N.I. Absynth

Question 1

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

Answer 1

General

Question 2

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

Answer 2

Samples Directories

Question 3

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

Answer 3

Template Libraries Directory

Question 4

__: 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___.

Answer 4

Auto balance patch channels

automatically decrease the levels of the two other Channels

Question 5

___: 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.

Answer 5

Auto rename control macro on first assignment

Question 6

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

Answer 6

Surround

Question 7

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.

Answer 7

eight

Question 8

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

Answer 8

2 Stereo:

Question 9

___: 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.

Answer 9

2 Stereo Wide

Question 10

___: 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.

Answer 10

3 Surround

front center channel

Question 11

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

Answer 11

4 Surround

Question 12

____: 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.

Answer 12

4 Quad

Question 13

___: 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).

Answer 13

5 Music

front

surround

Question 14

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

Answer 14

5 Pentaphonic

Question 15

_____: 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.

Answer 15

6 Music

Question 16

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

Answer 16

6 Hexaphonic

Question 17

___ 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).

Answer 17

7 Cinema:

Question 18

___: 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”.

Answer 18

7 Music

Question 19

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

Answer 19

7 Heptaphonic

Question 20

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

Answer 20

8 Octaphonic:

Question 21

___
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.

Answer 21

Low Frequency Effect Channel

Question 22

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___

Answer 22

contribute to the processing load.

leave out a couple of notes

leave out a couple of notes

releasing a few notes.

Question 23

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.

Answer 23

all of the notes on your MIDI keyboard

Panic

Next or Previous Sound

Module Slot frame

Question 24

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

Answer 24

Mutate and Retry

Question 25

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

Answer 25

Patch

Question 26

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.

Answer 26

semi-modular

Question 27

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 ___.

Answer 27

three A through C module

Question 28

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.

Answer 28

extended border

Question 29

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___.

Answer 29

Oscillator Modulator, Filter or Waveshaper modules

Question 30

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

Answer 30

Surround Pan Switch

Question 31

:: 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.

Answer 31

Surround Pan switch spatial

Question 32

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.

Answer 32

0 dB

Question 33

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

Answer 33

Auto balance patch channels Edit

Question 34

After the __module, the final signal leaves ABSYNTH 5.

Answer 34

Effect

Question 35

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

Answer 35

Poly Mono Mono/Poly

Question 36

• 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.

Answer 36

Mono

Question 37

``` • 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... ```

Answer 37

Poly Poly

Question 38

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.

Answer 38

Poly

Question 39

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.

Answer 39

Mono

Question 40

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

Answer 40

pre-configured Oscillator a complete Channel

Question 41

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

Answer 41

Load Template option

Question 42

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

Answer 42

Supercomb filter

Question 43

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.

Answer 43

Tone Mode menu

Question 44

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.

Answer 44

Tone control

Question 45

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.

Answer 45

Position control

Question 46

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

Answer 46

Cloud filter

Question 47

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.

Answer 47

Grain Tone Mix

Question 48

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.

Answer 48

Transpose Rate Delay

Question 49

Cloud filter: Tone panel, parameters: | • ___: Activates/deactivates the Cloud’s internal filter.

Answer 49

Filter switch

Question 50

Cloud filter: Tone panel, parameters: | • ___: Defines the cutoff frequency of the internal filter.

Answer 50

Frequency control (Hz)

Question 51

Cloud filter: Tone panel, parameters: | • ___: Adjusts the resonance of the internal filter.

Answer 51

Resonance control (Q)

Question 52

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.

Answer 52

Filter Quantize menu cutoff frequency

Question 53

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).

Answer 53

Quantize Tranpose control Vowel

Question 54

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

Answer 54

Modulator module

Question 55

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

Answer 55

:ringmod

Question 56

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

Answer 56

Frequency Shift

Question 57

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

Answer 57

frequency shift

Question 58

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.

Answer 58

frequency sums as well as frequency differences Freq Shift mode

Question 59

``` 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. ```

Answer 59

Direction switch + -

Question 60

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.

Answer 60

Waveform Selector

Question 61

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).

Answer 61

• Frequency menu and Frequency control

Question 62

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

Answer 62

Feedback control

Question 63

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

Answer 63

Waveshaper

Question 64

__ 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.

Answer 64

Waveshaping waveshaping

Question 65

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 __.

Answer 65

enrich harmonics amplitude

Question 66

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

Answer 66

input signal

Question 67

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.

Answer 67

In dB control: distortion linear Phase control value

Question 68

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.

Answer 68

Phase control: complex

Question 69

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

Answer 69

Input Mixer

Question 70

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).

Answer 70

Rate control

Question 71

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.

Answer 71

Grain Duration control

Question 72

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

Answer 72

Tone Section

Question 73

Aetherizer:Tone Section: | •___: Adjusts the transposition of the grains (in semitones).

Answer 73

Transpose control

Question 74

Aetherizer:Tone Section: | • __: Enables/disables the filter at the grain level.

Answer 74

Filter switch

Question 75

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

Answer 75

Rate

Question 76

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.

Answer 76

Waveform Spectrum Morph

Question 77

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.

Answer 77

Stretch Tool

Question 78

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 ___.

Answer 78

Offset control zero-line

Question 79

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.

Answer 79

Normalize normalizes normalize

Question 80

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.

Answer 80

DC Offset

Question 81

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

Answer 81

Offset Phase...

Question 82

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

Answer 82

Mix

Question 83

``` Transform menu (Waveform Page):Mix: ___: defines the phase position of the waveform to be mixed, in relation to the existing waveform. ```

Answer 83

Phase B

Question 84

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

Answer 84

Freq Ratio B

Question 85

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

Answer 85

Fractalize...

Question 86

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

Answer 86

Iterations control

Question 87

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

Answer 87

Displacement control

Question 88

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

Answer 88

dB control

Question 89

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

Answer 89

Lowpass 1st order

Question 90

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

Answer 90

Lowpass 2nd order

Question 91

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

Answer 91

Waveform Selector

Question 92

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

Answer 92

Modulator Frequency control

Question 93

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

Answer 93

Modulation Index control

Question 94

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

Answer 94

Carrier Frequency control

Question 95

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

Answer 95

Mod Phase control

Question 96

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

Answer 96

Load...

Question 97

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

Answer 97

Import from audio file...

Question 98

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

Answer 98

Clear

Question 99

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___.

Answer 99

64 amplitude phase

Question 100

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.

Answer 100

retained

Question 101

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.

Answer 101

Wave Morph

Question 102

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.

Answer 102

Morph Mod parameter

Question 103

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

Answer 103

zero crossings

Question 104

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.

Answer 104

maximal reduce increase

Question 105

The ___contains all assigned Envelopes.

Answer 105

Envelope List

Question 106

___: 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 (__).

Answer 106

Abs/BP Time control Bp sec Abs sec

Question 107

___: 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.

Answer 107

BP Amplitude control BP Amplitude

Question 108

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

Answer 108

Loop Mode

Question 109

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

Answer 109

a Macro Control.

Question 110

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.

Answer 110

Retrigger Retrigger

Question 111

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

Answer 111

keeps its position.

Question 112

The Retrigger mode is especially useful for creating __ paths.

Answer 112

rhythmic, looped

Question 113

Grid Switch:free mode

Answer 113

ctrl click

Question 114

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.

Answer 114

Lock Slide

Question 115

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.

Answer 115

Release Mode

Question 116

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___.

Answer 116

Release Mode releasing note

Question 117

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.

Answer 117

Sustain Mode

Question 118

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

Answer 118

Loop Mode Loop

Question 119

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.

Answer 119

Retrigger x3

Question 120

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

Answer 120

Retrigger

Question 121

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

Answer 121

Link

Question 122

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

Answer 122

second

Question 123

Link Mode: ____: Select the source Envelope.

Answer 123

Source menu

Question 124

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

Answer 124

Time % control

Question 125

Link Mode:Time % control: | 50% corresponds to ___ the speed of the Master Envelope, 200%__the speed.

Answer 125

double half

Question 126

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

Answer 126

Amp % control

Question 127

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

Answer 127

Amp Offset control

Question 128

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

Answer 128

Slope % control

Question 129

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

Answer 129

Waveform Selector

Question 130

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

Answer 130

Phase control

Question 131

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.

Answer 131

Wave/SH Toggle

Question 132

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

Answer 132

Sec control

Question 133

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.

Answer 133

S/H Sec control global parameters

Question 134

Envelope Modulation:___: No Macro Control is assigned.

Answer 134

Not assigned

Question 135

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

Answer 135

Macro Control 1 to 16

Question 136

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

Answer 136

Velocity

Question 137

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

Answer 137

Pan LR (Left/Right)

Question 138

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

Answer 138

Pan FB (Front/Back)

Question 139

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.

Answer 139

Time Scale control forward reverse the polarity

Question 140

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

Answer 140

:Amp CC

Question 141

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

Answer 141

Amp Scale control lower boost

Question 142

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

Answer 142

ADSR Assign

Question 143

: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.

Answer 143

Generate AR Pulse

Question 144

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

Answer 144

Mono Poly

Question 145

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

Answer 145

Audio Mod

Question 146

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

Answer 146

Pre Rev

Question 147

___ 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.

Answer 147

Thresh dB control: trigger the envelope Note-Off