Pro II Manual v1.3 (12/03/2012) Introduction

Transcription

1 Introduction Thank you for choosing Pro II, our virtual analogue synthesizer optimized for Native Instruments Kontakt 4 sampler. The Pro II is a powerful instrument capable of creating a wide range of analogue style synth sounds and sequences. We hope you have fun exploring the PRO II s capabilities, and enjoy creating new sounds with it as much as we have enjoyed developing the instrument itself. This manual is specifically written for the Kontakt 4 version of Pro II which makes great use of Kontakt 4 s advanced script programming and GUI integration. Further information on additional formats including EXS24, Reason NNXT and Ableton Live are provided towards the back of this manual. The Story of the Pro II The Pro II is inspired by the Sequential Circuits Pro One analogue mono synth from the early 1980 s. The original Pro One was intended to be a scaled down version of Sequential Circuit s extremely popular Prophet 5, which boasted 2 VCO s (Voltage Controlled Oscillator s), a 4- pole LPF (Low Pass Filter) with resonance, an LFO (Low Frequency Oscillator), a VCA (Voltage Controlled Amplifier) and a 36 note keyboard. Our passion and respect for the original Pro One inspired us create a powerful multi-sampled instrument that required the most intensive editing and multi-sample looping ever encountered by the Wave Alchemy development team. To put this into perspective, each of the 138 preset patches have been extensively multi-sampled resulting in a collection of over 6500 sounds. During the development phase of the Pro II instrument, we realized that it would be a significant enhancement if one could freely mix the different Pro One multi-sampled presets with the sounds of the raw, multi sampled Pro One oscillator waveforms. This function is at the very heart of what the Pro II is about and enables the instant creation of unique, multilayered 'hybrid' patches. We would like to take this opportunity to give special thanks to the additional team of experts involved in the research and development of the Pro II virtual instrument. Thanks to; Steve Porter (Kontakt Scripting), Rui Peixoto (Sound Design), Anders Hedstrom (GUI design) and Michael Bietenholz (additional Kontakt Scripting) 1

2 Installation The Pro II and its accompanying library of waveforms are over 3.8GB in size when un-zipped. If you have purchased your Pro II directly from you will receive the download as a single zip file. Download the zip file to a suitable location on your machine and use an archive manager such as WinRAR to unpack. To unpack the zip file select the file and right click (PC) or ctrl + click (MAC) and choose "extract here". The extraction process will unpack the instrument and its library of waveforms into one root folder on your machine called Wave Alchemy - Pro II. If you have purchased the Pro II from our distributor s website at you will receive your purchase as a single zip file. Note: You must have the full version of Kontakt version or higher (including Kontakt 5) for the Pro II to work, if you are using an earlier version of Kontakt please download the latest version from Native Instruments website. Contact Details If you experience any problems downloading, unpacking or installing the Pro II after purchasing from please support at info@wavealchemy.co.uk If you experience any problems downloading, unpacking or installing the Pro II after purchasing from please support at support@loopmasters.com 2

3 Getting Started Once you have copied the Pro II folder to a suitable place on your computer, load up your sequencer of choice along with an instance of Native Instruments Kontakt 4 sampler. Note: You MUST have a registered version of Native Instruments Kontakt 4 or higher to use the Pro II. This instrument does NOT work with Kontakt player. To get a good idea of what the Pro II is capable of, use Kontakts browser window to locate and load some of the included preset patches. The Pro II Kontakt version ships with; 138 multi-sampled Pro One patches 38 patches made using just the instruments "raw mode" 19 multi layered instruments 2 initialized patches (explained below) Initialize Patch For those who like to dive in and create sounds completely from scratch, we have provided two initialized patches in the Pro II s 'instruments' folder named 'Pro II Tuned.nki' and Pro II Untuned.nki. The 'Pro II - Untuned.nki' patch maps all raw oscillator waveforms chromatically keeping each key exactly as we recorded them from the Pro One. This gives you a starting point with a 'looser' tuning. The 'Pro II - Tuned.nki' patch maps all raw oscillator waveforms chromatically and applies digital tuning within Kontakt to make things sound more 'absolute'. Note: Holding shift whilst moving any of the Pro II knobs allows for finer increment adjustments Note: Holding Ctrl whilst clicking on any of the Pro II parameters will move the control back to its default position 3

4 Pro II Architecture The Pro II has five different pages which are accessed by clicking the relevant tab at the bottom of the instrument. You will notice that if you load any of the 'Pro One' patches the instrument defaults to showing the 'preset page'. Similarly if you load a patch which was created using the instruments 'raw page' the instrument defaults to showing the 'raw page'. Note: to avoid any confusion the terms "raw page" and "raw mode" are used interchangeably throughout this manual and are to be understood as the same thing Preset Page The Pro II's preset mode is powered by the currently loaded 'Pro One' patch which is selected using Kontakts browser window. Once a 'Pro One' patch is loaded it can be modified further using a dedicated amplifier and filter section. It is useful to think of the preset page as an initial layer that can be mixed with the Pro II's 'raw oscillators' (accessed in the raw page) to create interesting 'hybrid' patches. Pro II Preset Page 4

5 Amplifier Section The amplifier section on the preset page uses a 4-stage ADSR envelope which is used to modify the loaded presets amplitude over time. Preset Page Amplifier Section Attack - controls how long it takes for the amplitude of the currently loaded preset to increase from zero to maximum level Decay - controls how long it takes for the amplitude to decrease from maximum level to the sustain level Sustain - sets the amplitude level of the sound when a key is held down on the keyboard Release - controls how long it takes for the amplitude to decrease from the sustain level (after a key is released) to zero Filter Section The filter section contains controls for the filter and its dedicated envelope generator. Preset Page Filter Section Cutoff - sets the frequency, below which signals are passed through the Low Pass Filter (LPF). Signals with frequencies higher than the cut-off frequency are filtered out. Resonance - increases the amount of emphasis (boost) around the cutoff frequency. 5

6 Hi Pass - sets the frequency, above which signals are passed through the High Pass Filter (HPF). Signals with frequencies lower than the cut-off frequency are filtered out. Amount - a bi-polar parameter which controls how the preset page filter envelope automates the cutoff frequency of the LPF. With positive settings (clockwise) the LPF is affected by the envelope in a positive way, resulting in the attack opening the LPF at a rate justified by the attack setting. With negative settings (anti-clockwise) the LPF is affected in a negative way, resulting in the attack closing the LPF at a rate justified by the attack setting. Filter Envelope The preset page filter envelope is used to shape timbre over time by automating the filter cutoff. Attack - controls how long it takes for the cutoff of the LPF to increase from zero to maximum level Decay - controls how long it takes for the cutoff of the LPF to decrease from maximum level to the sustain level Sustain - controls how the preset LPF cutoff behaves when a key is held down on the keyboard. With no sustain the envelope jumps to the release phase of the filter envelope. Release - controls how long it takes for the cutoff of the LPF to decrease from sustain level (after a key is released) to zero 6

7 Modulation Section The Pro II has a versatile Low Frequency Oscillator (LFO) which is accessed on the preset page to the right of the amplifier section (see below). Pro II Modulation Section The LFO has 3 modulation destinations; Pitch, Amp and Filter which can be used to modulate the sound of the currently loaded preset and the sound of the raw, multi-sampled Pro One oscillator waveforms accessed in the raw page (see raw mode). Shape Off - self explanatory Sine - selects a sine wave shape as the LFO modulation source Triangle - selects a triangle wave shape as the LFO modulation source Rectangle - selects a rectangle wave shape as the LFO modulation source Saw - selects a saw wave shape as the LFO modulation source Random - selects a random wave shape as the LFO modulation source Frequency - controls the frequency (rate) of the LFO Amount - controls the amount of modulation routed to the selected modulation destinations 7

8 Destination Amp - when set to 'ON' the LFO is routed to both the preset pages amplifier and raw pages amplifier Pitch - when set to 'ON' the LFO is routed to the Pitch of the currently loaded preset and the output of the raw page Filter - when set to 'ON' the LFO is routed to the preset page LPF and the raw page LPF Note: All three destinations can be modulated simultaneously Mode Retrig - when selected the wave cycle of the LFO is retriggered every time a key is pressed on the keyboard Free - when selected the wave cycle of the LFO is left to run free, irrespective of when a key is pressed on the keyboard Osc Drift On the preset page to the left of the volume fader you will see a control called 'Osc Drift' (see below). This control applies a subtle 'randomness' to the pitch of the currently loaded preset. Pro II Osc Drift and Preset Page Volume Used sparingly it can simulate the wavering and unstable tuning imperfections often found in vintage analogue synthesizers. Volume Fader The volume fader controls the level of the currently loaded preset. 8

9 Raw Mode The raw page gives you access to the Pro II's "raw oscillators" (see below). Pro II Raw Page Raw mode boasts two analogue oscillators powered by a detailed set of carefully edited and looped waveforms recorded from a vintage sequential circuits Pro One synthesizer. Every key in a five octave range has been sampled for each waveform and each oscillator. Saw, Sine, Square and Triangle waveforms are available for both oscillator's 1 and 2 which can be mixed together with two additional multi-sampled analogue sub oscillators (both selectable between Sine and Square waveforms) as well as a white and pink noise source. 9

10 Oscillator 1 Pro II Oscillator 1 Shape - selects Oscillator 1's wave shape. Selectable waveforms include; SAW, TRI, PWM 10, PWM 25 and PWM 50 Volume - controls the volume level of Oscillator 1 Course - controls the frequency/tuning of the selected waveform in semi-tone increments Fine - controls frequency/tuning of the selected waveform in finer increments Note Hold down Ctrl + click on any of the oscillator s tuning knobs to reset back to centre Note: Oscillator 2 has the same functionally as Oscillator 1. The only difference is that Oscillator 2 uses a different set of multi-sampled waveforms recorded separately. To our delight this ensures that when both oscillators are mixed together they do not create unwanted phasing/comb filtering caused by using identical copies of the multi-sampled waveforms used by Oscillator 1. The result is a less 'static' more analogue sound. Sub Oscillators The sub oscillator section contains two heavily multi-sampled analogue oscillators recorded from a vintage Moog Source synthesizer. The sub oscillators are switchable between Sine and Square waveforms, each with fine tune and volume controls. The sub oscillators have been recorded at one octave below the main oscillators. Pro II Sub Oscillator's 10

11 Amplifier Section The Pro II's amplifier and filter sections affect the output of the combined raw oscillators (oscillators 1 and 2, both sub oscillators and noise generators). The controls for each section are identical to the preset page amplifier and filter controls. Attack - controls how long it takes for the amplitude to increase from zero to maximum level. Decay - controls how long it takes for the amplitude to decrease from maximum level to the sustain level. Sustain - sets the volume level when a key is held down on the keyboard. Release - controls how long it takes for the amplitude to decrease from sustain level (after a key is released) to zero. Filter Section Cutoff - sets the frequency, below which signals are passed through the LPF. Signals with frequencies higher than the cut-off frequency are filtered out. Resonance - increases the amount of emphasis (boost) around the cutoff frequency Hi Pass - sets the frequency, above which signals are passed through the HPF. Signals with frequencies lower than the cut-off frequency are attenuated (filtered out). Amount - controls the amount of modulation applied to the raw page LPF from the filter's ADSR envelope. Filter Envelope The raw page filter envelope is used to shape timbre over time by automating the filter cutoff. Attack - controls how long it takes for the cutoff of the LPF to increase from zero to maximum level Decay - controls how long it takes for the cutoff of the LPF to decrease from maximum level to the sustain level Sustain - controls how the raw LPF cutoff behaves when a key is held down on the keyboard. With no sustain the envelope jumps to the release phase of the filter envelope. Release - controls how long it takes for the cutoff of the LPF to decrease from sustain level (after a key is released) to zero 11

12 Amount - a bi-polar parameter which controls how the raw page filter envelope automates the cutoff frequency of the LPF. With positive settings (clockwise) the LPF is affected by the envelope in a positive way, resulting in the attack opening the LPF at a rate justified by the attack setting. With negative settings (anti-clockwise) the LPF is affected in a negative way, resulting in the attack closing the LPF at a rate justified by the attack setting. White Noise/Pink Noise Both white and pink noise sources can be mixed with oscillator's 1 and 2 as well as the sub oscillators (see below). Pro II White and Pink Noise sources Both noise sources are routed to the raw page LPF and amplifier Mod Amt The Mod amount (see below) controls the amount that the Pro II's LFO modulates the raw oscillator waveforms in the raw page. Note: Remember that the LFO modulation section is on the preset page so you will have to switch back to the preset page to make changes to the LFO waveform, frequency and modulation destination routing when you are using the raw page. Follow The follow button (see above) links together the raw and preset mode s amplifier and filter sections so that changes made to these sections in the raw page will be 'mirrored' on the preset page. Note: when follow is on, changing the raw page LPF cutoff will also change the preset page LPF cutoff. 12

13 Master The raw page master fader (see below) controls the main volume of the Pro II instrument (the combined output of the currently loaded preset, raw oscillator waveforms and noise sources). Bypass The raw page bypass button (see below) bypasses the raw oscillators so that only the currently loaded Pro One preset page can be heard. Pro II Raw Page Master Volume and Bypass Switch 13

14 Sequencer The Pro II sequencer page (see below) gives you access to a comprehensive, analogue style 16 step sequencer which can either be synced to your host sequencer or used independently of host tempo. Each step can have different settings for both filter cutoff and resonance which when combined with the instruments "shuffle" (randomize) function can produce everything from subtle sample and hold type effects to completely insane and wild analogue sequences. Note: The sequencer is a great 'sketch pad' which can instantly give birth to new creative ideas. Pro II Sequencer Page To enable the Pro II's sequencer turn on the "SEQ switch on the sequencer page. The sequencer is now waiting for the C8 note to be pressed. To run the sequencer press the C8 note on the keyboard, indicated by its yellow colour (see next page). The note B7 will stop the sequencer. 14

15 Coloured Keys that control the PRO II Sequencer The Pro II sequencer can run in manual or synced modes. Sequencer Manual Mode In manual mode the sequencer runs independently of your host's tempo. To use manual mode make sure the 'SYNC' switch is set to off. In this case the 'speed' knob controls the speed at which the sequencer steps play. Sequencer Sync Mode To sync the Pro II's sequencer to your host sequencer you need to switch on the 'SYNC' switch. Note: When synced to your host sequencer the speed control does not work You will notice that the 'Sync' switch and the rate knob are graphically linked to show that they work together. In sync mode the rate controls the 'step-rate' of the sequencer which can be 1/4, 1/8 or 1/16. Note: The rate knob only works when in sync mode To run the sequencer when in sync mode you need to send a C8 note from your host. This is easily done by entering a C8 note on the first beat of a bar in the piano roll editor of your chosen host sequencer (see next page). Note: Make sure the Midi track you are sending the note on is set to control Kontakt 15

16 Sending C8 to start the Pro II sequencer when in 'Sync' mode Storing Sequences The Pro II's sequencer can store up to seven patterns using the pattern 'write to memory' buttons (see below). Pro II Sequencer Pattern Write and Read When you are happy with a pattern you have created you can store it by clicking on any one of the seven 'Write to Memory' buttons. To read/play the stored patterns back at any time press the read/play button of the sequence you want to play back. Note: by clicking on write button 1 the pattern is stored and is then recalled using read/play button 1 The read/play pattern can be switched while the sequencer is playing by sending notes within the range of C6 (switches to pattern 1) to F#6 (switches to pattern 7). Note: The keys indicated by the colour red on Kontakts keyboard show which notes are used to switch sequencer patterns 16

17 Sequencer Filter Switch The sequencer filter switch engages the Pro II's filters so they can be used to filter each step of the sequence. As soon as you have activated the filter switch the cutoff and resonance 'lanes' become active. Each step has a blue (cutoff) and red (resonance) slider which sets the cutoff and resonance independently for each step. Note: fun and unpredictable results can be obtained by clicking the 'shuffle' button which randomizes the notes, filter cutoff and resonance settings for each step. Effects Page The Pro II's effects page (see below) is powered by Kontakt 4's comprehensive built in effects which are combined with specially created reverb IR's (Impulse Responses) taken from our Eventide DSP-7000 Harmonizer. Pro II Effects Page Phaser The phaser module (see next page) uses notch filtering to create 'swirling' movement. This is achieved by mixing a filtered signal that has a number of frequency notches with the original signal. Sounds at the notch frequencies are cancelled out causing a distinctive phasing effect. 17

18 Use the on/off switch to activate/deactivate the phaser module. Pro II Phaser Module. Depth - increases the depth of the notches (how far up and down the frequency spectrum they sweep) Speed - controls how quickly the notches sweep up and down the frequency range Feedback - feeds back part of the filtered signal into the input of the phaser making the effect more intense Note: as you switch this in notice a 'widening' effect which can sound very nice on a range of synth sounds (especially for evolving pads) Distortion The distortion module (see below) applies a distortion effect to the input signal. Use the on/off switch to activate/deactivate the distortion module. The amount knob controls the amount of distortion added to the input signal. Note: Use distortion to 'dirty up' your synth sounds, it is very useful for growling synth bass and screaming lead sounds. 18

19 Reverb The reverb module (see below) makes use of Kontakts reverb convolution engine to simulate real spaces from big halls and tighter rooms to more experimental reverbs. Use the on/off switch to activate/deactivate the convolution reverb module. Pro II Reverb Module Amount - controls the balance of 'wet' signal verses dry Pre - controls the 'pre-delay' time of the reverbs first reflection. Longer pre-delay's produce a 'slap-back' effect often heard in big stadiums or large reverberant spaces Size - modifies the arrangement of the reverbs 'first reflections' to simulate rooms of varying sizes Chorus Chorus uses a simple 'variable delay' controlled by an LFO to simulate the effect of more than one sound playing at a time. In the natural world we hear a chorusing effect when two instruments play together in unison. Subtle differences in timing and pitch create a thick and full sound. Use the on/off switch to activate/deactivate the Chorus module. Pro II Chorus Module Amount - controls the amount of chorus applied to the input signal Rate - controls the chorus LFO frequency Depth - controls how much the total delay time changes over time (in other words the depth controls the amplitude of the chorus LFO) 19

20 Flanger The flanger is a similar effect to phasing, the difference being that it creates its distinctive 'whooshing' sound by mixing a sound with a delayed copy of itself. The delay changes in length which results in a 'pronounced' sweeping of the frequencies. Use the on/off switch to activate/deactivate the Flanger module. Pro II Flanger Module Rate - controls the rate of the Flanger LFO (how many times the notches sweep up and down) Depth - controls the depth of the Flanger LFO Phase - controls the phase of the Flanger LFO Color - controls the 'colour' of the Flange Effect Feedback - controls the amount of signal to be fed back into the input stage of the effect. Higher settings result in an even more 'pronounced' sweeping through the frequencies Delay The delay module (see below) is a time based effect which takes a copy of the input signal and plays it back at a time set by the 'delay time'. Pro II Delay Module Different delay times produce a wide range of sounds from subtle 'taps' to wild dub echoing feedback effects. Amount - controls the mix of delay verses the dry input signal 20

21 Rate - controls the delay time, shorter delays produce tight echoes (taps) while longer delays create huge echoing effects Feedback - controls the amount of delay to be fed back into the input. This effect is used to increase the intensity and 'build-up' of the echoes. Note: be careful, high feedback settings can cause a huge build up of sound which can be dangerous to your ears and potentially damage your speakers Controls Page The control page (see below) gives you control over mono/polyphonic modes with selectable note priorities, portamento, pitch bend range, unison (8 voice), keyboard velocity and curve response. Pro II Controls Page 21

22 Monophonic The Monophonic module (see below) is used to switch the Pro II polyphony modes to either monophonic (ON) or polyphonic (OFF). Pro II Monophonic Module Monophonic Mode In monophonic mode the Pro II behaves like a classic monosynth with only one note (voice) heard at a time, a lot like the original Pro One synthesizer. Note: Turn the 'Trigger On Release' switch ON to access advanced monophonic modes Using the Note Priority menu you can change the way notes are prioritized when you press and hold more than one note at a time. Using the different priorities you can easily emulate the behavior of the classic mono synths of the past. Note: experimentation is key with note priority For the purists among us, here is a handy list of old mono synths and the note priority that they used. Synthesizer ARP Odyssey Korg MS-20 Roland SH09 Note Priority Low Note Highest Note Highest Note Polyphonic Mode In polyphonic mode (monophonic mode off) the Pro II behaves like a polyphonic synthesizer enabling you to play multiple notes/voices at the same time. Note: use polyphonic mode when you want to play chords with the Pro II 22

23 Portamento The Portamento module (see below) works in conjunction with the Pro II's monophonic mode to create a smooth 'slide' between two pitchs at a rate justified by the 'portamento time'. Use the on/off switch to activate/deactivate the Portamento module. Pro II Portamento Module Time - controls the time it takes for the pitch to bend up/down between notes Pitchbend The Pitch Bend module (see below) is used to control the upper and lower limits (range) of the Pro II's pitch bend control. The maximum range can be set to +/- 12 semi tones enabling a pitch bend up or down of one octave. Note: use pitch bend to make synth parts more expressive, remember pitch bend can be automated in your sequencer of choice Unison The Unison module (see below) is used to 'thicken up' synth sounds. This works by increasing the voices which are played by one key and slightly detuning them against each other to create a fat chorusing type effect. 23

24 Pro II Unison Module Voices - selects the amount of unison voices Detune - controls the amount of detune applied to the unison voices. Spread - controls the panoramic position of the voices in the stereo field Velocity The velocity module (see below) is used to control how the Pro II responds to keyboard velocity. Pro II Velocity Module 24

25 Pro II Known Limitations 1. When in monophonic mode and using the sequencer, placing two identical notes one after another does not work. This is a conflict between the way the sequencer and mono mode work and unfortunately cannot be fixed. 2. When the sequencer's FILT switch is set to on, the filter controls in the preset and raw modes do not work as expected. This is because the sequencer has 'possession' of the filter and thus the filter switch in the sequencer page needs to be turned OFF to allow for standard operation of the raw and preset modes filters. 25

26 Pro One Patch List (Wave Alchemy - Pro II\Instruments\PRO ONE - Presets) Patch Name Key Span Looped ProOne_14 chord C1-E4 N ProOne_14 chord2 C2-C6 Y ProOne_14 chord3 A#1 - A#5 Y ProOne_14 chord3 filt sweep A#0 - A#3 Y ProOne_2Oct EH bass C1-C4 N ProOne_2Oct EH bass ramp filt C1-C4 N ProOne_2Oct EH bass ramp filt2 C1-C4 N ProOne_2Oct smooth C1-C4 Y ProOne_2oct SQ short C1-C4 Y ProOne_awkward 303 C1-C4 Y ProOne_banger A1-F3 Y ProOne_bleep sub C1-E4 Y ProOne_bleep sub2 C1-C4 Y ProOne_bleep sub3 C1-C#4 Y ProOne_brash C1-C4 Y ProOne_brassy F#1-C4 Y ProOne_brassy pad C1-C5 N ProOne_brassy2 C1-C5 N ProOne_Brut C1-C3 N ProOne_Brut2 C1-C3 Y ProOne_chord sub C1-C4 Y ProOne_chord sub no attack C1-C4 Y ProOne_clicky sub C1-C3 Y ProOne_Dark ramp filt bass C1-C4 Y ProOne_Dark ramp filt bass2 C1-C4 Y ProOne_Deep C1-C3 Y ProOne_Detuned smooth C1-C5 Y ProOne_diesel B0-C4 Y ProOne_disturbance C1-C5 Y ProOne_dnb monster C1-C5 N ProOne_dnb monster decay C1-C5 N ProOne_Downwards C1-C6 N ProOne_drippin ooze C1-E5 Y ProOne_drunk punk C1-C4 N ProOne_Dry C1-E4 Y ProOne_Dry2 C1-E4 Y ProOne_electro man C1-C5 Y ProOne_elektro C1-C4 Y ProOne_fat & wet A0-E3 Y ProOne_fat & wet3 C1-E4 Y ProOne_fat & wet4 C1-C4 Y ProOne_Fat saw sweep C1-C5 Y ProOne_Fatty saw C1-C3 Y ProOne_Filthy Bastard C1-C4 Y ProOne_Filthy Bastard no attack C1-C4 Y ProOne_fly by C1-C5 N ProOne_fly by2 C1-C5 N ProOne_FM chord G1-G4 Y 26

27 ProOne_FM clank G1-G4 Y ProOne_FM fat sweep C1-C4 Y ProOne_FM Filth C1-C3 Y ProOne_FM Filth3 C1-C#4 N ProOne_FM Filth4 C1-C#4 Y ProOne_FM lead C1-C4 Y ProOne_FM lead2 C1-C5 N ProOne_FM lead3 C1-C5 N ProOne_FM lead4 C1-C4 Y ProOne_FM madness C1-C5 Y ProOne_FM madness2 C1-C5 N ProOne_FM nasty sweep C1-C5 N ProOne_FM PWM sweep C1-C5 Y ProOne_FM sync C1-C5 Y ProOne_FM tines C1-C6 N ProOne_FM zap1 C1-C5 N ProOne_FM zap2 C1-C5 Y ProOne_FM zip C1-C5 Y ProOne_FX bank01 C1-C5 N ProOne_FX bank02 C1-C5 N ProOne_FX bank03 C1-C5 N ProOne_FX bank04 C1-C5 N ProOne_FX bank05 C1-C5 N ProOne_FX bank06 C1-C5 N ProOne_FX bank07 C1-C5 N ProOne_FX bank08 C1-C5 N ProOne_FX bank09 C1-C5 N ProOne_FX bank10 C1-C5 N ProOne_harmo sub C#1-C#4 Y ProOne_hazey lead C1-C5 Y ProOne_hollow sub C1-D4 Y ProOne_lapse C1-C5 Y ProOne_lapse chord C1-C5 Y ProOne_lapse spacey C1-C5 Y ProOne_lifter C1-C4 Y ProOne_mini square C1-C5 N ProOne_monstrous C1-C5 Y ProOne_motorhead F1-E4 N ProOne_motorhead short C1-E4 Y ProOne_obese C1-C4 Y ProOne_pammed C1-D4 Y ProOne_pinball bass C1-C4 N ProOne_PMW 5th C1-C6 Y ProOne_psy C1-C5 Y ProOne_psy TRISAW C0-C4 Y ProOne_psy TRISAW2 C0-C4 Y ProOne_psy TRISAW3 C0-C4 Y ProOne_PWM Bass (open) C1-C4 Y ProOne_PWM slow filt decay C1-C4 N ProOne_PWM slow filt decay2 C1-C4 N ProOne_PWM spacey lead C1-C5 Y 27

28 ProOne_PWM spacey lead2 C1-C5 Y ProOne_ramp to infinity C1-E2 N ProOne_Reso open bass C1-C3 Y ProOne_Reso short bass C1-C4 N ProOne_SAW 4th C1-C6 Y ProOne_SAW 5th C1-C6 Y ProOne_SAW 7th C1-C6 Y ProOne_Saw 7th pad C1-C6 Y ProOne_Saw filter decay smooth C1-C4 Y ProOne_Saw reso filter decay C1-C4 Y smooth ProOne_Saw reso filter sweep C1-C4 Y smooth ProOne_scrooge B0-A#4 Y ProOne_Short filt dec bass C1-C4 Y ProOne_Short filt dec bass2 C1-C4 Y ProOne_short saw decay C1-C5 N ProOne_slow sync C1-C5 Y ProOne_simple chord C1-C5 Y ProOne_simple chord2 C1-C5 Y ProOne_smack punch C1-C4 Y ProOne_Squelchy long ramp C1-C3 N ProOne_Squelchy short C1-C3 Y ProOne_sub bank C1-C5 N ProOne_sub bouncey C1-C3 Y ProOne_sub square C1-C4 Y ProOne_Sub1 C1-C4 Y ProOne_Sub2 C1-C3 Y ProOne_Sub3 C1-C3 Y ProOne_Sub4 C1-C3 Y ProOne_Sub5 C1-C3 Y ProOne_Sub6 C1-C3 Y ProOne_Sub99 C1-C3 Y ProOne_swell B0-C4 Y ProOne_swinger C1-C5 Y ProOne_swinger Q C1-C5 N ProOne_sync FM attack C1-A3 Y ProOne_sync FM slow attack C1-C4 Y ProOne_thin C1-C3 Y ProOne_thump sub C1-C4 Y ProOne_whip sub C#1-C#4 Y ProOne_whoop C1-C3 Y 28

29 Pro II Presets (Wave Alchemy - Pro II\Instruments\Pro II Presets) Pro II Kontakt version only Patch Name Keyspan Looped 4-pole lead C1-C6 Y acid blast C1-C6 Y acid blast square C1-C6 Y autumn leaves C1-C6 Y basic sub sine C1-C6 Y big bad square C1-C6 Y destruct C1-C6 Y epic bass C1-C4 Y fazy days C1-C6 Y fright night C1-C6 Y hackle C1-C6 Y hardstyle C1-C6 Y kush 7 th C1-C6 Y layered squares C1-C6 Y lush verb lead C1-C6 Y monstor chords C1-C6 Y moogist C1-C6 Y palm lead C1-C6 Y phatty C1-C6 Y pogo bass C1-C6 Y pwm worms C1-C6 Y rampage bass C1-C6 Y random detune C1-C6 Y rough trade C1-C6 Y sans square C1-C6 Y strut bass C1-C6 Y sub harm C1-C6 Y suck punch C1-C4 Y summer sun C1-C6 Y trancy strings C1-C6 Y transatlantic C1-C6 Y vowels C1-C6 Y wammy saws C1-C6 Y wammy squares C1-C6 Y winter blossoms C1-C6 Y woomp C1-C6 Y 29

30 Pro II Multi Presets (Wave Alchemy - Pro II\Instruments\Pro II Presets - Multi) Pro II Kontakt version only Patch Name Keyspan Looped atmos square C1-C6 Y big ob saws C1-C6 Y boc synth C1-C6 Y distant landscape C1-C6 Y distant landscape 2 C1-C6 Y empathy C1-C6 Y hydra pad C1-C6 Y jump C1-C6 Y kyoto C1-C6 Y legacy C1-C6 Y mini bass C1-C6 Y minor stabs C1-C6 Y minor stabs 2 C1-C6 Y monster C1-C6 Y pitchy bass C1-C6 Y plant lead C1-C6 Y psycho C1-C6 Y tough lead C1-C6 Y warning C1-C6 Y 30

31 Pro II Ableton Live Pack For Ableton Live users we have taken the 3.8GB Pro II core library of multi samples and remapped them to 152 Sampler presets. Each preset is grouped into an instrument rack with 8 assigned macros for quick and easy editing. Note: You will need Ableton Live 8.2 or above and Abletons 'Sampler' instrument to run the Pro II Live pack Live Pack Installation Currently Wave Alchemy live packs do not have a single executable file that installs sounds and presets directly into the Live Library. We hope to have this facility in the future. Instead the Pro II presets and core library are saved into an Ableton project folder which is installed on the user's machine and then exported into Live's Library. We have paid particular care and attention to the file structure of the Pro II project to ensure a clean and seamless integration after exporting into your Live Library. If you have purchased your Pro II directly from you will receive the download as an Ableton.alp file named "Wave Alchemy Pro II Live Pack.alp". After double clicking the project file, Live will load up. You will now be asked to select a destination to install the.alp project folder. Choose a suitable location on your machine to install the.alp project file containing the Pro II presets and core library. Note: Do not install into your live library at this stage 31

32 Once the.alp file is installed use Live's file browser window on the left of the screen to locate the project folder (see below) Locate Wave Alchemy Pro II Project You can now expand the Wave Alchemy Pro II project folder to gain access to all the of the Pro II instrument racks. Note: The first stage of the install is complete. You can now try out the presets by double clicking them or dragging them into Lives device drop area. 32

33 Exporting to your Live Library If you want to use the Pro II instrument racks in other projects you will need to export the contents of the project into your live library. To export all Pro II presets and core library into your live library you need to locate the Wave Alchemy Pro II Project folder, right click (PC) or ctrl click (MAC) and select "manage project" (see below). Right click (PC) or Ctrl click (MAC) and Choose Manage Project When you click "manage project" Live will perform a scan of all files (live sets, presets and media files) associated with the project. Once the scan is complete Live's file manager will appear to the right of the screen. Note: Under "project contents" in the file manager you will see 1 live set (empty), 152 Instrument Racks (Pro II Presets) and 6498 media files (Pro II core library WAV's) You are now ready to export the Pro II presets and accompanying core library to your Live Library. Under "export to library" click export (see below). 33

34 Export the Pro II instrument racks and core library into your Live Library Once Live has finished exporting you will find the Pro II instrument racks in your Live Library here: Presets\Instruments\Instrument Rack\WA Pro II\ And the Pro II Core Library (all WAV's) in your live library here: Samples\Wave Alchemy\WA Pro II\ You can now use any of the Pro II instrument racks in any of your projects 34

35 Note: once you have exported the Pro II presets and core library into your Live Library you can delete the original Wave Alchemy Pro II Live.alp file from your machine Contact Details If you experience any problems downloading, unpacking or installing the Pro II Live Pack after purchasing from please support at If you experience any problems downloading, unpacking or installing the Pro II Live Pack after purchasing from please support at 35

36 Reason Refill For Reason 5 users we have taken the 3.8GB Pro II core library of multi samples and remapped them to 152 NN-XT presets. Note: The Pro II Reason Refill is compatible with Reason 5+ Each preset has been tweaked using NN-XT's sound shaping parameters to achieve the best sound from the loaded waveforms. Either frequency modulation (tremolo) or amplitude modulation (vibrato) has been set up for each patch (depending on which sounds best), the intensity of which is controlled by midi Ctrl #1 (mod wheel). Note: mess around with the mod wheel when playing synth solo's Refill Installation Installing the Wave Alchemy Pro II refill is very straight forward. If you have purchased your Pro II directly from you will receive the download as a single zip file. Download the zip file to a suitable location on your machine and use an archive manager such as WinRAR to unpack. Once you have unpacked the file all you need to do is copy/move the Wave Alchemy Pro II.rfl file into the main Reason program folder on your machine. Load Reason and an instance of NN-XT into an empty reason rack (or an existing reason project). Click open on the NN-XT and locate the refill in the main Reason folder. You can now load and play any of the 152 Pro II presets into NN-XT. EXS24 Installation To install the Pro II EXS24 version unzip the Wave_Alchemy_Pro_II_exs24.zip to a suitable location on your machine and then copy the folder to the following location: username/library/application Support/Logic/Sampler Instruments Load up Logic and an instance of exs24 on a new instrument track. Use exs24's menu to browse, load and play the 152 Pro II presets. 36

37 Audio Demo Credits We would like to thank the following producers for their contribution to the Pro II audio demos: Moduler - Hector Lee - Avionik / Kevin Burke - Reuven Amiel - amiel7777@aol.com 37