Bazille User Guide

bazille
Modular PD & FM Synthesizer

user guide
version 1.0
u-he Heckmann Audio GmbH BERLIN
Introduction 4
.............................................................................. Installation 4
............................................................................. Resources 4
.................................................................. Background Story 5
..................................................................... Synth Overview 6
................................................................... GUI Components 7
................................................................. GUI global options 9
................................................................... The Control Bar 10
...................................................................... Multicore / HQ 11
........................................................................ Oscilloscope 11
..................................................................... Patch Browser 12
Oscillators 14
..................................................................................... Pitch 15
.......................................................................... Phase / FM 16
.................................................................. Phase Distortion 17
.............................................................. Fractal Resonance 18
................................................................................ Outputs 18
LFOs 19
Filters 21
............................................................................... Controls 21
................................................................................ Outputs 22
Envelopes 23
Outputs 24
Processors 25
................................................................................ Inverter 25
............................................................................... Rectifier 25
..................................................................... Sample & Hold 25
................................................................... Lag Generators 25
............................................................................. Quantizer 25
MIDI & More 26
................................................................................... Noise 26
.......................................................... MIDI Control Sources 26

..................................................... Internal Control Sources 27
............................................................................ CV Inputs 27
Multiplex 28
Modulation Sequencer 30
.......................................................... Speed and Triggering 30
...................................................................... Snapshot Dial 31
............................................................... Snapshot Patterns 32
Tweaks & FX 33
............................................................................. Overview 33
.................................................................................... Voice 34
........................................................................ Tune Control 35
.................................................................................... Glide 36
.............................................................. Stack Voice Tuning 36
.......................................................................... Microtuning 36
........................................................... Mapping Generators 37
.................................................................. Envelope Extras 39
...................................................................... Filters 3 and 4 40
................................................................ Ramp Generators 40
Effects 41
........................................................................... FX Control 41
............................................................................. Distortion 41
................................................................................. Phaser 43
................................................................................... Delay 44
...................................................................... Spring Reverb 45
Tips & Tricks 46
................................................................... Oscillator Tricks 46
................................................... Mapping Generator Tricks 46
.................................................................. Processor Tricks 46
.................................................................... Multiplex Tricks 46
........................................................ Mod Sequencer Tricks 46
Glossary 47

Introduction
To follow this user guide, it helps if you already know a thing or two about the types of synthesis it
is based on (FM, PD, subtractive). If you have any questions specifically about Bazille or would like
to discuss anything else u-he, feel free to post a message in our user forum at KVR!
Installation
Go to the Bazille webpage, grab the installer for your system and unzip the compressed file. Open
the Bazille(nnnn) folder and start the installer application...
The only demo restriction is a crackling that appears at irregular intervals after about two minutes
of use the demo is otherwise fully functional. This noise disappears after you have entered a
serial number. For more information, please refer to the ReadMe file included with the installer.
Resources
File locations
Mac
Patches MacHD/Library/Audio/Presets/u-he/Bazille/
Preferences ~/Library/Application Support/u-he/com.u-he.Bazille... (*.* files)
Windows
Patches ...\VstPlugins\Bazille.data\Presets\Bazille\
Preferences ...\VstPlugins\Bazille.data\Support\ (*.txt files)
(locations depend on paths chosen during installation)
Note: Patch locations can be opened in system windows by right-clicking in Bazilles browser and
selecting reveal in Explorer / Finder from the context menu.
INTRODUCTION
TOC INTRO OSC LFO FILT ENV PROC MIDI+ SEQ TWEAK FX TRICKS GLOSS 4
u-he online
For downloads, news articles and support, go to the u-he website
For lively discussions about u-he products, go to the u-he forum
For friendship and informal news updates, go to our facebook page
For u-he presets (payware and free), go to u-he patch library
For video tutorials and more, go to our youtube channel

u-he team
Urs Heckmann (code, concept, strategy, discipline)
Sascha Eversmeier (more code, but slightly different)
Howard Scarr (documentation, sound design, grump)
Rob Clifton-Harvey (metal support, everything else)
Sebastian Greger (GUI, graphics, sunshine)
Michael Dhr (quality, quantity, integrity, beer)
Jan Storm (xx)

u-he thanks
Thomas Helzle for GUI concept and 3D rendering
Clemens Heppner for Diva code and formalities ;-)
Beta-testers and everyone who contributed presets
Brian Rzycki for maintaining PatchLib

Background Story
[musings about Bazille by Urs Heckmann, early 2013]
Several years ago I started working on a new synthesizer. The idea was to build a virtual modular
system very much like the first synth I ever played in 1986: a hilariously out of tune Roland System
100M. I totally loved that thing! It stood in a room in my grammar school, and I spent hours and
hours patching it up...
Many years later, I put together a little modular system using Eurorack parts. An inspiring but quite
expensive hobby, and I found it quite difficult to make music. As a software user, Im used to being
able to save my work, Im used to having multiple instances and Im used to playing chords all of
which is impossible with a hardware modular system. On the other hand, hardware does have that
tactile thing, the real hands-on experience. Plugging cables and twisting knobs is very rewarding ,
especially compared to pushing a mouse!
However, I always kept the idea of a software modular system in the back of my mind. Recently,
some other ideas nicely aligned with that concept, and the Berlin Modular project experienced a
massive boost. Of course the name Berlin Modular is reminiscent of the Berlin School of
electronic music, the bands and artists I listened to when I was a teenager. Those guys inspired
me to make electronic music my hobby, and they ultimately inspired me to develop synthesizers.
The idea behind Berlin Modular is easily explained: Imagine you have a system mounted in a rack
with a couple of oscillators, a couple of filters and envelopes. Now imagine you have three or four
of these systems with different types of modules. Thats the basic concept: Similar systems based
on different modules. They are already nicely put together and ready to make some noise!
A couple of years ago I demonstrated a prototype of what I thought would become the very first
rack within Berlin Modular. I called it "Bazille", which is German for bacterium and should be
pronounced something like Batzilla. Bazille turned out to be quite a crazy fellow! It combines FM
synthesis with Phase Distortion synthesis, all with the flexibility of modular patching...
INTRODUCTION
Synth Overview
New instances of Bazille should look something like this (if not, click on the SYNTH tab at the top
left). The arrangement of modules was designed to minimize the lengths of patch cords required
for two independent layers of 2 oscillators ! filter ! output.
the SYNTH window
Please take a few moments to familiarize yourself with the names and positions of each panel:
The upper central area is dominated by the Oscilloscope, above which is the Data Display, and
below which are the Output and main Filter panels.
Either side of the oscilloscope are four audio Oscillators, flanked by the two LFOs (low frequency
oscillators). Beneath each LFO is an unlabeled panel containing a selection of signal Processors:
1 x sample & hold (left panel only)
1 x quantizer (right panel only)
4 x lag processors (in pairs, with shared attack and release times)
2 x inverters, 2 x rectifiers
Below the oscillators and processors are the four Envelope Generators.
At the bottom left is a panel called MIDI & MORE containing several modulation sources (wheels,
velocity etc.) plus two noise outputs. There is also a pair of CV (control voltage) inputs anything
you connect to CV1 or CV2 can modulate the LFOs, envelopes, mapping generators and extra
filters: Although most the patching in Bazille is done with virtual cables, some parameters have a
fixed set of modulation sources available in drop-down menus. See Selectors on the next page.
The MULTIPLEX panel In the centre of the lower area contains four identical Multiplex units.
Unlike the simple multiples found in analogue modular systems, they can be used as mixers, ring
modulators (RM), amplitude modulators (AM), and much more. Owners of Bazilles little cousin
ACE should be in familiar territory here.
Finally, at the bottom right is the MODULATION SEQUENCER. The controls on the left let you
select, morph between or even automatically step through 8 different sequences.
INTRODUCTION
GUI Components
This section is an introduction to the basic components of Bazilles GUI.
Knobs and sliders
There are two types of knob: unipolar and
bipolar. Unipolar knobs let you set positive
values only, while bipolar knobs also allow
negative values, often within a range of -100
to +100.
The image above shows the oscillator tuning controls. Note that the Tune
knob is unipolar, while the Modify knob is bipolar. By the way: all envelope
sliders are unipolar, while those in the modulation sequencer are bipolar.
Coarse control: Click+hold with the left mouse button, then drag up or down.
Fine control: For 0.01 steps, hold down one of the SHIFT keys before moving the knob.
Mouse wheel: If your mouse includes a scroll wheel, you can make course adjustments by
hovering over a knob or slider and rolling the wheel. For fine tuning, hold down SHIFT.
Reset to default value: Double-clicking a knob reverts to a useful default, often 0.00.
MidiLearn: Right-click any control (knob, slider...) and select MidiLearn from the context
menu. Moving any control on a connected hardware MIDI controller will create a link, after
which you can remote control that particular parameter using your hardware.
To remove the link again, right-click and select MidiUnLearn. Note: Accidental MIDI learn is
the number one cause of false bug reports, so if you notice that knob values are being reset
for no apparent reason, try MidiUnLearn before contacting us - thanks!
Selectors
All
orange-on-black
text fields are selectors that open drop-down
menus containing a list of options. Some of the selectors also serve
as labels for the accompanying knob.
Click on a selector to open the list, or roll your mouse wheel to scroll
through the options.
Sockets and cables
Bazilles modules are connected together (patched) using virtual cables. The
sockets are colour-coded:
all inputs are grey
,
all outputs are red
.
To make a connection, drag and drop between output and input sockets (either
direction should work). Outputs will happily accommodate several cables, while
inputs will accept just one the previous connection is simply replaced.
You cant usually connect two inputs together, but theres one exception: dragging a cable from
an unused input to another thats already in use creates a daisy-chain. Try it!
INTRODUCTION
Heres what you can do by clicking on the sockets:
move inputs drag+drop the cable from the current input to another one.
move outputs right-click on an output (a broad straight line appears) and drag it to a
different output. Note that multiple cables can only be moved together.
remove cables either double-click the input (destination) end of the cable, or drag & drop it
away from the socket.
change cable colour single-click on the input end of the cable. Take care not to double-
click, as this will remove the cable.
change cable weight right-click on any input socket, then select from the following options
(4 thicknesses, 4 transparency levels):
thick
slim
line
hair
solid
see thru
x-ray
ghosted
MidiLearn
MidiUnLearn
Unlike the other features here, cable weight is actually a global option, so it is likely to appear
elsewhere in future versions of Bazille.
Parameter locking
Right-click on any knob, slider or selector lets you select Lock. A locked parameter
can still be adjusted (remember this!), but doesnt change whenever you switch
presets. To unlock again, right-click and untick Locked.
While the current implementation of parameter locking is quite useful for retaining e.g.
Microtuning or Fine tuning across presets, it is not really suitable for e.g. individual sequencer
values or oscillator settings etc..
INTRODUCTION
GUI global options
Bazille can be expanded or contracted to suit your personal preference / eyesight / monitor size.
To open the GUI size menu, right-click anywhere in the background e.g. on the faux wooden
end cheeks (which of course add some extra warmth to the Bazille sound):
cute 610 x 360
tiny 813 x 480
small 915 x 540
normal 1220 x 720
large 1830 x 1080
huge 2440 x 1440
cinematic 3050 x 1800
Text Antialiasing
Gamma !
Temporarily switching the GUI size to larger than your screen area can be useful if you need the
best possible comfort and precision while editing complex maps (see Mapping Generators).
Text Anti-aliasing toggles visible softening of labels and values.
Gamma lets you adjust the brightness to suit your eyes / monitor etc.:
brighter
bright
neutral
dark
darker
Note: Cable weight is also a GUI global option see the previous page.
INTRODUCTION
The Control Bar
Along the top is a bar containing page switches, the data display plus a few global elements:
Page switches
To the left are three large buttons, which select one of the following pages:
.................... SYNTH patching, access to all the most commonly used panels and parameters
........ TWEAKS & FX filters 3 / 4, maps, extra envelope settings, global settings, effects...
................ PATCHES the preset browser / librarian
Data display
The central Data Display serves several purposes: First, it shows the name of the current patch:
Clicking on the triangles to the left and right steps through patches. Second, clicking on the
patch name opens a selectable list of all patches in the current directory.
Third, the data display shows the current parameter and its value while you are editing the
patch. This is particularly useful if you want to set a very precise value. After about 2 seconds,
the display reverts to showing the patch name again.
Undo / redo
To the right is a pair of buttons for Bazilles undo and redo functions, which
features a practically unlimited number of steps.
Caution: the undo/redo buffer is cleared as soon as you load a patch.
Save
See Save in the preset browser section.
MIDI
To the left of this label is an indicator which lights whenever MIDI data is being received.
Output
The main volume control and signal / overload indicator (turns red if you overload the output).
The u-he badge
Clicking on the u-he badge at the top right opens a popup menu containing direct links to this
user guide, to our homepage, to our support forum as well as to various social networks:
visit u-he.com
user guide
support forum
u-he on Twitter
u-he on Facebook
u-he on YouTube
INTRODUCTION
Multicore / HQ
To the left of the oscilloscope are two switches:
Multicore causes voices to be distributed across multiple cores, which usually allows more voices
to be played simultaneously without overloading the CPU.
This works well on recent processors such as the Intel i5 and i7, but please note that performance
can even be reduced if your CPU is older. Also, there may be some unpredictable interaction with
multi-threaded hosts (though we havent had any problems so far). Note: Switching Multicore on
isnt an adequate substitute for freezing tracks.
HQ switches various algorithms over to higher quality versions, at the expense of more CPU.
Note: Theres no particular reason why these two elements were put inside the oscilloscope panel
except that there wasnt really enough room in the control bar where they actually belong.
The Multicore and HQ switches are in the oscilloscope panel
Oscilloscope
Oscilloscopes were always, and still are, very useful tools for synth sound design. Thats why
theres one in Bazille. You can check and adjust waveforms, monitor the effects of audio-rate
modulation or filtering, view envelope shapes etc.. Or just watch it purely for the entertainment
value!
The oscilloscope shows a mono sum of the output, before any effects. The display is synchronized
to MIDI notes as well as zero-crossings, and is also updated whenever a longer scan is completed.
As synchronization is automatic, Bazilles oscilloscope only requires two controls: The Frequency
knob adjusts horizontal resolution, and Scale adjusts vertical resolution.
Note: Perfect synchronization is not always possible try playing a different note!
eco, fast, glow, re, wind
Right-clicking in the oscilloscope window lets you switch the
drawing mode: glow, fire and wind add different fade-out effects
at the cost of some extra CPU. These modes are also a bit more
sluggish than eco or fast.
Tip: If you need to keep CPU-usage down to a minimum, stick to
eco (economy) mode.
INTRODUCTION
Patch Browser
Bazille programs are called patches, a term borrowed by the audio and modular synth world from
the 19th century telephone exchange, in which calls were manually connected (patched) using
large socket matrices disconcertingly dubbed selectorboards (why not patchboards?).
Load
To browse through the available patches in Bazille, click on the PATCHES tab at the top left of
Bazilles window. Most of the GUI is replaced by a simple set of panes...
the folders and files areas, showing both context menus (via right-click)
Folders are listed in the left pane, with patches to the right. If Local is closed (as in the above
image), click on it to open the list of folders and patches. After having loaded a patch by clicking
on one of the names, you can use your computers cursor keys to step through all the others.
Note: The User folder is only available in Mac OSX.
You can also step through patches directly from the SYNTH or TWEAKS & FX pages by clicking
on the triangles either side of the data display. Finally, you can load any patch in the current
folder by clicking on the data display.
Save
Of course you will want to save your creations...
In the browser (see Load above), make sure that the folder in which you want to store your
patch has already been selected. Then click on the Save button to the right of the data display.
A small window opens in which you can give your patch a name and enter any details (patch
description, playing tips etc.) you would like to appear in the Patch Information.
Refresh
Whenever you need to refresh the list (always necessary after folders or patches have been
added or moved using Explorer / Finder), right-click in the folder list and select the first entry
from the menu. Note that clicking on any folder name will also refresh the list.
Create new folder
Does exactly that creates a new folder.
INTRODUCTION
Reveal in Finder / Explorer
Bazilles browser is used mainly for loading patches, and is otherwise fairly limited. Selecting
the reveal function opens a system window for the current folder, so you can use the regular OS
file functions instead. Right-click and select Reveal in Finder (Mac) or Reveal in Explorer (Win).
Favourite or Junk?
Right-clicking on a patch in the browser will open a context menu in which you can classify
patches as Favourite or Junk. Junked files will disappear immediately, but can be made visible
again by selecting show Junk from the same context menu.
Selection, drag & drop
Files can be moved from one folder to another via drag & drop. Use the SHIFT etc. keys on
your computer keyboard to highlight the files you want to move, then click and drag them from
the files area onto a different folder. To deselect, either click on a patch or choose deselect
from the context menu. See also Reveal in Finder / Explorer above.
The MIDI Programs folder
Local also contains a special folder called MIDI Programs, which is initially empty. If you put a
bunch of patches (up to 128) in there, they will all be loaded into memory (for performance
reasons) when the very first instance of Bazille starts. Important: Changes only take affect after
you have restarted the host software unlike regular patches, MIDI Program patches cannot be
added, removed or renamed on the fly.
Individual patches in MIDI Programs are selected via MIDI Program Change messages. As they
are accessed in alphabetical order, it is a good idea to put a number at the beginning of each
name e.g. 000 rest-of-name to 127 rest-of-name or similar.
Banks: The MIDI Programs folder can contain up to 127 sub-folders of 128 patches each, and
these are switchable via MIDI Bank Select messages 1-127 (the MIDI Programs root folder is
bank 0). The bank select message is CC#0. Send a Bank Select message first, then a Program
Change message.
INTRODUCTION
Oscillators
Bazille is highly unusual for a modular synth. Although the filters are traditional analogue models,
the oscillators are unashamedly digital: They combine the two technologies that made digital
synthesis affordable (and analogue synths suddenly unfashionable) in the 1980s FM (frequency
modulation, more correctly phase modulation) and PD (phase distortion).
Also included is another unusual process we call Fractalize (fractal resonance), which can create
very cutting sounds from tame waveforms, with a similar result to the classic sync effect.
5 different types of modulation, one for each of the 5 sections
Bazilles main oscillators are very powerful signal generators that can even be used as LFOs (as
the frequency range starts at zero Hertz). It can take a good while to get comfortable with them,
but thats the price were prepared to pay for such flexibility right?
The oscillator panel has five distinct sections, each with a modulation input. The next few pages
deal with these sections separately: lets start with PITCH...
OSCILLATORS
Pitch
Together, the knobs labeled Tune and Modify control the oscillators basic pitch. Both have mode
selectors that make the oscillators suitable for a wide variety of functions e.g. as FM operators,
undertone generators or even as host-sychronized LFOs.
Tune
A value between 0.00 and 24.00 the selector dertermines how this value is interpreted. The
first 3 modes are for generating regular notes, as they automatically switch key follow on:
Semitone........maximum 24 semitones above standard pitch.
Overtone........the first 24 harmonics in the overtone series. Note that octaves are not evenly
spaced, they are at precisely 1.00, 3.00, 7.00 and 15.00.
Undertone......the first 24 undertones (often called subharmonics). Again, octaves arent evenly
spaced but are at -1.00, -3.00, -7.00 and -15.00. For details about the undertone
series, go here: http://en.wikipedia.org/wiki/undertone_series.
In the last two modes, the oscillator frequency isnt affected by which MIDI notes you play, as
key follow is disabled. Tip: Whenever you need an LFO with plenty of modulation options, use
one of the main oscillators in Hertz or Clocked mode instead of a regular LFO:
Hertz ..............0 to 24Hz (can be greatly extended via multiply see modify below).
Clocked..........sync-to-host division factor. 1.00 mean a whole note, 4.00 a quarter note etc..
For technical reasons the synchronization isnt 100% perfect, so you might have
to retrigger the notes every now and again.
Modify
A value between -50.00 and 50.00. Again, the selector specifies how this is interpreted. The
Modify knob can affect oscillator tuning in one of four ways:
Cents .............detune by +/- 100 cents (each integer step is actually 2 cents).
5 Hz ...............detune by +/- 5 Hertz (tuning is independant of the MIDI note).
Beats .............similar to 5 Hz, but host-synced e.g. +4.00 = one extra cycle per quarter note.
Multiply...........multiply or divide by a constant (e.g. -8.00 will divide the frequency by 8).
Note that all values between -1.00 and -0.01 are interpreted as 1.00.
Tune modulation (unlabeled)
The amount of pitch modulation from a signal connected to the socket. The range of the tune
modulation knob is selectable, with the following options:
Cents .............+/- 50 x 2 cents i.e. plus or minus a semitone
5 Semi ...........+/- 5 semitones
50 Semi .........+/- 50 semitones
OSCILLATORS
Phase / FM
Bazilles oscillators are capable of all kinds of FM sounds by plugging an audio-frequency source
into the phase modulation input. FM synthesis is a bit of a misnomer, as this technology was
actually based on phase modulation (see Wiki articles about FM synthesis and Yamaha DX7).
Phase
The righthand knob adjusts the basic phase position i.e. where in its cycle the waveform will
start whenever a note is played. The range is usually 720 i.e. 2 cycles, but this is reduced to
360 when different waves are combined (the pitch drops an octave). The value of Phase is
irrelevant when the mode is set to Free, as in the above image.
The oscillators in most analogue synths are free running i.e. the phase is never reset. Because
the oscillators in digital synths arent computed until a note is played (otherwise the CPU would
be busy computing inaudible sounds), the initial phase needs to be defined:
random................Resets the oscillator to a random phase each time a note is played.
gate ....................Resets to the value of Phase each time a note is played so that all notes will
start with the same phase (if Phase isnt being modulated).
catch...................Each oscillator gets its phase from where the most recently processed voice
left off for a better free running effect despite voice rotation (round robin).
Phase modulation (with mode selector)
The bipolar knob on the left adjusts the amount of phase modulation from a signal connected to
the socket. Connect another audio-rate oscillator here for classic FM sounds (both should be
sine waves), or connect the same oscilator for operator feedback. Remember that Bazille is
truly modular you should also try connecting LFOs, ramps, noise etc. here.
The mode selector has 7 options. The first 3 are for regular phase modulation:
PM fine ...............for subtle phase modulation
PM medium........for typical FM uses, including self-modulation (operator feedback)
PM course ..........for maximum phase modulation
The next two options offer linear frequency modulation, with two different ranges:
lin 100Hz ............linear FM, 0 to 100Hz
lin 1kHz ..............linear FM, 0 to 1,000Hz
The last two options offer relative frequency modulation, also with two different ranges:
rel fine.................relative FM, -12 to +7 semitones
rel course............relative FM, +24 semitones backwards, through 0Hz (at -20), to +31
The very last option, rel course is especially interesting, as it gives us through-zero FM. There
is an example of through-zero FM in the Tips & Tricks section. xx really?
OSCILLATORS
Phase Distortion
Like FM, Phase Distortion (PD) is another method of skewing sine waves developed during the
1980s. If youre interested in studying technical details, you could start by reading these articles:
http://en.wikipedia.org/wiki/Phase_distortion_synthesis
http://en.wikipedia.org/wiki/Casio_CZ_synthesizers
Whenever you start a fresh instance of Bazille, the initialize patch is automatically loaded. In this
patch, oscillator 1 is already connected to one of the outputs so you can at least hear a sound.
Oscillator 1s PD knob is set to maximum, resulting in a bright sawtooth-like wave. Try turning this
all the way down for a sine wave, then modulate the phase distortion amount by connecting e.g.
envelope 2 to the socket and turning the amount up.
PD
The PD knob controls the basic amount of phase distortion.
PD modulation (unlabeled knob)
The bipolar knob on the left adjusts the modulation depth from a signal connected to the socket.
Wave selectors (upper 2 selectors)
The selectors below the PD knob specify a pair of
non-linear phase functions, which alternate (see the
two examples below).
The first 5 modes (Saw, Square, Impulse, 2pulse,
Halfsaw) are fairly simple and need no explanation.
In the three Res modes, multiple sine waves are
packed into one of 3 differently-shaped windows.
The number of cycles in the window is controlled by
the PD parameter.
Here are just two of the many possible waveform
combinations:
Saw + Square Impulse + Res 2
Shape (lower selector)
Sets the basic oscillator waveform before phase distortion:
Cosine............for regular phase distortion i.e. the above waves.
TapMap(n) .....one of the two mapping generators. Note that Setting this option doesnt prevent
the map from being used as a modulation source at the same time.
OSCILLATORS
Fractal Resonance
Fractal resonance is similar to Res (see Wave Selectors above), but acts on the composite wave.
Multiple cycles of the waveform are packed into another wave (specified by the selector) which
serves as a window. Watch the effect of fractal resonance in Bazilles oscilloscope. For example,
here is a square wave packed into a triangular window:
Fractalize
The righthand knob controls the number of cycles (of the original wave) in the window. The
selector to the right specifies the shape of the window. Off, Saw, Tri or Max roughly correspond
to none, Res1, Res2 and Res3 respectively (see the previous page).
Fractalize modulation (unlabeled)
The bipolar knob on the left sets the modulation depth of a signal connected to the socket.
Outputs
There are two signal outputs at the bottom of the oscillator. The upper one is always at full volume,
while the lower one can be attenuated and modulated...
Volume
The righthand Volume knob controls the nominal level of the lower output, before modulation...
Volume modulation (unlabeled)
The bipolar knob controls the modulation depth of a signal connected to the socket.
OSCILLATORS
LFOs
At the top left and top right of Bazilles window are two dedicated low frequency oscillators.The
LFOs have 3 parallel outputs along the bottom. Note that LFO 1 is also responsible for vibrato.
Rate
A value between -5.00 and 5.00 the selector specifies how this value is interpreted. The first 3
options are absolute times measured in seconds (0.1, 1 or 10), all the others are synchronized
to host tempo. The five options with dot in the name are dotted (50% is added to the cycle
length), and those with trip in the name are triplet times (3 cycles occupy the space of 2).
0.1s to 10s .....absolute times: 1/10th, 1 or 10 seconds at Rate = 0.00.
1/64 to 8/1......synchronized to host tempo
To set up a vibrato rate of 5Hz, for instance, use 1s mode with Rate at 2.50. Or 0.1s with the
Rate set to -1.00. Its not worth thinking about a conversion formula here just use your ears!
Rate Mod
The depth of rate modulation from a source chosen in the selector.
Wave
This knob affects the basic LFO waveforms in the following ways:
triangle...........from falling saw though triangle to rising saw
pulse..............pulse width from 1% through 50% to 99% (approximate values)
random...........smoothness control
For more LFO waveforms, try modulating the LFOs amplitude from the same LFO. Or use one
of the main oscillators in Hertz or Clocked mode.
LFOs
Phase
This adjusts the phase position at which the waveform will start whenever a note is played. The
options in the selector are:
sync ...............no restart LFOs for all voices remain in phase unless modulated apart
gate................restarts to the value of Phase whenever a new note is played
single .............similar to sync, but restarts whenever a non-legato note is played
random...........restarts at a random phase whenever a new note is played
Delay
Fades the LFO in from zero, with ramp times ranging from immediately to about 20 seconds.
Amp Mod
This knob adjusts the amount of LFO level modulation from a source specified in the selector.
That higher values result in lower LFO output may be counter-intuitive, but remember that you
are controlling the degree of attenuation here. Whatever the modulation source, you will
always get maximum output from the LFO when Amp Mod is set to minimum.
Outputs (Triangle, Pulse, Random)
All three LFO output sockets can be used in parallel. Note that the Wave knob (see above)
affects all waveforms at the same time.
LFOs
Filters
Bazilles filters have several properties normally associated with analogue hardware. For instance,
they can be overdriven without getting too harsh. Also, close to where self-oscillation starts (about
50 to 55), there are surprising opportunities for weird and wonderful sound design.
Four filters (the controls for filters 3 and 4 are in the TWEAKS & FX page)
The cascade filter architecture lets you access several filter types in parallel, like in some hardware
synths. In Bazille, however, all filter types are resonant and can even self-oscillate.
Note: All controls for filters 3 and 4 are in the TWEAKS & FX page.
Controls
Gain / inputs
Filter input level (negative values) as well as overdrive amount (positive values). Like the main
OUTs, each filter has two audio inputs. Note: Bazilles filters have not been tamed!
Cutoff
Filter 1: Cutoff frequency is measured in semitones from 0.00 to 150.00 for a total range of
about 12 octaves. The modulation range is also +/-150 semitones.
Filter 2: Instead of a simple positive-only cutoff, filter 2 has a bipolar control with 3 modes:
Cutoff.........like filter 1 except that you can set cutoff below zero (to be modulated upwards).
Offset.........follows filter 1 (including any modulation), but shifted either negatively or positively.
This means that filter 2 cutoff can be directly modulated by up to four sources: two
within filter 2 and two adopted from filter 1.
Spread.......like offset, but also affects Filter 1 cutoff in the opposite direction.
FILTERS
Cutoff modulation (unlabeled)
Each of Bazilles filters includes a pair of general-purpose cutoff modulation controls. A typical
use would be to patch an envelope to one and an LFO to the other, but remember that you can
patch audio-rate sources: Try everything, experiment!
Key Follow
Key follow causes the cutoff to track MIDI notes, to a variable degree. Key follow pivots around
the note E3: this note remains unaffected, whatever the value of Key Follow.
Resonance
The resonance range is 0.00 to 100.00. Although self-oscillation can start around 50.00, the
actual amount of resonance depends on the Gain setting (see gain above), so quite a generous
range was necessary.
Resonance modulation (unlabeled)
Resonance can be modulated by connecting a signal to the socket. The Resonance knob then
becomes a (unipolar) modulation depth control.
Outputs
Filters 1 and 2 have six outputs each, all of which can be used at the same time:
LP24 24dB per octave (4-pole) lowpass
BP6 6dB per octave (1-pole) bandpass
HP12 12dB per octave (2-pole) highpass, with low shelf via Gain
Filters 3 and 4 are only slightly simpler than the other two. Here are the differences: They only
have LP18, BP6 and HP12 outputs, resonance cant be modulated, and the cutoff modulation
sources are limited to what you see in the MIDI & MORE panel minus noise, plus LFOs and
envelopes. Also, everything except the sockets are in the TWEAKS & FX page go here.
Tip: If you want to modulate filter 3 or 4 cutoff from something thats not available in the list (e.g.
the modulation sequencer), just patch the signal you want into one of the CV sockets, and
select that CV as modulator.
FILTERS
Envelopes
Bazille has 4 identical envelope generators that can not only be selected as amp envelope in the
output modules, but also patched to any parameter with an input socket (e.g. filter cutoff).
To reduce clutter in the SYNTH page, the envelope parameters we thought might be adjusted less
often while sculpting a sound towards perfection (!) can all be found in the TWEAKS & FX page.
A D S R
Bazilles envelopes are based on the familiar ADSR type, i.e. they use the standard parameters
Attack time, Decay time, Sustain level and Release time. Of course we added a few interesting
extras under the hood...
Rate Mod
Overall speed modulation. For instance, if you select KeyFollow as the modulation source and
set a negative value (as in the above image), the envelopes of higher notes will be shorter
which is typical of plucked acoustic instruments.
Tip: An envelope can even modulate its own rate you can use such recursive modulation to
create unusual envelope shapes.
Fall/Rise
This knob causes the normally flat sustain to either fall (negative) or rise (positive). Values
closer to the centre mean a slower rate. Note: Theres a parameter in the TWEAKS & FX page
called F/R Range which limits how far the sustain will fall or rise.
Amp Mod
The amount that the envelopes output is modulated by a source chosen in the selector.
Velocity
This knob scales the envelope level via MIDI velocity, so low velocities result in lower levels.
ENVELOPES
Outputs
At the end of the synthesis chain theres always an amplifier unit otherwise you wouldn't hear
anything! In analogue synthesizers this is often a VCA (Voltage Controlled Amplifier). The output
VCAs in polyphonic synths usually have dedicated envelopes, while Bazille offers you a choice.
Even modular synths should be stereo, so Bazille gives you two channels with pan controls:
the Output panels
Parallel inputs
Each output channel has two signal inputs, which are simply summed together.
Volume
A level control with envelope selector. Choose any of the envelope generators (Env 1 to Env 4)
or Gate (a simple maximum sustain envelope with short attack and release).
Note that the ultimate volume control is actually the Output knob in the upper bar!
Pan
Stereo pan position, or pan modulation depth if a source other than none is selected.
OUTPUTS
Processors
The panels below each LFO contain various signal processors which will accept control signals as
well as audio signals (see xx for a few practical examples):
Processor panels, with Sample & Hold on the left, Quantizer on the right
Inverter
Simply inverts the input signal.
Rectier
Full wave rectification: all negative values become positive.
Sample & Hold
Each time the Trigger signal passes through zero in the positive direction, a sample is taken of
the input signal, and this voltage is held until the next trigger arrives. Of course you should
immediately patch noise to the input, an LFO to the trigger, and the output to either oscillator
pitch modulation or filter cutoff!
Lag Generators
Similar to Glide, but these can be used for any signal. The attack (A) and release (R) knobs give
you independent control over positive and negative transitions. To familiarize yourself with these
controls, try processing a square wave LFO thats connected to oscillator pitch modulation.
Then try using a lag generator as a primitive lowpass filter!
Note: Each panel actually contains two lag generators, with shared attack and release times.
Quantizer
Signals are forced to discrete voltages so the input signal is transformed into equally-spaced
steps. The central knob controls the number of those steps.
PROCESSORS
MIDI & More
At the bottom left of the SYNTH page is a panel containing nothing but sockets:
noise outputs CV inputs
MIDI control sources internal control sources
Noise
Two differently coloured noise sources: White is a full-range random audio signal suitable for bright
percussion or steam sounds etc.. Pink contains more low frequencies, and is probably the better
choice for wind/wave effects or low-frequency grunge.
Tip: An absolute classic patch: Noise " Sample & Hold (triggered by LFO) " pitch or cutoff.
MIDI Control Sources
The left half of the panel contains the following MIDI data outputs:
Press / Gate / Velo / PitchW / ModW / Breath / Xpress
As well as generating MIDI note messages (which include Gate and Velocity), most MIDI key-
boards also have a pitchbender (PitchW) and a general-purpose modulation control (ModW).
These two are usually implemented as a pair of wheels, but some have joysticks, touch ribbons
etc. instead. More fully-featured MIDI keyboards also send aftertouch i.e. channel pressure or
poly-pressure (Press), breath control (Breath) or expression pedal (Xpress) data.
Note: You will also find these control sources in the menus for modulating LFOs, envelopes and
filter 2/3 parameters (some of the names are bit longer in those lists).
KeyF 1 / KeyF 2
Two multi-purpose Key Follow modulation sources i.e. MIDI note number with pitchbend and
glide. Bazille has two of them because you can set a glide rate offset for all even-numbered
modules, and this is included in KeyF 2. For more details, see Glide.
Note: Bazilles pivot note for Key Follow is fixed at E3 (MIDI note 64). Below E3, KeyF 1 and
KeyF 2 send negative values, above E3 they send positive values.
MIDI & MORE
Internal Control Sources
The other control sources in the MIDI & MORE panel are internally generated:
Random
A random value for each played note.
+5V
A constant voltage. You can use +5V to create DC offsets (can affect distortion characteristics
of filters), or to push parameters beyond their normal ranges (where possible) etc..
StackV
A modulation source derived from the stack voice number. This is identical with +5V when Stack
is set to 1. It is +5 and -5 when Stack is set to 2, and +5 / 0 / -5 when Stack is set to 3. The
simplicity ends with Stack settings of 4 and above, although the limits will always be +5 and -5.
Alt
Flips (alternates) between +5V and -5V for each successive note.
Map 1 / Map 2
See Mapping Generators in the TWEAKS & FX page.
Ramp 1 / Ramp 2
Additional simple envelopes / LFOs. See Ramp Generators in the TWEAKS & FX page.
CV Inputs
Although control-rate modulation targets (LFO and envelope rates / levels, pan) would normally
only accept control-rate sources, Bazille includes a pair of inputs that inject any signal you like
into the modulation source dropdown menus.
The CV inputs are particularly useful for pre-processed (e.g. added, multiplied, lagged etc.)
control-rate sources, but patching audio-rate signals into a CV can also lead to interesting
results. Please keep in mind that the CV path is updated much more slowly than audio-rate!
MIDI & MORE
Multiplex
The little multiple modules you will find in most analogue modular systems are simple mix/split
devices, often just four sockets bridged together. As most modular synths have a very limited
number of inputs and outputs per module, multiples are very important without them it would be
difficult to modulate more than one parameter at a time from e.g. an envelope generator, or plug
more than one or two audio signals into a filter.
As Bazilles output sockets can accommodate several cables, the humble multiple underwent a
serious redesign at u-he, emerging as something so flexible that we called it the MULTIPLEX.
Here are a few examples of what you can do with a multiplex:
Simple mixing
The most obvious use of a multiplex is to mix up to four input signals. The multiplex acts as a
regular 4-input multiple with as many outputs as you like.
Ring modulation (RM)
A classic audio effect traditionally used for bell-like sounds. In the above example, the signal
connected to input 1 is being ring modulated (multiplied) with the signal connected to the mod
(modulation) input. Swapping the input and mod cables will make no audible difference.
Whenever a cable is connected to the mod input, the lefthand knob crossfades from the dry
sum of inputs 1 and 2 to the RM signal. In our example, the lefthand knob is at maximum,
meaning that the output (red cable) carries the ring modulated signal only. The value of the
righthand knob is irrelevant here, as inputs 3 and 4 are not being used.
Because RM is actually multiplication, the multiplex can be used to scale control signals. For
instance, if you connect an LFO to input 1 and velocity to the Mod socket, you will get LFO level
times velocity the harder you play a note, the more LFO signal will appear at the output.
MULTIPLEX
Amplitude modulation (AM)
Another classic synthesizer effect like RM simply use inputs 3 and 4 instead of 1 and 2. In
addition to the RM sidebands, the AM output also contains the original signal (but amplitude-
modulated, of course). The knob on the right crossfades from the original to the amplitude
modulated signal.
RM can be written as y = a x mod, and AM as y = a x (1 + mod). In Bazilles multiplex, however,
AM is actually y = a x (1 - mod). There's a good reason for that minus...
Again (like in RM), the level of one signal can be controlled by another, but in this case control is
inverted the minus symbol in y = a x (1 - mod). If we took the previous example but used
input 3 instead of 1, the harder you played a note, the less LFO would appear at the output.
Crossfading
simple crossfade using a unipolar modulation source
The RM and AM features can be used at the same time. In the above example, the mod signal
(green) controls the mix between inputs 1 and 3. If e.g. the modulation wheel is connected to
the Mod input, it would crossfade smoothly between inputs 1 and 3, with complete separation at
the extreme values.
crossfade using a bipolar modulation source (example)
Using bipolar modulation signals for crossfading is a bit more tricky. For instance, to get 100%
separation at extreme values using a bipolar source such as an LFO, try the following: Set the
lefthand knob to 50.00, and bridge inputs 1 and 2 (as in the above image) to double the level!
MULTIPLEX
Modulation Sequencer
At the bottom right of Bazilles window is a large panel containing a dial and 16 sliders.
This is very different from a standard step sequencer. 1) it is polyphonic each played note will
trigger its own instance of the sequence. 2) it was primarily conceived as a cyclic modulation
source, and doesnt trigger envelopes directly (see how to trigger envelopes).
the control sequencer, with two of the outputs (taps) in use
Speed and Triggering
xx
Divide / Time
xx
Sync
xx
free............xx
sync...........xx
gate...........xx
MODULATION SEQUENCER
Snapshot Dial
The large dial to the left is responsible for several related functions: Firstly, single-clicking on the
outer rim will select one of the 8 snapshots for editing using the 16 sliders. Double-clicking on the
outer rim also moves the snapshot pointer to that same position.
xx
Context menus
Left-click in xx AutoSelect is xx
Copy/paste
Interpolate <-, interpoate ->
xx
Rotate
This knob controls the amount of rotation modulation from a source connected to the socket.
If nothing is connected to the socket, the dial will automatically move clockwise (positive values)
or anticlockwise (negative values), with the knob controlling the speed relative to host tempo: At
1.00 it moves 1 segment per 1/1 bar (so a full rotation would last for 8 bars), at 0.25 it will move
one snapshot every 4 bars.
Snapshot Patterns
To the right of the dial are 16 sliders used for editing the 8 patterns.
xx
How to trigger envelopes
First, you will need to set the envelopes Trigger mode to one of the two ModSeq (modulation
sequencer) options. Having done that to envelope 2, look at this example:
xx
xx
Tweaks & FX
Overview
This page combines TWEAKS (all parameters that wouldnt fit comfortably into the SYNTH panel)
with effects (FX): It would have been impractical to try and squeeze all of Bazilles components into
a single window, so we tried to strike a reasonable compromise. We think this is it:
the TWEAKS & FX page
Everything in the upper row has to do with voice allocation and/or tuning, with the oscilloscope,
Multicore and HQ switches retained from the SYNTH page in the middle.
In the second row down are two mapping generators surrounding a tool selection block.
The third row contains the extra envelope parameters, filters 2 and 3, and two ramp generators.
The bottom row contains four effects panels, with the effect configuration switches to the left.
TWEAKS & FX
Voice
The top lefthand panel contains five options that affect how each voice is created:
Mode
poly............polyphonic
mono.........monophonic, each new note retriggers the envelopes
legato ........like Mono, but doesnt retrigger until a space is left between consecutive notes
duo............duophonic, oscillators 1 and 3 are lowest Priority, 2 and 4 are highest priority
poly2..........like Poly, but voices in their release stages are stolen before new ones
Priority
Note: This parameter only applies to Mono and Legato modes it is otherwise ignored.
last ............plays the most recent note (typical of digitally controlled synths)
lowest ........plays the lowest note (most classic USA mono-synths)
highest.......plays the highest note (EMS, most classic Japanese mono-synths)
Max. Voices
Sets the maximum number (2-16) of voices before note-stealing occurs. Mainly used to guard
against audio glitches while playing CPU-intensive patches.
Note that in practise, the maximum number of playable voices is less when the amp envelopes
have longer release times, and/or if you are stacking multiple voices...
Stack
Sets the number of unison voices (see Stack voice tuning). Note that higher values will not only
seriously reduce maximum polyphony, but will also eat your CPU for breakfast!
Drift
While Drift is switched on, individual voices are slightly detuned, resulting in a less static sound.
TWEAKS & FX
Tune Control
The next panel specifies pitchbend ranges, vibrato depth and global pitch:
PB up / down
Most MIDI keyboards include a performance control called a pitch bender (often a centre-
sprung wheel) which is used for bending the overall pitch up and down. Bazilles PB up and
down selectors specify the up and down ranges independently, from 0 to 24 semitones.
In the MIDI & MORE panel as well as in the modulation source menus for LFOs, envelopes and
mapping generators, this control is called PitchW (the W stands for wheel).
Vibrato (LFO 1)
Adjusts the amount that LFO pitch modulates all 4 oscillators. For typical performed vibrato, set
the LFO1 amp modulation source to ModWhl, and turn its depth up to maximum.
Transpose / Fine
The Transpose selector shifts the overall pitch in semitone steps with a range of +/- 24, and the
Fine knob adjusts it within a range of +/- 1 semitone. Note that neither Transpose nor Fine work
in realtime i.e. during a note, but only when the next voice is played.
TWEAKS & FX
Glide
This small panel controls portamento the slurring of pitch / cutoff between consecutive notes:
Amount / Offset 2 & 4
Amount sets the basic speed of the Glide for all oscillators and filters (in fact anything that uses
key follow).
Offset 2 & 4 is added to even-numbered oscillators and filters only, as well as to the modulation
source Key2 (KeyFollow2). This means you can set up two different glide amounts, depending
on which modules you choose. Here are a few examples:
To make the glide a bit faster for oscillator 2 than for oscillator 1, turn Amount up to e.g. 30, then
turn Offset 2 & 4 down to e.g. -15.
To make the glide only apply to filter cutoff, patch oscillators 1 and 3 into filter 2, turn glide
Amount down to zero, adjust Offset 2 & 4 to e.g. 35 and set Key Follow in filter 2 to 100.
Mode
time ...........the glide always takes the same time, whatever the distance between notes
............ rate the glide is proportionally longer when the notes are further apart, and shorter when
they are closer together
Range
Glide strength, a u-he speciality. Lower values shift the start of each glide closer to the target
note, which can result in highly unusual or subtle intonation effects.
Stack Voice Tuning
Sets the pitch of each stacked voice, within a range of +/- 2 octaves. For fine tuning, hold down the
SHIFT key before adjusting the knob. See Stack.
Microtuning
Bazille supports the widely-used TUN format. With a bit of searching, you can find hundreds of
tables online, most of them free. Put all your .tun files into the following folder:
Windows ...\Bazille.data\Tunefiles (specifically for Bazille)
Mac OSX MacHD/Library/Application Support/u-he/Tunefiles/ (global for all u-he plugins)
Clicking on the long selector opens a floating browser containing your .TUN files (you might have
to refresh the list via right-click first). After selecting a microtuning file, remember to switch it on.
TWEAKS & FX
Mapping Generators
Bazilles two mapping generators are lists that can hold up to 128 values. They can be used either
for processing modulation sources, or as oscillator waveforms (via the TapMap option).
mapping generators can be any size between 2 and 128 steps, and be driven from any modulation source
Mode
The lefthand Mode selector specifies the basic functionality:
Key .....................the 128 MIDI notes, acts like a freely programmable key follow
Map Smooth.......modulator values interpolated for smooth transitions
Map Quantise.....modulator values, stepped for more immediate transitions
Alternate.............consecutive notes step through the map
xx can we rename the latter increment and spell Quantize with a z?
Note that the two map modes are not active until you have defined a modulation source
Source
The other selector specifies a modulator (LFO, envelope, whatever) to be processed in either of
the two Map modes. Note: In Key or Alternate mode, this setting is ignored.
TWEAKS & FX
context menu
Right-click in the map generators edit window to select one of the following functions:
copy/paste ...................for transferring maps, especially between patches
shapes.........................a bunch of preset shapes ramp, triangle, sine, cosine, root, quadric
alt-draw / cmd-draw.....drawing mode erase, scale, shift, warp, fine xx
selection.......................xx deselect, invert, shift left, shift right, select every 2nd / 3rd / 4th
reverse ........................xx
invert ............................xx
randomize....................add a random offset (+/-) to existing values
soften...........................reduce jumps
normalize.....................maximize the largest value, then scale all others accordingly
straighten.....................draw a straight line between the first and last values
reset.............................zero all values
quantize 424..............quantize existing values to different grids. Set to 12 for semitones
2128...........................sets the number of values used in the map
At present there is only one drawing option in the Mapping Generators editor: Cmd+click (Mac)
or ctrl+click (PC) resets values to zero. Mapping generators are so useful that future versions of
Bazille may include more drawing options, e.g. for straight lines and curves.
xx ALL THE ABOVE WILL CHANGE - leave this section for later
xx
TWEAKS & FX
Envelope Extras
These four little panels contain a few extra envelope parameters:
Snappy
This switch makes the decay and release phases more extreme (less linear), which is especially
noticeable if those envelope stages are already quite short:
envelope decays without Snappy (L), with Snappy (R)
F/R Range
See also Fall/Rise. This parameter limits how far the sustain phase can fall towards zero or rise
towards maximum. F/R Range sets a percentage of the difference between the Sustain value
and zero or maximum, like in these examples:
Fall/Rise F/R Range Sustain Level after F/R
negative values
50% 80 40
negative values
25% 80 60
positive values
50% 80 90
positive values
25% 80 85
In the above table, the level of the envelope after F/R is either half way (50%) or a quarter way
(25%) between the value of Sustain (set to 80 here) and maximum (100) or minimum (0).
TWEAKS & FX
Trigger
Envelopes can be triggered by MIDI notes, by the LFOs, or by parts of the modulation sequencer:
Gate ...................triggered by MIDI notes
Loop ...................like Gate, but also restarts immediately after release
LFO1/2 ...............triggered by LFO1 or LFO2
ModSeq1/2.........triggered by the sequencer. ModSeq1 is the leftmost used tap, ModSeq2 is the
next used tap to its right. For details about this, go to how to trigger envelopes
in the sequencer chapter.
Filters 3 and 4
Although the panels for filters 3 and 4 look a bit different from those in the SYNTH page, the
parameter set is almost the same:
Note: In filters 3 and 4 the amount of resonance cant be modulated, the cutoff modulation sources
are selected instead of patched, and they only have LP18, BP6 and HP12 outputs (see Filters).
If you would like to modulate filter 3 or 4 cutoff from something not immediately available (e.g. the
sequencer), patch that signal into one of the CV sockets, and select the CV as modulator.
Ramp Generators
If you find that four envelopes and two LFOs aren't quite enough, you should take a look at the
ramp generators, which can fulfill either of those roles (and more):
Up / Hold / Down / Rest
The ramp is not a simple AR (attack-release) envelope, but a linear
attack-hold-decay (AHD) type with an off time. Its closest relative is
probably the trapezoid used in the classic EMS Synthi A and VCS3.
Up is the attack time, after which the signal stays at maximum for a
period set by Hold, followed by is the release time Down.
Rest is the time before the ramp repeats: If Rest is set to maximum,
the ramp is a one-shot envelope, it will never repeat.
Clock Mode sets the Ramp values either to seconds, or to host-sync
factors (1/4 or 4/4).
TWEAKS & FX
Effects
The lower 20% of the TWEAKS & FX page accomodates 4 global effect panels, plus 4 switches
that enable/disable and reorder the effects:
FX Control
xx
xx
xx
xx
xx
xx
xx not finished yet - leave for later
Distortion
Bazilles Distortion effect creates traditional tube as well as transistor-type saturation. It can mimic
a complete guitar amp and speaker cabinet...
the Distortion panel
The basic signal flow is as follows:
input amp ! pre tilt filter ! distortion ! post tilt filter ! post filters ! output amp
Input
Sets the gain in decibels at the input, and therefore how hard the input amp is driven.
Output
Sets the gain at the output, and therefore how hard the output amp is driven. Note that there is
a final soft-clipping stage that can create some extra distortion when turned up too high.
EFFECTS
Type
Tube Class A...........Simulates a complete tube preamp. Class-A means a single vacuum tube
with DC bias that creates odd and even harmonics. Due to the asymmetry
of the curve, class-A distortion sounds relatively warm.
Tube Class AB ........Simulates a preamp with a pair of tubes in a push-pull configuration,
resulting in symmetrical distortion without any even harmonics.
......... Tube 2 Stages Simulates a preamp with two class-A stages in series. Like simple class A,
this also creates odd and even harmonics, but the results are richer and
more dynamic. This mode applies internal filtering and feedback for more
sonic complexity. Note: High gain settings should give you extra bass.
................. Hard Clip Simply chops the top and bottom off the waveform.
..................... Rectify Full-wave rectification the negative half-wave becomes positive, and DC
is removed from the resulting waveform.
................. Foldback Foldback distortion is similar to soft-clipping, but increasing the gain doesnt
slam the signal against the ceiling. Listen out for strange intermodulation
effects in this mode!
Pre Tilt
A low and high shelving combination EQ is applied to the input, and Pre Tilt makes the distortion
frequency-dependent (at zero, the response remains flat). Negative values tend to strengthen
the bass and weaken the treble, while positive values have the opposite effect.
Post Tilt
Balances the tone after the distortion (e.g. to compensate for Pre Tilt).
Center Freq
Combined low and high shelf cutoff frequency control.
Post Filter
...... Dual-Band Shelf A simple corrective EQ: a low shelf at 100Hz and a high shelf at 10kHz.
...... Guitar Cab 4x12 Emulates the frequency response of a popular vintage speaker cabinet,
producing its typical mid-range focused sound. Includes the peaks/troughs
caused by resonance within the cabinet, plus close-mic effects.
Low and High
In Dual-Band Shelf mode, they control the gains of the shelving filters. In Guitar Cab 4x12 mode
they set the amount of cabinet resonance i.e. bass response and speaker 'edge'.
EFFECTS
Phaser
An emulation of two classic phaser units, xx
the Phaser unit, with switchable type
Type
Stoned or Flanged. The latter is much more resonant, and is particularly dramatic when applied
to bright sounds.
Feedback
Controls the amount of resonance.
Stereo
This is a bipolar stereo width control. With the Stoned type, the maximum stereo width is at
25.00 (either positive or negative), and is especially obvious if you turn Feedback up.
Wet
Balance between the unprocessed and processed signal.
Sync
Synchronizes the Phasers LFO to song tempo. See Rate below.
Rate
Controls the modulation speed. If Sync is switched on, the value is measured in beats (quarter
notes) so the rate actually gets slower as values increase. Example: For one cycle every 3 bars
in 4/4 time, set Rate to 12.00 (3 times 4).
Phase
A static phase offset between 0 and 360, which can also influence the stereo effect.
EFFECTS
Delay
A host-synchronized stereo delay with tape wow and filtered feedback:
Left / Center / Right
Delay times relative to host tempo, sperate for each stereo channel. Precise integer values are
semiquavers (16ths).
Center defines the overall Feedback time. This is unusual, it means that you can set a repeat
rate without actually hearing that particular tap simply turn Center Vol down to zero.
Wow
Emulates slow tape wobble, ranging from subtle / spacey to almost seasick!
Center Vol / Side Vol
Level controls for the center tap and for the left / right taps (together).
HP / LP
These are seperate cutoff controls for the highpass and lowpass filters within the feedback path.
For the damping effects typical of tape delays, increase HP and decrease LP.
Feedback
The amount of regeneration within the delay circuit. 100.00 will give you an infinite loop if HP is
set to minimum and LP to maximum well worth trying out!
Dry
The level of the unprocessed signal.
EFFECTS
Spring Reverb
And finally... spring reverb! This is a highly unusual effect to be modeled in a synthesizer. The idea
was to offer a kind of reverb that was (oddly) suitable for Bazille sounds, something that could add
a special sheen not available in other synths. Bazilles spring reverb emulates a typical dual spring
system, with junctions near the middle. So here it is, complete with Shake effect:
Note that spring reverberation sounds very different from standard room or hall-type reverb effects.
The distinct delay patterns result directly from the spring lengths and their nominal delay times
(34ms & 41ms here). Also, springs create frequency-dependent dispersion, as high frequencies
travel for a longer time than lower ones.
Tone
A simple tilt-type tone control, from dark to bright. You should try extreme values here, although
real spring reverb is normally quite flat but with few high frequencies.
Decay
Controls the amount of natural damping occuring at both ends of the springs as well as at the
junction in the middle. Of course minimum Decay means maximum damping.
Mix
The dry / wet control blends between the untreated signal and the processed signal.
Drive
Transducers are non-linear devices, so they can be overdriven. Drive simulates the inherent
non-linearities of real spring reverb units.
Tension
How tightly the springs are mounted in the reverb tank. Looser springs oscillate at lower
frequencies, the sound is less dense and dispersed. Conversely, tighter springs oscillate at
higher frequencies, the sound is more dense and dispersed.
Width
Stereo separation between the two springs physical differences between them become more
apparent. When Width is set to maximum, the two spring systems are hard-panned to the left
and right channels. The most faithful, 'true' spring reverb sound is monaural (0% width).
Shake
Simulates the thunder effect of knocking the unit (the springs to hit the sides of the metal tank).
EFFECTS
Tips & Tricks
Oscillator Tricks
* classic DX-type FM
* fractalize
* x
* x
Mapping Generator Tricks
* key mode mapping gen -> only 12 values xx
*
Processor Tricks
* x
* x
* x
Multiplex Tricks
* x
* x
* x
Mod Sequencer Tricks
* x
* x
* x
TIPS & TRICKS
Glossary
A
ACE (u-he product) A wireless modular synthesizer related to Bazille, but simpler
ADSR Traditional envelope generator with 4 stages: Attack, Decay, Sustain, Release
aftertouch The most common term for either channel pressure or key pressure from a MIDI
keyboard. The latter is polyphonic, but rarely implemented in MIDI keyboards
amplitude The level of a signal
analogue (of a synthesizer) Popular term for non-digital
attack (ADSR) Usually the first stage of an envelope, where the level rises from zero to
maximum. In Zebra2s envelopes, the attack stage can be preceded by a delay, or a non-zero
initial level can be set
attenuate To reduce the amplitude
B
bandpass (BP filter) Allows frequencies close to the cutoff point to pass through while
attenuating higher and lower frequencies
bandreject (BR filter) Allows all frequencies to pass through except those which are close to
the cutoff point. Often called a notch filter
bipolar (modulator) Can output both positive and negative values, for instance pitchbend or
LFO. See also unipolar
BPM Beats Per Minute = standard representation of song tempo
C
channel pressure see aftertouch
cent Hundredth of a semitone
cutoff (of a filter) The frequency that defines where (within the audio spectrum) the input signal
will start to be attenuated or boosted. See resonance
D
decay (ADSR)
DC Direct current = a static offset (or very low frequency content) within a signal
default Setting or value assigned as a sensible starting point. Double-clicking on Zebra2
knobs will set appropriate defaults
Diva (u-he product) A virtual analogue synth with mix-and match components
duophonic (synthesizer) Can play only two notes at the same time, defined by the lowest and
highest notes received
GLOSSARY
E
envelope generator (modulator) Contour generator for levels, tone etc.
F
filter-FM Audio rate frequency modulation of filter cutoff
Filterscape (u-he product) A dual-filter plugin suite, with complex modulation
FM Frequency modulation (also the related phase modulation)
frequency Speed of a cyclic system (in cycles per second = Hertz). Can be translated into e.g.
the absolute pitch of an oscillator or the BPM of a song
FX Abbreviation for effects
G
glide Smooth pitch transition between consecutive notes
global (parameter) In Bazille: patch-wide parameter, not per-voice
H
highpass (filter) Allows frequencies above the cutoff point to pass while removing lower ones
harmonic series xx
I
initialize In Bazille: A very simple patch suitable as a template for new creations
instantiate To create an object (e.g. an LFO) from its class (e.g. the LFO parameters)
J
junk In Bazille: A patch marked as unwanted but not yet deleted
K
key follow (modulator) In Bazille: MIDI note including Glide
key pressure see aftertouch
L
lag processor Device used for smoothing control signals (e.g. glide is lagged pitch)
legato No space between consecutive notes, not retriggered
LFO Low Frequency Oscillator (usually remains below the audible range)
lowpass (filter) Allows frequencies below a cutoff point to pass while removing higher ones
GLOSSARY
M
mode (of a system) A particular way of working, selected from multiple options
MIDI-learn Assigning MIDI controllers to parameters by sending controller data
Mixtur-Trautonium Oscar Salas instrument (1948), generates undertones (external link)
mod-wheel Modulation wheel, the multi-purpose left-hand controller on a MIDI keyboard
modulation Controlling a parameter (from a modulator)
modulator Any control source used for modulation
module Patchable unit within a modular synthesizer
monophonic Able to deliver only one voice / signal at a time
More Feedback Machine (MFM2, u-he product) 4-way matrix delay plugin
N
nn xx
O
operator feedback Xx
oscillator Cyclic signal generator
overload (of a filter) Distortion effect produced when the input level is too high
PQ
parameter Variable factor within a system
paraphonic Polyphonic oscillators, but monophonic filters / envelopes
per-voice Non-global, instantiated for each note
phase A position within a cycle (of OSC or LFO)
phase distortion xx
phase modulation the more correct term for DX-type FM
Podolski (u-he product) A simple freeware VA synth featuring Zebras arpeggiator
polarity (of a signal) Normal (+) or inverted (-)
polyphonic Able to deliver more than one voice at the same time
portamento Glide
R
release (ADSR)
rolloff filter slope
GLOSSARY
Rumblence:Zoyd (u-he product) Early freeware semimodular synthesizer, Urs first!
Runciter (u-he product) the distorting filter effects unit in Uhbik
S
Satin (u-he product) Magnetic tape effects plugin
scale (verb to scale) Multiply, as opposed to add/subtract
signal Any time-variant value, but usually audio-rate
sustain (ADSR)
T
threshold A value (e.g. of filter cutoff) above or below which an action commences
Triple Cheese (u-he product) Comb-filter based freeware synthesizer
TyrellN6 (u-he product) Virtual analogue freeware synthesizer
U
Uhbik (u-he product) A bundle of high-quality effect plugins
unipolar (of a modulator) Only outputs positive values (see bipolar)
V
VA Virtual analogue digital emulation of classic subtractive synthesis
velocity (modulator) How fast a key is struck
W
ww xx
XYZ
ZebraCM (u-he product) Non-modular magware synthesizer based on Zebra(1)
Zoyd see Rumblence:Zoyd
The End
GLOSSARY

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bazille

Modular PD & FM Synthesizer

For downloads, news articles and support, go to the u-he website

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For video tutorials and more, go to our youtube channel

Urs Heckmann (code, concept, strategy, discipline)

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Beta-testers and everyone who contributed presets

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1 x sample & hold (left panel only)

1 x quantizer (right panel only)

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