The influence of AnaMark's parameters on the sound aren't always easy to
describe.
If you're a newbie on analogue synthesizers, it may be helpfull for you
to play around with AnaMark's parameters while you read the manual.
If you understand how AnaMark works, it is also helpfull to look at the
existing sounds to learn some hints.
The controls are grouped and shown on pages. By clicking on a button,
a certain page is shown:
Overview-Seite
If you e.g. use Parameter-automation, it is necessary to access the
parameters as fast as possible. Therefore, this page contains the mostly
used parameters for sound modification.
If you click on a vertical label, the corresponding page is shown.
The meaning of the parameters is described below.
OSC-Page
This page shows the oscillators and the
combination panel.
The oscillators
AnaMark has 3 oscillators, which look and are handled in the same way:
Wave
Wave is the oscillators's waveform. You can set the first and the second
half (positive and negative half, respectively) of the waveform independently.
If you look an the list which is showed by clicking on the buttons, you will
find out that beside the standards there are many other waveforms.
About some special waveforms:
-
None means absolute silence (a constant zero-line), if set as the first
half of the waveform. If the second half of the waveform is set to None
(= the default), it is always the same as the first half.
-
Some waveforms have the suffix FS (= Fourier Synthesis). They
are bandwidth-limited to lower frequencies. They sound organ-like.
-
The waveforms of the Cond-group represent transitional stages from
triangle to square (from the physical point of view, the curves are
periodical loading/unloading curves of an condensator).
-
NoiseWht represents a section of a white noise, NoiseBrn
a section of a brown noise. Because these sections are played periodically
they don't sound like noise if used "as is", because real noise is
unperiodical. Therefore it is necessary to remove the hearable periodicity
from the sound by clever usage of other parameters.
-
HalfSawUp and HalfSawDown represent lines from bottom/top to
the zero-line. It is uncommon to use them as oscillator-waveforms, but
they are of high importance as modulation-waveforms.
-
HalfSquareUp is in the first half constantly one, in the second half
zero. HalfTriUp is analogeous built. These waveforms are of big interest
as modulation-waveforms, too.
-
Feedback is no real waveform. AnaMark's output is routed into this wave,
so that you can get a certain type of feedback. To enable the feedback, the
first half of the OSC-waveform must set to Feedback, the second one is
ignored. Setting the second half to Feedback is handled as None.
You set the feedback-delay by using Coarse Tune and Fine Tune. The
feedback-weight is set by using the Weight-knob. See there for details.
Pulse, Symmetry and Phase are not used with this setting.
There is only one feedback-channel, so setting more than one OSC to Feedback
can produce weired results (of course, the usage of simply one feedback
can do this, too). The quality of the feedback may be heavily affected by
the sample rate, especially while playing high notes. So rendering the sound
with 96 kHz or more may produce much better results.
Pulse
Perhaps you know the parameter "Pulse width" from other synthesizers. If yes:
The paramater Pulse has NOTHING in common with it, also if it - in
some cases - sounds similarly.
Pulse adjusts the length of the zero-line added to the first and
the second half of the played waveform, respectively.
Symmetry
This parameter represents the well-known "Pulse width". Unlike other
synthesizers, this parameter affects all (true) waveforms and is not restricted
to square-waves.
Phase
Phase adjusts the phase shifting of the OSC. This is hearable by
using of some special oscillator-combination modes
(combination panel)
only.
Oscilloscope
The oscilloscope shows the waveform of the OSC and the modifications done
by the Pulse-, Symmetry- and Phase-Settings.
Tune coarse
This is the coarse detune of the OSC relative to the played note.
It goes from -36 to +36 halftones in steps of one halftone.
If the waveform is set to Feedback, Tune coarse defines the
coarse delay, which is always relative to the current note. E.g.:
If you play the note a (440 Hz, which means a period-time of about 2.3 ms)
and Tune coarse is set to "0 halftones", the delay will be 2.3 ms. Playing
the a an octave higher (880 Hz = 1.15 ms) will result in a delay-time of 1.15 ms.
If you play the note a (440 Hz, which means a period-time of about 2.3 ms)
and Tune coarse is set to -12 halftones, the delay will be
2 * 2.3 ms = 4.6 ms. Playing the a an octave higher (880 Hz = 1.15 ms) will
result in a delay-time of 2 * 1.15 ms = 2.3 ms.
Tune fine
Here, the fine detune of the OSC can adjusted. In the first half of its
rotation-range, this value goes from 0.000 to 1.000 halftone and
in its second half, from 0 to 8 beats.
The effect of Tune fine on the feedback-delay is the same as the effect
of Tune coarse, but it defines the fine part of the delay, not the coarse
one.
The halftone-range:
This value is added to Tune coarse. So, to achieve e.g. a
total detune of -0.2 halftones, you have to set Tune coarse to "-1 Halftone"
and Tune fine to "0.800 Halftones", as: (-1) + 0.8 = -0.2
The beats-range:
This gives a dynamic detune, which depends of the current pitch and results
in timely constant detune. An example to explain this:
You can easily achieve a phaser-effect with the following settings:
For OSC1 and OSC2 set equally: Wave to sine. Pulse,
Symmetry and Weight to 1.0. Phase and Coarse Detune
to 0.0. Set Tune Fine of OSC1 to 0.0. Set Wave of
OSC3 to None. Set both Mixmodes in the
combination panel to Mix.
Now, set Tune Fine of OSC2 to about 0.05 H. Play notes of
different pitches, and you will note, that the speed of the phaser effect rises
with the pitch of the note.
After that, set Tune Fine of OSC2 to 1 B. Now play notes of
different pitches again - the phaser effect has always the same speed.
The setting of the synchronization-source can be found at the bottom-right
edge and is called Detune Sync.
A slight detune between two OSC can produce interesting sweeping-effects.
Weight
Weight adjusts the strength of the OSC-signal. This is not only done by
changing the volume. There is a combination-method-dependent algorithm
which gives you a true fading in/out.
If used with the Feedback-waveform, this parameter controls the
amount of the feedback. If it's too high, the sound will distort nasty and may
also turn into crude noise!
Detune Sync
This defines the synchronization-source for the Tune Fine-parameter of
the OSC. This setting is the same for all OSC.
Combination Panel
Combining the signals happens stepwise: First, the current signal is
set to OSC1, then OSC2 is "added", which results in a "new" current signal, to
which OSC3 is "added". You can choose between several modes for combining
those values:
Mix / SqrMix
Two variants of additive mixing: Mixing of the normal signals and mixing of the
squared signales, respectively.
Ring / Ring 2
Two variants of ringmodulation.
Diff
A method I haven't seen yet anywhere. It's a kind of subtractive synthesis.
Min / Max
At each position the values of the current signal and the newly combined
oscillator are compared and the minimum / maximum is taken, respectively.
FM
The "added" oscillator modulates the frequency of the current signal. This
algorithm is not stabilizied against portamento
and often produces weird results while doing a portamento from one note to another.
XFM / XFM 2
Two variants of crossmodulation. These algorithms are not stabilizied against
portamento and often produce weird results while
doing a portamento from one note to another.
PM
The "added" oscillator modulates the phase of the current signal.
Reflection / Reflection 2
Both values are compared. If the second one is in the "range" of the first
one, it's value is taken. If it exceeds this "range", it is reflected on it's
border. By modulating the weight of the newly added OSC, you may get
interesting changes in sound. In the second variant, the sign of the newly
added OSC is set to the sign of the current signal.
Rate Variation / Rate Variation 2
The newly added OSC modulates the samplerate of the current signal. This is
dependent to the currently played note, so that the resulting waveform looks
almost the same at each notes. In the most cases, you should chose a rather
low value for "Weight", because at the max, the current signal may sound rather
distorted. In the second variant, the sign of the newly added OSC is ignored and the
value is taken by it's absolute.
Bit Depth / Bit Depth 2
The newly added OSC modulates the resolution (bit depth) of the current signal.
In the second variant, the sign of the newly added OSC is ignored and the
value is taken by it's absolute.
Blend
The waveform of the current signal is blend to the newly added OSC, depending
on the OSC's current phase: At the beginning of each period, the current signal
is at the max and the OSC's volume is set to zero. The waveform fades, so that
at the end of each period, the current signal is faded out while the OSC is at
it's max. By detuning the OSC you may get interesting results. The phase of the
OSC may also have a large effect.
Var Blend
If used as the combination method of OSC 2, the current signal keeps unchanged.
If used for OSC 3, the value of OSC 3 modulates the mix between the current
signal and OSC 2. Detuning OSC 3 and changing it's phase has large effects on
the sound.
Complex
The current value and the newly added value are combined to a complex number
(they are it's real and imaginary part, respectively). Its angle is the
result of the "Complex"-method and thus the new current signal. The angle is
converted, so that the result of walking the unit circle will result in a triangle
waveform. You can "build" the unit circle as follow:
Set OSC 1 and OSC 2 to sine-waveform. Set the phase of OSC 2 to 0.25.
Changing e.g. the weight of one OSC will morph this circle into an ellipse.
Complex Soft
Same as Complex, but walking the unit circle will result in a sine waveform.
OSCMod-Page
For modulating, you can combine velocity, pitch, 2 modulation-OSCs (LFO) and
2 loopable envelopes in several ways by using modulation-combiners.
The modulation restarts when a new note is hit. The modulation of a new
note works independent to the modulation of currently played notes.
To get modulations, which spans over several notes, please use
parameter automation (provided by your VST-host) or the
MIDI-Controller.
Modulation-OSC (LFO)
Wave
The waveform which is played by the modulation-OSC. For more details see the
section about the oscillators. The value range of the
waveforms is: -1 ~ +1.
Once
If Once is active, the waveform is played once per note until the end,
and after that, the modulation-OSC is turned off (output-value: 0).
Sync
The synchronization-source defines the length of a beat. "2*MIDI" means
that if the MIDI-Clock is set to 120 BPM, the synchronization will be to
2 * 120 BPM = 240 BPM.
Speed
The duration of a period in beats.
Phase
The starting phase of the waveform. If your turn the knob to the max, the
display shows random. This means, that the modulation starts at a random
point of the selected waveform.
Delay
Time in beats, which lies between hitting a new note a the start of the
modulation-OSC. In the between-time, the modulation-OSC outputs the value 0.
The modulation-envelope spans over 4 bars (= dark lines). Each of them is
divided into 4 beats (= light lines). Each beat is divided into 4 1/4 beats
(= dashed lines). The envelope's points can be adjusted to 1/16 beat.
The curve of the modulation-envelope is divided into 3 parts:
- Once played part
This is the part, which lies before the Loop Start. It is played
once after hitting a note.
- Loop
This is the part, which lies between the Loop Start and the
Loop End.
- Release
After releasing the note, the envelope is continued after the Loop End.
To avoid clicks/hearable steps, some realtime-envelope-smoothing is done.
You can use several envelope-points in the release-part.
New points can be added to the envelope by left-clicking between two existing points.
There is a maximum number of 16 points. To remove a point, right-click on it.
If you click the left mouse-button, while the mouse cursor is over a point,
you can draw the point as long as you keep the left mouse-button down. If you
additionaly press the SHIFT-key, the value (= y-position) of the point is locked.
On the right side, the field value shows the value (= y-position) of
the currently marked point. You can mark a point by simply left-clicking on it.
To prevent the value of being changed, you should also press the SHIFT-key.
The value-field is editable by clicking in it. That means, that you can easily
adjust the values of the points very exactly!
If you press the SHIFT-key and right-click, while the cursor is between two
envelope-points, the state of this envelope-part switches between linear
and freeform. In the freeform-state, you may create more smooth envelopes
by moving the two circular parameter-points. Just play a little bit around with
it to get a feeling.
The Loop Start is set to a point, by pressing the CTRL-key, while
left-clicking on that point. Right-clicking with pressed
CTRL-key sets the Loop End. If you set the Loop Start equal
to the Loop End, the envelope is played once, and the value of the last
loop-point is hold.
The envelope works unipolar, that means, that the values are in the range from
0 ~ +1. If you check the button Bipolar, the value range turns into
-1 ~ +1.
If you uncheck Release, the Release Point is not active (it
is displayed grayed), that means, the envelope keeps playing after releasing
the note as if there were no release.
The button below the Release-Button has the same meaning than
the Sync-setting of the Modulation-OSC (LFO).
If the mouse pointer is over an envelope, you can copy
the envelope's data into AnaMark's clipboard by leftclicking and pressing
SHIFT+CTRL. Rightclicking on an envelope while SHIFT+CTRL is pressed, overwrites
this envelope with the data from the clipboard. This function is usefull, if you
want an OSC-Modulation-Envelope and a Filter-Modulation-Envelope to run
synchroneously.
A modulation combiner takes the values of up to 2 sources and combines them to
a new one. The result ist weighted and used to modulate the destination. There
are 4 combiners.
Possible sources are:
- velocity, the square of velocity
- the currently played note (= the note-on pitch)
- the modulation-wheel (MIDI-Controller 1)
- the breath control (MIDI-Controller 2)
- the two modulation-OSCs
- the two modulation-envelopes
- the unweighted values of the other combiners.
- one random number in the range 0~1 and one in the range -1~1. Those numbers
are recalculated at each note start.
The most values can be used positive as well as negated/inverted.
The operations you can use are:
- Src 1: Ignores source 2 and takes the value of source 1 unchanged.
- +: Adds the values of source 1 and source 2
- x: Multiplies the values of source 1 and source 2
Possible destinations are the weight-, pitch-, pulse- and symmetry-parameters
of the 3 OSC as well as the speeds of the both modulation OSC (ModOSC).
E.g.: Weight (1) means the weight of OSC 1, Weight (13) means
that the weights of OSC 1 and OSC 3 are modulated.
The knob at the bottom sets the weight of the result (The result is multiplicated
with the shown value). If your destination is a pitch-parameter, the display of
this value is changed so that you can see the modulation-amount in halftones. If
your destination is the speed of a modulation OSC, the display changes to
show you the modulation amount in beats.
Please note, that the destinations pulse, symmetry and weight can only be in
the range 0 ~ +1. The speeds of the modulation OSCs are restricted to a minimum
value of 1/16 beat. Values which exceeds are limited to this range.
If you select the same destination more than once, the "last" combiner
defines the result of the modulation. If you want to combine the outputs of
two combiners, you will need a third combiner where you select the output
values of the previous mentioned combiners as sources.
Hint:
You can use the envelopes also as arpeggiators. An example:
Set the destination to Pitch (123), so that all OSC are modulated
synchronously. Set source 1 and 2 to Envelope 1, the operator to '+' and the
weight to 10.0 halftones. This results in a total range of 20 halftones.
Now build a envelope, which is 1/4 beat constantly 0 and then changes
immediately to the value 0.6 there it also stays 1/4 beat. Loop it. This
results in an octave-arpeggi, as:
20 halftones * 0.6 = 12
Transformation-Page
Here you can transform the signal of the mixed oscillators (this doesn't
change the pitch). This is also known as waveshaping.
Pure square-signals keep unaffected.
Shape
This defines the transformation-algorithm. None means, that the signal
keeps unchanged.
(NOTE: To get an really unchanged signal you must turn the Gain to
the minimum!)
Param
The parameter modifies the above chosen shape. The change of the
signal is reduced to the minimum if the controller is turned to the minimum.
This is not a mixing-parameter Dry:Effect, it really changes
the shape.
Gain
Gain represents the volume of the signal before entering the
transformation-section. If the gain is too high, the signal is limited.
Post-Filter
Normally, the transformation of the signal will be done before entering the
Filter. If you check this button,
the transformation will take effect on the filtered signal.
Limiter-Bug
Because of a bug, AnaMark 1 showed distortions while limiting the signal.
If you need this behaviour, check this button. If you don't, leave it unchecked.
Filter-Page
Here you can filter the sound or put some resonance on it.
Type
The Type-Button shows a schematic amplitude-frequency-diagram of
the current filter. Just click it to walk through the different filter types:
There are 3 lowpass and 3 highpass filters.
Note: The horizontal line means „No Filter“.
Level
The level describes the gradient in the amplitude-frequency-diagram, the
filter-steepness.
Param
If the Type-Button shows a P, you can manipulate the height of ripples
in the amplitude-frequency-diagram.
Freq
The filter's frequency, which is always the same as the resonance frequency.
Some filters tends to overdrive if the frequency is low and the level is
high. If you don't like that, lowering the
Master-Volume may be helpfull.
Filter : Res
Beside a filter, this section includes a resonator. Here you can adjust the
mix between filter- and the resonator-signal.
Resonance
This is the sharpness of the resonance.
The resonator sounds a little bit different, compared with many
other analogue synthesizers (it is also different implemented).
By the way: The resonator is filter-independent, this means it is also
possible to do resonance effects while the filter-type is "No filter".
KeybMid
The filter/resonator frequency can be set note-dependent, so that higher notes
have a higher frequency than notes with a lower pitch. KeybMid is the
"middle", the note at which the frequency is equal to the setting of the
frequency-knob.
KeybSlope
This is the amount of the frequency-change by the distance between the played note
and the KeybMid. If you turn the knob to the centre position (the value 1.0),
the frequency rises as fast as the pitch of the note differs from the KeybMid. If
the value is set to 0.0, the filter frequency is independent from the played
note.
FilterMod-Page
The parameters of the FilterMod-Page are similar to those
of the section OSCMod-Page.
Possible destinations are:
- Transformation gain
- Filter parameter
- Filter frequency
- Filter:Res rate
- Resonance sharpness
- Panorama
- Modulation OSC 1 (ModOSC 1) Speed
- Modulation OSC 2 (ModOSC 2) Speed
AmpEnv-Page
Here you can adjust the shape of the volume-curve. The usage of the
envelope is similar to those of the section OSCMod-Page.
The only difference is, that the Release-Point does always control
a fading-out. But if you deactivate the Release-Button, this fading out
is overlapped by the continuing loop.
Dynamic
Here you can adjust the dynamic behaviour. The value 1 means "linear dynamic".
The higher the distance between the chosen value and 1, the higher the
nonlinearity:
Changes in the dynamic behaviour also affects velocity-dependend modulations.
Master-Page
Master
Portamento
If on the monophonic channel a note starts while another note is still
playing, the pitch glides from the first to the second. The time which
is needed to do the complete glide is adjusted here.
PortaSync
This setting has the same meaning than the Sync-setting of the
Modulation-OSC (LFO), but for the speed of
Portamento.
Pitch bend
This sets the pitch bend amount between 0 and 24 halftones.
Panorama
To adjust the left-/right- portion of the sound. To modulate the panorama,
see the FilterMod-Page.
Volume
This controller should be used to adjust the volumes of different sounds, so
that you can easily switch between them without having to adjust the volume.
This is not the channel-volume, you adjust by using MIDI-Controller #7!
There is a built-in limiter to create interesting overdrive-sounds.
If you note an disturbing overdrive, you should lower the volume here.
Effects
AnaMark provides several effects. You can chose the weight of the effect
by using the Mix-Button.
Delay / X-Delay
These are standard delays. You can chose the delay times and the gains (feedback)
for the left and right channel separately. Use small delay times (10 ms ~ 50 ms)
and rather high gain to produce reverb effects.
Spread Delay / Diff. Delay / Pan.Diff. Delay
Some special delays. You can chose the delay times and the gains for
the left and right channel separately. Use small delay times (10 ms ~ 50 ms)
and rather high gain to produce reverb effects. Additionally you can chose the
stereo-sound by changing the Spread-parameter.
To get into the differences of these delay effects, just take a
heavy-attack, short-release and shortly played sound (e.g. a base drum) and
try the different settings.
Chorus
The delay and the speed of the chorus effect are set uniquely for both channels.
The depth can be chosen individually. Delay times from 20 ms to 40 ms give good
results. The Spread-parameter sets the phase difference between both
channels.
Flanger
The delay and the speed of the flanger effect are set uniquely for both channels.
The depth and feedback can be chosen individually. Short delay times (< 1 ms)
give sharper sound. Feedback at about 75% gives good results.
The Spread-parameter sets the phase difference between both channels.
Phaser
The delay and the speed of the phaser effect are set uniquely for both channels.
The depth can be chosen individually. A delay time of 0 ms is recommended for
a sharp sound.
The Spread-parameter sets the phase difference between both channels.
Timbre settings
This part contains settings of the current timbre. They
aren't saved with the single program but with the complete bank.
Protected
If AnaMark is in the Protected Mode (the switch is lighted), all changes
(by MIDI, automation or manual) of a preset are lost, if you switch to another
preset. This means, changes are temporary
If you switch off Protected Mode, all changes are stored.
Hint: To avoid, that changes done by MIDI-controllers are stored,
you should use the MIDI-controller
to activate/deactivate the Protected Mode.
High Quality
Certain settings may produce hearable aliasing if higher notes are played.
If High Quality is switched on, the sound is antialiased and becomes
smoother. Because this setting takes very much processing time, you should
just enable it when offline-rendering your final version.
Note: This setting may affect the sound/volume of noise-waveform-based
presets, such as snares e.g.. It may be helpfull to use separate timbres for
noise-based presets and not-noise-based presets. So you can enable
High Quality for the not-noise-based presets only.
Global settings
This part contains global settings.
Load ROM-Bank
AnaMark owns 4 banks, and each of them contains 64 factory presets.
You can load a ROM-bank by simply selecting it here. Loading a ROM-bank
will overwrite all current presets!
Presets, which are named with the extension (J) can be affected
by MIDI-Controller #1 (Modulation). J means Joystick -
most hardware keyboards have a modulation joystick/wheel which allow to
easily use this controller while playing.
There is a list of all presets in printable form:
Table of Presets
Knob-Mode
If you select circular, the knobs behave like real knobs: To change
the value, you have to move the mouse circular around the knob. If you
increase the radius of the circle, the value changes slowlier.
If you select linear, the knobs behave like vertical sliders:
To change the value, you have to move the mouse vertical. If you press
Shift, the value changes faster. If you press Control (Ctrl),
the value changes slowlier (e.g. to make fine changes).
MIDI-Controller
AnaMark supports the following MIDI-Controllern:
Controller
Nr.
|
Function |
Value x |
Remarks |
1 |
Modulation |
0-127 |
- |
2 |
Breath Control |
0-127 |
- |
5 |
Portamento time |
0-127 |
in 1/16 Beats |
7 |
Channel Volume |
0-127 |
- |
9 |
Filter-Parameter |
0-127 |
- |
10 |
Panorama |
0-126 |
x = 63 means exactly 1:1 |
10 |
Panorama |
127 |
Swapping Left and Right (Ping-Pong-Effect) |
11 |
Ratio Filter : Resonance |
0-126 |
x = 63 means exactly 1:1 |
12 |
OSC 1 Pulse-Width |
0-127 |
- |
13 |
OSC 1 Symmetry |
0-127 |
- |
14 |
OSC 3 Pulse-Width |
0-127 |
- |
15 |
OSC 3 Symmetry |
0-127 |
- |
44 |
OSC 2 Pulse Width |
0-127 |
- |
45 |
OSC 2 Symmetry |
0-127 |
- |
70 |
OSC 2 Phase |
0-127 |
- |
71 |
OSC 2 Weight |
0-127 |
- |
72 |
OSC 3 Phase |
0-127 |
- |
73 |
OSC 3 Weight |
0-127 |
- |
74 |
OSC 1 Phase |
0-127 |
- |
75 |
OSC 1 Weight |
0-127 |
- |
76 |
OSC-Modulation ModOSC1 Speed |
0-127 |
in 1/16 Beats |
77 |
Effect Mix |
0-127 |
- |
78 |
OSC-Modulation ModOSC1 Delay |
0-127 |
in 1/16 Beats |
80 |
OSC-Modulation ModOSC2 Speed |
0-127 |
in 1/16 Beats |
82 |
Transformation Parameter |
0-127 |
- |
83 |
Transformation Gain |
0-127 |
- |
85 |
Resonance Sharpness |
0-127 |
- |
86 |
Filter/Resonance Frequency |
0-127 |
- |
118 |
Polyphony-Controler |
0 |
Maps the polyphonic MIDI-Track onto it's monophonic equivalent.
Portamento is enabled. |
118 |
Polyphony-Controler |
1-16 |
Restricts the number of available voices. Portamento is disabled even
if '1' is set. |
119 |
Protected Mode |
0-127 |
Protection OFF: x = 0; ON: x = 64 |
User-defined skins
In the setup-destination folder, AnaMark's setup creates a subfolder
called "AnaMark_Skin". If this folder is empty, a built-in
default-skin is used.
Usage of existing skins
You may download other skins e.g. from the
AnaMark-Homepage.
To install them, just copy the included files into the above
mentioned folder "AnaMark_Skin".
Creating own skins
To easily create own skins, you should start from an existing
skin.
The meaning of the files can be estimated by the file names or by
simply opening the graphics:
Background.bmp |
Background graphic |
CombinationPanel.bmp |
Combination Panel |
EnvelopeDisplay.bmp |
Envelope background |
FilterMap.bmp |
Graphical representation of the filter types |
HorzLine.bmp |
Horizontal line |
KnobMap_AmpEnv.bmp |
Knobs of the section "Amp-Envelope" |
KnobMap_Filter.bmp |
Knobs of the section "Filter" |
KnobMap_FilterMod.bmp |
Knobs of the section "Filter-Modulation" |
KnobMap_Master.bmp |
Knobs of the section "Master" |
KnobMap_OSC.bmp |
Knobs of the section "OSC" |
KnobMap_OSCMod.bmp |
Knobs of the section "OSC-Modulation" |
KnobMap_Trafo.bmp |
Knobs of the section "Trafo" |
OnOffButton.bmp |
On/Off button |
OptionsMenuBig.bmp |
Big button with display |
OptionsMenuMedium.bmp |
Medium button with display |
OptionsMenuSmall.bmp |
Small button with display |
VertLine.bmp |
Vertical line |
All graphics must be in uncompressed windows-bitmap
format. Never change the height or width of the pictures!
Moreover, there is also a file which contains the color definitions
of e.g. labels and the envelope-lines: "col.ini".
This is a simple text file which can be opened with Notepad. In this
file, further informations of it's usage are included. If this file
doesn't exist in the folder "AnaMark_Skin", the default settings
are used.
Kompatibilität zu früheren Versionen
AnaMark is abwärtskompatibel. Das bedeutet, dass all Presets, die mit
Vorgängerversionen erstellt wurden, weiterhin verwendet werden können.
Aufgrund einiger tiefgreifender änderungen in Version 2 kam es zu
Modifikationen einiger MIDI-Controller.
MIDI-Controllers, die verändert wurden oder nicht mehr unterstützt werden:
- #014 - Verändert, war: Filter-Modulation Amount
- #015 - Verändert, war: Filter-Modulation Speed
- #072 - Verändert, war: Release Time
- #073 - Verändert, war: Attack Time
- #074 - Verändert, war: Attack-Level
- #075 - Verändert, war: Decay Time
- #077 - Verändert, war: OSC-Modulation Amount
- #081 - Entfernt, war: Symmetry-Modulation Amount
- #118 - Entfernt, war: Random Creation
AnaMark unterstützt außerdem einige neue
MIDI-Controller.
Compatibility with earlier versions
AnaMark is fully downward-compatible. This means, it can handle all the
presets created with earlier versions.
Because of the heavy changes in version 2, there are some modifications
concerning the MIDI-Controllers.
MIDI-Controllers no longer supported or modified are:
- #014 - Changed, was: Filter-Modulation Amount
- #015 - Changed, was: Filter-Modulation Speed
- #072 - Changed, was: Release Time
- #073 - Changed, was: Attack Time
- #074 - Changed, was: Attack-Level
- #075 - Changed, was: Decay Time
- #077 - Changed, was: OSC-Modulation Amount
- #081 - Removed, was: Symmetry-Modulation Amount
- #118 - Removed, was: Random Creation
AnaMark also supports some new MIDI-Controllers.
See there for more informations.
Frequently asked quesions (FAQ)
Contents:
Crashes (Steinberg Cubase 5.0 / 5.1)
Cubase 5.1 r1 contains a bug, which makes some VST-plugins crash.
Please download the current update from Steinberg
and install it.
If using Cubase 5.0, a re-installation of Cubase may solve the problem.
No sound (Emagic Logic)
Some versions of Logic have problems with ASIO. A user solved the
problem by deactivating ASIO and using another driver (MME).
The sound is distorted, if many notes are playing
The most programs provide a mixer where you can adjust the volume
of the different sound sources. Just reduce AnaMark's volume there.
History
While AnaMark's grafical user interface is shown, you can see the installed
version by clicking on the AnaMark-logo you can find on the Master-Page.
Version 2.02:
- Skinnable
- Clipboard für Envelopes (copy & paste)
- Polyphony-Controler (max. 16 voices per timbre)
- Smoother release, Presets adjusted
- Overview-page for faster access to important parameters
- Master-Volume changed into dB for better handling
- Improved canceling of notes if being run out of available voices
- Reduced output-volume to avoid polyphony-based distortions
- Parameter automation bug fixed: Now it's timbre-related
- Bugs fixed, which caused crashes on some systems
- Some changes to avoid "P4 Denormalization Bug"-problem
Version 2.01:
- "Freeform Envelopes" (SHIFT + right mouse button in the envelope-window)
- Some small bugs removed.
Version 2.00:
- 256 Factory Presets
- Completely redesigned GUI
- 3 weightable OSC
- The OSC's waveforms can be split into a positive and a negative part which
can be set independently
- Feedback added as a new OSC-"waveform"
- 21 methods to combine those OSC
- 2 modulation OSC, 2 modulation envelopes (loopable) and 4 combiners
to modulate those OSC
- 5 new transformation functions
- 3 new resonant highpass filters
- Filter frequency can be affected by the pitch of the played note
- 2 modulation OSC, 2 modulation envelopes (loopable) and 4 combiners
to modulate all filter parameters, the waveshaper and the panorama
- the speed of all the modulation OSC can also be modulated.
- Loopable envelope for amplification
- All modulations can be affected by pitch and velocity. Realtime-controling
of the modulations by using the controls "modulation" and "breath", which
can be found as wheels/joysticks on most hardware-keyboards.
- Pitch-bending
- Effects-section with 8 effects (delays/reverbs, chorus/flanger/phaser)
- Some bugfixes
- Antialiasing-possibility
- ...and much more...
Version 1.03:
- Multitimbral (4 programs)
- Polyphonic (12 voices per program)
- Some small bugs removed.
Version 1.02:
- AnaMark is now about 20% faster
- 64 new factory-presets
- Function to create random presets
- The resonator is "stronger" by a factor of 4. It may be necessary
to adjust some of your old presets.
- Some small bugs removed.