AnaMark V2.02

Copyright 2001-2002 Mark Henning, Germany
All rights reserved.
 
VST is a trademark of Steinberg Media Technologies AG

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Contents


 
 
 

About AnaMark and his origin

AnaMark started in octobre 2001 as an "analogue-like" monophonic VST-Synthesizer and grew up to an allround standard-and-experimental multi-timbral synthesizer. And you can use it polyphonic and monophonic at the same time. (This is important for the usage of portamento-effects)

The word AnaMark is a synthesis of the words „Analogue“ and „Mark“.
My namesake Mark I was one of the first supercomputers, built by IBM and Howard Aiken in Harvard in 1944. An other Mark I started his work 1948 in Manchester. His successor Mark II (built in Harvard in 1947) showed irregularities in work because of an bug. Until today, „Bug“ describes an error.
 

Introduction

AnaMark provides 256 Factory Presets. But nevertheless, you will probably have to modify them or to create some new from the bottom up.

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.
 
 
 
 

Used units

AnaMark's parameters are visualized graphically and numerically because sometimes it is important to give them exact values. You enter those values directly by clicking on the value-fields.
The following units are used:
‚H‘ means Halftones.
‚B‘ means Beats. The meaning of "beats" depends on the synchronization-settings you can find at each beat-dependent module as e.g. Modulation-OSC (LFO).
‚BPM‘ means Beats Per Minute.
‚BPS‘ means Beats Per Second.
 
 
 
 

Navigation

The controls are grouped and shown on pages. By clicking on a button, a certain page is shown:

AnaMark is four-part multi-timbral. Channel means the currently editable timbre (instrument). The showed values (in this example 7 and 8) represent the MIDI-channels, which you can use to play this instrument. The first channel is polyphonic, the second one monophonic. You can use both at the same time. Thus, AnaMark is both: polyphonic and monophonic.
Below you can selected the program for the current timbre.

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    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:

    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.
     
     

    Modulation-Envelope


    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:

    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.
     
     

    Modulation-Combiner


    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:

    The most values can be used positive as well as negated/inverted.

    The operations you can use are:

    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:


     
     
     
     

    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:
    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:
    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:

    Version 2.01:
    Version 2.00:
    Version 1.03:
    Version 1.02: