manual COS2t.indd
Contents
1. page 11 Panel reference Oscillators pages 12 13 Panel reference Filters page 14 Panel reference LFOS page 15 SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL Panel reference 65 page 16 Panel reference Modulation section page 17 9 1 a eee E page 18 Appendix A DI0SSary page 19 Appendix B Preset names listing page 21 Appendix C Index pages 22 23 Specifications Voices 16 3 sound generators 2 multi wave oscillators with standard wave shapes saw pulse triangle sine 1 wavetable oscillator with 63 different tables The multi oscillators can be arranged for the Classic Sync function or for Frequency Modulation FM type of synthesis Unison mode Every voice is produced by several detuned oscillators SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL Morph function Every pot of the panel can be modulated by 4 controllers in parallel These are Velocity Keyboard note Pressure aftertouch Modulation wheel The Modulation wheel can be replaced by any other midi controller Envelope generators 2 ADSRs envelopes Both envelopes are sources in the MODULATION section LFO s 2 multi wave Lfo s with rate depth 6 wavef2. 16 Sustain Pedal 10 11 19 System Requirements 18 T see 13 15 16 5 056 9 12 Trigger 456 15 Tuning 9 12 U ee 9 13 Unison 086 5 UNISON 9 13 Unison detune 9 SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL V VelOGily 0c tas rennes 11 16 Volume 9 13 W WaveTable 12 Wavetable Index 12 23 0052 Sur audio Lab Einardou 7 Victoria Sq 10440 Athens Greece sur audio yahoo com
3. DSP Digital Signal Processor E Envelope Synthesizer module originally used to simulate the way a note appears and fades out Can also be used for many other purposes e g filter cutoff pitch F Filter Module present in all subtractive synthesiz ers used to pass certain frequencies while rejecting attenuating others FM Frequency Modulation e g FM synthe sis Pitch modulation when the source and destination are both audio signals resulting in a compex tone Frequency Speed of oscillation G Glide See Portamento H Hertz Hz Measurement of frequency K Key Follow Modulation source proportional to the MIDI note number i e which key you play Key Pressure See Polypressure L LFO Low Frequency Oscillator Generally used as a cyclic modulation source M MIDI Acronym for Musical Instrument Digital Interface The standard protocol used for communication between electronic musi cal instruments and computers Modulation Wheel General purpose performance control Often used for controlling vibrato depth Monophonic Mono Only one note can be played at a time e g flute See Polyphonic 0 Octave A musical interval 12 semitones apart e g C3 to CA P Panorama Pan The position of an audio signal in a stereo field i e the left right volume ratio Parallel Routing term Not connected one after the other see Serial but alongside eac
4. COS VIRTUAL ANALOG SYNTHESIZER Operation manual 200 000 000 I sur audio lab Copyright 2012 Sur audio Lab All rights reserved This manual as well as the software described in it is furnished under license and may be used or copied only in accordance with the terms of such license The content of this manual is furnished for informational use only is subject to change without notice and should not construed as a commitment by Sur audio Lab Sur audio Lab assumes no responsibility or liability for any errors or inaccuracies that may appear in this book Except as permitted by such license no part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording or otherwise without the prior written permission of Sur audio Lab 0055 is a trademark of Sur audio Lab All other trademarks contained herein are the property of their respective owners All features and specifications subject to change without notice COS2 virtual analog synthesizer user manual Introduction Congratulations on choosing the new COS2 The Sur audio Lab team Manual index ee page 5 DEVICE page 6 ST ner nn a En nes Et page 7 Preset IS essen page 8 Panel reference 1 053 pages 9 10 Panel reference Morph
5. To change the wave type click on the waveform representation To route the Lfos use the MODULATION section All parameters for LFO1 are the same as those for LFO2 RATE gt 0 to 12 The speed of LFO DEPTH gt 0 to 12 How much the LFO modulates the Target parameter SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL TYPE gt Sine Triangle SawUp SawDown Square Random The LFO waveform KEY Retrigger On Off gt Off On When set to Off LFO runs freely i e its phase is not reset by every note played When activated the starting point within the wave will retrigger at the Phase position FADE IN gt 0 to 3 seconds The time the modulation will gradually build to maximum FADE OUT gt 0 to 3 seconds The time the modulation will gradually fade to silence after key release PHASE gt 180 to 180 Determines the position within the waveform phase at which the signal will start when a key note is received KEY retrigger must be enabled for this to take effect PRE DELAY gt 0 to 3 seconds Delays the onset of the modulation Panel reference Envelopes There are two ADSR envelopes in COS2 The first controls the overall sound level The other controls Filter 1 Cutoff frequency via the Filters ENV pot Both are sources in the MODULATION section They have abjustable Velocity sensitivity and abjustable curves for the Decay and Release slopes All parameters for Envelope 1 are the same as t
6. SynthFX 12 Vocal Synth TechnoSyn 37 Bells Fx Detune SynthFX 13 Pulse Setback TechncSyn 38 PWM Pad BrightPad 14 Long Steps Keyboard 39 Fat Sync HardLead 15 Electro Piano 1 ElPiano 40 Fat Pulse SynthKeys 16 Slow Pad MotionPad 41 Unidentified SynthFX 17 Meta Violin SoloStr 42 Sweep Pad SoftPad 18 e Sanie Bell 43 Robo Lead TechnoSyn 19 Starman AtmoPad 44 Hoover String Strings 20 Hard Fm Lead HardLead 45 Unison Sync HardLead 21 Big Pulse TechnoBass 46 Techno 2 TechnoSyn 22 HardLead 47 Enseble Keys Keyboard 23 Self Reso SynthFX 48 Triangle Sync SoftLead 24 Clavichord Clavinet 49 Cosmic Pad SoftPad 25 Sub Bend ElBass 50 Snap Bass SynthBass SUR AUDIO LAB 2012 0055 SYNTHESIZER USER MANUAL 51 52 53 54 95 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 Pulse Keys Keyboard Fat Pulse SynthBass Leader HardLead Hard Filter mod HardLead Psy Sweep SynthFX Dark Fx Pad DarkPad Sorrow Pad SoftPad Pulse Enseble Strings Treble Box Keyboard Wacky SynthFX
7. 104 Bubble Filter SoftLead 105 Electric Viola SoloStr 106 Deep Kick ElDrums 107 High Harm SynthDrone 108 Syncy SeQ Sequencer 109 Soft Keys Keyboard 110 PWM TechnoSyn 111 Filter Mod SynthFX 112 Space Station SynthFX 113 Portamento Fx SynthFX 114 Twitter Key Keyboard 115 Neptune Strings 116 Simple Arp Arpeggio 117 Random Velo Arpeggio 118 Fat Organ Organ 119 Saw Unison SynthKeys 120 Gated Organ Organ 121 10 Filter SynthBass 122 Velo Pan Sequencer 123 Psy Bend SynthFX 124 Retrigger LFO SynthFX 125 Vibrato Synth Keyboard 126 Soft 5 6 SoftLead 127 Traditional car horn SoundFX Appendix C Index Destinations 15 OSC Volume aan 13 Detune ehe Oscillator Shape 12 ir a INIT Modulation section 17 p Oscillator Sync 13 A OA E e 1213 AMOUNE nn 9 12 13 17 E INIT Program 8 AMpITIEr 3428er 7 Envelope Amount 14 P OE Ta es er 16 K Panorama 9 B F Key Follow 10 Parallel ann 14 T 15 PreS l in rte 4 6 7 8 een 12
8. CC63 in order to allow the control of the Morph Switch with the Foot Pedal without actually sending Sustain messages Tip Set this value to CC64 HOLD PEDAL for direct use If that is the case sustained notes will occur normally if midi notes are triggered during the morph assigning KEY FOLLOW CURVE This button will open a panel to set the desired curve for the Key Follow action A Midi Transformer should be used in the Sequencer between the physical device and the sequencer midi in so to transform CC64 to CC63 or to any other Panel reference Morph function Morph function is a process for modulating any pot ofthe COS2 panel by four modulators These are Velocity Keyboard Note Channel Pressure aftertouch and Mod Wheel To activate the process there are two basic methods Via any Midi controller or Foot pedal The Sustain Pedal or any other midi controller can b used as the Morph Switch For details see page 10 B w MORPH CONTROLLER SZ Via the button Set Set H Use that button if you have no access to Midi pedals SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL To assign a morph range proceed as follows gt Press the Foot pedal or turn on the Set button Rotate one or more pots to the desired value s Please do not change the Morph source during range assigning gt Release the Sustain pedal or set the button Set to off position in 000 ee D ied Morph r
9. Falling Fx SynthFX Humans Friend SynthFX Just Uni TechnoSyn Pitcher SynthFX Fat Synth HardLead Space Machine SynthFX PW Filtered HardLead Industrial Drone SynthDrone Chaos Core SynthFX Hoover Drone SynthDrone Smooth Keys SynthKeys Big Uni Sync TechnoSyn Computing SynthFX Noisy Sweep SynthFX Psy Pulse SynthFX 21 76 Vibrato Pad MotionPad 77 Electro Piano 2 ElPiano 78 Pad Detune MotionPad 79 Fm 6 SynthFX 80 Sync Lead HardLead 81 SynthFX 82 Reso Harm SynthKeys 83 Trill fx SynthFX 84 Hard Bass SynthBass 85 Snap Bass SynthBass 86 Hard Lead HardLead 87 Duo Bass SynthBass 88 Fm Patch SoundFX 89 Yeah SynthFX 90 Pulsing HardLead 91 Psy seq MW Sequencer 92 Wind Key SynthKeys 93 Old arcade game SynthFX 94 Blender SynthFX 95 Glide Seq Sequencer 96 Fm Reverser SynthFX 97 Bright Synth BrightPad 98 Sweeping Uni SynthKeys 99 Filter Seq Sequencer 100 Chords Keyboard 101 Galactic Radio SynthFX 102 Syncer 2 TechnoSyn 103 Hypnotizing Bell Bell
10. a slave of oscillator 1 A Square wave Special form of Pulse wave in which the Pulse Width is exactly 50 Subtractive synthesis The method of creating sounds by removing frequencies from complex waveforms 20 Sync Synchronization In oscillator sync one oscillator resets the phase of another U Unison Several instances of the same note at the same time Vibrato Cyclic pitch bend usually around 5Hz Voice A complete sound generation unit oscillator filter envelope LFOs etc A monophonic synthesizer has only one voice Unison mode uses 2 or more voices per note X XTC mode Special SCOPE hardware utilization mode that uses SCOPE devices inside the host sequencer Appendix B Patch Names 1 Enseble Strings Strings 26 Fat Glide HardLead 2 Bright Keys SynthKeys 27 Bell Keys Keyboard 3 Sync Key n SynthKeys 28 Deep Sub ElBass 4 Psy Technosyn 29 Lfo Pad BrightPad 5 Fat Detuned SynthHit 30 Sweep Strings Strings 6 Fat amp Grit SynthBass 31 Psy Fall SynthFX 7 Bright Pad BrightPad 32 Pulsing SoftLead 8 Big Syncer HardLead 33 Saturn Storm SoundFX 9 Big SynthHit 34 Astronaut SynthFX 10 Fat Synth HardLead 35 Dramatic Enseble Strings 11 Hoover Pad AtmoPad 36 Fat Pitch Sweep
11. e Fade Out nn 15 L Name gt and PASS Filter nn 13 14 16 0 3 Nan 5 8 na ws 14 LOW PASS 2 2 14 Pitch Bend 9 17 Filter Envelope 14 N Portamento sr 9 13 C ee 13 EST nern ste 15 Channel 9 FM Amount 12 MIDI 6 T 8 9 10 11 Program 8 ae MIDI Channel Program Change 8 Channel Pressure 11 c Cleaning 11 G hai controller 10 a Pulse Width oo ccc 12 E 9 13 4 101017 R Cutoff NE MO Le 16 GOS SONY a ms sin nn 19 Modulation Section 17 MONO 13 er RATE nec rude 5 D H Release 16 Delay in mere 16 HIQM PASS 14 0 RESONANCE sn 14 15 Hold Pedal 10 11 OCTAVE ne 14 ROUUNG 2 14 SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL 22 5 Selecting Programs 8 Semitone 9 12 Serial 14 Settings neenneneen 10 Shape 12 10 11 19 16 17 Sustain
12. as one bank containing 128 programs numbered from 0 to 127 SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL To try out some sounds there are three basic methods of selection Sequentially SEED The most obvious way to select programs is by stepping through them using the buttons to the center of the display next to the preset name Via the Preset browser Another way to choose programs is by selecting them through the preset browser Via MIDI All MIDI sequencers and professional MIDI keyboards are capable of transmitting Bank and Program change messages via MIDI CREATING NEW SOUNDS The INIT Program The first preset has been reserved for a simple template which you can use whenever you want to create sounds from scratch COMPARE lt gt This button recalls the initial state of the selected preset Panel reference Global PORTA gt Off Portamento to Fing Gliss The PORTA text field sets the type of portamento or glissando or set inactive PITCH BEND RANGE gt Off 1 to 24 PB text field sets the amount of pitch bend in semitones or set inactive MONO gt Off On This button selects whether the entire sound is polyphonic or monophonic SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL UNISON VOICES Unison means several instances of the same note detuned against each other at the same time The trade off is a reduction in polyphony gt Off 2 to 16 Number of voices u
13. ent SHAPE2 gt 0 to 12 Oscillator 2 Wavetable Index Controls the Index parameter the nominal position within the table Panel reference Oscillators GAIN gt 0 to 12 This is a volume control for all three oscillators before the filter PORTAMENTO TIME gt 0 to 12 Often called glide Portamento is particularly effective in mono mode see MONO on page 9 If the number of UNISON NOTES equals the number of COS2 assigned voices then the patch is in effect big mono SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL SYNC gt Off On When this function is active Osc 1A is synchronized to Osc 1B Use the SHAPE parameter to alter syncronization rate Look up Sync in the glossary if necessary FM gt Off On FM stands for Frequency Modulation This means that the frequency of one audio source Osc 1A is modulated by another Osc 1B with amount determined with the SHAPE parameter As well as being able to create bell like tones FM is often used to add grit to a sound SYNC and FM functions are mutualy exclusive Panel reference Filters The COS2 has two filters that can be configured in series or parallel Filter 1 has four poles 24dB per octave and simulates the classic Minimoog low pass including it s typical selfoscillation Filter 2 has two poles 12dB per octave This adds up to a total of six poles i e 36dB per octave if BAL1 2 is centre 0 CUTOFF gt 0 to 12 The c
14. eset int gt To deactivate a specific range press the X button right to any assigned pot gt To reset all the morph ranges press the Init button on the top of the Morph section Pressing the nit button regains DSP memory Panel reference Oscillators COS2 has three oscillators two Multi wave oscillators and one Wavetable oscillator To change the waveshapes use the text fields on the top of the oscillator section Below is a small schematic of the oscillators internal structure OSC 1A OSC 1B Wavetable N AN FM SYNC to Filters MIX OSC 1A 1B N N BALANCE 050 1 2 SUR AUDIO LAB 2012 0055 SYNTHESIZER USER MANUAL DET2 gt OHzto 12 semitones This is the knob for tuning oscillator 1B SHAPE gt 0 to 12 Oscillator 1 Shape control Normal FMon Syncon Shape Pulse Width FM index Sync function if pulses amount amount are selected Osc1B pitch In other case the Shape pot is not accessible MIX gt 1 to 2 This knob controls the relative mix of oscillators 1A and 1B BAL1 2 gt 1 to 2 This knob controls the relative mix of oscillators 1 and 2 while keeping the total level constant The 12 clock position is a 50 50 mix of both these oscillators TUNE2 gt 48 to 48 Use these fields to adjust the pitch of oscillator 2 over a range of 48 to 48 semitones gt 99 to 99 Use these fields to adjust the pitch of oscillator 2 over a range of 99 to 99 c
15. h other Phase The position within one cycle of a wave Measured in degrees whereby 360 is the end of the cycle Pitch Frequency e g how low high a note is Pitch is mainly used for musical notes while frequency is the more scientific term Pitchbend MIDI data usually derived from the sprung wheel stick to the left of a MIDI keyboard SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL Pole Units of 6dB per octave gain attenuation in filters Polyphonic Poly When several notes can be played at the same time See Monophonic Portamento Classical term for gliding pitch from one note to the next Often called glide Preset Often used as a synonym for patch sound program etc Pulse wave Oscillator waveform alternating between two discrete levels Pulse Width The ratio between the lengths of the upper and lower levels in a pulse wave R Random Something that happens without regularity Resonance Boosting of frequencies close to the cutoff point in a filter via feedback 5 Semitone Pitch interval equal to one twelvth of an Octave The keys on a keyboard are a semitone apart Serial in series Routing term The signal is sent to one module e g a filter which in turn sends its output to another module e g another filter See also Parallel Slave Module which is following parameters set by another module In the COS2 oscillator 1 B is optionally
16. hose for Envelope 2 SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL ATTACK gt 0 to 12 The time it takes for the filter envelope to rise from 0 to maximum DECAY gt 0 to 12 The time it takes to fall from maximum to the Sustain level SUSTAIN gt 0 to 12 The level of sustained notes after the Decay RELEASE gt 0 to 12 the time it takes to fade out after notes are released ENVELOPE VELOCITY SENSITIVITY gt 0 to 127 How much the envelope responds to keyboard velocity ENVELOPE 2 POLARITY gt Invert on off When that button is lit envelope 2 effect is inverted Panel reference Modulation 0055 has a small dedicated section for modulation Here is where the modulators are routed to several parameters Available sources are the envelopes the LFOs as well as the Pitchbend wheel int HO Dest Off On Source Amount Ojjj Off SOURCE gt Off LFO1 Pitch Bend Specifies the modulation source Envelopes LFOs Pichbend wheel SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL AMOUNT gt 63 to 63 Modulation amount for the specified destination The range is bipolar so that modulation can be inverted DESTINATION gt Off Osc1 Pitch Pan Specifies the modulation destination Modulation matrix reset nt M gt To quickly reset all the values press the Init button on the top of the modulation section 17 COS2XTC Features Total recall All plug in settings a
17. orms to choose sin square saw up saw down triangle random key retrigger fade in fade out phase delay Filters One 24db Vintage Lowpass filter and one 12dB Multimode filter Sounds 127 presets System requirements Compatible with any Sonic Core DSP system hardware and software Minimum requirements 3 DSP s Device Setup gt Move COS2 dev in your devices folder c program files SCOPE devices gt Move COS2 pre file in your preset files folder c program files SCOPE presets gt Use Live bar menu or drag the device from the File browser into the Project window and connect midi in and audio outputs as needed SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL Preset changing Amplifier amp Filter Bel Panel LFOs and Settings envelopes Midi in page 15 ANS pages 8 10 page 16 N indicator wi SIJE EN cos Morph function orn D nme Fo Key Il page 11 Preset List wolle va Be bead page 8 prs Wo y Wo ere M LATION me FO2 Key ENVELOPE Velocity DIR Slope Modulation 10 iger 3 foe Fade Ot section page 17 CLS N N Cu Ne ny ur ral off 0 off 0 00 s adad FE DEPTH D R u gt Z Z 0000 i 000 ZN 0001000 i 000 Oscillators Filters Preset List handling COS2 synthesizer uses preset lists for storing sounds gt Open the preset browser with the dedicated button at the upper right corner SELECTING PROGRAMS COS2 h
18. re saved with the song Cons Latency is in general longer no Routing Window SYSTEM REQUIREMENTS The COS2 VST plug in is available for the Windows PC platform as VSTi in XTC mode There are no specific system requirements C0S2 should run within any professional host program SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL INSTALLATION Simply run the setup program and follow instructions Appendix A Glossary Most of the terms below only apply to synthesizer technology A Aftertouch Term for Channel Pressure Attenuation Reduction of amplitude Balance Simultaneous control over the relative levels of two signals cross fade C CC MIDI continuous controller number Several of these numbers have been specified e g Modulation wheel CC01 The list of sources in the 0052 Morph modulator selector includes an extensive list of these 2 119 SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL Channel Pressure Monophonic aftertouch MIDI data caused by pressing harder on the keyboard after playing notes Continuous Controller See CC Cross fade The mix of two successive sounds in such a way that they appear to blend smoothly from one to the next Cutoff Threshold frequency of a filter above and or below which frequencies are attenu ated or boosted Resonance accentuates frequencies close to the cutoff point D dB Decibel Relative unit of attenuation or gain
19. sed for each note If set to Off no Unison parameters will be visible CHANNEL gt 1 to 16 omni Specifies the MIDI channel used COARSE semitone gt 64 to 64 Coarse control over the pitch of the entire COS2 FINE cent gt 99 to 99 Fine control over the pitch of the entire COS2 A cent is one hundredth of a semitone PANORAMA gt 12 to 12 The position of the signal across the stereo outputs Modulation destination PAN VOLUME gt 0 to 12 The overall gain of the sound UNISON DETUNE gt 0 to 12 The amount of detuning between instances of the same note For UNISON DETUNE to have any effect the number of stacked layered voices must be greater than 1 UNISON VOICES Panel reference Global GLOBAL SETTINGS Settings This menu is opened by pressing the SETTINGS button to the right of the top display It contains a few global parameters REPLACE MOD WHEEL gt Off On Set to On gt 2 to 119 and the selected Midi Controller will be used as a Morph source instead of the Modulation wheel SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL MORPH CONTROLLER gt 2 to 119 Default CC63 The Midi controller that will act as the Morph assigning switch The Sustain pedal uses CC64 Midi Tip continuous controller by default This is permanently connected to the envelopes So instead of direct control it is handy to specify a different controller here e g
20. utoff frequency of filter 1 RES gt 0 to 12 The resonance of filter 1 ENV gt 0 to 12 Controls how much the Envelope 2 affects Cutoff1 like automating the CUTOFF knob with each and every note you play SUR AUDIO LAB 2012 COS2 SYNTHESIZER USER MANUAL CUTOFF2 gt 0 to 12 The cutoff frequency of filter 2 RES2 gt 0 to 12 The resonance of filter 2 BAL1 2 gt 1 to 2 Filter 1 2 balance The relative contribution of the two filters At 1 you can only hear the output of filter 1 In the central position 0 both filters contribute equally At 2 you can only hear the output of filter 2 SER PAR gt Serial The filters are routed in series gt Parallel The filters are routed in parallel FILTER2 TYPE SELECTOR Using the FILTER2 button you can set filter 2 to one of following types gt LP Low Pass Allows frequencies below the cutoff point to pass through i e rejects those above the cutoff point gt HP High Pass Allows frequencies above the cutoff point to pass through i e rejects those below the cutoff point gt BP Band Pass Allows frequencies close to the cutoff point to pass through To modulate filter 2 with an envelope or another modulator use the MODULATION section Panel reference Lfos There are two LFOs in 0055 and each one can modulate directly any or all destinations of the modulation section Each one offers 6 waves to choose sine square saw up saw down triangle random
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