matrix can seem complex at first but it's worth the

    effort to understand it. When creating our mod matrix, we tried (and succeeded) in making it less

    complicated than most others for instance, same sources are displayed in groups. In principle, a

    mod matrix area consists of three elements:

    Modulation source destination with value X%

    Value X is displayed in percent and can either be negative (-100%) or positive (+100%). No

    modulation occurs in the central (0%) position. Avenger always displays the modulation sources as

    group headers (the gray bars with white centered font). The destination (yellow font) is then shown

    directly below the modulation source. A source can be sent to multiple destinations at once.

    Here are the individual elements described in detail:

    On/off button: the first of the buttons on the left-hand side (top left) lets you turn the entire mod matrix on or off. Turned off, no modulations will occur at all.

    + button: directly below the on/off button you can find the + button. Using this you can add a new modulation source. Press the button and a menu appears containing every

    possible source available in Avenger. Choose a source and it then appears added as a new

    group on the right, now needing a destination.

    Init button: this button (below the previous one) sets the mod matrix back to its initial state.

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    Collapse in/out: this final button allows you to collapse or expand all the source groups. This is handy in complex mod matrices to help keep an overall view of the sources.

    Group on/off button: each modulation group can be turned on or off by the button located on the left of each group's header.

    Readout (#1 etc.): this readout helps with clarity and shows how many modulation destinations are currently within a group. If for instance #7 is shown here, this means that

    this source is being sent to seven destinations.

    Group collapse: to the right of the readout you can find an arrow to collapse/expand this group.

    Source (name display): in the middle of the header, you can see the chosen source for this group (the white text). You can change the source at any time by clicking on the name.

    +add button: this button allows you to add additional modulation destinations to the group. A selection of all possible destinations appears and the selected destination will be added to

    the group.

    Destination on/off button: individual modulation destinations can also be turned on or off.

    Destination (name): all modulation destinations are displayed in yellow text. You can swap one destination for another at any time simply by clicking on its name and selecting a new

    choice. If you wish to delete a destination, simply choose the selection ----- instead. The

    destination is then removed from the group.

    +/%" switch: the modulation can affect the destination additively (a fixed value positively or negatively) or percentually (the value depends on the remaining travel). An example: the

    source is an LFO and the destination is the FM amount dial. The FM dial is set to its middle

    position (it has 50% of its maximum value and 50% dial travel available in both directions left

    and right). Set the strength of the modulation to +100% and the +/% switch to +

    (additive). Only half of the modulation strength can be used up before the FM dial reaches its

    maximum value the dial cannot go further. Now toggle the +/% switch to %

    (percentual) and the FM dial is modulated precisely from its middle position to its max, using

    up all 100% of the modulation strength. In percentual mode, the dial will always reach the

    end of its travel even if you set the FM dial to just 20%. Experiment with the mod matrix to

    gain a better understanding for how it behaves.

    Modulation strength: here you set the strength of the modulation. It goes from -100% to +100%. In the central position, the modulation source has no effect on the destination.

    Modulation lag: the small yellow control to the right of the modulation strength sets whether or not the modulation is instantaneous or gradually introduced. Left-click and hold

    on this element then move the mouse cursor up or down to set it. If the graphic is angular,

    then the modulation begins immediately. If the graphic is rounded, then there is a smooth

    transition from no modulation to the set modulation over a period of time.

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    Mod matrix routing via drag & drop

    As we have just shown, you can do many complex things to your sound using the mod matrix.

    However, Avenger offers you the possibility to link sources to destinations in a far more intuitive

    manner. Look for the symbol highlighted in red below:

    This symbol marks valid modulation sources. These can be clicked on and dragged to any valid

    modulation destination. For instance, you can click on this symbol found above the mod wheel

    (located at the bottom left of the GUI) and then drag & drop it to the filter cutoff dial. The source and

    destination are now linked and this association is now listed in the mod matrix automatically:

    Source: mod wheel destination: filter 1 cutoff

    The only thing left to do is set the modulation strength. After creating a link, you will see that a new

    triangular symbol has appeared next to the cutoff dial:

    You can click and hold on this symbol, moving the mouse cursor up or down to set the strength of

    the modulation. A colored ring will appear that shows the set modulation strength. It is also possible

    to delete routing links from the GUI. Simply right-click on this symbol and choose the modulations

    that you wish to delete from the menu that appears. Once you have gotten used to routing

    modulations in this way, you will never want to be without it.

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    The LFO section

    Overview

    Avenger offers up to 4 independent LFOs as modulation sources. An LFO is a periodically oscillating

    waveform, which can be used to modulate any number of parameters.

    Here the individual elements in an LFO module:

    Waveform display: here you can see the current waveform. By clicking on the display, you may choose from a selection of other waveforms. The last three waveforms are user-editable

    shapes.

    C-LFO1-3: these are custom LFO waveforms, editable by you. By clicking on any one of the three C-LFO tabs, you will be given the opportunity to draw your own custom shape. Every

    Avenger preset can have up to 3 custom shapes. Once drawn, they can be chosen directly

    from the waveform choice menu. These C-LFO shapes can also be used as modulation for the

    FM mode as well as the vibrato LFO of the V-Saw.

    One-shot mode: to the left of the waveform you can find the one-shot button. Normally a waveform will be continuously looped. This behavior can be turned off using this button. If

    one-shot mode has been activated, then the waveform will only cycle once. This is useful for

    percussive sounds or other single events.

    Phase: turning this dial changes the starting phase position of the waveform.

    Offset: using this dial, you can change the offset of the waveform relative to the central null line. The dials central position is neutral which means the waveform oscillates above

    (positive values) and below (negative values) the null line. You can however offset the

    waveform so that it is entirely above the null line and thus only emits positive values.

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    Delay: here you can set to delay the LFO. Once the delay is over, the LFO will start.

    Fade-in: with this dial you can cause the LFO to fade in. The strength of the LFO will therefore start from zero and smoothly increase until the fade-in duration is over.

    Rate: the rate sets the frequency (speed) of the LFO waveform.

    Sync: the sync function affects the rate dial above and determines whether it is synced to a fixed note value and thus to a BPM or not. You have a choice between 4 different modes:

    o No button activated: the rate is in free mode and isnt synchronized to the songs

    tempo or note values.

    o Notes button activated: this is the normal sync mode with even note values (1/4,

    1/8 etc).

    o Triplet button activated: this is the sync mode for triplet notes (1/4t, 1/8t etc).

    o Dotted button activated: this is the sync mode for dotted notes (1/4d, 1/8d etc).

    Trigger: the LFO can have various trigger modes:

    o Global free: in this mode the LFO is monophonic. This means that there is only one

    LFO that permanently runs in the background, even when notes arent being played.

    Thus the LFO does not retrigger.

    o First MIDI note: only the first note triggers the LFO. All further notes (whilst the first

    note remains held) are simply effected by the LFO at its current position. This mode

    is monophonic (global) because only one LFO is active at any time.

    o Last MIDI note: every new note retriggers the LFO. For example: pressing a key starts

    the LFO. Whilst this note is held, pressing additional keys will keep retriggering the

    LFO each time. This mode is monophonic (global) because only one LFO is playing

    and is only being retriggered by newly incoming notes.

    o Arpeggiators: played or sent MIDI notes play no part in this mode. Only new notes

    from Avengers internal arpeggiator trigger the LFO. This mode is also monophonic

    as only one LFO is playing at any one time. It is simply being retriggered.

    o Drum sq: this mode is identical to the arpeggiators mode with one difference;

    Avengers internal drum sequencer triggers the LFO.

    o Osc: this submenu contains 2 osc trigger modes:

    All oscs: this is the default mode. In this mode, the LFO is polyphonic (one copy per voice). This means that every note played has its own copy of the

    LFO which runs fully independently of the others. An example: an LFO

    modulates the pitch of a sawtooth osc. Each note played will have its pitch

    modulated by a new (and out of phase) copy of the LFO.

    Osc 1-8: a single oscillator can also retrigger the LFO. This mode is however monophonic (global). Example: osc 1 is being modulated by LFO 1. Whenever

    osc 2 plays a voice however, the LFO retriggers, therefore affecting osc 1.

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    o Drums: from this submenu you can select any one of the 12 drum slots as triggers.

    For instance, the bass drum. This means that whenever the bass drum sounds, the

    LFO is started. A well-known use of this would be a one-shot sawtooth LFO, with osc

    1s level as the destination, creating a sidechain effect.

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    Macro area

    Overview

    Avenger offers 3 macro controls as well

    as 2 macro buttons, almost all of which

    have been assigned useful modulation

    routings for each of the factory library

    presets. Thus, you can use these to

    quickly and easily manipulate and

    modulate your sound. You can also

    patch these controls to your external

    hardware MIDI controllers for live use

    without a mouse.

    Macro controls: these are normal dials which do not have any functionality until they have been given a modulation destination. The easiest way to do this is via drag & drop (see: The

    mod matrix > Mod matrix routing via drag & drop). Each macro control can be freely

    named. To do this, simply double-click on the readout above and name the control. For

    instance Filter Sweep for a filter cutoff movement or Vibrato for a pitch modulation.

    Macro buttons: in principle these are the same as the macro controls apart from the fact that they have only two states: off and on (0% or 100% of the set modulation). These are

    great for example to switch arp patterns or to turn something on and off.

    Macro button special mode: hidden in a menu (accessed by a right-click on a macro button) you will see that these buttons have a special function. If the special mode is enabled, then

    both buttons can never be active at the same time. One will always switch the other off

    when activated. It is sometimes necessary (with advanced modulations) to make sure that

    both button 1 and 2, never add to each other or get in each others way.

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    Lock buttons

    Overview

    Problem: you have found the perfect shuffle factor, reverb amount or global volume for your song

    and you do not wish to lose these when loading new presets. These three lock buttons will allow you

    to freeze these settings so that they will not be lost upon changing preset.

    The buttons in detail:

    Lock shuffle: here you can freeze the shuffle factor. This will stay unchanged even when you load new drum kit patterns, arp presets etc.

    Lock master filter: the master filter module stays unchanged when loading new presets.

    Lock master volume: Avengers global master volume stays as you have set it even when you load new presets.

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    The readout display

    This large display area, which you can find centered at the bottom edge of the GUI) should always be

    kept an eye on. Hovering over any control will reveal its complete name and exact value. Controls

    being moved also display their exact values.

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    The MIDI controller bar

    Directly above the keyboard you can see a row of buttons. These represent further modulation

    sources to be used creatively as you wish.

    The controls from left to right:

    Pitch (bend): this is the pitch bend wheel. A pitch bend wheel can be found on almost all master keyboards. It has a neutral central position and allows movements in positive (up)

    and negative (down) directions.

    Mod (wheel): this is the most commonly used control that you will find in Avengers presets. The mod wheel, like the pitch bend wheel, is a central part of any master keyboard and

    allows for interactive modulation over any of Avengers destinations. The mod wheel, just

    like other MIDI controls, sends CC values ranging from 0 to 127 dependent on the controls

    position. Its neutral position is at the bottom.

    Velocity: velocity is the pressure at which the keys on a keyboard are pressed or of the notes that are sent to Avenger via your DAW (digital audio workstation).

    Aftertouch: aftertouch is more or less a second velocity layer. After pressing and holding a key, you can press down even harder to generate an aftertouch value, ranging from 0 to 127

    (soft to hard).

    Keytrack: the pitch of incoming notes can also be used as a mod source. Each key sends its own unique MIDI CC value, low notes sending lower values and high notes sending higher

    ones (0 to 127 respectively).

    Breath controller: a breath controller is a mouthpiece that converts the strength with which one blows into it, into MIDI values that Avenger understands.

    Expression pedal: an expression pedal is the most common MIDI foot pedal and is similar to a volume pedal. It functions the same as the mod wheel, only controlled by your foot.

    Sustain pedal: originally from the piano world. To achieve more sustain on a piano, one presses the sustain pedal to release the dampers from the pianos strings, allowing them to

    vibrate freely without resistance. You could obviously route a sustain pedal to the amps

    release to get a similar result. The sustain pedal knows only two states: not pressed (0) and

    pressed (127).

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    Random: this is a special function that when used as a modulation source, generates random values between 0 and 127.

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    MIDI controllers to mod wheel

    Almost all of Avengers factory presets use the mod wheel to control modulation within the sound,

    so by using the special MW buttons you can easily re-route any of these controllers to the mod

    wheel.

    An example: you load a preset which has a mod matrix routing where the mod wheel controls the

    filter cutoff. Now, by clicking on the expression pedals MW button, you can re-route your pedal to

    the mod wheel. Thus, your expression pedal immediately controls the mod wheel and therefore the

    cutoff. As expected, it is possible to route more than one source to the mod wh