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Plugins > N.I. Absynth > Flashcards

N.I. Absynth Flashcards

1
Q

The____page allows you to define the paths for the directories containing your samples and your templates, along with two additional options.

A

General

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2
Q

____: These three fields allow you to set paths to the directories contain- ing the samples used by your Sounds.

A

Samples Directories

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3
Q

____: This field allows you to set the path for the directory contain- ing your various Templates (Envelopes, Waveforms, modules, Channels…).

A

Template Libraries Directory

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4
Q

__: If this option is enabled, ABSYNTH 5 controls the output of the three individual Channels in the Patch Window so that the main output remains constant and do not clip. That is, if you were to increase the level of one Channel, ABSYNTH 5 would___.

A

Auto balance patch channels

automatically decrease the levels of the two other Channels

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5
Q

___: If this option is enabled, a Macro Control that has had a parameter assigned to it takes over the name of this parameter – but only if no other parameters have already been assigned to it.

A

Auto rename control macro on first assignment

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6
Q

The___page allows you to configure ABSYNTH 5’s surround output channels.

A

Surround

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7
Q

ABSYNTH 5 can have up to ____separate audio outputs. The fundamentals for configuring your audio and MIDI interfaces can be found in the Getting Started guide. The Surround page can then be used to assign your output channels to specific positions in the panoramic field.

A

eight

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8
Q

___ This standard configuration delivers typical two-channel stereo sound. In this setting, the speakers are situated at 45 degrees and -45 degrees.

A

2 Stereo:

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9
Q

___: This configuration is easy to distinguish from 2 Stereo: Both front speak- ers are arranged at 90° and -90°. This results in a wider stereo soundscape.

A

2 Stereo Wide

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10
Q

___: This configuration returns to analog Matrix surround sound. It is well known under the names of, for example, Dolby SurroundTM (home entertainment center) or Dolby StereoTM (movie theatre), but without a ____. Here, there is a central rear channel as well as left- and right front ch3 Front: This configuration replaces the central rear channel of the previous configuration with a center front channel, which leads to better distribution in the stereo soundscape than a classic stereo configuration.

A

3 Surround

front center channel

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11
Q

___: This configuration combines a 3 Surround configuration with a front-center channel and is also known under the name Dolby Surround Pro LogicTM.

A

4 Surround

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12
Q

____: This four-channel configuration is based on the quadraphonic systems that were popular with consumers in the 1970’s. The four speakers are arranged symmetrically in a square shape.

A

4 Quad

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13
Q

___: This five-channel surround sound configuration is comparable to top-of-the-line home theater arrangements and movie theaters systems, known as, for example, Dolby DigitalTM or DTSTM. This system provides you with three___ channels (left, center, right) and two ___ channels (surround left, surround right).

A

5 Music

front

surround

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14
Q

____: This configuration delivers five-channel surround sound, where the five channels are arranged symmetrically in a circle.

A

5 Pentaphonic

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15
Q

_____: This configuration corresponds to a 5 Music configuration, but contains an additional rear center channel. This arrangement is used by, for example, the surround sound systems Dolby Digital EXTM and DTS-ESTM.

A

6 Music

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16
Q

___: This configuration delivers six-channel surround sound where the six channels are symmetrically arranged in a circle.

A

6 Hexaphonic

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17
Q

___ This configuration delivers seven-channel surround sound as it can often be heard in films. Well-known surround sound systems of this type include SDDSTM and IMAXTM. This configuration combines the 5 Music configurations with two additional front center channels (center left, center right).

A

7 Cinema:

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18
Q

___: This configuration delivers seven-channel surround sound. It is comparable with the 6 Music configuration, but the surround center channel is divided between the two rear channels “surround center left” and “surround center right”.

A

7 Music

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19
Q

__: This configuration delivers seven-channel surround sound, where the seven channels are symmetrically arranged in a circle.

A

7 Heptaphonic

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20
Q

___ This configuration delivers eight-channel surround sound, where the eight channels are symmetrically arranged in a circle.

A

8 Octaphonic:

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21
Q

___
For all configurations but the last 8 Octophonic, you can activate an additional LFE / or Subwoofer channel. To enable it, click on the little LFE button at the bottom left of the Surround page.

A

Low Frequency Effect Channel

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22
Q

ABSYNTH 5 uses a dynamic voice allocation; voices that are not played do not_____ .The more notes are played simultaneously, the higher the CPU read-out will go. If the CPU overloads, it is recommended to____ in order to reduce the processing load. If your computer reacts sluggishly to incoming commands, it is probably because your CPU is____ and there is not enough resources available for generating the image on the screen. If this happens, try to decrease the load by___

A

contribute to the processing load.

leave out a couple of notes

leave out a couple of notes

releasing a few notes.

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23
Q

if ABSYNTH 5 overloads the CPU, the audio hardware installed on your computer might get out of step and no longer be able to accurately produce sound. In such a case, you have several options to restore operations back to normal:
► Release___.This releases resources used by ABSYNTH 5 for every voice.
► Click on the ___ button in order to reset the ABSYNTH 5 engine, and stop playing (see section 4.1.6 below).
► Click on the _____button to switch to another Sound (see section 4.2.3 below).
► Click on a_____ in the Patch Window to turn a Module on or off. This will also reset ABSYNTH 5’s audio engine.

A

all of the notes on your MIDI keyboard

Panic

Next or Previous Sound

Module Slot frame

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24
Q

The__and __ buttons are shortcuts for the Mutate button and Retry button of the Mutator in the Browser.

A

Mutate and Retry

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25
Q

The ___ Window is the control center of ABSYNTH 5 where you assemble the components that make up a Sound.

A

Patch

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26
Q

the design of ABSYNTH 5 is ____. That means that you can determine the arrangement of certain components yourself. Other components have a permanent place in the signal flow.

A

semi-modular

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27
Q

The Patch Window organizes the modules components into___Channels. These Channels are designated with the letters ___ and they each consist of three vertically arranged fields, the Module Slots. Each of these Module Slots can be filled with a ___.

A

three

A through C

module

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28
Q

The Patch Window:To turn a module on or off, click on the ____ on the left side of the Module Slot – where the writing indicates the type of module.

A

extended border

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29
Q

The Module Slots A-C at the top of the three Channels can only be loaded with an ___module.
The remaining Module Slots 1 and 2 of any Channel can be loaded with___.

A

Oscillator

Modulator, Filter or Waveshaper modules

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30
Q

:::
, which is located in the lower left-hand corner of the Patch Window, allows you to activate/deactivate the Surround Pan mode:

A

Surround Pan Switch

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31
Q

::
This mode allows you to freely position the three Channels in the surround panorama. This function can be used for impressive___effects, for example, by modulating the surround position of the Channels independently of one another with an LFO or an Envelope.

A

Surround Pan switch

spatial

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32
Q

ABSYNTH 5 can also adjust the levels automatically so that the sum of the three audio signals never exceeds ___, even after a value in one of the three Channels has been changed.

A

0 dB

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33
Q

To activate automatic volume levels, activate the option ___ in the General page of the Options dialog . You also have the possibility to balance Channels manually, giving the same level to each. To do this, select the entry Balance lLevels from the ___menu in the ___Bar

A

Auto balance patch channels

Edit

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34
Q

After the __module, the final signal leaves ABSYNTH 5.

A

Effect

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35
Q

The modules in the Master Channel have two operating modes: __mode and__ mode. You can switch between both modes by clicking on the__ switch:
Mono/Poly switch

A

Poly

Mono

Mono/Poly

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36
Q

• In ____ mode (three arrows meeting each other), the signals coming from the three Channels A-C are summed up before being processed by the module.

A

Mono

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37
Q 
• In\_\_\_ mode (three parallel arrows), the module processes each Channel separately.
!As a logical consequence, you cannot have a module in\_\_\_ mode sitting after a module in Mono mode, since the three Channel signals have already been summed up by the first module...
A

Poly

Poly

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38
Q

In ___ mode every voice has its own, independent Waveshaper. The distortion affects every voice separately – in the same way as if every string on a guitar had its own amplifier.

A

Poly

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39
Q

In ___ mode, only one Waveshaper is used for the different voices, which means that many of the notes played interact – similar to the way that they do in chords played on a distorted electric guitar.

A

Mono

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40
Q

In an Oscillator, select the option Load Oscil Template to load a___.
The command Load Channel Template allows you to load___.

A

pre-configured Oscillator

a complete Channel

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41
Q

In a Filter, Modulator or Waveshaper module, the Edit menu solely offers a ___ that loads the settings for that module.

A

Load Template option

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42
Q

The ____ Basically, it is a Comb Filter equipped with a feedback loop and a tonal control borrowing characteristics from the Resonators and Pipe Effects.

A

Supercomb filter

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43
Q

Supercomb’s Tone panel parameters:
• ____: selects from a set of resonance modes. The higher the feedback is turned up, the more pronounced the effect is.changes the color of the decay.

A

Tone Mode menu

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44
Q

Supercomb’s Tone panel parameters:___ This controls affects the sound differently according to the mode selected in the Tone Mode menu above. It is not available for the mode Raw.

A

Tone control

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45
Q

Supercomb’s Tone panel parameters:____ Controls the ratio of the delay taps (see 5.5.9, “Comb”, above). This control changes the color of the comb filter.

A

Position control

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46
Q

the ___ is the little brother of the new Aetherizer effect, a granular delay with multiple feedback and tone controls.

A

Cloud filter

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47
Q

Cloud filter :
The___panel holds parameters controlling the grain cloud.
• The ___ panel allows you to activate a filter and to adjust its parameters.
• The__ panel allows you to adjust the mix between the dry and processed signals and the level of the output signal.

A

Grain

Tone

Mix

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48
Q

Cloud filter :Grain Panel:
On the Grain panel, you find the following parameters:
• ___control: Sets the global transposition of the grains.
• __ control: Defines the number of grains created during one second.
• ___ control: Adjusts the pre-delay involved in the grain creation.

A

Transpose

Rate

Delay

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49
Q

Cloud filter: Tone panel, parameters:

• ___: Activates/deactivates the Cloud’s internal filter.

A

Filter switch

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50
Q

Cloud filter: Tone panel, parameters:

• ___: Defines the cutoff frequency of the internal filter.

A

Frequency control (Hz)

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51
Q

Cloud filter: Tone panel, parameters:

• ___: Adjusts the resonance of the internal filter.

A

Resonance control (Q)

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52
Q

Cloud filter: Tone panel, parameters:
•___: Activates/deactivates the quantization of the filter, and allows you to select the quantization mode. The quantization distributes the possible___over the predefined scales available in the menu.

A

Filter Quantize menu

cutoff frequency

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53
Q

Cloud filter: Tone panel, parameters:
•___: Adjusts the base pitch of the scale on which the cutoff frequencies are quantized. This parameter appears for all quantization modes except__ (and None of course).

A

Quantize Tranpose control

Vowel

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54
Q

The____ uses its own built-in oscillator in order to change and modulate the incoming signal.

A

Modulator module

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55
Q

Modulator module:___:The amplitudes of the incoming signal and of the signal produced by the Modulator oscillator are multiplied with one another.

A

:ringmod

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56
Q

Modulator module:___mode, the Modulator module produces a frequency shift via a feedback loop.

A

Frequency Shift

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57
Q

From a functional point of view, the ____resembles the ring modulation, and it can also bring similar sonic results.

A

frequency shift

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58
Q

While the Ring Modulator produces

  • –, the Frequency Shifter limits itself either to frequency sums or differences. Practically, this means that the
  • – produces subtler, better to control effects than the Ringmod mode.
A

frequency sums as well as frequency differences

Freq Shift mode

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59
Q 
The Main panel of the Frequency Shift mode contains the following parameters:
• \_\_\_\_: If this button is on “\_\_”, it produces frequency sums. If the button is on “\_\_”, the module produces frequency differences.
A

Direction switch

+

-

60
Q

The Main panel of the Frequency Shift mode contains the following parameters:The Main panel of the Frequency Shift mode contains the following parameters:
•___: A click on the _____opens the Waveform Selection dialog where you can select the Waveform for the oscillator.

A

Waveform Selector

61
Q

The Main panel of the Frequency Shift mode contains the following parameters:___: Enables you to enter the oscillator’s frequency as a transposition of the played note (Trans), as a relationship (Ratio) with the played note, as a fixed Frequency (Hz) or via a fixed MIDI note (Note).

A

• Frequency menu and Frequency control

62
Q

The Main panel of the Frequency Shift mode contains the following parameters:• ____: Adjusts the amount of feedback.

A

Feedback control

63
Q

The __ module uses a Waveform to shape an input signal. This idea is used in guitar amplifiers and distortion effects.

A

Waveshaper

64
Q

__ reacts to the amplitude of the input signal: the sound changes depending on the volume envelope of the oscillator or any other form of oscillator- volume control. Additionally, __ emphasizes phasing and detuning effects in the signal.

A

Waveshaping

waveshaping

65
Q

You can always use the Waveshaper module when you want to___a signal with__. Its action ranges from subtle density to cutting distortion. The waveshaper reacts to changes in the __.

A

enrich

harmonics

amplitude

66
Q

waveshaper module:The level of distortion changes with every fluctuation of the ___ so the effect sounds very energetic.

A

input signal

67
Q

waveshaper module:__ Defines the input level of the Waveshaper in decibels. Increasing this value usually strengthens the__. This strengthening is not __, however, and depends on the selected Waveform and the __– experiment with different set- tings to get the sound you want.

A

In dB control:

distortion

linear

Phase control value

68
Q

waveshaper module:__Sets the phase of the Waveform. This parameter has an extreme effect on the sound especially when working with___Waveforms. Indeed, these react very sensitively to any manipulation of the Phase.

A

Phase control:

complex

69
Q

Effect Window:The ___ allows you to adjust the levels of the Patch Window’s individual channels feeding the effect

A

Input Mixer

70
Q

Aetherizer:Grain Cloud Parameters:___: Rate at which the input signal is chopped (in other words, it is the number of grains taken from the input signal during one second).

A

Rate control

71
Q

Aetherizer:Grain Cloud Parameters:___: Adjusts the length of each grain. This parameter influences the density of the sound: less duration means less overlapping grains, thus making the sound thinner.

A

Grain Duration control

72
Q

Aetherizer:__:, in the lower right part of the Aetherizer, holds parameters modifying the tonal color of the grains:

A

Tone Section

73
Q

Aetherizer:Tone Section:

•___: Adjusts the transposition of the grains (in semitones).

A

Transpose control

74
Q

Aetherizer:Tone Section:

• __: Enables/disables the filter at the grain level.

A

Filter switch

75
Q

If the filter is activated and Comb mode is selected in the Filter Mode menu, turn the ___ down to hear lower pitches better.

A

Rate

76
Q

In the ___ page you can edit the time component of a waveform, and in the ___page you can edit its harmonic component. In the ___ page you can merge two waves into a Morph Wave.

A

Waveform

Spectrum

Morph

77
Q

Tools in the Waveform Page:___: If you select this tool, two vertical lines appear at once. Clicking and dragging the wave with the mouse stretches or compresses it within the lines. The squares can be moved along the time-axis to select different areas.

A

Stretch Tool

78
Q

Tools in the Waveform Page:__: allows to set the amplitude’s offset in relation to the zero-axis. A double-
click on ___ centers the waveform around the ___.

A

Offset control

zero-line

79
Q

Transform menu (Waveform Page):___: ____ the waveform’s amplitude: the current waveform’s minimum and maximum values are adjusted to the maximum value range. If you ___each wave- form you will always obtain the same volume, no matter which waveform is selected.

A

Normalize

normalizes

normalize

80
Q

Transform menu (Waveform Page):___: this function assures that the waveform’s energy will be evenly distributed be- tween its positive and negative sections. This is different from centering the waveform through the Offset control.

A

DC Offset

81
Q

Transform menu (Waveform Page):__: allows you to programme a phase offset for the waveform

A

Offset Phase…

82
Q

Transform menu (Waveform Page):__:opens a window where you can mix the waveform with another one, selected from the Waveform Selector.

A

Mix

83
Q 
Transform menu (Waveform Page):Mix:
\_\_\_: defines the phase position of the waveform to be mixed, in relation to the existing waveform.
A

Phase B

84
Q

Transform menu (Waveform Page):Mix:__: defines the frequency ratio between the waveforms.

A

Freq Ratio B

85
Q

Transform menu (Waveform Page):Mix:__: allows for extraordinary waveform manipulations and is particularly good for creating powerful, organic waveforms.

A

Fractalize…

86
Q

Transform menu (Waveform Page):Mix:Fractalize:___: controls how detailed the waveform’s manipulation is.

A

Iterations control

87
Q

Transform menu (Waveform Page):Mix:Fractalize:__: changes the fractalized waveform’s basic shape

A

Displacement control

88
Q

Transform menu (Waveform Page):Mix:Fractalize:__: controls the fractalization’s intensity – the higher the value, the richer the sound in overtones and noise.

A

dB control

89
Q

Transform menu (Waveform Page):Mix: Filter:___: is a Lowpass filter with a slope gradient of -6 dB per octave.

A

Lowpass 1st order

90
Q

Transform menu (Waveform Page):Mix: Filter:___: is a Lowpass filter with a slope gradient of -12 dB per octave.

A

Lowpass 2nd order

91
Q

Transform menu (Waveform Page):FM:___: select a modulator waveform from the Waveform Selector (light blue button).

A

Waveform Selector

92
Q

Transform menu (Waveform Page):FM:___: defines the frequency ratio between modulator and carrier.

A

Modulator Frequency control

93
Q

Transform menu (Waveform Page):FM:_______: determines the FM’s intensity.

A

Modulation Index control

94
Q

Transform menu (Waveform Page):FM:_____: defines the carrier’s frequency ratio

A

Carrier Frequency control

95
Q

Transform menu (Waveform Page):FM:___: regulates the modulator’s phase.

A

Mod Phase control

96
Q

Transform menu (Waveform Page):FM:___: loads a waveform and replaces the existing waveform.

A

Load…

97
Q

Transform menu (Waveform Page):FM:___: loads the first 1024 samples from an AIFF- or WAV file as a waveform.

A

Import from audio file…

98
Q

Transform menu (Waveform Page):FM:__: produces silence.

A

Clear

99
Q

The Spectrum page of the Wave Window displays the edited waveforms’ first __harmonics. The top half of the display shows the harmonics’ __, the lower half their___.

A

64

amplitude

phase

100
Q

Spectrum page of the Wave Window : At the bottom of the window you can see – depending on the mouse position – the harmonic’s number as well as its amplitude and phase. Harmonics above the 64th will be __, although they can not be accessed in Spectrum page.

A

retained

101
Q

The ___function allows you to dynamically blend two waveforms into a new shape. The two Waves used in a Morph Wave can then still each be edited with all the same features of a normal Wave in the Waveform page of the Wave Window.

A

Wave Morph

102
Q

Wave Morph: The Morph Wave is determined by the position of the___ in the Morph page of the Wave Window. You can, of course, freely modulate the Wave Morphing’s param- eters. That way, you create lively, dynamic sounds that can change subtly or even tak on a completely new character while being played.

A

Morph Mod parameter

103
Q

Wave Morph: Try to always set the Anchor Points to ___, which will give you better results and enable true spectral morphing.

A

zero crossings

104
Q

When an envelope modulates a parameter, the value set in the Patch Window represents the __value of the envelope. The envelope can __ this value but cannot__ it.

A

maximal

reduce

increase

105
Q

The ___contains all assigned Envelopes.

A

Envelope List

106
Q

___: Determines the Breakpoint’s position on the time axis. Enter the duration in seconds. Depending on the setting of the BP Time Toggle on its left, you can either enter the duration since the previous Breakpoint (___) or since the beginning of the Envelope (__).

A

Abs/BP Time control

Bp sec

Abs sec

107
Q

___: Defines the amplitude for the selected Breakpoint. You can either insert a value directly in dB (on a scale of 0 dB to -96dB) or adjust a percentage with 0 dB as the relation point. To switch between dB and %, click the __Toggle.

A

BP Amplitude control

BP Amplitude

108
Q

If the __is selected, a Loop Start Marker that looks like a sideways-tilted U

A

Loop Mode

109
Q

While a normal envelope is controlled by time, in Control Driven Envelopes Mode, the movement on the X-axis is controlled by__

A

a Macro Control.

110
Q

In ___ Mode, the envelope is restarted according to the ___ value when a note is held. If the note is released before the Sustain/Release point is reached, the envelope jumps to the position of this point and proceeds from there until the end.

A

Retrigger

Retrigger

111
Q

Retrigger Mode:If the Sustain/Release Marker is located inside the Retrigger Loop, the envelope__.

A

keeps its position.

112
Q

The Retrigger mode is especially useful for creating __ paths.

A

rhythmic, looped

113
Q

Grid Switch:free mode

A

ctrl click

114
Q

With this you can determine how the Breakpoints react to movement with the mouse: If __is selected, you can only move a Breakpoint to the next Breakpoint. The move does not affect the parts of the envelope that follow the next Breakpoint. If __is selected, all of the following Breakpoints move together with the Breakpoint that is currently edited.

A

Lock

Slide

115
Q

Envelopes:
If you have chosen ___ Mode and play a note, the envelope will run from the beginning until the last Breakpoint. If you release the note before the Sustain/Release-point is reached, the envelope jumps to the position of this point and proceeds on its path from there until the end.

A

Release Mode

116
Q

Envelopes:The ___ Mode is advisable with percussive sounds and piano-like sounds with sustain. If the Sustain/Release point placed near the beginning, the envelope always progresses in the same way, independent of the length of the___.

A

Release Mode

releasing note

117
Q

Envelopes: ___:
In __Mode the envelope works similarly to a classical ADSR-envelope. If you have selected this mode and then play a note, the envelope will proceed to the Sustain/Release point and its value will remain constant from then on. If you release the note, the envelope runs through the remaining sequence to the last Breakpoint. If the note is released before the Sustain/Release point is reached, the envelope jumps to the position of this point and proceeds on its path from there until the end.

A

Sustain Mode

118
Q

Envelopes:_________:
If the ___ Mode is selected, a ___Start Marker that looks like a sideways-tilted U will be displayed together with the red Sustain/Release Marker. You can use this Marker to select all the Breakpoints prior to the Sustain/Release point, right up to the first one

A

Loop Mode

Loop

119
Q

Retrigger Mode
Envelopes:_________:In __ Mode, the envelope is restarted according to the ___value when a note is held. If the note is released before the Sustain/Release point is reached, the envelope jumps to the position of this point and proceeds from there until the end. If the Sustain/Release Marker is located inside the ___ Loop, the envelope keeps its position.

A

Retrigger x3

120
Q

Envelopes:The __mode is especially useful for creating rhythmic, looped paths.

A

Retrigger

121
Q

You can connect the edited Envelope to another Envelope via the ___ mode.

A

Link

122
Q

In Link mode, all changes made to the___Envelope (the source) have an immediate effect on the edited Envelope.

A

second

123
Q

Link Mode: ____: Select the source Envelope.

A

Source menu

124
Q

Link Mode:___: Scales the temporal progression of the subordinate Envelope.

A

Time % control

125
Q

Link Mode:Time % control:

50% corresponds to ___ the speed of the Master Envelope, 200%__the speed.

A

double

half

126
Q

Link Mode:__: Scales the amplitude of the subordinate Envelope.

A

Amp % control

127
Q

Link Mode:__: Boosts or diminishes the zero-line of the subordinate Envelope.

A

Amp Offset control

128
Q

Link Mode:__: Scales the escalation of the subordinate Envelope.

A

Slope % control

129
Q

Envelope LFO:__: Here you can choose the Waveform for the LFO.

A

Waveform Selector

130
Q

Envelope LFO:__: Sets the primary phase of the LFO.

A

Phase control

131
Q

Envelope LFO:___: If a triangle wave appears, the LFO adopts the shape of the chosen wave. If the Sample&Hold Symbol is displayed, the LFO operates as a random Sample&Hold-function.

A

Wave/SH Toggle

132
Q

Envelope LFO:__: Adjusts the speed of the LFO (in seconds). A fast LFO has a low value for
example.

A

Sec control

133
Q

Envelope LFO:__: With this you can determine the Sample&Hold-speed (in seconds). A low value corresponds to a high speed. This option is only active if the Wave/SH Toggle is set to Sample&Hold in the__section.

A

S/H Sec control

global parameters

134
Q

Envelope Modulation:___: No Macro Control is assigned.

A

Not assigned

135
Q

Envelope Modulation:___: If you select one Macro Control from the list, this will be the
one that navigates the parameter.

A

Macro Control 1 to 16

136
Q

Envelope Modulation:__: The MIDI-Velocity-information is evaluated for the navigation of the parameter.

A

Velocity

137
Q

Envelope Modulation:_: The left and right-axis position of the stereo-panorama is evaluated for the navigation of the parameter.

A

Pan LR (Left/Right)

138
Q

Envelope Modulation:___: The position of the front and back-axis of a surround-panorama is evaluated for the navigation of the parameter.

A

Pan FB (Front/Back)

139
Q

Envelope Modulation:___: Defines the strength of the time scale. The signal coming from the Macro Control relates to temporal positions from zero to the graphical value of the Breakpoint. Positive values of the Time Scale control will move the time position of the Breakpoint ___ when the Macro Control value goes up, while negative values will ___ ___ of the control signal.

A

Time Scale control

forward

reverse the polarity

140
Q

Envelope Modulation___: With this you can determine from which Macro Control the amplitude of the Breakpoints will be controlled.

A

:Amp CC

141
Q

Envelope Modulation:___: Strength of the amplitude scale. Negative values__ the amplitude while positive values ___ the amplitude:

A

Amp Scale control

lower

boost

142
Q

Click on the ___ switch to put the Master Envelope into learning mode

A

ADSR Assign

143
Q

:The function___… automatically creates a progression of attack- and release- pulsewaves. This can be extremely helpful if you want to create rhythmical Envelope-forms, for instance, to use them in Retrigger Mode.

A

Generate AR Pulse

144
Q

Mono/Poly switch: In __ mode an LFO modulates all the voices; in__mode every voice has its own independent LFO.

A

Mono

Poly

145
Q

With the function ___ you can derive modulation signals from audio signals. This follows the principle of an Envelope Follower Module

A

Audio Mod

146
Q

set the Envelope switch to ___in order to prevent the envelopes that have yet to be started from silencing the Effect Input Signal.

A

Pre Rev

147
Q

___ Use this to set the threshold value (in dB). this threshold, the Audio Mod should __. If the level of the input signal falls under the set threshold, the Audio Mod sends a MIDI __command.

A

Thresh dB control:

trigger the envelope

Note-Off

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