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1. Tuning In Microtonality In Electronic Music by Scott R Wilkinson ISBN 0 88188 633 5 25 MIDI IMPLEMENTATION CHART Model Entity 1 00 Date 27 November 2005 Function Transmitted Recognized Remarks Basic Channel 1 to 16 1 to 16 Default Channel 1 1 Default X X No Modes supported Mode Messages X X Altered X X Note Number 0 to 127 0 to 127 Oscillator octaves have True Voice 0 to 127 greater range Velocity Note ON X O Note OFF X X Aftertouch Keys X O Assignable as CTR1 3 Channel D o or MMOD source Pitch Bend X O Control Change O O See notes Prog 0 39 0 39 Displayed as 1 40 Change True 0 39 0 39 System Exclusive O O System Common X X System Real Time X X All Notes Off O O Aux All Sound Off X O Messages Reset Controllers xX O Active Sense X X Notes CTR1 3 and MMOD can be assigned any controller from 1 95 Controllers recognised and transmitted are 0 Sound Bank 6 Data Entry 7 Volume 10 Pan 11 Expression 98 and 99 NRPN fine and coarse Controllers recognised but not transmitted are 11 Expression 64 Hold 89 LFO Sync Phase 90 LFO Sync Sustain 96 and 97 Data increment and decrement not part of midi standard O Yes X No 26 APPENDIX B NRPN Editing The Entity responds to Non Registered Parameter Number NRPN midi messages A sound parameter is selected by sending midi controller 99 and midi controller 98 messages These correspond
2. Sync 6 1 Sync 5 1 Sync 4 1 Sync 3 1 Sync 2 1 Sync 1 1 1 LFO cycle per whole note 1 bar of 4 4 Sync 1 2 Sync 1 3 Sync 1 4 1 LFO cycle per quarter note Sync 1 6 3 LFO cycles per half note Sync 1 8 Sync 1 12 3 LFO cycles per quarter note triplets Sync 1 16 Sync 1 24 Sync 1 32 Sync 1 48 Sync 1 96 1 LFO cycle per midi clock message Table 14 LFO5 and LFO6 Midi Synchronisation Rates LFO SYNC PHASE An LFO synchronised to midi will stay locked to the midi clock without any drift in phase However it may be necessary to define a starting phase for the LFO either at the start of a piece of music or at one or several points throughout its duration This is achieved using Midi continuous controller 89 undefined in the Midi Standard This continuous controller is called LFO Sync Phase If the data value of LFO Sync Phase is zero all LFOs that are synchronised to midi will start at the beginning of their cycle If the data value is 64 the LFOs start halfway through their cycle LFO Sync Phase only affects midi synchronised 20 LFO Sync Phase can be used to set the reset the phase at the start of a section of music Alternatively it can be used repeatedly to carefully adjust the rhythm If the LFO is set to restart on each note using the LFO sync parameter then LFO Sync Phase may be unnecessary because the LFO restarts its cy
3. 10 If you wish to incorporate parts of the Program into other free programs whose distribution conditions are different write to the author to ask for permission For software which is copyrighted by the Free Software Foundation write to the Free Software Foundation we sometimes make exceptions for this Our decision will be guided by the two goals of preserving the free status of all derivatives of our free software and of promoting the sharing and reuse of software generally NO WARRANTY 11 BECAUSE THE PROGRAM IS LICENSED FREE OF CHARGE THERE IS NO WARRANTY FOR THE PROGRAM TO THE EXTENT PERMITTED BY APPLICABLE LAW EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND OR OTHER PARTIES PROVIDE THE PROGRAM AS IS WITHOUT WARRANTY OF ANY KIND EITHER EXPRESSED OR IMPLIED INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU SHOULD THE PROGRAM PROVE DEFECTIVE YOU ASSUME THE COST OF ALL NECESSARY SERVICING REPAIR OR CORRECTION 12 IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER OR ANY OTHER PARTY WHO MAY MODIFY AND OR REDISTRIBUTE THE PROGRAM AS PERMITTED ABOVE BE LIABLE TO YOU FOR DAMAGES INCLUDING ANY GENERAL SPECIAL INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM INCLUDING BUT NOT LIMITED TO LOSS
4. 74 offset 30 release 75 FM source 31 FM 32 ENV2 attack 76 phase sync 33 decay 77 pan 34 sustain 78 level 35 release 79 NG level 36 General sound parameters EXT level 37 octave 80 stack 81 RM source A 38 polyphony 82 source B 39 portamento 83 pan 40 KVEL decay 84 level 41 balance 85 spread 86 LFO1 rate 42 pan 87 waveform 43 volume 88 sync 44 delay 45 level 46 Table 20 Entity Non Registered Parameter Numbers 28 MODULATION PARAMETER NRPNS When the NRPN coarse MSB is set to zero parameter numbers 0 88 are selected as shown in Table 15 For non zero coarse MSB values in the range 1 16 modulation sources are selected in combination with a destination defined by the fine LSB of the NRPN Modulation Source NRPN Coarse MSB NRPN numerical range CTR1 1 128 216 CTR2 2 256 344 CTR3 3 384 472 MMOD 4 512 600 KFLW 5 640 728 KVEL 6 768 856 VDIF 7 896 984 STDF 8 1024 1112 LFO1 9 1152 1240 LFO2 10 1280 1368 LFO3 11 1408 1496 LFO4 12 1536 1624 LFO5 13 1664 1752 LFO6 14 1792 1880 ENV1 15 1920 2008 ENV2 16 2048 2136 Table 21 Non Registered Parameter Numbers Modulations For example the CTR1 modulation depths have NRPNs of 128 216 CTR1 gt FLT cutoff NRPN 128 CTR1 gt FLT resonance NRPN 129 CTR1 gt FLT overdrive NRPN 130 CTR2 modulation depths have NRPNs of 256 344 CTR2 gt FLT cutoff NRPN 256 CTR2 gt FLT resonance NRPN 257 and so on EXCEPTIONS
5. OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES END OF TERMS AND CONDITIONS 37 APPENDIX E GNU Free Documentation License Version 1 2 November 2002 Copyright C 2000 2001 2002 Free Software Foundation Inc 59 Temple Place Suite 330 Boston MA 02111 1307 USA Everyone is permitted to copy and distribute verbatim copies of this license document but changing it is not allowed 0 PREAMBLE The purpose of this License is to make a manual textbook or other functional and useful document free in the sense of freedom to assure everyone the effective freedom to copy and redistribute it with or without modifying it either commercially or noncommercially Secondarily this License preserves for the author and publisher a way to get credit for their work while not being considered responsible for modifications made by others This License is a kind of copyleft which means that derivative works of the document must themselves be free in the same sense It complements the GNU General Public License which is a copyleft license designed for free software We have designed this License in order to use it for manuals for free software because free software needs free documentation a free program should come with manuals providing the same free
6. Table 9 EXTERNAL EXT parameters To see how much external signal is being supplied to the input press PAGE DOWN when selecting sounds Name Description Source A Select the source for the first input to the ring modulator See Table 11 Audio Sources Source B Select the source for the second input to the ring modulator See Table 11 Audio Sources Pan Position in sub mix supplied to stereo filter Level Level of ring modulator supplied to the stereo filter Table 10 RING MOD RM parameters Mnemonic Description O1 Oscillator 1 02 Oscillator 2 03 Oscillator 3 NG Noise generator a monophonic noise source uncorrelated with the main stereo noise generator output RM Ring modulator FLTL Filter output left FLTR Filter output right EXTL External input left EXTR External input right Table 11 Audio Sources 18 Name Description Rate Frequency of LFO This has a normal range of 0 1000 Values below zero provide midi clock synchronisation rates for LFO5 and 6 See Table 14 Wavform See Table 13 for LFO waveforms Sync See Table 15 for LFO synchronisations Delay Delay after new note before LFO level reaches maximum Level Output level of LFO This enables the depth of LFO modulation of a destination parameter to be varied Table 12 Low Frequency Oscillator parameters Although LFO5 and LFO6 are not independentl
7. Two parameters don t use modulation depths in the usual way These are Stack and Polyphony base parameter numbers 81 and 82 respectively NRPN messages for their modulation depths should not be transmitted Their base parameters should work fine 29 RECEIVING AND TRANSMITTING HIGH RESOLUTION NRPN DATA Entity internal parameter data is 14 bit A user value of zero corresponds to a high resolution data entry value of 8192 Continuous parameters typically have user values of zero or 8000 to 7999 corresponding to NRPN data values of 192 to 16191 Switched parameters like octaves take values as in the following example 8191 octave 1 8192 octave 0 8193 octave 1 8194 octave 2 High resolution NRPNs can be used for modifying sounds remotely without the need to use system exclusive High resolution NRPNs are transmitted from the Entity when MIDI NRPN DATA transmission is enabled see configuration parameters page 4 High resolution events are distinguished in a midi stream by having the Data Entry MSB immediately followed by the Data Entry LSB running status is not necessary 30 APPENDIX C ENTITY System Exclusive Encoding OxFO Start of Sysex 0x00 0x20 0x45 SoundArt MIDI ID 0x01 Product ID Chameleon 0x01 XXXX Device ID 0x00 0x0F 0x7F broadcast 0x01 0x01 Application ID 0x01 0x01 Entity Polyphonic XXXX Message ID Toria Data size variable XXXX Checksum XOR of all data bytes
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10. select the Stack parameter see page 22 then press PART UP or PART DOWN The notes that are subsequently played are recorded and used to define the stack The first note clears any existing stack The second and subsequent notes up to a total of six define the transposition for each of the stacked voices Once enough stacked voices have been defined press EDIT to go back to ordinary editing Subsequent notes are played according to the stack transpositions that have been defined PLAYING MONOPHONICALLY Entity does not have to play polyphonically The Polyphony parameter See page 22 may be set to on or off As well as being useful for synthesizer sounds the monophonic setting is useful for when Entity is being used as a filter for external signals Also monophonic playing is automatically selected when the amount of stacking reduces the number of notes that can be played to one A particular feature of monophonic playing style is the ability to revert to a previously held note These modulation sources have the same values in each voice LFO5 and LFO6 are shared by all voices but their output levels can be different in each voice 13 when a currently held note is released On some synthesizers something similar is implemented by giving the lowest note played priority or the highest note played In Entity the most recently played note always takes priority but if any notes are still played when the most recent n
11. selected This is the first most common parameter for editing and is achieved by the turning CTR1 and CTR2 fully anti clockwise Parameter mapping to CTR1 and CTR2 has been chosen with speed in mind Another frequently accessed parameter is sound volume This is accessed by turning CTR1 and CTR2 both fully clockwise After a while this interface can be extremely quick to use as parameters and pages become associated with physical rotation of CTR1 and CTR2 When setting up modulations using fast editing the volume control is used to select a modulation source This is the most counter intuitive aspect of this interface However it pays off in terms of speed For the ultimate in editing speed toggle the SHIFT key to activate shifted keys Now the VALUE DOWN key zeroes the parameter value and VALUE UP restores it many parameters can be zeroed and restored with their values stored internally until the sound is saved The PART UP and PART DOWN keys scan and find the non zero modulation destinations and sources making it easy to identify the structure of a sound and change or remove modulations as required If the synthesizer configuration is saved see Setting Midi Channel And Other Configuration Parameters on page 6 with high speed editing activated then this will automatically be selected the next time Entity is switched on With high speed editing activated configuration parameters are also selected using CTR1 during configuration editi
12. stream when replayed to the Entity will modify the current configuration but not save it MIDI SAVE ALL Save all sounds and configuration data to midi The resulting system exclusive stream when replayed to the Entity will write all the sounds and configuration data to flash MIDI SAVE BANK Save current bank to midi The resulting system exclusive stream when replayed to the Entity will save all the sounds to flash If this is done in error however the previous versions should still be accessible MIDI SAVE SOUND Save sound to midi hold EDIT to save The resulting system exclusive stream when replayed to the Entity will modify the current sound but not save to flash Table 18 Configuration parameters 24 CASCADING If you re lucky enough to have more than one Chameleon it s possible to use this to increase the number of voices available in Entity Up to eight Chameleons can be cascaded giving a total of 48 voices Although this seems like more than would ever be necessary for polyphony consider how these might be used for stacked voices For two cascaded Chameleons set the Midi Cascade parameter see page 23 to 1 2 and 2 2 respectively The second Chameleon receives midi from the first It must receive the same note data so the Midi Thru parameter see page 23 must be ON Furthermore both Chameleons must have the same sounds selected at the same time NRPN edi
13. this License 7 If aS a consequence of a court judgment or allegation of patent infringement or for any other reason not limited to patent issues conditions are imposed on you whether by court order agreement or otherwise that contradict the conditions of this License they do not excuse you from the conditions of this License If you cannot distribute so as to satisfy Simultaneously your obligations under this License and any other pertinent obligations then as a consequence you may not distribute the Program at all For example if a patent license would not permit royalty free redistribution of the Program by all those who receive copies directly or indirectly through you then the only way you could satisfy both it and this License would be to refrain entirely from distribution of the Program If any portion of this section is held invalid or unenforceable under any particular circumstance the balance of the section is intended to apply and the section as a whole is intended to apply in other circumstances It is not the purpose of this section to induce you to infringe any patents or other property right claims or to contest validity of any such claims this section has the sole purpose of protecting the integrity of the free software distribution system which is implemented by public license practices Many people have made generous contributions to the wide range of software distributed through that system in reliance on consistent
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15. to the coarse and fine parameter numbers The Entity has 89 base parameters Midi controller 98 defines the base parameter and midi controller 99 is used to define the modulation source After the parameter is defined its value can be modified using Data Button Increment or Decrement control messages midi controllers 96 and 97 Alternatively data entry can be used using midi controllers 6 coarse and 7 fine DYNAMIC DATA RANGING Most Entity parameters have a wide range typically 0 to 7999 or 8000 to 7999 enabling extreme settings to be made and at high precision However useful values are typically in a smaller part of this range Controlling a parameter using NRPN edits from a 128 step device such as a potentiometer or a foot pedal requires an appropriate range of Entity parameter values be assigned to the 128 possible potentiometer values This will ensure that potentiometer adjustments made during performance are appropriate for the kind of effects a musician would like to achieve However it is also desirable to be able to change parameters at a fine level of detail and over the whole range of possible values This is usually required when editing a sound from software running on a computer Dynamic data ranging makes both these kinds of operation possible If the Data Entry fine data value midi controller 38 is received without a preceding coarse data value midi controller 6 then it is assumed that the transmitting d
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17. which is generated by thermal noise in analogue components such as resistors and transistors RING MODULATOR A pair of audio signals called A and DI are processed by the ring modulator This generates an output signal comprising the harmonic sum and difference of the input signals The ring modulator output can be panned in the submix supplied to the filter EXTERNAL INPUT Stereo input signals supplied to the Chameleon can be processed by the filters and or used as audio modulation sources For example Entity need not be used only as a synthesizer The filters can be used simply for processing external sounds MODULATION SOURCES Each voice in the Entity has four LFOs numbered LFO1 to LFO4 These can be used for applying pitch vibrato or whatever effect is required that should be separately implemented in each voice Two additional LFOs LFO5 and LFO6 are common to all voices These may be used to modify the sound as a whole For example if pan position is modulated by LFO5 or 6 the sound as a whole will move from left to right If LFO1 is used to modulate pan the effect may become less clear when several notes are played at once because each voice has a different pan position Of course this can be just what s needed for textural depth in a sound Each voice has two envelopes ENV1 and ENV2 using the classic ADSR configuration Three real time control modulation sources are provided CTR1 to CTR3 These are derived from front pan
18. Attack Attack time the time it takes for the envelope to reach maximum after the start of a new note Decay Decay time the time it takes for the envelope to decay to the sustain level after the attack phase has completed Sustain Sustain level the level sustained after the decay phase for the remainder of the duration of the note Release Release time the time it takes for the envelope to decay to zero after the note is released Table 16 ENV parameters The operation of envelopes depends on playing style If the next note is played before the previous one is released that is considered legato playing In this case envelopes start the attack phase at whatever level had previously been reached If the Portamento parameter described below is non zero then legato playing is always assumed Otherwise the envelope is set to zero at the start of the attack phase Name Description Octave Octave of keyboard This affects KFLW so if KFLW is not used to affect oscillator pitch this parameter will have no effect whereas oscillator octave settings always have an effect Stack Switches stacked voices on or off The number and transpositions of stacked voices are defined during stack edit described on page 13 Polyphony When off the synth is monophonic although voices can still be stacked Portamento The time taken to change pitch between successive notes If this is non zero then
19. ENTITY User s Manual version 1 01 Copyright 2005 A R Hardie Bick www entitysynth net Permission is granted to copy distribute and or modify this document under the terms of the GNU Free Documentation License Version 1 2 or any later version published by the Free Software Foundation with no Invariant Sections no Front Cover Texts and no Back Cover Texts A copy of the license is included in the section entitled GNU Free Documentation License Chameleon graphic on page 8 Copyright 2001 2004 Soundart TABLE OF CONTENTS S mmary of Feat r S agent cones EE EE EE d 5 Basic Operating Instructions Selecting soundS E E 8 Sound version ACCES S a tege 9 Saving SOUMAS TEE 8 U EE 9 Editing and saving Configuration settings ceeeeeeeeeneeeees 10 Level N tere seieerugg Akte eege deteveiverteveaecceys 10 Editing Sounds EE 11 GE e WE 11 Setting UP a modulation routing 0 eee eee teeter eeeeeeeeeeeeteeeeeteeeeeees 12 leiere Ree 13 Playing monophonically EEN 13 Nell e EE 14 PAS SOU e E 14 tips ae ANIC ES coat nt ate ke crete ace ete eect na hs 15 Entity Quick Reference Chart ccsceessceeesseeeesacesesaeeseaaeeseaaeeseaeeeenaaeees 16 Parameter specifications ge secessecdcevseevenedevessteetueisedetuendsceeetentenenevectiteecne 17 lge 17 Oscillator parameters EE 17 Noise generator parameters ccccesseeeeeeeeseeeeeeeseeeeeeseeeeeees 18 External Input parameters 2 cccescc
20. N Switch to Switch to Switch to editing sound editing Exit configuration selection parameter EDIT HOLD Save sound Save sound Save config or save to midi SHIFT EDIT Switch to configuration Switch to configuration EDIT SHIFT i High speed editing on off High speed editing on off PART UP Select more T recent edited version editing Find 8 modulation or SE PART stack destinations PART DOWN Select previous version Switch to Select source a editing SHIFT PART e GROUP Select group UP DOWN PAGE Monitor input output Select page in current group UP DOWN levels PARAM Select parameter in current Select configuration UP DOWN Select sound bank page SHIFT VALUE Restore previous non zero Restore user value UP value SHIFT VALUE Set value to zero can be Set value to default DOWN restored later Press EDIT key for one second Save to midi occurs instead of save config when one of the save to midi sysex parameters is selected 16 PARAMETER SPECIFICATIONS Parameter Description Cutoff Filter cutoff frequency in semitones 60 0 middle C 69 0 A440 Resonance Filter resonance Values over 700 cause self oscillation Overdrive Filter overdrive Affects the way that filter input signals combine with resonance and the level of filter distortion 0 no input signal 1000 maximum distortion Table 6 FILTER parameters Name Description Brigh
21. ONDITIONS FOR COPYING DISTRIBUTION AND MODIFICATION 0 This License applies to any program or other work which contains a notice placed by the copyright holder saying it may be distributed under the terms of this General Public License The Program below refers to any such program or work and a work based on the Program means either the Program or any derivative work under copyright law that is to say a work containing the Program or a portion of it either verbatim or with modifications and or translated into another language Hereinafter translation is included without limitation in the term modification Each licensee is addressed as you Activities other than copying distribution and modification are not covered by this License they are outside its scope The act of running the Program is not restricted and the output from the Program is covered only if its contents constitute a work based on the Program independent of having been made by running the Program Whether that is true depends on what the Program does 1 You may copy and distribute verbatim copies of the Program s source code as you receive it in any medium provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice and disclaimer of warranty keep intact all the notices that refer to this License and to the absence of any warranty and give any other recipients of the Program a copy of this License along with the Progr
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26. ay choose any version ever published not as a draft by the Free Software Foundation 43
27. ceeeeeseeeeeeeeceeeeeneeeeeneneeseeeees 18 Ring Modulator parameters AAA 18 AUGIO SOUNGES sssini np ei eaaa heared ieee elaeaae 18 FO Parameters sesinin e a E R e A Eia piaia 19 EFO Waveforms rsss s e At Nhl ce Oa tc be 19 LFO midi synchronisation EE 20 LFO internal synchronisations ssseeseeesseeseereerrrrrnresernsrrrsrnrern 21 Envelope parameters 2 cccssccceeeeseeceeeeesceecenerseeeeeeneseneeeeseceeeess 22 General sound parameters cceecceeeeseeeeeeeeeeeeeeeeseenesaeesenaeeneaes 22 Configuration parameters SEENEN 23 Cascading multiple Chameleons AA 25 Microt nality E 25 APPENDICES A Midi Implementation Chart 0 0 0 0 cceccceescceeeseceteseeeseseeeesseeeeeeeeeeeeeeaas 26 B NRPN EIUN KEE 27 C System Exclusive Messages ek 31 D Entity Statt eege ee ed enges 33 E GNU Free Documentation License sssseesseesseeseeresrrertnertrrsrrrsrerere 38 LIST OF FIGURES AND TABLES Figure 1 Entity Voice Architecture c ccccceecccccessececeeeeeeeeeeeteseeeeetenes 5 Figure 2 Chameleon Front Panel cccceessceeeeseeeeseeeeesaeeseeaeensnaeeesaes 8 Table 1 Key sequence for Saving SOUNAS ccccceeeeseeceeeeeeeeeeeeeensees 9 Table 2 Key functions when naming sounde A 9 Table 3 Sound Groups and Pages 11 Table 4 Modulation Sources CNS de EEN areas 13 Table 5 Entity Quick Reference ccccceccssseeceesseeeeeeeeeeeeeesseeeeesseaeeesee 16 Table 6 FILTER paramete
28. cillator 1 Pitch is displayed in the following way OSCILLATOR oi PITCH 80 00 Press PART UP or PART DOWN to define a modulation for Oscillator 1 CTRi gt O1 PITCH 567 Press PART UP DOWN to select the source as one of CTR1 CTR2 CTR3 MMOD KFLW KVEL VDIF STDF LFO1 6 ENV1 or ENV2 Adjust the modulation depth using the rotary encoder or VALUE UP DOWN keys When fast editing is activated the volume control can also be used to select the source making it possible to define modulations very quickly Any number of modulation depths can be defined The destination parameter can be selected using the GROUP PAGE and PARAM keys and of course CTR1 and CTR2 if fast editing is active The modulation depth can be negative or positive and has a range of 8000 to 7999 although values are usually set in the range 1000 to 1000 Once the modulation routing has been set up press EDIT to go back to ordinary parameter editing MODULATION ROUTING NAVIGATION With so many modulation possibilities it is impossible to remember exactly how a sound is constructed It is helpful to be able to tell very quickly which modulation sources are affecting a particular parameter Also it is helpful to be able to list the parameters that are being affected by a particular modulation source Both these functions are provided With modulation editing selected choose a modulation source by repeated pressing of the PART UP DOWN keys hint mos
29. claimer the original version will prevail If a section in the Document is Entitled Acknowledgements Dedications or History the requirement section 4 to Preserve its Title section 1 will typically require changing the actual title 9 TERMINATION You may not copy modify sublicense or distribute the Document except as expressly provided for under this License Any other attempt to copy modify sublicense or distribute the Document is void and will automatically terminate your rights under this License However parties who have received copies or rights from you under this License will not have their licenses terminated so long as such parties remain in full compliance 10 FUTURE REVISIONS OF THIS LICENSE The Free Software Foundation may publish new revised versions of the GNU Free Documentation License from time to time Such new versions will be similar in spirit to the present version but may differ in detail to address new problems or concerns See http www gnu org copyleft Each version of the License is given a distinguishing version number If the Document specifies that a particular numbered version of this License or any later version applies to it you have the option of following the terms and conditions either of that specified version or of any later version that has been published not as a draft by the Free Software Foundation If the Document does not specify a version number of this License you m
30. cle at the start of each note anyway LFO SYNC SUSTAIN A piece of music having a variable tempo may require an LFO to synchronise to the midi clock throughout its duration However it may be useful to be able to sustain a previously synchronised LFO rate during a section having a different tempo This is achieved using Midi continuous controller 90 undefined in the Midi Standard This continuous controller is called LFO Sync Sustain If the data value of LFO Sync Sustain is greater than 63 then midi synchronised LFO rates are sustained at their current values regardless of subsequent changes in the midi clock rate LFO Sync Sustain is released by sending an LFO Sync Sustain event with a data value of 63 or less After this midi synchronised LFOs return to tracking the midi clock rate as usual Name Description Off LFO is free running Note Restart at the beginning of each note LFOx Anti Lock LFO in antiphase with LEON LFOx Quad Lock LFO in quadrature with LEON LFOx S amp H Sample and hold LFO when LFOx restarts its cycle LFOx NSH Note sample and hold Restart LFO at the beginning of each note then sample and hold LFO when LFOx restarts its cycle Note S amp H Sample and hold LFO at the beginning of each note Table 15 LFO internal synchronisations LFO5 and LFO6 don t support this synchronisation LFO5 and LFO6 cannot phase lock to LFO1 4 21 Name Description
31. dio input LFO LFO1 Low frequency oscillators LFO2 LFO1 to LFO4 are unique to LFO3 each voice LFO5 and LFO6 are common to all voices LFO4 LFO5 LFO6 ENV ENV1 Envelopes ENV2 General General sound parameters Table 3 Sound Groups and Pages Once the group and page and parameter have been selected the parameter s value can be modified using the rotary encoder or the VALUE UP DOWN keys As an alternative to using the GROUP PAGE and PARAM keys it is possible to use CTR1 to select the parameter and CTR2 to select the page and group This form of editing is far quicker than using the keys to select parameters Further details on fast editing are given on page 14 Fast editing is possible when the LEDs above CTR1 and CTR2 are lit It can be switched off or back on again by pressing and holding EDIT followed briefly by the SHIFT key Sometimes it is useful to set a value quickly to zero This can be done by pressing SHIFT VALUE DOWN A parameter whose value has been zeroed in this way can be returned to its original value by pressing SHIFT VALUE UP 11 MODULATION ROUTING Any parameter with two exceptions can be modulated by any of the sixteen modulation sources Any combination of modulation sources can be used to affect in differing amounts the same destination parameter Here is an example of setting up CTR1 to control the pitch of Oscillator 1 Use the GROUP PAGE and PARAM keys to select Oscillator 1 pitch Os
32. doms that the software does But this License is not Limited to software manuals it can be used for any textual work regardless of subject matter or whether it is published as a printed book We recommend this License principally for works whose purpose is instruction or reference 1 APPLICABILITY AND DEFINITIONS This License applies to any manual or other work in any medium that contains a notice placed by the copyright holder saying it can be distributed under the terms of this License Such a notice grants a world wide royalty free license unlimited in duration to use that work under the conditions stated herein The Document below refers to any such manual or work Any member of the public is a licensee and is addressed as you You accept the License if you copy modify or distribute the work in a way requiring permission under copyright law A Modified Version of the Document means any work containing the Document or a portion of it either copied verbatim or with modifications and or translated into another Language A Secondary Section is a named appendix or a front matter section of the Document that deals exclusively with the relationship of the publishers or authors of the Document to the Document s overall subject or to related matters and contains nothing that could fall directly within that overall subject Thus if the Document is in part a textbook of mathematics a Secondary Section may not explain any math
33. e locking resonance reduction and distortion without high harmonics The Entity filter is a faithful recreation of a real analogue filter in the digital domain Entity is open source software released under the GPL so anyone who wishes to look at the filter source code can download it at http www entitysynth net OSCILLATORS Three audio oscillators provide waveforms that can vary continuously between sine wave and sawtooth or sinewave and square wave Beyond these limits the oscillators can reach instability distortion and random noise depending on the requirements of the sound Each oscillator can have its waveform further shaped by a phase parameter In the case of the sawtooth waveform the phase parameter has the same effect as having two oscillators with a phase offset By sweeping the phase parameter with an LFO a chorus effect is produced For square waveforms the phase parameter is more subtle In both cases the phase parameter can be used to greatly vary the tonal characteristics of an oscillator Frequency modulation can also be applied to each oscillator The FM source can be selected from another oscillator the noise generator the external input the filter and so on Oscillator outputs are individually panned in the submix that supplies the stereo filters NOISE GENERATOR Stereo white noise carefully simulates noise sources found in analogue circuitry Specifically the noise has a Gaussian probability distribution
34. e the Document itself or if the original publisher of the version it refers to gives permission For any section Entitled Acknowledgements or Dedications Preserve the Title of the section and preserve in the section all the substance and tone of each of the contributor acknowledgements and or dedications given therein Preserve all the Invariant Sections of the Document unaltered in their text and in their titles Section numbers or the equivalent are not considered part of the section titles Delete any section Entitled Endorsements Such a section may not be included in the Modified Version Do not retitle any existing section to be Entitled Endorsements or to conflict in title with any Invariant Section Preserve any Warranty Disclaimers 41 If the Modified Version includes new front matter sections or appendices that qualify as Secondary Sections and contain no material copied from the Document you may at your option designate some or all of these sections as invariant To do this add their titles to the list of Invariant Sections in the Modified Version s license notice These titles must be distinct from any other section titles You may add a section Entitled Endorsements provided it contains nothing but endorsements of your Modified Version by various parties for example statements of peer review or that the text has been approved by an organization as the authoritative definition of a standard You ma
35. el potentiometers on the Chameleon and also from midi An additional modulation source MMOD is midi only and is typically derived from the modulation wheel of a keyboard The note velocity is provided as a modulation source called KVEL which can be set to decay from its initial value like an envelope KFLW provides a key follower value or pitch value which is usually supplied to control the pitch of the oscillators according to the note played on the keyboard However this does not always have to be the case Two additional values are provided VDIF the voice difference is a value that depends on the voice number If you want to spread the voices in a chord across the stereo image you can do this by modulating the pan position by VDIF Another typical use for VDIF is when it is applied to the rates of LFO1 4 ensuring that each voice s LFOs have slightly different rates STDF stack difference is used when voices are stacked together For example if you want to stack two voices per note then you might use STDF to detune the voices from each other and also to pan so that they are positioned at right and left STDF and VDIF can be used in combination When two voices are stacked they are given the same VDIF value but different STDF values A second note will have another VDIF value applied to its two voices and so on For further details on modulation sources see page 13 STACKING Up to six voices can be stacked o
36. ematics The relationship could be a matter of historical connection with the subject or with related matters or of legal commercial philosophical ethical or political position regarding them 38 The Invariant Sections are certain Secondary Sections whose titles are designated as being those of Invariant Sections in the notice that says that the Document is released under this License If a section does not fit the above definition of Secondary then it is not allowed to be designated as Invariant The Document may contain zero Invariant Sections If the Document does not identify any Invariant Sections then there are none The Cover Texts are certain short passages of text that are listed as Front Cover Texts or Back Cover Texts in the notice that says that the Document is released under this License A Front Cover Text may be at most 5 words and a Back Cover Text may be at most 25 words A Transparent copy of the Document means a machine readable copy represented in a format whose specification is available to the general public that is suitable for revising the document straightforwardly with generic text editors or for images composed of pixels generic paint programs or for drawings some widely available drawing editor and that is suitable for input to text formatters or for automatic translation to a variety of formats suitable for input to text formatters A copy made in an otherwise Transparent file format whose mark
37. evice is a potentiometer or other limited resolution device The fine data entry values are translated automatically to cover a range suitable for the currently selected parameter For example filter cutoff will cover values from 25 0 to 130 0 Oscillator FM routing will switch between the nine different audio sources over the range of the potentiometer For precise editing data entry values are sent as a pair with the coarse MSB followed by the fine LSB data values In other words midi controller 6 followed by midi controller 38 It is not necessary for these to be combined as part of a running status sequence When data increment and decrement controllers are used the parameter is always modified according to its highest level of resolution Entity Non Registered Parameter Numbers are detailed on the following pages 27 FLT cutoff 0 LFO2 rate 47 resonance 1 waveform 48 overdrive 2 sync 49 delay 50 O1 brightness 3 level 51 phase 4 wavetype 5 LFO3 rate 52 octave 6 waveform 53 pitch 7 sync 54 offset 8 delay 55 FM source 9 level 56 FM 10 phase sync 11 LFO4 rate 57 pan 12 waveform 58 level 13 sync 59 delay 60 02 brightness 14 level 61 phase 15 wavetype 16 LFO5 rate 62 octave 17 waveform 63 pitch 18 sync 64 offset 19 delay 65 FM source 20 level 66 FM 21 phase sync 22 LFO6 rate 67 pan 23 waveform 68 level 24 sync 69 delay 70 03 brightness 25 level 71 phase 26 wavetype 27 ENV1 attack 72 octave 28 decay 73 pitch 29 sustain
38. istribution of the source code even though third parties are not compelled to copy the source along with the object code 4 You may not copy modify sublicense or distribute the Program except as expressly provided under this License Any attempt otherwise to copy modify sublicense or distribute the Program is void and will automatically terminate your rights under this License However parties who have received copies or rights from you under this License will not have their licenses terminated so long as such parties remain in full compliance 5 You are not required to accept this License since you have not signed it However nothing else grants you permission to modify or distribute the Program or its derivative works These actions are prohibited by law if you do not accept this License Therefore by modifying or distributing the Program or any work based on the Program you indicate your acceptance of this License to do so and all its terms and conditions for copying distributing or modifying the Program or works based on it 35 6 Each time you redistribute the Program or any work based on the Program the recipient automatically receives a license from the original licensor to copy distribute or modify the Program subject to these terms and conditions You may not impose any further restrictions on the recipients exercise of the rights granted herein You are not responsible for enforcing compliance by third parties to
39. legato playing is assumed and envelopes are not reset to zero at the start of the attack phase Also oscillator phase sync will not occur See also page 14 KVEL decay The time taken for the KVEL parameter to decay from the keyboard velocity value of a new note down to zero Balance Relative levels of left and right filter outputs Spread Width of stereo field O0 left and right both panned centrally 1000 left and right both panned left and right 1000 left and right panned right and left Pan Location of centre of stereo field Volume Output level of sound Table 17 General sound parameters 22 CONFIGURATION PARAMETERS Name Description MIDI RX CHANNEL Define midi receive channel There is an additional setting of ALL so that data on any midi channel or intended for any Entity synthesizer will be recognised MIDI TX CHANNEL Define midi transmit channel MIDI DEVICE ID Define midi system exclusive device ID used during transmission and reception of system exclusive data MIDI THRU Switch on or off echoing of midi events from midi input to midi output on back panel MIDI PITCH BEND Select number of semitones for midi pitch bend range MIDI NRPN DATA Select transmission and or reception of parameter changes using Non registered parameter numbers page 27 MIDI VOLUME Select transmission and or reception of midi volume fro
40. ll Sounds amp Global Request Ox0C Message ID Qx0C All Sounds and Global Request 32 APPENDIX D GNU GENERAL PUBLIC LICENSE Version 2 June 1991 Copyright C 1989 1991 Free Software Foundation Inc 59 Temple Place Suite 330 Boston MA 02111 1307 USA Everyone is permitted to copy and distribute verbatim copies of this license document but changing it is not allowed Preamble The licenses for most software are designed to take away your freedom to share and change it By contrast the GNU General Public License is intended to guarantee your freedom to share and change free software to make sure the software is free for all its users This General Public License applies to most of the Free Software Foundation s software and to any other program whose authors commit to using it Some other Free Software Foundation software is covered by the GNU Library General Public License instead You can apply it to your programs too When we speak of free software we are referring to freedom not price Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software and charge for this service if you wish that you receive source code or can get it if you want it that you can change the software or use pieces of it in new free programs and that you know you can do these things To protect your rights we need to make restrictions that forbid anyone to deny you these rights or
41. m the front panel Volume control MIDI PROG CHANGE Select transmission and or reception of midi program change information Sound bank changes are included with this data MIDI CONTROLLERS Select whether midi controller events will be off sent received or sent and received MIDI CTR1 RTC Select which midi controller number CTR1 modulation events will be sent and received on MIDI CTR2 RTC CTR2 midi controller number as above MIDI CTR3 RTC CTR3 midi controller number as above MIDI MMOD RTC Select which midi controller number midi modulation events will be sent on modulation source MMOD ENCODER gt CTR1 During sound selection the rotary encoder can be used as a fine control for CTR1 This parameter selects that function This is very useful for precise filter frequency adjustment and exploring harmonic series MIDI CASCADE Two or more Chameleons can be cascaded to increase the number of voices available For two Chameleons the first must have this parameter set to 1 2 and the second must have this parameter set to 2 2 23 Name Description MASTER TUNING Define the frequency for A above middle C Usually this is 440 Hz The frequency can be set to a high precision but the internal quartz clock may not be as accurate as the parameter s precision suggests MIDI SAVE CONFIG Save configuration data to midi The resulting system exclusive
42. ng see page 10 See the Entity quick reference chart on page 16 for a summary of key actions 14 TIPS AND TRICKS A keyboard isn t necessary to use Entity When selecting sounds GROUP DOWN will generate a low E and GROUP UP will generate A 440 This may be useful when using Entity for effects for which a keyboard may be unnecessary Entity can be used as a filter for processing analogue signals supplied to the Chameleon s external inputs When selecting a sound configured for filtering you need to play a note to activate the sound GROUP UP or GROUP DOWN will do this This enables you to use Entity as a stand alone filter and processor without the need for a keyboard The GROUP UP and GROUP DOWN keys also generate an all notes off signal when they are released which may be useful for clearing notes Resonating filters can be used in a variety of ways At high levels of resonance individual harmonics can be picked out of a tone Melodies can even be played in this way However this requires extremely precise control of the filter s cutoff frequency which may not be possible using CTR1 or a midi controller The rotary encoder can be used as a fine control for CTR1 by setting the Encoder gt CTR1 parameter to ON see page 23 Sounds must then be selected using the VALUE UP DOWN keys for sound selection The encoder works as usual when editing sounds 15 ENTITY QUICK REFERENCE EDITING KEY SOUND SELECTION CONFIGURATIO
43. nted covers of the Document numbering more than 100 and the Document s license notice requires Cover Texts you must enclose the copies in covers that carry clearly and legibly all these Cover Texts Front Cover Texts on the front cover and Back Cover Texts on the back cover Both covers must also clearly and legibly identify you as the publisher of these copies The front cover must present the full title with all words of the title equally prominent and visible You may add other material on the covers in addition Copying with changes limited to the covers as long as they preserve the title of the Document and satisfy these conditions can be treated as verbatim copying in other respects If the required texts for either cover are too voluminous to fit legibly you should put the first ones listed as many as fit reasonably on the actual cover and continue the rest onto adjacent pages If you publish or distribute Opaque copies of the Document numbering more than 100 you must either include a machine readable Transparent copy along with each Opaque copy or state in or with each Opaque copy a computer network location from which the general network using public has access to download using public standard network protocols a complete Transparent copy of the Document free of added material If you use the latter option you must take reasonably prudent steps when you begin distribution of Opaque copies in quantity to ensure that this Tr
44. nto each note Any combination of notes can be programmed into the stack which is in effect a list of up to five note transposition values that are applied to the note that is being played Wherever possible polyphonic playing is provided For example a stack of two voices per note in a six voice system will give three note polyphony CASCADING When six voices are not enough additional Chameleon units can be cascaded to increase the number of voices available Up to eight Chameleons can be cascaded in this way VDIF and STDF values are generated as if all the voices reside on the same synthesizer See page 25 for more details on cascading BASIC OPERATING INSTRUCTIONS group page param value ENAN Figure 2 Chameleon Front Panel SELECTING SOUNDS Entity powers up with an interface for selecting different sounds There are five sound banks A to E in which sounds can be stored containing up to forty sounds each An additional bank X contains preset sounds When Entity is initially installed on a Chameleon bank A contains a copy of the sounds in bank X The sound bank is selected using the PARAM UP DOWN keys and sounds are selected using the VALUE UP DOWN keys or the rotary encoder Note that Entity may be configured so the rotary encoder during sound selection is used as a modulation source in which case sounds are selected using the VALUE UP DOWN keys only see page 23 for how to configure the encoder for modulati
45. on Selected sounds are activated only after the next note is played This makes it possible to select a sound without jumping through unwanted sounds It also makes it easier to synchronise sound changes with note events during a live performance SAVING SOUNDS To save a sound press and hold the EDIT key for one second You can then select the sound number and bank you want to store the sound in which may be okay as it is Then press EDIT to name the sound Press EDIT a third time to save the sound At any time in this sequence the SHIFT key cancels saving Here is a summary of the key sequence for saving a sound Step Key Result 1 EDIT HOLD After holding down the EDIT key for one second the EDIT and SHIFT LEDs flash alternately Select destination sound bank and number if needed Press SHIFT to cancel 2 EDIT Edit the sound name if needed Press SHIFT to cancel 3 EDIT The sound is saved Table 1 Key sequence for saving sounds NAMING SOUNDS When editing the sound name during the save sequence shown in Table 1 the keys take on the following functions Key Function PART UP Insert space PART DOWN Delete character GROUP UP Set current character to 1 GROUP DOWN Set current character to a space PAGE UP Set current character to A PAGE DOWN Set current character to a PARAM UP Move cursor right PARAM DOWN Move cursor left VALUE UP Increment characte
46. ors Stereo Filter 12dB per octave Low Pass Filter variable saw square wave FLT 12dB per octave Low Pass Filter Noise Generator variable saw square wave Ring Modulator A Audio B Audio External Input Left O Right O Figure 1 Entity Voice Architecture Each of these audio components has a set of parameters that define its operating Balance Spread Pan and Volume characteristics all of which can be modulated in any combination of depths by sixteen modulation sources Even switched parameters like oscillator waveforms can be modulated For example it is possible to switch an oscillator s octave using a continuously variable foot pedal or an LFO output The modulations are updated seven hundred and fifty times a second resulting in extremely smooth parameter variations Left Right STEREO FILTER The heart of any analogue synthesizer is its filter In the analogue world filters not only remove harmonics from a sound they add harmonics as well The character of this harmonic distortion very often determines the musical character of a synthesizer The Entity filter carefully reproduces the subtle nuances of a specific analogue filter circuit By making direct AB comparisons between this analogue circuit and the digital version it was found to be possible to recreate in detail all the characteristics that are so important to the filter s sound This includes harmonic phas
47. ote is released the pitch reverts to the most recent of those notes without the sound being released This continues until all notes have been released PORTAMENTO The Portamento parameter see also page 22 is straightforward when applied to a monophonic sound However polyphonic portamento is implemented whenever the base i e unmodulated value of the portamento parameter is one hundred or greater Polyphonic portamento is a modified voice assignment algorithm in which the most recently released voices are assigned to newly played notes resulting in appropriate portamento pitch changes and the possibility to move entire chords in pitch if a careful playing style is adopted FAST EDITING Pressing GROUP PAGE and PARAM keys to select parameters is an extremely awkward way of editing sounds although this type of interface is common in rack based synths A much faster though initially counter intuitive interface is provided so that sounds can be edited at high speed In practice this is many times faster than using navigation keys Fast editing is indicated by the LEDs above CTR1 and CTR2 being lit To select fast editing press EDIT SHIFT CTR1 selects the parameter and CTR2 selects the page Parameters and pages are selected by CTR1 and CTR2 in a logical way For example setting CTR2 fully anti clockwise selects the filter CTR1 then selects the parameter in the filter If CTR1 is rotated fully anti clockwise filter cutoff is
48. r i e A gt B VALUE DOWN Decrement character i e 3 gt 2 Table 2 Key functions when naming sounds SOUND VERSION ACCESS It is often helpful to be able to access previous versions of a sound either because a mistake was made when saving over a sound that was still wanted or because it is helpful to hear how a sound has evolved during an editing session Different versions of a sound can be accessed using the PART UP DOWN keys The versions are arranged as a list with the most recent or edited version at the top Not all previous versions are stored because there is a limit to the amount of flash memory available Flash memory for 69 previous versions is shared out among the sounds Edited sounds appear with a in front of the name Up to two sounds can be edited without the need to save their changes For example if you edit sound A2 and then want to listen to sound A4 you can make changes to A4 too without losing the changes made in edited version of A2 When you go back to A2 you have to press PART UP to recall the edited version of that sound Unlike previously saved versions edited sounds are not stored in flash memory so they aren t retained after power off EDITING AND SAVING CONFIGURATION SETTINGS Press SHIFT EDIT press and hold SHIFT followed by the EDIT key This selects configuration parameter editing The EDIT LED flashes to indicate this Parameters such as the midi receive channel and device ID can
49. ritten offer valid for at least three years to give any third party for a charge no more than your cost of physically performing source distribution a complete machine readable copy of the corresponding source code to be distributed under the terms of Sections 1 and 2 above on a medium customarily used for software interchange or c Accompany it with the information you received as to the offer to distribute corresponding source code This alternative is allowed only for noncommercial distribution and only if you received the program in object code or executable form with such an offer in accord with Subsection b above The source code for a work means the preferred form of the work for making modifications to it For an executable work complete source code means all the source code for all modules it contains plus any associated interface definition files plus the scripts used to control compilation and installation of the executable However as a special exception the source code distributed need not include anything that is normally distributed in either source or binary form with the major components compiler kernel and so on of the operating system on which the executable runs unless that component itself accompanies the executable If distribution of executable or object code is made by offering access to copy from a designated place then offering equivalent access to copy the source code from the same place counts as d
50. rs egen ee Ee tae 17 Table 7 OSCILLATOR parameters kA 17 Table 8 NOISE GEN NG parameters Ask 18 Table 9 EXTERNAL EXT parameters 2 cc ccccceeeceeeeeseeeeeeeeeeeeeeeeenees 18 Table 10 RING MOD RM parameters sssesssesessriseeerrrterrrrsrrrnrserrrrneeeee 18 Tabl 1 1 AUdIO EE 18 Table 12 Low Frequency Oscillator parameters cscccccssseeessseeees 19 Table 13 LFO waveforms ee 19 Table 14 LFO5 and LFO6 Midi Synchronisation Hates 20 Table 15 LFO internal synchronisations cccceeeeeeeeeeee centr eeeeeeeeeeeees 21 Table 16 ENV parameters cc ccccceceeeeeeennneeeeeeeeeeseseeceeeeeeeeeseeseenaneees 22 Table 17 General sound parameters ceeceeeeeeeeeeeeeeeteeeeteeeteteeeeeeeetees 22 Table 18 Configuration parameters cccccceeeeeeeeeeeeeeeteeeeeneeeeseeeeneeee 24 Table 19 Midi Implementation Chart ccccscccceessseeeeeesseeeeessseeeeeeseaes 26 Table 20 Entity Non Registered Parameter Numbers ssssessseeeeeeereen 28 Table 21 Non Registered Parameter Numbers Modulations 29 SUMMARY OF FEATURES The Entity is a true stereo six voice polyphonic synthesizer Each voice includes a stereo resonant oscillating distorting filter based on real analogue circuitry This filter receives a sub mix of signals from three individually panned oscillators a ring modulator a stereo white noise generator and signals from an external input Audio Oscillat
51. t keys auto repeat if you hold them down Then to list destinations affected by the current modulation source press SHIFT PART UP Press and hold these two buttons to have the display automatically increment through the list If there are no destinations with a non zero modulation depth the display will not change To find out which sources are affecting a particular destination select the destination during modulation editing and then use SHIFT_PART DOWN to list the sources that affect it The two exceptions are the Stack and Polyphony parameters described on page 22 12 Name Summary CTR1 Realtime control 1 CTR2 Realtime control 2 CTR3 Realtime control 3 MMOD Midi modulation wheel or other assignable controller KFLW Key follower KVEL Key velocity VDIF Voice Difference a modulation source whose value is different for voices assigned to different notes STDF Stack Difference a modulation source whose value is different for voices assigned to the same note LFO1 Each voice has its own unique set of LFOs 1 to 4 LFO2 LFO3 LFO4 LFO5 LFOS5 and LFO6 are shared by all voices in a sound LFO6 They may be synchronised to a midi clock ENV1 Envelope 1 ENV2 Envelope 2 Table 4 Modulation Sources STACKING Several voices can be stacked onto each note The stack parameter switches this facility on and off To define a new stack firstly
52. then be selected using the PARAM UP DOWN keys To save the current configuration press and hold EDIT followed by EDIT to confirm or SHIFT to cancel Default parameter values can be selected using SHIFT VALUE DOWN The previous user value can later be restored using SHIFT VALUE UP Some of the configuration parameters provide access to midi system exclusive save operations midi save bank midi save sound etc When one of these configuration parameters is selected press and hold EDIT to initiate the operation Otherwise pressing and holding EDIT saves the configuration See page 23 for configuration parameter details LEVEL METERS While selecting sounds you can view input or output levels Press PAGE UP to view the output levels Press PAGE DOWN to view the externally supplied input levels Pressing either button again returns to sound selection 10 EDITING To edit a sound s parameters press the EDIT key briefly To go back to sound selection press EDIT again If the sound has been modified a will appear in front of the name BASIC EDITING Sound parameters are arranged in groups and pages selected using the GROUP PAGE and PARAM keys as shown below GROUP PAGES DESCRIPTION FILTER FLT Main stereo filters OSCILLATOR O1 Three variable timbre oscillators 02 with AM and FM capabilities O03 NOISE GEN NG Stereo white noise generator RING MOD RM Ring modulator EXTERNAL EXT External au
53. ting will work but editing the stack may cause the units to desynchronise from each other In this case transmit the sound data from the first Chameleon to the second using Midi Save Sound or Midi Save Bank see page 24 Voice assignment always resets itself on the first note after a new sound is selected so this should solve any problems For more than two or three cascaded Chameleons the optimal configuration is to supply the midi output from the first to a midi multi way splitter This minimises midi time delays The splitter duplicates and supplies midi from the first Chameleon to the others which must have their cascade parameters set accordingly for example 2 4 3 4 and 4 4 MICROTONALITY No interface is provided for microtunings Instead a tuning may be downloaded to the Entity as a Midi Tuning Standard system exclusive message The tuning then becomes part of the current sound and the sound will be marked as being changed If the sound is subsequently saved the tuning is stored as part of the sound From then on that sound will have the tuning that was downloaded into it A simple alternative to the Midi Tuning Standard is to set the KFLW to oscillator pitch modulation depth to something other than 1000 A value of 500 will generate quartertones A value of 387 will generate approximately a 31 note equal tempered scale The following book is recommended reading on the subject of microtonality
54. tness 0 sine wave 1000 noise around 300 400 is full spectrum waveform Unstable between 400 and 1000 Phase For a sawtooth waveform this adjusts the phase offset between two waveforms of the same shape that are combined to form the oscillator output Smooth changes result in a chorus effect For a square waveform the results are more subtle Wavtype Waveform type Sawtooth or square with variable brightness Octave Selects octave 10 sub audio Pitch Defines pitch in semitones Used to tune or detune oscillators Normally modulated by KFLW to a depth of 1000 to provide an equal tempered semitone keyboard tuning Offset Offset frequency in hertz Very small values can be used for phasing effects between oscillators FM source FM modulation source See table of audio sources on page 18 FM Frequency modulation The degree to which the oscillator is frequency modulated strictly speaking phase modulated by an FM source Phase sync If ON staccato playing causes the oscillator phase to reset at the start of a new note Pan Stereo position of oscillator output Level Level of oscillator supplied to filter Table 7 OSCILLATOR parameters 17 Name Description Level Level of noise supplied to the filter Table 8 NOISE GEN NG parameters Name Description Level Level of external signal supplied to the filter
55. truncated to 7 bits 0x7F is always valid OxF7 End of Sysex Stored Sound Dump when sent to synth sound is saved automatically 0x00 Message ID 0x00 Stored Sound Dump XXXX Sound Bank yyyy User sound number Dump data compressed sound data variable length Edited Sound Dump when sent to synth sound is updated but not saved 0x01 Message ID 0x01 Edited Sound Dump XXXX Sound Bank yyyy User sound number BERG Dump data compressed sound data variable length Stored Global Dump new global settings saved automatically 0x02 Message ID 0x02 Stored Sound Dump ba Dump data global parameters Edited Global Dump global settings updated but not saved 0x03 Message ID 0x03 Edited Sound Dump ne Dump data global parameters Stored Sound Request 0x04 Message ID 0x04 Stored Sound Request XXXX Sound bank yyyy User sound number Edited Sound Request 0x05 Message ID 0x05 Edited Sound Request XXXX Sound bank yyyy User sound number 31 Stored Active Sound Request 0x06 Message ID 0x06 Stored Active Sound Request Edited Active Sound Request 0x07 Message ID 0x07 Edited Active Sound Request Stored Global Request 0x08 Message ID 0x08 Stored Global Request Edited Global Request 0x09 Message ID 0x09 Edited Global Request Sound Bank Request Ox0A Message ID 0x0A Sound Bank Request XXXX Sound bank All Sounds Request 0x0B Message ID 0x0B All Sounds Request A
56. unique by adding at the end of it in parentheses the name of the original author or publisher of that section if known or else a unique number Make the same adjustment to the section titles in the list of Invariant Sections in the license notice of the combined work In the combination you must combine any sections Entitled History in the various original documents forming one section Entitled History likewise combine any sections Entitled Acknowledgements and any sections Entitled Dedications You must delete all sections Entitled Endorsements 6 COLLECTIONS OF DOCUMENTS You may make a collection consisting of the Document and other documents released under this License and replace the individual copies of this License in the various documents with a single copy that is included in the collection provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects You may extract a single document from such a collection and distribute it individually under this License provided you insert a copy of this License into the extracted document and follow this License in all other respects regarding verbatim copying of that document 7 AGGREGATION WITH INDEPENDENT WORKS 42 A compilation of the Document or its derivatives with other separate and independent documents or works in or on a volume of a storage or distribution medium is called an aggregate if the copyright
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59. y generated in each voice their delay and level characteristics are So for example it is possible to use LFO6 to apply volume vibrato synchronously across all voices although each individual voice can vary the onset of vibrato by use of the LFO6 delay parameter When the Rate Waveform or Sync of LFO5 or LFO6 is modulated by a voice specific modulation source such as KFLW or LFO1 the modulation source s value is taken from the most recently assigned voice Name Description Triangle Standard triangle waveform Sawtooth Standard sawtooth waveform Saw exp Exponential sawtooth Square Standard square waveform Pulse Very short rectangular pulse waveform Random A new random value is selected on each new LFO cycle Gaussian A new Gaussian random value is selected on each new LFO cycle Pink A new pink noise random value is selected on each new LFO cycle Rand sm A new random value is selected on each new LFO cycle and the waveform is generated by smooth transition between successive values Gauss sm Smooth transitions between Gaussian values Pink sm Smooth transitions between pink noise values Table 13 LFO waveforms 19 Value Description 0 1000 LFO not synchronised to midi Sync 32 1 1 LFO cycle per 32 whole notes 32 bars of 4 4 Sync 24 1 Sync 16 1 Sync 12 1 Sync 9 1 Sync 8 1 1 LFO cycle per 8 whole notes Sync 7 1

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