Now in its third generation, the award-winning synthesizer continues to build on its untouchable reputation. From futuristic synths to rhythmic

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1 Sublime, Seductive Sounds Now in its third generation, the award-winning synthesizer continues to build on its untouchable reputation. From futuristic synths to rhythmic mayhem, vintage sounds to ambient layers and completely unique, alien soundscapes ABSYNTH 3 seduces with sublime sounds. The possibilities offered by its semi-modular architecture and powerful, unique features stretch well beyond the boundaries of existing synthesizers, creating an extremely diverse spectrum of amazing sounds.

2 Powerful new features in version 3 ABSYNTH 3 brings dozens of new features that greatly expand its already extraordinary sound spectrum. The powerful synthesizer now incorporates a new user interface with convenient one-window editing, envelope-controlled surround sound features, live audio inputs, real-time fractalization, unison mode, advanced envelope control, 2 new special effects and 256 additional presets. Synthesis and Sampling ABSYNTH 3 leads the way for future software synthesizers. Combining FM and subtractive synthesis, ring modulation, a live stereo input, classic and granular sampling with the most advanced envelope control ever implemented, this unrivalled synthesizer will take you on the most outrageous sonic adventures. The innovative user-interface merges sophistication with simplicity, providing an exceptional sound design experience. Sketch, Sculpt and Shape Generate constantly moving and morphing textures with the flexible 68- breakpoint envelopes. Model individual waveforms, draw in their harmonics or use the real-time waveform fractalization to create lively and individual sounds. Intelligent displays and envelope management make sure you always know exactly what is happening. Spatial surround sound features, a host of additional effects more than 1000 presets guarantee maximum creative scope. Stage and Studio ABSYNTH 3 is as much at home in the studio as it is on stage. All the envelopes can be tempo-synced or managed remotely via MIDI, enabling dynamic manipulation of parameters during performances. With the live stereo input you can use ABSYNTH 3 as an extraordinary effect unit. Route other instruments through it, twisting and contorting your sounds into unimaginable sonic realities. Its compatibility with every popular plug-in format ensures seamless integration into every studio setup.

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4 On these pages you can dive into world of ABSYNTH 3 and explore the fascinating features it has on offer. This exceptional synthesizer, now in its third generation, has been greatly enhanced and developed yet further. ABSYNTH 3 brings dozens of new features that greatly expand its already extraordinary sound spectrum. ABSYNTH 3 now incorporates a new user interface with convenient one-window editing, envelope-controlled surround sound, a live input, real-time fractalization, unison mode, advanced envelope control, 2 new special effects and 256 additional presets. New Features in Detail : Optimized user-interface: ABSYNTH 3 is now a One-window application. All sub-pages appear within the same window the separate Edit Window when using ABSYNTH as a plug-in is no longer necessary. The interface is also equipped with numerous additional details improving the overall operation. Surround Sound: The sophisticated surround sound features allow the placement and movement of the sound or its individual components within a spatial environment ideal for film and multimedia productions. The 3 oscillator channels can all be panned independently from one another using the envelopes. New Presets: 256 new presets of various different categories, bringing the total number of presets included in ABSYNTH to over Sound Generation and Shaping:

5 Live Input: The new stereo input in the patch window greatly expands ABSYNTH s sonic potential. It can now be used as an extraordinary effect unit, manipulating live signals or sequencer tracks. Process up to three external stereo or mono signals at once, routing each into a separate oscillator channel. MP3 Sound examples live input: Unison Mode in the Patch Window: The Unison function combines eight detuned oscillators simultaneously, creating especially fat sounds whilst still only using one channel. Real-Time Fractalize: Oscillator waveforms can be fractalized in real-time, creating unique effects ranging from subtle changes to bizarre formant-like effects. The fractalization parameters can of course be controlled using ABSYNTH s powerful envelopes. "Free-Run" Oscillator Mode: Causes subtle changes in polyphonic sounds. Frequency Shifter: This new modulation mode within the Patch Window is similar to ring modulation, but creates more subtle effects and offers a more exact control of the sound. Envelopes: Many detailed improvements in the envelope functions guarantee a faster and more exact creation of lively, dynamic sounds. Envelope Groups: Show and hide groups of envelopes, eg. Only channels 1-3, all filters, all oscillators, all Mod modules etc.

6 Multiple Selection: Select multiple breakpoints to then edit them all simultaneously. Envelope Cursor: A cursor per envelope indicating the current position makes editing envelopes a great deal easier Variable Grid Resolution: Display the optional grid using a variable resolution: in 8ths, 16ths, 32nds, beats or seconds. Snap to grid: Optional when the grid is activated and ideal for tempo-synced envelopes. New Effects: New special effects that have been specially optimized for ABSYNTH 3 have been added, bringing the total number of effects available to 5. Echo: The Echo effect incorporates 3 independent delays with various filters in the feedback loop: low pass, high pass and phaser. Effect Resonator: 3 independent, delay-based resonators creating a wide range of effect sounds - from classic delay/reverb effects to metallic and 'crystal' sonic effects. These 3 resonators can be combined to achieve some unusual results. LFOs: As well as left/right panning, the extended LFO-panning can also be used to move sounds forward and backward. Depending on the LFO waveform, a rotating effect (sinus wave) or other, more complex movements can be achieved. This window is ABSYNTH s control center. Here presets are loaded and saved, preset banks are selected and other settings such as tuning, polyphony, MIDI channel, BPM and outputs are determined. The horizontal faders represent the MIDI controllers that are individually set for each preset and allow for fast and intuitive fine-tuning of the sound. The edit buttons at the top of the interface open the different ABSYNTH edit windows, which lead into the fascinating depths of ABSYNTH's sound design abilities. As opposed to ABSYNTH 2, all sub-pages are displayed in the same window which not only saves place but is also far more user-friendly.

7 Plug-In Mode ABSYNTH's plug-in integration has been significantly improved in version 3. ABSYNTH 2's seperate edit window is no longer needed, meaning that the sounds can be edited easily and comfortably within the same plug-in window. The horizontal faders in the main window can now not only be automatically controlled via MIDI but also via the sequencer automation. When in plug-in mode, the optional Envelope Synchronization automatically synchronizes the sounds, such as komplex rhythmical sounds, to the song tempo in the sequencer. More than 1000 Presets ABSYNTH's exceptional sonic spectrum has made it one of the most popular software synthesizers ever as well as earning it numerous awards from the international press. The limitless diversity of the sounds can hardly be captured in words: ABSYNTH is capable of reproducing the entire spectrum of classic synthesizer sounds as well as creating modern, never-heard-before sounds. A particular strength of ABSYNTH lies in generating extraordinarily lively and dynamic sounds, that can endlessly mutate themselves thanks to the enormously flexible envelopes. Alongside basses, pads, leads, stabs, stacks, chords, keyboards, vintage e- pianos, synth strings, arpeggios and drums/percussion ABSYNTH also offers a huge selection of bizarre futuristic expressions, endlessly evolving layers and completely alien soundscapes, granular and organic textures, special effects, looped sounds and far-out rhythms. Several sound examples can be found in the

8 Soundplayer, top right. In addition to ABSYNTH 2's preset library, a further 256 new sounds have been programmed, bringing the total number of presets in ABSYNTH 3 to over 1000! Naturally all of these sounds can easily be modified in just a few simple steps or completely re-invent them and then save your new creation. Recorder When running ABSYNTH in stand-alone mode, the integrated recorder can quickly export any sound in WAV or AIFF format. The overdub function even lets you add subsequent sounds to fuse them all together to a single sound file The ABSYNTH Community As a registered ABSYNTH user you will never be lacking fresh new sound material, as you gain access to an exclusive online community. Users can upload their self-made presets to the ever growing ABSYNTH User Library for others to use. Download new banks or upload your own sounds for others to benefit from. There are literally hundreds of additional, free sounds waiting for you here. The User Library also has advanced search and filter functions as well as a rating system, comment fileds and much more ensuring that it is not only a valuable resource but also a lively platform for the exchange of ideas and inspiration with other ABSYNTH users.

9 ABSYNTH 3's ingenious synthesis concept sets it apart from other synthesizers. Various different synthesis techniques can be combined particularly intuitively. The Patch Window illustrates the semi-modular structure of the sound generation stage, that is to say the signal flow of the three seperate channels: from top to bottom. The individual modules can be individually activated or deactivated, depending on whether complex or more simple sounds are being created. Sound Sources The top row of modules in the above picture are the oscillators, allowing a customized combination of the following synthesis modi: Subtractive synthesis (one or two oscillators per module) Frequency modulation (FM) Ring modulation Sampling Granular sampling New: Unison (3x8 Oscillators) New: Real-time waveform fractalization New: Stereo inputs The "Free Run" oscillator mode is also new, allowing the creation of subtle sonic variations in multi-timbral sounds. In this instance the phase is not re-set. Unison Mode The Unison oscillator mode effectively combines 8 oscillators into one, allowing the creation of fat sounds with a single channel. The oscillators can then be detuned relative to one another.

10 Real-time Waveform Fractalization The new fractalization feature allows the constant and dynamic modulation of the waveforms being used by the oscillators in real-time - with stunning results. The fractalization parameters can be controlled using the envelopes. Sampler and Granular Sampler In place of the oscillators, ABSYNTH 3 can also use samples to generate sounds, dramatically increasing its sonic poetential and flexibility. Each of the three oscillator modules can load an AIFF or WAV sample, which is then played back in either classic mode (linking pitch and time) or in granular mode (pitch and time are controlled independently of one another). ABSYNTH 3 is not a sampler in the classical sense, but instead focuses on the creative transformation of samples into completely new sounds: nearly all sample parameters can be modulated by the sophisticated envelopes, and the results are unrivalled in their sonic vitality. More on this in the envelope chapter. ABSYNTH 3 as an Effect Unit Thanks to the new live stereo inputs in the three oscillator channels, ABSYNTH 3 can be used as a unique effects unit. Instead of using internal sound sources, external mono or stereo signals (live signals or sequencer channels) can be routed through ABSYNTH 3, and can then be modified using the filters, ring modulation, wave shaping, effects and the flexible envelopes. Mix live signals with internal sources as needed, or use ABSYNTH 3 purely as an effect unit. Up to six mono signals or three stereo signals can be routed into it simulataneously, allowing for the creation of extraordinary sounds - unachievable with any other tool.

11 Filter and Ring Modulation After each oscillator module follows a multimode filter module (with fourteen filter types, ranging from lowpass and highpass to allpass, notch, band and comb) and a modulation module offering the choice of a ring modulator or a frequency shifter. In the Mix The volume as well as the stereo or surround panorama of all three channels can be controlled individually. All three channels then mix down into a Master section, containing a filter, wave-shaping (non-linear distortion) and an effect module. The vast amount of different combinations possible is one of the reasons why ABSYNTH has such an extraordinary flexible sound. ABSYNTH 3 offers the most versatile and comprehensive multi-channel integration of any synthesizer currently available. It supports virtually all surround formats (3.1, 4.1, 5.1, 6.1, 7.1, 8.0). In contrast to other surround-enabled synthesizers, ABSYNTH 3 not only allows the spatial manipulation of the entire sound but also of its individual, formative components. A feature that is presently unique in the field of surround sound. This means you could, for example, use a subtractive synthesis sound from the first oscillator, an FM sound form the second oscillator, a granular sample from the third and assign them all with different, constantly

12 changing spatial characteristics - with breath-taking results! The surround panning can be controlled using an envelope or an LFO. Each oscillator has a dedicated LFO and a special surround envelope. The latter essentially containing two envelopes, one each for the x and y axes of the surround panning (ie. left/right and front/back). Thanks to the exceptional performance of the 68 breakpoint envelopes, utterly new surround soundscapes can be created. Surround panning using envelopes: The double envelope on the left (containing seperate x and y axes) controls the surround movements relative to time. The area on the right determines the exact position of the individual points within the spatial environment (enlarge...) One of ABSYNTH 3's greatest strengths is its unprecedentedly flexible and versatile envelope control. In contrast to most other synthesizers, often only equipped with fairly simple and limited envelopes, ABSYNTH offers extremely adaptable envelopes with up to 68 breakpoints which can be graphically drawn in to the user's exact specifications. This allows sounds or individual formative components of the sound to be modulated with unrivalled freedom. In addition, nearly every one of ABSYNTH's parameters even effect settings can be controlled using these flexible envelopes. And not just filter cutoff/resonance and volume as with ordinary synthesizers but also pitch, pan, FM intensity, phase, waveshaper gain, fractalization spectrum, ring modulation rate, sample start, grain size, grain random time, effect time and many more.

13 Drawing the Shape of the Sound Simply select the desired sound parameter and draw in the time-based development of the sound from simple Attack-Sustain-Release envelopes to complex rhythmic patterns synced to the song tempo: the possibilities are endless. The envelope generator helps you through the drawing process by allowing envelopes to be edited, copied, linked or created using complete rhythmic templates. Advanced Envelope Features ABSYNTH 3 introduces some brand-new envelope features to the already powerful abilities of version 2, allowing an even more flexible control (see new Envelope features...). Every envelope point can be driven by one or two MIDI controllers for extremely dynamic real time sound shifting. Envelope points can even be given an LFO waveform for vibrato-like effects and more. The revolutionary controller-driven envelope mode lets you drive through the envelope using a controller, the mod wheel for example: let the rhythm pulse while you dynamically morph the sound! Sample jump makes it possible to repeatedly retrigger a sample from different points in time perfect for complete rhythmic madness.

14 The innovative envelope control of ABSYNTH 3 is an extraordinary feature and allows users to create impressive and versatile sounds from "normal" sounds to endlessly mutating atmospheres and complex, morphing rhythms. With ABSYNTH 3 you will rediscover the joy of sound synthesis - even the most complex sounds can be programmed with ease. Users can copy envelope and oscillator settings from other presets to use in their own sounds or load one of the many waveforms, oscillator channels (with all envelopes) filter and effect settings from the library for effortless sound creation. The library can be conveniently accessed from the patch window, envelope window and waveform window. Browse through the presets and copy any elements you like to then build your own sounds with them! These features really are ingenious. If, for example, you like the rhythmical design of a particular preset, you can save the relevant envelope in the library to then use it with a different sound. This allows you to mix and match, createing new sounds in minutes. Sound synthesis has never been as exciting or as inspiring!

15 ABSYNTH 3 does not limit you to the use of just a few different waveforms in the oscillators and LFOs. As well as the huge selection of waveform presets, you can also draw in your own completely unique waveforms and use them in the oscillators, LFOs and waveshaping features. Drawing Waveforms Draw in your own waveform and hear the results in real-time. Convenient editing tools let you draw parabolic shapes or free gestures. The waveform you draw can be used as an oscillator, an LFO, or a waveshaping function. Editing Waveforms Versatile editing tools allow profound manipulation of the ABSYNTH waveforms; such as inverting, mixing, normalizing or filtering. Listen to the unique resonances imposed by the fractalize effect or the classic sounds of FM. Of course, all changes are immediately heard in real-time.

16 Spectral Waveform Editor Simply specify the volume and phase of the harmonics and ABSYNTH does the rest - in real-time. Listen to how your waveform sounds as you make harmonic gestures, or tweak the spectral view to fine tune your shape. Sound synthesis has never been as intuitive or as direct! Effects ABSYNTH has an optional effects module with five different effects: The new Resonator effect is a special type of reverb. Incorporated are 3 independent, delay-based resonators creating a wide range of effect sounds - from classic delay/reverb effects to metallic and 'crystalline' sonic effects. These 3 resonators can be combined to achieve some unusual results The new Echo effect is a special unit which incorporates 3 independent delays with various filters in the feedback loop: low pass, high pass and phaser. Multicomp provides six independent delays with feedback and a lowpass filter in the feedback loop. Pipe simulates the vibration behavior of some sort of string or tube into which the sound is sent and tweaked into different positions for flanging, pitch shifting and rotary speaker effects. Multitap is a delay with three taps plus feedback and delay times between one sample and ten seconds. The three taps can be modulated via MIDI or LFOs.

17 LFOs ABSYNTH has three low frequency oscillators. Each LFO can modulate numerous parameters simultaneously. Use any waveform (even ones you've drawn yourself) or a sample and hold function as an LFO. Type in the frequency with four-decimal-place precision for locked tempo synchronization. Control effects, filters, FM parameters, oscillators, or any combination of these parameters. MIDI Control ABSYNTH 3's flexible MIDI control over so many parameters makes it an outstanding live synthesizer that lets keyboard players and laptop performers discover new and dynamic ways of playing ABSYNTH. In addition to steering filter cutoff, FM index/balance, effect time, pan and volume with freely assignable MIDI controllers (using a fader box for example), you can also modulate one or more envelope points with MIDI controllers: morph through a 68-stage envelope with the mod wheel while you vary the intensity of

18 the rhythm pattern or the tempo of the sound shifts with a further MIDI controller! In addition it's possible to use velocity and freely drawable note scaling maps to modulate the individual volume, filter and FM index/balance of oscillators 1-3. ABSYNTH guarantees maximum flexibility and detail-exact control over the sound. Micro Tuning ABSYNTH has a tuning editor where nearly any alternate tuning imaginable can be programmed. You can even set the Hz value of each key with six decimal place accuracy (one million of a Hz precision) Feature overview : Award-winning semi-modular synthesizer offering an unprecedented range of sonic possibilities Innovative and unique combination of multiple synthesis and sampling techniques [NEW] New user-interface providing a concise overview and convenient onewindow editing [NEW] Live stereo input allowing ABSYNTH 3 to be used as an extraordinary effect unit 9 sound sources, 14 filters types, dedicated modulation and more for all three channels Uniquely flexible envelopes with up to 68 breakpoints and sophisticated group management. [NEW] Improved envelope display including a time display, variable resolution grid and cursor showing current position in the envelope [NEW] Dedicated surround sound function (3.1, 4.1, 5.1, 6.1, 7.1, 8.0) per channel allowing spatial manipulation of the sound or its individual components [NEW] Real-time fractalize parameters linked to individual envelopes Powerful effects including a special reverb, echo, pipe, multi-tap, multi-comb Interfaces: Mac: VST Audio Units RTAS Core Audio Core MIDI Win: VST RTAS DXi ASIO Direct Sound

19 Import and Compatibility AIFF WAV System Requirements Minimum: Mac OS , G3 500 MHz, 512 MB RAM Recommended: Mac 10.3.x or above, G4 1 GHz, 768 MB RAM Minimum: Windows XP, Pentium III 700 MHz, 256 MB RAM Recommended: Windows XP, Pentium III 1.2 GHz, 512 MB RAM