user

manual

Copyright LinPlug Virtual Instruments GmbH 2008. All rights reserved.

Welcome
han! you "or pur#hasing a LinPlug $a%Lab 2 li#ense. $a%Lab 2 is a pro"essional& "le%ible and easy'to'use virtual (ind instrument designed "or #reating musi# on your #omputer. $a%Lab 2 uses multi'sample playba#! o" (ind'instrument samples and in#orporates a spe#ially designed "our'voi#e #ross"ade system that is #apable o" #reating highly realisti# (ind instrument sounds. $a%Lab 2)s !ey "eatures in#lude an easy'to'use inter"a#e& a (ide range o" high'*uality samples& an e""e#ts se#tion that in#ludes #horus and reverb& as (ell as e%tensive real'time modulation options. $pe#ial attention has been paid to ma!ing the per"orman#e #ontrols as ri#h and responsive as possible& so that the instrument #an be realisti#ally +played,. his manual des#ribes all aspe#ts o" $a%Lab 2 and is designed so that your use o" this so"t(are is as e""i#ient and en-oyable as possible. At LinPlug (e.re very proud o" $a%Lab 2/ it.s the result o" many years o" resear#h and synthesi0er programming e%perien#e. 1e hope you get a lot o" pleasure using $a%Lab and that it be#omes an integral part o" your musi#'ma!ing. Peter Linsener and the LinPlug team& 2anuary 2008

Con#ept by Instrument by Graphi#s by $ounds by 4anual by

Luigi 3eli#i and Peter Linsener Luigi 3eli#i& Peter Linsener and Pavol 4ar!ovi5 $haun 6ll(ood and 7ranislav Pa!i8 Luigi 3eli#i Chris $hare

$pe#ial han!s to 1ellington and 1illiam

All te#hni#al spe#i"i#ations o" the produ#t spe#i"ied in this manual may be sub-e#t to #hange (ithout noti#e. he do#ument may not be #hanged& espe#ially #opyright noti#es may not be removed or #hanged. LinPlug and all LinPlug produ#t names are trademar!s o" LinPlug Virtual Instruments GmbH. 4a# and the 4a# logo are trademar!s o" Apple Computer& In#.& registered in the 9.$. and other #ountries. he 7uilt "or 4a# :$ ; graphi# is a trademar! o" Apple Computer& In#.& used under li#ense. he Audio 9nits logo and the Audio 9nits symbol are trademar!s o" Apple Computer& In#. 4i#roso"t< and 1indo(s< are trademar!s o" 4i#roso"t Corporation& registered in the 9.$. and other #ountries. Cubase and V$ are registered trademar!s o" $teinberg 4edia e#hnologies GmbH. All other trademar!s are the property o" their respe#tive o(ners.

LinPlug $a%Lab 9ser Guide 2.0.=

Table of Contents
1el#ome............................................................................................................2 able o" Contents...............................................................................................= Installation..........................................................................................................> 3eatures.............................................................................................................? 1hat.s @e( in $a%Lab 2....................................................................................A :vervie(............................................................................................................8 4ain.................................................................................................................B0 7ody.................................................................................................................B2 une.................................................................................................................B= Presets.............................................................................................................B? 6C$..................................................................................................................BA Amplitude 6nvelope.........................................................................................BC Per"orman#e....................................................................................................BD L3:..................................................................................................................2C Eeviation..........................................................................................................=0 6""e#ts..............................................................................................................=2 Chorus..........................................................................................................=2 Feverb..........................................................................................................== Fear Panel.......................................................................................................=> Fegistration......................................................................................................=? $upport.............................................................................................................=? Glossary...........................................................................................................=A 4IEI Implementation Chart..............................................................................=8 Appendi% AG 9sing 9@ 3iles..........................................................................=D

LinPlug $a%Lab 9ser Guide 2.0.=

Installation
Installation on PC
$a%Lab 2 #omes (ith its o(n Installer. A"ter do(nloading $a%Lab 2 you (ill "ind a "ile named H$a%LabInstaller@@@.e%eH I(here @@@ is the respe#tive version numberJ lo#ated in your (eb bro(ser)s do(nload "older. Eouble'#li#! on this program to begin the installation pro#ess. he Installer (ill guide you through the installation pro#ess. 4a!e sure you #hoose the right installation dire#tory& so your host so"t(are "inds the $a%Lab 2 V$ i. Fe"er to your host so"t(are.s manual i" you are unsure about (here the host so"t(are plug'in dire#tory is lo#ated. he instrument "ile H$a%Lab2.ELLH (ill be pla#ed in the #hosen dire#tory. Additional data is installed in your Appli#ation Eata "older. he $a%Lab 2 Presets are installed into +4y Eo#umentsKLinPlugK$a%Lab,. he ne%t time you start your host so"t(are $a%Lab 2 (ill be listed in the V$ Instrument list.

Installation on 4a#
$a%Lab 2 #omes (ith its o(n Installer. A"ter do(nloading $a%Lab 2 you (ill "ind a "ile named H$a%LabInstaller200.dmgH lo#ated in your (eb bro(ser)s do(nload "older. Eouble'#li#! this "ile to de#ompress and open the image& then double'#li#! the installer program to begin the installation pro#ess. he installer (ill guide you through the installation pro#ess. he instrument "ile H$a%LabH and the $a%Lab 2 Presets (ill no( be pla#ed in the appropriate dire#tory "or virtual instruments on your 4a#. he ne%t time you start your host so"t(are $a%Lab 2 (ill be listed in the A9 and V$ instrument list.

Common to 4a# and PC

:n#e $a%Lab 2 is installed it must be registered using your personal serial number. his registration pro#ess is des#ribed in the Fegistration se#tion o" this manual. I" you have any *uestions regarding the installation o" $a%Lab 2 please #onta#t our support team at (((.linplug.#omKsupportKsupport.htm.

LinPlug $a%Lab 9ser Guide 2.0.=

>

Features
$a%Lab 2 #ontains a range o" "eatures designed to ma!e your musi#'ma!ing more e""i#ient and en-oyable. hese "eatures are listed belo(G 4onophoni# multi'sample playba#! (ith internal "our'voi#e #ross"ade. An ad-ustable mi% o" three sound layers "or ea#h noteG the +Air, layer& the +Leys, layer and the +Pit#hed, layer. AirKLeys and Pit#hed sound layer #ross"ade point is set by 4IEI velo#ity. 4any di""erent $ound$ets "or various (ind instruments. 9ser'de"inable& velo#ity'sensitive amplitude envelope. onal #hara#teristi#s o" the instrument)s overall sound #an be de"ined by the user. Feal'time #ontrol o" the instrument)s brightness& reverberation amount and +Gro(l, e""e#t. hree modes o" mono per"orman#eG Legato& Fetrigger& Alternate Control o" Pit#h 7end and $#oop. Fandom pit#h deviation per note. Fandom +air, deviation per note. Fandom body "re*uen#y deviation per note. 6nvelope& L3: and 4IEI'#ontrolled vibrato and tremolo. $tereo #horus and stereo reverb e""e#ts. 4i#rotuning support. 4IEI #ontrol available "or every instrument parameter.

LinPlug $a%Lab 9ser Guide 2.0.=

What's New in SaxLab 2

he +Velo#ity to 6nvelope, #ontrol present in the "irst version o" $a%Lab has been repla#ed (ith a ne( +6nhan#e, I6@HJ #ontrol "or enhan#ing the atta#! transients o" notes. he +Velo#ity to 6nvelope, "un#tion Iresulting in a *ui#!er atta#! upon higher velo#ityJ is still present ho(ever it is no longer ad-ustable by the user. he ne( #ontrol #an be used to improve the sound o" atta#! transients and in#reases realism in the #ase o" sta##ato or "un!y sa% playing. he Volume& Leys and Air #ontrols& (hi#h set the respe#tive levels o" the instrument.s three sound layers& are no( routed in parallel so that the relative level o" ea#h layer #an be independently ad-usted. A #ontrol named C ICross"ade imeJ has been added to $a%Lab.s Per"orman#e se#tion. he C ICross"ade imeJ #ontrol sets the time bet(een t(o legato notes (hen the smooth "ade "rom the #urrent tone to the ne%t ta!es pla#e. he a#tual time ta!en is determined by the length o" the previous notes that have been played. his means that the used Cross"ade ime in#reases "or notes (ith a longer duration and de#reases "or notes (ith a shorter duration. he ma%imum time is set by the C #ontrol. he Per"orman#e se#tion has been #ompletely re(or!ed and no( #ontains many more #ontrol sour#es and destinations "or real'time #ontrol and e%pression. he Per"orman#e se#tion "eatures a ne( 4IEI 6%p subse#tion (hi#h is a small modulation matri% #ustomised "or sa% playing. he 4IEI 6%p subse#tion ma!es Velo#ity& 7reath Controller& and A"tertou#h available as modulation sour#es. Amplitude& 7rightness Level& Feverb 4i%& as (ell as a ne( e""e#t #alled +Gro(l,& are available as modulation destinations. $ensitivity and mapping #urve parameters are available "or all modulation destinations. he ne( Gro(l e""e#t is designed to reprodu#e the +gro(l, sound (hi#h is a typi#al #omponent o" the sound o" a sa%ophone. his e""e#t "eatures #ontrols "or depth and Gro(l tone #an be randomi0ed "or more variation. he L3: has been improved and no( uses a ne( (aveshape. It also has a better Hatta#!H #hara#teristi# so as to #reate a more natural sound. he Air parameter no( has a dedi#ated #ontrol in the Eeviation se#tion. his means that ea#h note.s +Air, #omponent #an be randomised& #reating more timbral variation "rom note to note. he reverb algorithm has been improved so that it sounds more natural. In addition to this& the Feverb 4i% parameter is available as a modulation destination in the 4IEI 6%p se#tion. he mi#rotuning system has been updated so that the instrument no( uses standard 9@ "iles. his means that the number o" mi#rotuning systems available "or use is vastly in#reased.

LinPlug $a%Lab 9ser Guide 2.0.=

Instrument Presets are no( managed using the standard LinPlug system (hi#h is "ound on all other LinPlug instruments.

LinPlug $a%Lab 9ser Guide 2.0.=

Overview
$a%Lab 2 is a monophoni# (ind instrument synthesi0er (ith some uni*ue "eatures. he synthesi0er is based upon a multi'sample'playba#! design and in#ludes a three'layered& "our'voi#e #ross"ade "or ea#h note produ#ed. he stru#ture o" $a%Lab 2 synthesi0er #an be divided into nine se#tionsG une& Preset& 6nvelope& 7ody& 4ain& Per"orman#e& L3:& Eeviation and 3; I6""e#tsJ.

Audio signals are generated by a sample'playba#! synthesi0er that gets pit#h &velo#ity and #ontroller in"ormation "rom the instrument.s 4IEI input. he 4IEI input is automati#ally #onne#ted to 4IEI output o" the host so"t(are. $a%Lab 2 re#eives 4IEI on all #hannels simultaneously. $a%Lab2)s $ound $et determines the samples that are used by the instrument. he $ound $et is sele#ted in the $ound $et popup menu lo#ated in the 4ain se#tion. he parti#ular s#ale tuning used by the $ound$et is set in the instrument)s une se#tion& along (ith its overall tuning settings. In $a%Lab 2& a note #onsists o" three layersG the 4ain layer& the Leys layer and the Air layer. he 4ain layer #ontains the pit#hed #omponent o" the sound. he Leys layer #ontains the #hara#teristi# !ey +#li#!s, heard in some (ind instruments Iespe#ially in sa%ophones and #larinets J. he Air layer #ontains the breath and +air"lo(, sounds that are an important part o" the sound o" a (ind instrument.

LinPlug $a%Lab 9ser Guide 2.0.=

he relative levels o" the three layers are set using #ontrols in the instrument)s 4ain se#tion. he relative levels o" the three layers also respond to 4IEI note velo#ity. 3or e%ample& (hen playing so"t notes& the volume level o" the Air and Leys layers in#reases (ith respe#t to the 4ain layer. his repli#ates the behaviour o" a real (ind instrument (hi#h be#omes relatively +noisier, as it is played more *uietly. 1hen playing louder notes the 4ain layer be#omes proportionately louder and #omes to dominate the sound. he 4ain layer o" ea#h $a%Lab 2 note also in#ludes an internal "our'voi#e #ross"ade (hi#h enables smooth legato transitions "rom one part o" a note)s envelope to another. his #ross"ade also enhan#es note'to'note transitions (hi#h are very important in re#reating realisti# (ind instrument sounds. he output o" the sample'playba#! os#illator is routed to $a%Lab 2)s 7ody se#tion. he 7ody se#tion #ontains a "ilter (hi#h modi"ies the "re*uen#y spe#trum o" the os#illator.s output. Here the overall tonal #hara#teristi#s o" the #urrently loaded $ound$et #an be modi"ied. An important part o" the sound o" a real a#ousti# instrument arises "rom the real'time modulation o" its sound. $a%Lab 2 enables the user to modulate its sound using three sour#esG envelopes& L3:s ILo( 3re*uen#y :s#illatorsJ and 4IEI #ontrollers. $a%Lab 2)s Amplitude 6nvelope se#tion is used to #ontrol the (ay that the instrument)s amplitude varies over time and in#ludes #ontrols "or Atta#! ime& Ee#ay ime and Felease ime. A se#ond modulation sour#e is $a%Lab)s L3: (hi#h #an be mapped to either or both o" the sound)s amplitude and pit#h and so #an be used to #reate either tremolo or vibrato e""e#ts. A third modulation sour#e is real'time 4IEI #ontrollers. hese #an be mapped to numerous destinations. 6%amples in#lude 4IEI Velo#ity to the amplitude envelope depth& 4odulation 1heel to L3: depth and 4IEI 7reath Control to brightness. @ote that "or a realisti# emulation o"ten the #ontrol o" $a%Lab +7right, by Velo#ity leads to a more realisti# per"orman#e than using the +Amp, by Velo#ity. A#tually Velo#ity should #ontrol more o" the brightness I+7right,J and less o" the amplitude I+Amp,J. Another important part o" the sound o" a real a#ousti# instrument is that no t(o notes are e%a#tly the same. @o matter ho( hard the player may try& ea#h note is slightly di""erent. :ur ears are very sensitive to these di""eren#es and #an easily dete#t (hen t(o notes are identi#al. 3or this reason& $a%Lab 2 in#orporates 7ody& Air and Pit#h Eeviation #ontrols (hi#h introdu#e small random variations to the 7ody "ilter& the +air, #omponent o" the sound& and to the overall pit#h o" the note ea#h time a note is triggered. $a%Lab 2)s 6""e#ts se#tion #ontains t(o e""e#tsG Chorus and Feverb. he Chorus e""e#t #an be used to Hthi#!enH a single sound #reating the impression that it #ontains multiple voi#es. he Feverb e""e#t is used to #reate the impression that the instrument is being played in a real a#ousti# spa#e. he audio outputs o" $a%Lab 2 are automati#ally #onne#ted to the input o" your host so"t(are.s mi%er. Here you #an set the pan position o" $a%Lab 2.s output. Hope"ully& this se#tion has given you a brie" overvie( o" ho( $a%Lab 2 (or!s. 4ore detailed in"ormation #an be "ound in the "ollo(ing se#tions.

LinPlug $a%Lab 9ser Guide 2.0.=

Main
$a%Lab 2)s 4ain se#tion is lo#ated in the middle o" the instrument)s 3ront Panel. It #ontains #ontrols "or sele#ting the #urrent $ound $et as (ell as "or setting the relative levels o" the instrument)s three sound layers. It also #ontains a 4IEI indi#ator that sho(s (hen in#oming 4IEI @ote'on messages are re#eived.

$ound $etG $a%Lab 2)s $ound $et #ontrol is used "or sele#ting the #urrent $ound $et. 6a#h $ound $et is a #olle#tion o" samples that the instrument uses to generate sound. 6a#h $ound $et is made up o" three layersG the 4ain layer& the Air layer and the Leys layer. hese three layers are mi%ed to produ#e the instrument)s overall sound. he $ound $et should not be #on"used (ith a Preset. he "ormer is a #olle#tion o" samples used by the instrument& (hile the latter is a +snapshot, o" all the instrument)s #urrent settings& and an asso#iated $ound $et. As su#h& many Presets #an utili0e the same $ound $et. LeysG he Leys #ontrol sets the volume o" the Leys sample layer. his layer #ontains the #hara#teristi# !ey +#li#!s, usually heard in sa%ophones and #larinets. In#reasing the value o" the Leys #ontrol ma!es the Leys layer louder (ith respe#t to the instrument)s other t(o layers. V:L IVolumeJG he V:L IVolumeJ #ontrol sets the volume o" the pit#hed sample layer. his layer #ontains the pit#hed #omponent o" the sound.

LinPlug $a%Lab 9ser Guide 2.0.=

B0

In#reasing the value o" the V:L IVolumeJ #ontrol ma!es the pit#hed #omponent o" the sound louder (ith respe#t to the instrument)s other t(o layers. AirG he Air #ontrol sets the volume o" the Air sample layer. his layer #ontains the breath and +air"lo(, sounds that are an important part o" the sound o" a real (ind instrument. In#reasing the value o" the Air #ontrol ma!es the Air layer louder (ith respe#t to the instrument)s other t(o layers. @oteG 1hen using +Layered, or +$o"t, $ound $ets it is re#ommended to only use very lo( +Air, noise settings sin#e these sets in#lude so"t played tones (hi#h are naturally already noisy. 4IEIG he 4IEI indi#ator lights up (hen any in#oming 4IEI @ote'on messages are re#eived by $a%Lab 2. Cli#!ing and holding do(n a mouse button (hile the #ursor is over the 4IEI indi#ator automati#ally plays a C= note. he note is turned o"" (hen releasing the mouse button.

LinPlug $a%Lab 9ser Guide 2.0.=

BB

o!"
$a%Lab 2)s 7ody se#tion is lo#ated in the middle o" the instrument.s 3ront Panel above the 4ain se#tion. he 7ody se#tion #ontains a "ilter (ith three #ontrols that allo( you to shape the overall timbre o" the instrument.

F6$ IFesonan#eJG he F6$ #ontrol is used to set the amount o" emphasis around the "ilter)s #uto"" "re*uen#y. Higher settings #reate a more pronoun#ed pea! in the signal (hile lo(er settings produ#e a "latter response. 3F6M I3re*uen#yJG he 3F6M #ontrol is used to set the "re*uen#y at (hi#h the "ilter begins to ta!e e""e#t. Higher settings produ#e brighter sounds (hile lo(er settings result in dar!er sounds. 7right I7rightnessJG he 7right #ontrol is used to set the brightness o" the instrument)s sound. Higher settings (ill produ#e a more strident tone& (hile lo(er settings (ill produ#e a so"ter& #ooler sound.

LinPlug $a%Lab 9ser Guide 2.0.=

B2

Tune
$a%Lab 2)s une se#tion is lo#ated on the upper le"t o" the instrument)s 3ront Panel. his se#tion #onsists o" "our #ontrolsG Coarse I uneJ& 3ine I uneJ& the uning Eisplay and $#ale.

Coarse I uneJG he Coarse I uneJ #ontrol is used to set the overall pit#h o" the instrument in semitone steps. Control settings range "rom 'BB semitones to NBB semitones. 3ine I uneJG he 3ine I uneJ #ontrol is used to set the overall pit#h o" the instrument in #ents. A #ent is BKB00 o" a semitone. Control settings range "rom 'B00 #ents I'B semitoneJ to NB00 #ents INB semitoneJ. @ote that the overall pit#h o" the instrument #an be raised or lo(ered by one o#tave using a #ombination o" the Coarse une #ontrol and the 3ine une #ontrol. Also note that the Coarse une #ontrol and the 3ine une #ontrol are used to set the root note o" the #urrent s#ale. he #ontrols transpose the s#ale)s starting pit#h to the sele#ted pit#h. Femember that i" you use tunings other than 6*ual emperament& the overall pit#h o" the instrument must be set to the root note o" the !ey in (hi#h you (ish to (or!. :ther(ise& the notes o" the s#ale (ill not have the #orre#t pit#h.

LinPlug $a%Lab 9ser Guide 2.0.=

B=

uning EisplayG he uning Eisplay is lo#ated to the right to the t(o tuning #ontrols. It displays the instrument)s #urrent tuning in semitones and #ents. 3or e%ample& a setting o" +N>.CD, means that the instrument is #urrently tuned > semitones and CD #ents sharp o" its de"ault setting. $#aleG he $#ale #ontrol is used to set the 4i#to uning I 9@J "ile that $a%Lab 2 uses. he 9@ "ile is a list o" pit#hes that the instrument uses to determine the pit#h at (hi#h it plays ba#! samples. 4ost 1estern musi# uses a pit#h system #alled 6*ual emperament in (hi#h the smallest interval bet(een t(o ad-a#ent notes is de"ined by the ratio BGB.0?D>A. 3or e%ample& A> has a "re*uen#y o" >>0 H0. In this #ase& AO> Ithe ne%t highest note available on a !eyboardJ has a "re*uen#y o" >>0 % B.0?D>A (hi#h e*ual >AA.2 H0. $a%Lab 2 #omes (ith a (ide sele#tion o" di""erent 9@ "iles. 3or more about 9@ "iles please see Appendi% AG 9sing 9@ 3iles.

LinPlug $a%Lab 9ser Guide 2.0.=

B>

#resets
$a%Lab 2)s Presets se#tion is lo#ated on the upper right o" the instrument)s 3ront Panel. he Preset se#tion #ontains the Preset Eisplay and 3ile 7ro(ser as (ell as the 4IEI Learn 6C$.

#reset $is%la"&File

rowser

Preset EisplayK3ile 7ro(serG he Preset Eisplay #onsists o" t(o displays. he upper one sho(s the Current 7an! and the lo(er one sho(s the Current Preset. 1henever a ne( Preset is loaded using the "ile #ontrols "ound belo( these displays& the Current Preset display is updated (ith the name o" the ne( Preset and the Current 7an! is updated (ith the name o" the dire#tory that #ontains the ne( Preset. 7y de"ault the 3ile 7ro(ser points to the "a#tory presets installed (ith $a%Lab 2. Presets #an be #hanged in three di""erent (ays. A ne( Preset #an be loaded using the "ile #ontrols& (hi#h (or! by #li#!ing the PrevK@e%t I+arro(,J buttons lo#ated belo( the Current Preset display. Alternatively& the desired Preset #an be sele#ted dire#tly "rom the Current Preset display& (hi#h turns into a menu (hen it is #li#!ed. A Preset #an also be #hanged by sending a 4IEI program #hange #ommand to the instrument. he Current 7an! #an be #hanged by loading a Preset "rom a di""erent dire#tory or by sele#ting the desired lo#ation "rom the Current 7an! display& (hi#h turns into a menu (hen it is #li#!ed.
LinPlug $a%Lab 9ser Guide 2.0.=

B?

he 3ile Controls lo#ated to the right o" the PrevK@e%t I+arro(,J buttons are used "or all 3ile'related operations. he Load button opens a dialog that lets a previously saved Preset be sele#ted "or loading. he $ave button allo(s the #urrent settings to be saved as a ne( Preset. he settings o" all se#tions are saved (ith the Preset. $a%Lab 2 loads and saves all o" its Presets dire#tly to hard dis! so your #omputer.s FA4 does not limit the number o" available Presets. @ote that (hen you load a Preset using the Preset se#tion.s #ontrols& the previous Preset is erased so i" you (ant to !eep the previous Preset ma!e sure you save it be"ore loading another one.

'CS
he 6C$ I6asy Controller $etupJ se#tion ma!es it simple to #ontrol $a%Lab 2 "rom an e%ternal 4IEI #ontroller Ieither hard(are or so"t(areJ. All you have to do is s(it#h on the 6C$ indi#ator I#li#! it on#eJ& sele#t a $a%Lab 2 parameter (ith the mouse and then send some 4IEI messages to the $a%Lab 2 "rom your 4IEI sour#e. hat.s all there is to itP 3rom no( on you #an #hange the parameter (ith that #ontroller. In addition to this& more than one #ontroller #an be de"ined to #hange a parti#ular parameter. In "a#t& you #an de"ine up to B28 parameter'#ontroller'#ombinations. his does not depend on the type o" #ontroller you have nor the parti#ular 4IEI Control Change messages it sends. Eon.t "orget to s(it#h o"" 6C$ a"ter you have "inished using it. o do this& #li#! the indi#ator again. Cli#!ing on the 6C$ label opens the 6C$ menu. he menu #ontains the "ollo(ing "un#tionsG :""& Learn& Clear& Clear All& $ave& Fest.3a#t. IFestore 3a#tory $ettingsJ. hese "un#tions are e%plained belo(. :""G he :"" menu item turns o"" 6C$. I" 6C$ is already o"" then sele#ting this menu item has no e""e#t. LearnG he Learn menu item turns on 6C$. :n#e 6C$ is on& a target #ontrol #an be sele#ted (ith the mouse. Any 4IEI Control Change messages sent to the instrument (ill then be routed to the sele#ted #ontrol. ClearG he Clear menu item turns on 6C$ and prepares the instrument "or the dis#onne#tion o" previously'assigned 4IEI Control Change messages "rom their destinations. A"ter sele#ting the Clear menu item& #li#!ing on a $a%Lab 2 #ontrol dis#onne#ts the previously assigned 4IEI #ontroller "rom the sele#ted destination. A"ter #learing a $a%Lab 2 #ontrol& the sele#ted #ontrol no longer re#eives 4IEI Control Change messages. Clear AllG he Clear All menu item dis#onne#ts all previously'assigned 4IEI Control Change messages "rom their destinations. A"ter #learing all $a%Lab 2 #ontrols& no #ontrol re#eives 4IEI Control Change messages. LoadG he Load menu item enables a previously saved 4IEI #ontroller routing #on"iguration to be restored. $aveG he $ave menu item enables the #urrent 4IEI #ontroller routing #on"iguration to be saved. Fest.3a#tG he Fest.3a#t IFestore 3a#tory $ettingsJ restores $a%Lab 2.s de"ault 6C$ settings& (hi#h is e*uivalent to Clear All.
LinPlug $a%Lab 9ser Guide 2.0.=

BA

(m%litu!e 'nvelo%e
$a%Lab 2)s 6nvelope se#tion is lo#ated on the middle le"t o" the instrument)s 3ront Panel. 7e#ause $a%Lab 2 uses samples "or playba#!& the envelope o" the sound it produ#es is determined to a large e%tent by the envelope o" the sample that is #urrently being played. his #an be limiting& as it pre#ludes real'time #ontrol o" the instrument)s amplitude. In order to ma!e the instrument more responsive to the player& $a%Lab 2 #ontains an 6nvelope se#tion (hi#h in#orporates "our #ontrolsG 6@H I6nhan#eJ& A IAtta#!J& E IEe#ayJ and F IFeleaseJ.

6@H I6nhan#eJG he 6@H I6nhan#eJ #ontrol setting determines the degree to (hi#h the "irst "e( millise#onds o" a note.s amplitude envelope are ampli"ied. he 6@H I6nhan#eJ #ontrol #an be used to #reate a prominent atta#! transient& so that the Hpi""H sound at the beginning o" a note is emphasised. his is very use"ul "or #reating rhythmi# a##ents. A IAtta#!JG he A IAtta#!J #ontrol setting determines the length o" time it ta!es "or the amplitude envelope to rea#h the "ull envelope depth. 3or e%ample& i" the A IAtta#!J slider is set to 0& the sound)s amplitude (ill move "rom 0ero to "ull volume (ithin the shortest possible amount o" time. E IEe#ayJG he E IEe#ayJ #ontrol setting determines the length o" time that the amplitude envelope ta!es to move "rom the Atta#! pea! level to the

LinPlug $a%Lab 9ser Guide 2.0.=

BC

$ustain level. $etting the E IEe#ayJ slider to higher values in#reases the time ta!en "or the sound)s amplitude to move "rom "ull volume to the sustain level. F IFeleaseJG he F IFeleaseJ #ontrol is used to set the length o" time that the amplitude envelope ta!es to move "rom the #urrent level to silen#e a"ter the !ey is released. $etting the F IFeleaseJ slider to higher values in#reases the time ta!en "or the sound)s amplitude to de#rease to 0ero. @oteG he $ustain level is is rea#hed at the end o" the Ee#ay phase and is "i%ed at ?0Q o" the ma%imum level Ithat is rea#hed at the end o" the Atta#! phaseJ. he time range o" A and F are a#tually use"ul only "or spe#ial e""e#ts& as a real sa% doesn.t have a meaning"ul release time and the atta#! time is #ontrolled in realtime by the player. $o "or a good emulation these parameters should stay #lose to 0ero Ibottom o" the "aderJ& but not 0ero. 3or a slo( atta#! the atta#! time Ior the main volumeJ should be #ontrolled by a 4IEI #ontroller Isee se#tion 6C$J.

LinPlug $a%Lab 9ser Guide 2.0.=

B8

#erformance
he Per"orman#e se#tion is lo#ated on the middle right o" $a%Lab 2)s 3ront Panel. he Per"orman#e se#tion "eatures the "ollo(ing #ontrolsG $#oop IAmountJ& P7' IPit#h 7end Eo(n AmountJ (ith Eisplay& P7N IPit#h 7end 9p AmountJ (ith Eisplay& A4P IAmplitudeJ Eepth& Control $our#e and Control Fesponse Curve& 7FI I7rightnessJ Eepth& Control $our#e& and Control Fesponse Curve F6V IFeverbJ Eepth& Control $our#e and Control Fesponse Curve GF: IGro(lJ Eepth& Control $our#e& Control Fesponse Curve& 4a%imum Eepth and Eeviation& C ICross"ade imeJ and 4onomode.

$#oop IAmountJG his #ontrol is used to set the amount o" time it ta!es to move "rom a lo(er pit#h to the pit#h o" the note that is a#tually played. In#reasing the value o" the $#oop #ontrol in#reases the time ta!en "or the pit#h to move "rom the lo(er pit#h to the note that is a#tually played. $#oop #an be thought o" as an auto'bend that is applied at the onset o" a note. $#oop is not applied to notes that are played legato. he s#oop is a style

LinPlug $a%Lab 9ser Guide 2.0.=

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mode used in sa% playing and itRs o"ten used in 2a00 and Fo#! sin#e it.s easy (ith sa% and #larinet to initially pit#h the note lo(er than intended. P7' IPit#h 7end Eo(n AmountJG his slider is used to set $a%Lab 2)s response to in#oming 4IEI Pit#h 7end messages that are belo( the midpoint o" the 4IEI #ontroller.s Pit#h 1heel. he slider #an be ad-usted over a range o" 0 to B2 semitones. he #urrent value o" the P7' #ontrol is sho(n in the Pit#h 7end Eo(n Fange Eisplay (hi#h is lo#ated above the slider. @ote that do(n(ard Pit#h 7end only operates in the lo(er hal" o" the Pit#h 1heel)s range. In#reasing the value o" the P7' IPit#h 7end Eo(n AmountJ #ontrol (ill in#rease the range o" the lo(er hal" o" the instrument)s Pit#h 1heel. P7N IPit#h 7end 9p AmountJG his slider is used to set $a%Lab 2)s response to in#oming 4IEI Pit#h 7end messages that are above the midpoint o" the 4IEI #ontroller.s Pit#h 1heel. he slider #an be ad-usted over a range o" 0 to B2 semitones. he #urrent value o" the P7N #ontrol is sho(n in the Pit#h 7end 9p Fange Eisplay (hi#h is lo#ated above the slider. @ote that up(ard Pit#h 7end only operates in the upper hal" o" the Pit#h 1heel)s range. In#reasing the value o" the P7N IPit#h 7end 9p AmountJ #ontrol (ill in#rease the range o" the upper hal" o" the instrument)s Pit#h 1heel. @oteG $#oop and Pit#h bend ranges must not be abused "or a realisti# $a% sound& best is to use small values so that the "ormants o" the sa% are preserved. A4P IAmplitude Control EepthJG his #ontrol sets the degree to (hi#h the #urrently sele#ted #ontrol sour#e Isee belo(J a""e#ts the instrument.s amplitude (hi#h is set in the 4ain se#tion. In#reasing the value o" this #ontrol ma!es the instrument more responsive to #hanges in the in#oming 4IEI data. Amplitude Control $our#eG his #ontrol is used to set the type o" 4IEI #ontrol #hange message that #ontrols the instrument)s A4P IAmplitude Control EepthJ setting. hree options are availableG Velo IVelo#ityJ& 7C I7reath ControllerJ and A IA"tertou#hJ. :nly one type o" 4IEI Control Change message #an be used at a time . Amplitude Control Fesponse CurveG his setting determines ho( the A4P IAmplitude Control EepthJ #ontrol responds to in#oming 4IEI messages sele#ted (ith the Amplitude Control $our#e. he #ontrol is #ontinuously variable and ranges "rom inverse logarithmi# through linear to logarithmi#. he #hosen shape (or!s as a +trans"er "un#tion, (hi#h s#ales the in#oming 4IEI messages so that their +e""e#tive (or!ing range, is #hanged. his #an be used to ma!e the instrument more sensitive to 4IEI #ontrol #hange messages in a parti#ular portion o" the #ontroller.s range. 3or e%ample& in the #ase o" a logarithmi# #urve& the e""e#tive (or!ing range is s#aled up(ards so that #hanges in the upper portion o" the #ontroller.s range have most e""e#t on the destination. A linear #urve passes the 4IEI messages un#hanged. 7right I7rightness EepthJG he 7right #ontrol sets the degree to (hi#h the #urrently sele#ted #ontrol sour#e Isee belo(J a""e#ts the 7ody se#tion)s 7right I7rightness EepthJ #ontrol. his in turn sets the overall brightness o" the instrument)s sound. In#reasing the value o" this #ontrol ma!es the instrument more responsive to #hanges in the in#oming 4IEI data.

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7rightness Control $our#eG his #ontrol is used to set the type o" 4IEI #ontrol #hange message that #ontrols the instrument)s 7right I7rightnessJ setting. hree options are availableG Velo IVelo#ityJ& 7C I7reath ControllerJ and A IA"tertou#hJ. :nly one type o" 4IEI #ontrol #hange message #an be used at a time. 7rightness Control Fesponse CurveG his setting determines ho( the 7right #ontrol responds to in#oming 4IEI messages sele#ted (ith the 7rightness Control $our#e. he #ontrol is #ontinuously variable and ranges "rom inverse logarithmi# through linear to logarithmi#. he #hosen shape (or!s as a +trans"er "un#tion, (hi#h s#ales the in#oming 4IEI messages so that their +e""e#tive (or!ing range, is #hanged. his #an be used to ma!e the instrument more sensitive to 4IEI #ontrol #hange messages in a parti#ular portion o" the #ontroller.s range. 3or e%ample& in the #ase o" a logarithmi# #urve& the e""e#tive (or!ing range is s#aled up(ards so that #hanges in the upper portion o" the #ontroller.s range have most e""e#t on the destination. A linear #urve passes the 4IEI messages un#hanged. F6V IFeverb 4i%JG he Fev #ontrol sets the degree to (hi#h the #urrently sele#ted #ontrol sour#e Isee belo(J a""e#ts the Feverb se#tion)s 4i% #ontrol. his in turn sets the overall mi% o" the instrument)s (et and dry sound. In#reasing the value o" this #ontrol ma!es the instrument more responsive to #hanges in the in#oming 4IEI data. Feverb 4i% Control $our#eG he Feverb 4i% Control $our#e is used to set the type o" 4IEI #ontrol #hange message that #ontrols the instrument)s Feverb 4i% setting. hree options are availableG Velo IVelo#ityJ& 7C I7reath ControllerJ and A IA"tertou#hJ. :nly one type o" 4IEI #ontrol #hange message #an be used at a time. Feverb Control Fesponse CurveG his setting determines ho( the Feverb 4i% #ontrol responds to in#oming 4IEI messages sele#ted (ith the Feverb 4i% Control $our#e. he #ontrol is #ontinuously variable and ranges "rom inverse logarithmi# through linear to logarithmi#. he #hosen shape (or!s as a +trans"er "un#tion, (hi#h s#ales the in#oming 4IEI messages so that their +e""e#tive (or!ing range, is #hanged. his #an be used to ma!e the instrument more sensitive to 4IEI #ontrol #hange messages in a parti#ular portion o" the #ontroller.s range. 3or e%ample& in the #ase o" a logarithmi# #urve& the e""e#tive (or!ing range is s#aled up(ards so that #hanges in the upper portion o" the #ontroller.s range have most e""e#t on the destination. A linear #urve passes the 4IEI messages un#hanged. A #hara#teristi# #omponent o" a sa%ophone.s sound is the +gro(l, that is #reated (hen the player sings or hums a note (hile playing the instrument. Eepending upon the #ir#umstan#es& the hummed note may be harmoni#ally related to the note played& or it may be #ompletely unrelated. $a%Lab 2 enables the user to add +gro(l, to the instrument.s sound via the Gro(l #ontrols in the Per"orman#e se#tion. GF: IGro(l EepthJG his #ontrol sets the degree to (hi#h the #urrently sele#ted #ontrol sour#e Isee belo(J e""e#ts the presen#e o" the +gro(l, e""e#t in the instrument.s sound. In#reasing the value o" this #ontrol ma!es the instrument more responsive to #hanges in the in#oming 4IEI data.
LinPlug $a%Lab 9ser Guide 2.0.=

2B

Gro(l Control $our#eG he Gro(l Control $our#e is used to set the type o" 4IEI #ontrol #hange message that #ontrols the +gro(l, #omponent o" the instrument)s sound. hree options are availableG Velo IVelo#ityJ& 7C I7reath ControllerJ and A IA"tertou#hJ. :nly one type o" 4IEI #ontrol #hange message #an be used at a time. Gro(l Control Fesponse CurveG his setting (or!l -ust li!e already des#ribed "or the Amp& 7rightness and Feverb Control Fesponse Curve. Gro(l 4a%imum EepthG he Gro(l 4a%imum Eepth #ontrol sets the ma%imum volume level o" the gro(l #omponent o" the instrument.s sound. @ote that this #ontrol (or!s in #on-un#tion (ith the Gro(l Eeviation #ontrol Ides#ribed belo(J. I" the Gro(l Eeviation #ontrol is set to 0& then the level o" the gro(l #omponent o" the instrument.s sound is determined by the setting o" the Gro(l 4a%imum Eepth #ontrol. I" the Gro(l Eeviation #ontrol is set to a value other than 0& then the level o" the gro(l #omponent o" the instrument.s sound (ill randomly vary bet(een 0 and the #urrent value o" the Gro(l Eeviation #ontrol "or ea#h note that is played. E6V IGro(l EeviationJG he E6V IGro(l EeviationJ #ontrol is used to set a degree o" randomisation in the +gro(l, #omponent o" the instrument.s sound. In#reasing the E6V IGro(l EeviationJ #ontrol (ill introdu#e more random variation in the amount and tone o" the gro(l #omponent o" the instrument.s sound "rom note to note. hree 4IEI #ontrollers are available "or modulating $a%Lab 2)s various Per"orman#e parameters. hese areG Velo IVelo#ityJ& 7C I7reath ControllerJ and A IA"tertou#hJ. 6a#h #ontroller (or!s in a slightly di""erent (ay. @ote that only one type o" 4IEI #ontrol #hange message #an be used "or ea#h Per"orman#e Control at a time. Velo IVelo#ityJG All 4IEI #ontrollers have the ability to trigger a note. his is usually done by transmitting a 4IEI @ote':n message. @ote':n messages #onsist o" three bytesG a $tatus byte and t(o Eata bytes. he se#ond Eata byte #ontains the velo#ity at (hi#h the !ey (as pressed. In most #ases& !ey velo#ity is used to determine the loudness o" the synthesi0ed sound. @ote that only one @ote':n message is transmitted "or ea#h note that is played. 7C I7reath ControllerJG 4IEI 1ind #ontrollers typi#ally transmit breath pressure in"ormation as 4IEI 7reath Control messages. 7reath Controller messages #onsist o" three bytesG a $tatus byte and t(o Eata bytes. he message.s "irst Eata byte de"ines the type o" Control Change message Iin this #ase& 7reath ControlJ& (hi#h has a value o" 0%02. he se#ond Eata byte determines the #urrent output value o" the 7reath Controller. @ote that ne( 7reath Controller messages are transmitted (henever the #ontroller.s input #hanges& so that 7reath Controller messages #an vary over the duration o" a note. Also note that 4IEI !eyboards normally do not transmit 7reath Controller messages& ho(ever it is usually possible to reassign the output o" other 4IEI #ontrollers Isu#h as the 4od 1heelJ so that they transmit 4IEI 7reath Controller messages.

LinPlug $a%Lab 9ser Guide 2.0.=

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A IA"tertou#hJG 4any types o" 4IEI !eyboard have the ability to dete#t ho( mu#h pressure is applied to a !ey. his pressure #an be varied #ontinuously as the note is sounding. 4IEI messages that transmit the #urrent value o" the !ey pressure are #alled A"tertou#h messages. A"tertou#h messages #onsist o" a $tatus byte and t(o Eata bytes. he message.s "irst Eata byte de"ines the note value (hile the se#ond Eata byte determines the #urrent A"tertou#h value. A"tertou#h values #an range "rom 0 to B2C. @ote that not all 4IEI !eyboards transmit A"tertou#h messages/ ho(ever it is usually possible to reassign the output o" other #ontrollers so that they transmit 4IEI A"tertou#h messages. In order to produ#e realisti# (ind instrument sounds it is important to be able to #ontrol the (ay that notes are triggered and #onne#ted to subse*uent notes. :n a real (ind instrument the player #an #hoose to play ea#h note separately& or to #onne#t notes to the ones that "ollo(. I" ea#h note is played separately& then ea#h has its o(n atta#! portion. I" t(o or more notes are played in a +legato, I#onne#tedJ manner then only the "irst note (ill have an atta#! portion. his #an be imitated on a !eyboard by using a #ombination o" playing te#hni*ue and $a%Lab 2)s 4onomode setting. hree modes are availableG Leg ILegatoJ& Alt IAlternateJ and Fet IFetriggerJ. 1ith respe#t to these three settings& the !ey point to understand is the di""eren#e bet(een playing !eyboard notes that overlap and playing notes that are deta#hed. 3irst& let)s #onsider $a%Lab 2)s Fet IFetriggerJ mode. In this mode& no matter ho( you play !eyboard notes Ilegato or deta#hedJ& ea#h note (ill have an atta#! portion. In this #ase& ea#h note (ill sound as a #omplete and separate note. @e%t& let)s #onsider $a%Lab 2)s Leg ILegatoJ mode. In this #ase& i" t(o or more notes are played in a +legato, I#onne#tedJ manner& (here the "ollo(ing note is played be"ore the previous note is released& then only the "irst note (ill have an atta#! portion. @otes "ollo(ing the initial note (ill be automati#ally #onne#ted to the pre#eding note. Ho(ever& notes that are played in a deta#hed manner (ill still have an atta#! portion. In this (ay& the !eyboard playing style that is used determines ho( notes play ba#!. Alt IAlternateJ mode #ombines the t(o modes des#ribed above. In this #ase every se#ond legato note has its o(n atta#! portion regardless o" ho( it is played. @otes that are played in a deta#hed manner (ill still have their o(n atta#! portion. he di""eren#es bet(een Leg ILegatoJ and Fet IFetriggerJ modes are illustrated in the pi#tures sho(n belo(. he main di""eren#e bet(een Leg ILegatoJ mode and IFetJ Fetrigger mode is in the (ay the samples are retriggered. In Leg ILegatoJ mode& the instrument (ill only play the atta#! portion o" the sound i" the previous !ey has been released be"ore the ne%t !ey is played. In Fet IFetriggerJ mode& the instrument starts a ne( envelope ea#h time a note is played. In all modes& the envelope retriggers i" notes are separated. @oteG 3or Alternate and Fetrigger a small amount o" +6@H, I6nhan#eJ might be most e""e#tive "or realisti# results.
LinPlug $a%Lab 9ser Guide 2.0.=

2=

In $a%Lab 2)s Alt IAlternateJ mode& sample triggering alternates bet(een Leg ILegatoJ mode and Fet IFetriggerJ mode "or ea#h note in a legato se*uen#e. $ho(n belo( is the same se*uen#e o" notes played three times& ea#h time (ith a di""erent 4onomode setting. In ea#h #ase arro(s mar! (here the envelopes start "or ea#h note.

LinPlug $a%Lab 9ser Guide 2.0.=

2>

C ICross"ade imeJG he C ICross"ade imeJ #ontrol is used to set the length o" time ta!en to move "rom the pit#h o" the previous note to that o" the note #urrently being played. Ho(ever& the C ICross"ade imeJ is more than -ust a #onventional portamento #ontrol. 1hen the C ICross"ade imeJ is set to 0ero& the length o" the #ross"ade time is the same "or all notes regardless o" their duration. As the value o" the C ICross"ade imeJ is in#reased& the portamento time be#omes adaptive and is determined by the duration o" the previous notes. his means that a note (ith a long duration (ill have a #orrespondingly long #ross"ade time. A note (ith a shorter duration (ill have a shorter #ross"ade time. his is use"ul "or playing passages that #ontain notes (ith a mi%ture o" di""erent durations. 3or e%ample& say that $a%Lab 2.s

LinPlug $a%Lab 9ser Guide 2.0.=

2?

#ross"ade time (as #onstant and set to a long duration. In the #ase o" notes (ith a short duration this #ould mean that there might not be enough time "or the pit#h o" the instrument to rea#h the #urrent note.s pit#h be"ore the ne%t note (as played. $a%Lab 2.s adaptive #ross"ade time means that the #ross"ade time #hanges a##ording to the duration o" the notes being played. In e""e#t& it provides adaptive note arti#ulation so that the pit#h o" the target note is al(ays rea#hed. @ote that the C ICross"ade imeJ only operates (hen the instrument is in Legato mode. @oteG 9sually a setting o" =0 should be a good setting& ho(ever& its possible to #ustomi0e this value to the playing style and taste.

LinPlug $a%Lab 9ser Guide 2.0.=

2A

LFO
$a%Lab 2)s L3: ILo( 3re*uen#y :s#illatorJ se#tion is lo#ated on the lo(er le"t o" the instrument)s 3ront Panel. he L3: se#tion #ontains nine #ontrols "or setting various parameters o" the instrument)s L3:. he #ontrols in#ludeG E6L IEelayJ& A L IAtta#!J& Fate& Pit#h& A4P& C E IController EepthJ and Controller $our#e. $a%Lab 2)s L3: (or!s slightly di""erently to other synthesi0er L3:s so you may (ant to read the "ollo(ing se#tion #are"ully.

E6L IEelay imeJG he E6L IEelay imeJ #ontrol is used to set a time delay bet(een the note onset and (hen the L3: begins to modulate the instrument)s output. I" this is used in #on-un#tion (ith the A L IAtta#! imeJ #ontrol then the L3:.s atta#! envelope (ill not begin until the delay time has elapsed. A L IAtta#! imeJG he A L IAtta#! imeJ #ontrol is used to set the amount o" time ta!en "or the L3: to move "rom 0ero to the #urrent value o" the Pit#h and Amp #ontrols.

LinPlug $a%Lab 9ser Guide 2.0.=

2C

FateG he L3:)s Fate #ontrol "un#tions di""erently depending upon (hether or not a 4IEI Controller $our#e Isee belo(J is sele#ted. I" a 4IEI Controller $our#e is not #urrently sele#ted then the Fate #ontrol sets a de"ault os#illator "re*uen#y "or the L3:. 1hen a 4IEI #ontroller is sele#ted as a Controller $our#e the Fate #ontrol sets a minimum rate "or the L3:. In this #ase& the ma%imum L3: Fate is set by the #ombined values o" the Fate and the C E IController EepthJ #ontrols. Pit#hG he L3:)s Pit#h #ontrol is used to set the ma%imum depth to (hi#h $a%Lab)s overall pit#h is modulated by the L3:. his #an be used to #reate vibrato e""e#ts. A4P IAmplitudeJG he L3:)s A4P IAmplitudeJ #ontrol is used to set the ma%imum depth to (hi#h $a%Lab)s overall amplitude is modulated by the L3:. his #an be used to #reate tremolo e""e#ts. C E IController EepthJG he C E IController EepthJ #ontrol sets the degree to (hi#h the #urrently sele#ted 4IEI #ontroller Isee belo(J a""e#ts the L3:)s settings. @ote that the setting o" this #ontrol #an also in"luen#e the L3: rate. Controller $our#eG hree 4IEI #ontrollers are available "or modulating the L3:)s various parameters. hese areG A IA"tertou#hJ& P1 IPit#h 1heelJ and 41 I4odulation 1heelJ. 6a#h (or!s in a slightly di""erent (ay. @ote that only one #ontroller #an be sele#ted at a time. A IA"tertou#hJ in#reases the L3:)s modulation "re*uen#y starting "rom the #urrent value o" the Fate #ontrol up to the #ombined values o" the Fate and C E IController EepthJ #ontrols using 4IEI A"tertou#h messages. he ma%imum available rate is set by a #ombination o" the L3: Fate setting and the C E IController EepthJ setting. @ote that A"tertou#h #an only in#rease the L3: rate "rom the value set in the Fate parameter. It #annot be used to de#rease the L3: rate belo( the setting o" the Fate #ontrol. P1 IPit#h 1heelJ in#reases the L3:)s modulation "re*uen#y starting "rom the #urrent value o" the Fate #ontrol up to the #ombined values o" the Fate and C E IController EepthJ #ontrols using Pit#h 7end Control Change messages. he ma%imum available rate is set by a #ombination o" the L3: Fate setting and the C E IController EepthJ setting. @ote that the Pit#h 7end setting #an only in#rease the L3: rate "rom the value set in the Fate parameter. It #annot be used to de#rease the L3: rate belo( the setting o" the Fate #ontrol. Also note that the P1 IPit#h 1heelJ operates "rom its de"ault +#entral, position to its ma%imum value. he lo(er hal" o" its range has no e""e#t on the L3: rate Ibut it still a""e#ts the instrument.s pit#h& (hi#h is use"ul sin#e sa%ophones usually bend to lo(er pit#hesJ. 41 I4odulation 1heelJ in#reases the L3:)s modulation "re*uen#y starting "rom the #urrent value o" the Fate #ontrol up to the #ombined values o" the Fate and C E IController EepthJ #ontrols using 4odulation 1heel Control Change messages. he ma%imum available rate is set by a #ombination o" the L3: Fate setting and the C E IController EepthJ setting. @ote that the 4odulation 1heel setting #an only in#rease the L3: rate starting "rom the value set in the Fate parameter. It #annot be used to de#rease the L3: rate belo( the setting o" the Fate #ontrol. Ho(ever& i" the 41 I4odulation 1heelJ is set to 0ero& then the Pit#h and A4P values (ill be s#aled to 0ero& e""e#tively

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"ading out the L3: so that it no longer modulates the instrument)s output. 6ven though the L3: Fate has not de#reased belo( the #urrent Fate value& the e""e#t o" the L3: is no longer heard. In most #ases& this #ontroller should be used (ith the A L IAtta#! imeJ and the E6L IEelay imeJ set to 0ero. he L3:)s 4IEI #ontroller implementation may at "irst seem #ompli#ated ho(ever its operation has been designed (ith the "ollo(ing s#enario in mind. he user "irst sets the balan#e bet(een the Pit#h and A4P #ontrols (ith the Pit#h and A4P #ontrols. hen the de"ault L3: "re*uen#y is set (ith the Fate #ontrol. I" the user then sele#ts the 4odulation 1heel as the Controller $our#e they #an bring in the L3:& in#rease its modulation depth& Iproportionally "or Pit#h and A4PJ& (hile a##elerating the L3: rate "rom the setting o" the Fate #ontrol to the ma%imum value set by the #ombination o" the Fate #ontrol and the C E IController EepthJ. his is a more realisti# (ay to #reate vibrato& starting "rom 0ero& and in#reasing the rate and depth& until the intended level o" intensity is rea#hed. In this (ay& the user #an *ui#!ly move "rom di""erent amounts o" vibrato at any speed they desire.

LinPlug $a%Lab 9ser Guide 2.0.=

2D

$eviation
$a%Lab 2)s Eeviation se#tion is lo#ated in the lo(er middle o" the instrument)s 3ront Panel. An important part o" the sound o" a real a#ousti# instrument is that no t(o notes are e%a#tly the same. @o matter ho( hard the player may try& ea#h note is slightly di""erent. :ur ears are very sensitive to these di""eren#es and #an usually dete#t (hen t(o notes are identi#al. 3or this reason& $a%Lab in#orporates 7ody& Air and Pit#h Eeviation #ontrols (hi#h introdu#e small random variations to the 7ody "ilter& the +air, layer o" the sound& and to the overall pit#h o" a note ea#h time it is triggered.

7ody IEeviation AmountJG he 7ody IEeviation AmountJ #ontrol is used to set a degree o" randomisation in the instrument)s 7ody "ilter "or ea#h note that is played ba#!. In#reasing the 7ody IEeviation AmountJ #ontrol (ill introdu#e more random timbre variation "rom note to note in the sound o" the instrument. Air IEeviation AmountJG he Air IEeviation AmountJ #ontrol is used to set a degree o" randomisation in the instrument)s +air, layer "or ea#h note that is played ba#!. In#reasing the Air IEeviation AmountJ #ontrol (ill introdu#e more random timbre variation "rom note to note in the sound o" the instrument.

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Pit#h IEeviation AmountJG he Pit#h IEeviation AmountJ #ontrol is used to set a degree o" randomisation in the instrument)s overall pit#h "or ea#h note that is played ba#!. In#reasing the Pit#h IEeviation AmountJ #ontrol (ill introdu#e more random variation "rom note to note in the instrument)s overall pit#h.

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'ffects
$a%Lab 2)s 3; I6""e#tsJ se#tion is lo#ated on the lo(er right o" the instrument)s 3ront Panel. (o internal e""e#ts are availableG Chorus and Feverb.

Chorus
$a%Lab 2)s Chorus e""e#t #an be used to Hthi#!enH the instrument)s monophoni# output #reating the impression that it #ontains multiple voi#es. $a%Lab 2)s Chorus "eatures #ontrols "orG 4i%& EP H IEepthJ and $PE I$peedJ. Also note that the output o" the Chorus e""e#t is stereo. he Chorus e""e#t is s(it#hed on and o"" by #li#!ing on the L6E to the right o" the +Chorus, label. 4i%G he 4i% #ontrol is used to set the balan#e bet(een the pro#essed H(etH signal and the original unpro#essed HdryH signal. EP H IEepthJG he EP H IEepthJ #ontrol is used to set the amount that the e""e#t modulates the original signal. 7y in#reasing the EP H IEepthJ slider a more detuned sound is produ#ed. $PE I$peedJG he $PE I$peedJ #ontrol sets the rate at (hi#h the signal is modulated.

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)everb
he Feverb e""e#t is used to add ambien#e to sounds. It "eatures #ontrols "or 4i%& $pa#e and EA4P IEampingJ. he Feverb e""e#t is s(it#hed on and o"" by #li#!ing on the L6E to the right o" the +Feverb, label. 4i%G he 4i% #ontrol allo(s you to set the balan#e bet(een the pro#essed H(etH signal and the original unpro#essed HdryH signal. $pa#eG he $pa#e #ontrol is used to set the si0e o" the simulated room. he si0e o" the +spa#e, varies "rom a small #hamber up to a large hall. EA4P IEampingJG he simulated room.s (all materials #an be ad-usted (ith the EA4P IEampingJ #ontrol. his parameter ranges "rom pra#ti#ally loss'"ree re"le#ting (alls Ino dampingJ up to very absorbent (alls I"ull dampingJ. In pra#ti#al terms& the amount o" damping determines the amount o" high "re*uen#y sound #omponents that are #ontained in the pro#essed signal/ the higher the EA4P IEampingJ setting& the less high "re*uen#ies are #ontained in the pro#essed signal.

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)ear #anel
$a%Lab 2)s Fear Panel is a##essed by #li#!ing on the $a%Lab 2 logo on the instrument.s 3ront Panel. he Fear Panel #ontains a #ontrol "or the path to the library& an edit bo% (hi#h is used "or registering the instrument and a display that sho(s the version o" the instrument.

LibraryG he Library Path is lo#ated on the upper le"t o" the instrument.s Fear Panel. 9sually it points to (here the library have been installed& ho(ever& i" you (ant to move the library to a di""erent lo#ation you #an do this and use this #ontrol to ma!e the ne( lo#ation available to $a%Lab. A"ter #li#!ing the "older i#on a "ile dialog opens and allo(s you to bro(se to the library. AttentionG Sou #annot sele#t the "older dire#tly& you need to lo#ate the library& then open the +Alto Layers, "older and open the +sa%.s%lbsnd, "ile in it. A"ter ad-usting the path to the library you need to restart $a%Lab& that is to unload it #ompletely and load it again. $erial @umberG he $erial @umber edit bo% is lo#ated on the upper le"t o" the instrument.s Fear Panel. he $erial @umber edit bo% is used to register the instrument. @ote that be"ore entering a valid serial number& the $erial @umber edit bo% reads +6nter here,. A"ter a valid serial number has been entered the $erial @umber edit bo% reads +Valid,. Version @umberG he Version @umber display is lo#ated on the upper right o" the instrument.s Fear Panel. It sho(s the version o" the instrument. Cli#!ing on the $a%Lab 2 logo in the middle o" the Fear Panel returns you to the 3ront Panel.

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)e*istration
A"ter you.ve installed and opened the "ull version o" $a%Lab 2& go to the instrument.s Fear Panel Isee the Fear Panel se#tion o" this manual "or more in"ormation about the instrument.s Fear PanelJ. he $erial @umber edit bo% (ill read H6nter hereH. 6nter the serial number you have re#eived into the $erial @umber edit bo%. I" the serial number has not been entered or it has been entered in#orre#tly& the $a%Lab 2 (ill run in demo mode. A"ter entering the serial number #orre#tly& the $erial @umber edit bo% displays the (ord +Valid, indi#ating that the instrument is registered. :n#e registered& the serial number is no longer displayed on the instrument. 4a!e sure to !eep your serial number in a sa"e pla#e as you might need it again to register $a%Lab& in e%ample (hen you bought a ne( #omputer. I" you have any *uestions regarding $a%Lab 2.s registration pro#ess& please visit our support area at (((.linplug.#omKsupportKsupport.htm.

Su%%ort
$hould you have any *uestions or #omments regarding the LinPlug $a%Lab 2 please #onta#t us via "ollo(ing (ebsiteG httpGKK(((.linplug.#omK$upportKsupport.htm

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+lossar"
Ampli"ierG AmplitudeG A signal pro#essing devi#e that #hanges the amplitude& and hen#e the loudness& o" a signal. 1ith respe#t to sound& the pea! amount o" variation above and belo( atmospheri# pressure #aused by the #ompression and rare"a#tion #omponents o" a sound. Amplitude indi#ates the amount o" energy in a sound and generally #orrelates (ith our per#eption o" +loudness,. he term #an also apply to any signal& hen#e the term +Amplitude 6nvelope, (hi#h is used to des#ribe the (ay a synthesi0er)s loudness varies over time (hen a note is played. he #reation o" the per#eption o" multiple unison voi#es "rom a single voi#e. he pro#ess o" mi%ing t(o audio signals together by in#reasing the amplitude o" one as the amplitude o" the other is de#reased. A signal pro#essing devi#e that #hanges some aspe#t o" the input signal. An enormous number o" di""erent e""e#t types are available. hese in#lude Chorus I(hi#h produ#es a thi#!ening o" the signalJ& Eelay Iadding e#hoes to the signalJ and Eistortion I(hi#h #hanges the shape o" the (ave"orm usually adding overtonesJ. A time'varying signal used to #ontrol the development o" another signal a"ter it has been triggered. 6nvelopes are most o"ten used "or #ontrolling a signal.s amplitude. he shape o" the envelope is determined by the number o" #ontrol parameters. 9sually "our parameters are availableG Atta#! ime& Ee#ay ime& $ustain Level and Felease ime. A signal pro#essing devi#e that suppresses or H"iltersH out spe#i"i# parts o" a signal.s "re*uen#y spe#trum. @umerous types o" "ilter are used in audio synthesis. hese in#lude Lo( Pass& High Pass& 7and Pass and @ot#h. he tone #ontrols on a stereo ampli"ier are one e%ample o" an audio "ilter. An L3: or HLo( 3re*uen#y :s#illatorH is a periodi# signal sour#e Iusually belo( audio "re*uen#y rangeJ used to modulate another signal parameter. An L3: #an be used "or a variety o" e""e#ts in#luding vibrato Iby modulating the instrument)s pit#hJ and tremolo Iby modulating the instrument)s amplitudeJ. he variation o" one parameter by another. 3or e%ample& a signal)s "re*uen#y #an be +modulated, by an L3: ILo( 3re*uen#y :s#illatorJ in (hi#h #ase vibrato is produ#ed.

ChorusG Cross"adeG 6""e#tG

6nvelopeG

3ilterG

L3:G

4odulationG

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4onophoni#G Literally& +one voi#ed., A monophoni# sound #ontains one voi#e. Any musi#al instrument that #an produ#e only one note at a time is #lassed as monophoni#. 4ulti'sampleGA te#hni*ue used in sample'playba#! (here t(o or more samples are used to simulate the (ay the timbre o" a sound #hanges (ith respe#t to its amplitude. 3or e%ample& a piano #ould be sampled at t(o di""erent volume levels I+so"t, and +loud,J. 1hen the instrument is triggered by a lo( amplitude input signal the +so"t, sample is played. 1hen the instrument is triggered by a high amplitude input signal the +loud, sample is played. Polyphoni#G Literally& +many voi#ed., A polyphoni# sound #ontains t(o or more voi#es. Any musi#al instrument that #an produ#e t(o or more notes at a time is #lassed as polyphoni#. FeverbG +Feverb, IFeverberationJ arises "rom the (ay that sound is re"le#ted by the sur"a#es "ound (ithin a room& and #auses the sound to be heard a"ter all sour#es have #eased. Ei""erent a#ousti# spa#es have di""erent reverberant #hara#teristi#s& many o" (hi#h #an be simulated digitally. A re#ording o" a short portion o" an audio signal. imbre is notoriously di""i#ult to de"ine. Having said that& timbre is usually de"ined as the #hara#teristi# tone #olour o" a sound. imbre is (hat distinguishes t(o notes played at the same pit#h and amplitude on di""erent musi#al instruments.

$ampleG imbreG

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4IEI Implementation Chart

#ro!uct, Manufacturer Function 7asi# Channel Ee"ault Changed 4ode Ee"ault Changed @ote @umber rue Voi#e Velo#ity @ote :n @ote :"" A"tertou#h Poly ILeyJ 4ono IChannelJ Pit#h 7end Control Change Program Change $ystem 6%#lusive $ystem Common $ong Position $ong $ele#t une Fe*uest $ystem Fealtime Clo#! Commands Au% 4essages Lo#al :nK:"" All @otes :"" A#tive $ensing $ystem Feset no no no no no no no no no no no no no no no no no no no "es no "es no no "es "es "es "es no no no no no no no "es no no no no :mni no SaxLab -ersion 2.x $ate, /0.1an 2220 Lin#lu* -irtual Instruments +mb3 Transmitte! )eco*ni4e! )emar5s no no no no

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(%%en!ix (, 6sin* T6N Files

7y 2a#!y Ligon

About 4i#rotuning
4i#rotuning& or Hmi#rotonalityH are methods "or tuning musi#al instruments (hereby musi#ians may e%plore and #ompose (ith ethni#& histori#al and #ontemporary tuning'systems. 4i#rotuning musi#al instruments allo(s one to use s#ales (hi#h may have pit#hes lying bet(een the notes o" our "amiliar 1estern B2 tone s#ale. hese pit#hes (hi#h are "ound in the .#ra#!s. o" B2 one 6*ual emperament are one o" the things that give musi#s o" 7ali& India& A"ri#a& hailand& ur!ey and the 4iddle 6ast Ito name but a "e(J a spe#ial international "lavor& but is something that is o" immeasurable value to the #ontemporary a#ousti# and ele#troni# #omposer& (ho may re*uire a more broad palette o" musi#al pit#hes "or their musi#. he *uest "or #reating beauti"ul and musi#ally use"ul tuning'systems has been an unending pro#ess o" dis#overy and debate amongst musi#al theorists& mathemati#ians& physi#ists and musi#ians going ba#! to early history. Muite o"ten the reasons "or mi#rotuning instruments may involve improving the #onsonant intervals o" a tuning'system "or s(eeter sounding harmonies& as (ell as o""ering (ider variety o" #hoi#es "or melody. H4i#rotuningH an instrument #an sometimes mean there may be less or more than B2 tones in an o#tave& or even that the o#tave itsel" may be stret#hed or #ompressed. 4i#rotuning is a vast topi#& ri#h (ith lore& musi# and in"inity o" musi#al possibilities "or the soni# e%plorer.

Creating 9@ 4i#rotuning 3iles (ith $CALA

$#ala is a "ree(are utility developed by 4anuel :p de Coul in the @etherlands& (hi#h #an be used "or the #reation and analysis o" histori#al& ethni# and #ontemporary mi#rotunings. A po(er"ul #apability o" $#ala is that it enables the user to #reate the proprietary tuning data re*uired "or mi#rotuning a (ide range o" hard(are and so"t(are synthesi0ers and samplers. $#ala may be used to #reate the 9@ "ormat mi#rotuning'"iles needed to e%plore mi#rotunings (ith this instrument. he $#ala home page is httpGKK(((.%s>all.nlKThuygens"Ks#alaK

$pe#i"ying the Fe"eren#e 3re*uen#y o" a 4i#rotuning

:ne o" the po(er"ul #apabilities o" the 9@ "ile "ormat and $#ala& is the ability to spe#i"y the pit#h and midi note (hi#h (ill be the re"eren#e pit#h "or the mi#rotuning in use. his be#omes a very important #onsideration (hen one is using a number o" di""erent synthesi0ers and (ishes to !eep them in tune (ith a given base "re*uen#y. It is very #ommon "or one to spe#i"y a #hosen #on#ert pit#h su#h as A>>0 H0 or C2AB.A2?A H0 as a re"eren#e "or a mi#rotuning& ho(ever& the "le%ibility o" the 9@ "ormat and $#ala enables one to spe#i"y this "re*uen#y arbitrarily. In $#ala this re"eren#e is #alled 4ap 3re*uen#y.

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As (ell as being able to spe#i"y the 4ap 3re*uen#y& one #an also spe#i"y a #entral midi'note& (hi#h (ill be#ome the starting point "or the mi#rotuning in use. 7eing able to spe#i"y a parti#ular midi'note on the #ontroller& provides a (ay to map a mi#rotuning beginning on any desired midi !ey& ma!ing it easier to navigate the !eyboard (hen there may be more or less than B2 tones per o#tave& or (here one may desire to have the notes o" a tuning "all on #ertain physi#al !eys.

Important @ote
1hen one uses a 9@ mi#rotuning "ile (ith this so"t(are synthesi0er& the above spe#i"ied mapping properties (ill override the 4aster uning re"eren#e. @ormally (hen one is using the de"ault B2 one 6*ual empered $#ale& the 4aster uning (ill be used to ma!e "ine pit#h ad-ustments around the standard #on#ert pit#h o" A>>0 H0& but (hen one has spe#i"ied another pit#h base "or a mi#rotuning (hen the 9@ "ile is #reated in $#ala& su#h as C2AB.A2?A H0& the data in the 9@ mi#rotuning'"ile (ill provide a ne( pit#h re"eren#e.

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