Advanced Subtractive Software Synthesizer

Users Manual

Copyright c Synapse Audio Software 2010. All rights reserved. Concept: Richard Homann and David Goodwin Programming and Manual: Richard Homann Graphic Design: Warren Bones, Maxx Claster, David Goodwin, Alain Meziane Sound Design: See Appendix
All technical specications in the product described in this manual are subject to change without notice. The document may not be changed, particularly copyright notices may not be removed or changed. VST is a registered trademark of Steinberg Media Technologies GmbH. All other trademarks are property of their respective owners, and do not imply owners endorsement of this product, or guarantee full compliance with owners standards.

Contents
1 Introduction 1.1 Installation . . . . . . . . . . . . . . . 1.2 Compatibility . . . . . . . . . . . . . . 1.3 System Requirements . . . . . . . . . . 2 Basic Operation 2.1 Selecting a patch . . . . . . . . . . 2.2 Choosing a category . . . . . . . . 2.3 Playing a patch . . . . . . . . . . . 2.4 Loading/Saving patches and banks 2.5 Pitch Bend and Modulation Wheel 2.6 Setting the number of voices . . . . 3 Sound Parameters 3.1 Patch Structure . . . . . . . . . . . 3.2 Oscillators . . . . . . . . . . . . . . 3.2.1 Oscillator 1+2 . . . . . . . . 3.2.2 Oscillator 3 . . . . . . . . . 3.3 Noise Generator . . . . . . . . . . . 3.4 Common oscillator controls . . . . 3.4.1 Pulse Width . . . . . . . . . 3.4.2 Ring Modulation (RM) . . . 3.4.3 Frequency Modulation (FM) 4 4 5 5 6 6 6 6 7 7 7 9 9 11 11 13 13 13 13 14 14 3

3.5 3.6 3.7 3.8 3.9 3.10 3.11 3.12 3.13 3.14

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Filter Controls . . . . . . . . . Filter Models . . . . . . . . . . Unison Section . . . . . . . . . Output Section . . . . . . . . . Modulation Envelope . . . . . . Filter Envelope . . . . . . . . . Amplitude Envelope . . . . . . LFOs . . . . . . . . . . . . . . . Arpeggiator . . . . . . . . . . . Eects . . . . . . . . . . . . . . 3.14.1 Distortion . . . . . . . . 3.14.2 EQ-1 . . . . . . . . . . . 3.14.3 EQ-2 . . . . . . . . . . . 3.14.4 Chorus, Flanger, Phaser 3.14.5 Delay . . . . . . . . . . 3.14.6 Reverb . . . . . . . . . .

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15 18 21 22 22 23 24 26 28 30 30 31 33 33 34 35 37 38 40 42 51 53 53 53 55

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4 Modulation Matrix 4.1 The dierential unison engine (DUNE) 4.2 List of Sources . . . . . . . . . . . . . . 4.3 List of Destinations . . . . . . . . . . . 5 MIDI Reference 6 Legal Information 6.1 Trademarks . . . . . . . . . . . . . . . 6.2 End User License Agreement (EULA) . Appendix

DUNE Users Manual

1 Introduction
Dune is a next-generation software synthesizer plugin designed for creating music on a computer. It was developed with the highest possible audio quality in mind and oers exceptional exibility. The latter is achieved by its modulation system, the new dierential unison engine (DUNE) hence the name. Despite the complexity of the synthesizer, the highly optimized code allows Dune to run even on older computers. On current hardware, many instances can be run in parallel, making Dune the perfect everyday studio workhorse. Dune was tested by professional music producers to guarantee its ambitious design goals were met. It comes with high quality sounds, mostly created by professional sound designers.

sure to choose the correct directory for your host software. Refer to your host softwares manual if you are unsure about where the host softwares VstPlugins directory is located. The plugin le "Dune.DLL" and the manual and presets will be placed in the chosen directory. The next time you start your host software Dune will appear in the VST instrument list. If you use a 64-bit host such as Orion 64, be sure to install the 64-bit edition of Dune and choose the VstPlugins directory of your 64-bit host. Choosing the wrong version will either cause the plugin to not appear in your host, or cause a serious performance drop.

Installation Mac
Dune comes with a dedicated installer application. Download and open the le named "Dune Installer.dmg". Afterwards, double-click on the installer icon to begin the installation process. The installer will guide you through the necessary steps. The plugin les will be placed in the proper directories automatically. In contrast to the PC version you do not need to select any directories manually, as the plugin directories are identical for every Mac. The next time you start your host software Dune will appear in the AU and/or VST instrument list, depending on which format your host software supports. 4 DUNE Users Manual

1.1 Installation
Installation PC
Unzip Dune and run SETUP.EXE to commence with the installation process. The installer will guide you through the necessary steps. You will be asked to select the location of your VstPlugins directory. Make

1.2 Compatibility
Dune should run on any VST or AU-compatible host. If you encounter any compatibility issues with your host software, do not hesitate to contact us. Dune has been tested under the following hosts: Ableton Live Apple Logic Studio Cakewalk SONAR Image Line FL Studio Steinberg Cubase Synapse Audio Orion

PCs require Windows XP or later and a singlecore CPU with 2 GHz or better or alternatively a multi-core processor with 1 GHz or better. The memory requirement is approximately 15 mb per instance.

1.3 System Requirements

Dune has been optimized to operate on a wide range of computers and thus has only modest system requirements. Apple computers require an iMac running OS X 10.4 or later, equipped with a 1 GHz dual core processor or better. Older PPC processors are not supported. 5 DUNE Users Manual

2 Basic Operation
2.1 Selecting a patch
Each musical sound that you can play is called a Patch. Dune comes with three sound banks, each bank contains 128 patches. The last patch in bank C is the Init Patch, which sets all sound parameters to default values. It can be used as a starting point to create new patches. To select a patch, either click on the patch name or use the arrow buttons. You may also choose a patch from your host.

order to nd a suitable one for your music as quickly as possible. Click on "Show All" and pick a category to limit the patch selection to that category. Note that this only aects the patch browsing in Dune, not in the host software. The host software will always display all patches and all banks regardless of the category setting. If you create new patches, you may want to dene the category for your patch. This can be done in the patch settings area.

2.3 Playing a patch

You can play individual notes directly by clicking on the keyboard at the bottom of the user interface. The vertical click position determines the velocity of the sound. A much better way, however, is to use your host sequencer or a MIDI keyboard. If a MIDI keyboard is hooked up to your computer, playing notes on the keyboard should depress the same keys in Dune (provided they are in the 61-key range shown). If this is not the case, then the required MIDI information is not transmitted to the plugin, and you should refer to your host softwares manual to address the issue. 6 DUNE Users Manual

2.2 Choosing a category

By default, all patches are shown in Dunes patch browser. Sometimes it can be desirable, however, to list only patches falling into a specic category. For example, you may wish to only list the bass sounds in

2.4 Loading/Saving patches and banks

When you load or save a project from your host sequencer, Dune will automatically recall all settings for the last active patch. Sometimes, however, you may wish to send patches to a friend or use them in a different host sequencer. You can load and save individual patches by clicking on the PATCH label. Patches are stored in Cubase FXP format, a common format for storing sounds. As explained previously, patches are organized in banks of 128 patches each. To load or save a bank, click on the BANK label. Banks are stored in Cubase FXB format.

bend wheel is used to temporarily shift the pitch upor downwards. When released, it automatically snaps back to center position. The modulation wheel typically controls vibrato type eects, but can be used to modify other sound parameters as well. It remains in whatever position it was set to. The Bend up/down parameters specify by how many semitones a sound is pitch shifted up or down, when the pitch bend wheel is turned all the way up or down.

Click on the numbers and drag the mouse up or down to increase/decrease the pitch bend range. If a MIDI keyboard is hooked up to your computer, turning the physical pitch bend or modulation wheel should turn the same wheel in Dune automatically. If this is not the case, then the required MIDI information is not transmitted to the plugin, and you should refer to your host softwares manual to address the issue.

2.5 Pitch Bend and Modulation Wheel

At the bottom left of the user interface, the pitch bend and modulation wheels are located. The pitch 7

2.6 Setting the number of voices

Each key that you press triggers one or more voices. A voice comprises everything that is needed to synthesize a tone. The DUNE technology allows to stack DUNE Users Manual

up to 8 voices per note played, where each voice may use entirely dierent sound parameters. Thus, a Dune patch can play a chord or complex sound mixture even when pressing just a single key. As each voice costs CPU time, the total number of available voices is limited. The maximum number of voices can be adjusted with the Voices parameter.

Click on the number and drag the mouse up or down to increase/decrease the number of voices. If the number of voices is set too low, voice stealing can occur, which means older notes get cut. This can lead to clicks or other undesirable eects. Note that the voice polyphony can be adjusted per patch. While all patches should employ an adequate setting out of the box, your individual playing style or usage of sounds may require adjusting the voice polyphony at times.

DUNE Users Manual

3 Sound Parameters
This section describes how a Dune patch is constructed, the operation of all front panel knobs and switches, the eect section and the arpeggiator.

or more periodic waveforms. The resulting signal is typically very bright. To further rene the timbre, the signal is processed by the lter block, which attenuates frequencies specied by the user; usually, high frequencies are removed. Hence, this type of synthesis is commonly called "subtractive". The nal block controls the volume of the signal. On their own, the three basic building blocks synthesize a completely static sound. This is in contrast to acoustic sounds, where pitch, timbre and volume change over time. In order to obtain this possibility in a synthesizer, so called envelopes are used to add dynamic variation to a sound. The most important envelope is the amplitude envelope ("Amp Env"), which is essential to fade in and fade out notes and thus to make a synthesizer playable like a real instrument in the rst place. Also important is the lter envelope ("Filter Env"), which dynamically controls the brightness and thus the timbre of a sound over time. The modulation envelope ("Mod Env") can be freely assigned to any sound parameter, and is typically used to change the pitch progression. While envelopes nicely control the overall progression of a sound, it is sometimes desirable to add periodic modulations. Such modulations can mimic vibrato or tremolo eects known from acoustic instruments, and can be added by using one or more of the low frequency modulation ("LFO") blocks. 9 DUNE Users Manual

3.1 Patch Structure

The structure of a Dune patch is shown in g. 3.1. The block diagram shows the basic working principle of the entire synthesizer without taking into account the modulation matrix (which will be covered in detail in chapter 4). Whenever a MIDI note is played, one or more voices are triggered to synthesize that note. Each voice has the exact same structure shown, but may use dierent parameters. The voices are summed and fed into the eects unit to further rene the sound with equalization, delay, reverb etc. Each voice comprises three major building blocks, an oscillator block ("OSC 1-3"), a lter block ("Filter") and a volume control block ("Amp"). The blocks emulate the three basic properties of a sound: Pitch, Timbre and Volume. The oscillator block controls the pitch and basic timbre of a sound by generating one

LFO-1 Periodically modulate the sound

LFO-2 Periodically modulate the sound

LFO-3 Periodically modulate the sound

OSC 1-3 Timbre and Pitch control

Filter Brightness control

Amp Volume control +

Effects Distortion, EQ, Phaser, Delay, Reverb

Mod Env Adjust any parameter over time

Filter Env Adjust the brightness over time

Amp Env Adjust the volume over time Voice #1 Voice #2 Voice #3 ...

Figure 3.1: Structure of a Dune patch. 10 DUNE Users Manual

3.2 Oscillators
An oscillator generates a periodic waveform and forms the basic building block of the majority of synthesizers (the most common waveforms are illustrated in g. 3.2). Dune oers three oscillators and a separate noise generator. This corresponds to how many traditional synthesizers work. In Dune, however, it is easily possible to instantiate a multitude of its oscillators in parallel - up to 120 per key. This allows to obtain thick pad, bass or lead sounds impossible with traditional gear. Dunes oscillator controls can be found in the sections labelled OSC 1, OSC 2, OSC 3, NOISE, COMMON and FM in the top area of the user interface.
Sawtooth Pulse

3.2.1 Oscillator 1+2 Waveform

An oscillator can create dierent waveform shapes. The LED buttons in the sections labelled OSC 1 and OSC 2 allow choosing between the classic sawtooth, pulse and sine/triangle shapes. Furthermore, a waveform from a table containing 69 additional shapes may be selected. The last 10 waveform shapes are special waveforms containing chords or click sounds. The latter are useful when only a single cycle is triggered. This can help form the transient of a sound, particularly good for percussive sounds. Switching oscillators from regular periodic playback to one-shot mode is accomplished via the modulation matrix (see chapter 4).

50%

Sine

Triangle

SEMI
The two controls labelled SEMI adjust the tuning of the 1st and the 2nd oscillator in semitones. The range spans +/- 36 semitones. A larger range can be obtained by using the modulation matrix, if required. This will be covered in chapter 4. 11 DUNE Users Manual

Figure 3.2: Basic oscillator waveforms.

FINE
This parameter adjusts the ne tuning of Oscillator 1 and 2 in cents. A value of +/- 100% corresponds to half a semitone. Fine tuning is typically used to create a beating between both oscillators.

FAT
When this parameter is at zero (knob turned fully counter-clockwise), the oscillators act like those found in traditional synthesizers, creating a single waveform of the selected shape. Set to nonzero values, a stack of 7 oscillators of the same type are synthesized simultaneously. The tuning increasingly diverges as the knob is turned clockwise, controlling the thickness of the sound. If FAT is enabled for both oscillators, a total of 14 oscillators will be audible per voice. Combined with the sub oscillator (described below) and Unison mode, up to 120 oscillators can be red per key, allowing very rich patches that few synthesizers are capable of generating. The FAT mode works on any chosen waveform, not just the classic sawtooth, square and triangle shapes.

counter-clockwise towards "1", only the rst oscillator will be audible, turned fully to the right "2", only the second. At center position, both are summed at equal level. Apart from setting the mix level, another important application of this control is to automate it via the modulation matrix. By varying the mix level between both oscillators, it is possible to create a changing timbre of the sound. For example, a sound could start with a sawtooth that fades smoothly to a sine, or constantly switches between both for the entire duration of the sound.

OSC SYNC
When enabling Oscillator Sync, the second oscillator is reset whenever the rst oscillator has completed one waveform cycle. This leads to interesting new waveform shapes for the second oscillator. When choosing sawtooth or pulse and sweeping the 2nd oscillators frequency without changing the pitch of the 1st oscillator, the classic sync sweep sound is achieved. When choosing the sine, the reset eect often leads to waveforms resembling a sawtooth, but sounding softer. In Dune, all waveform shapes including the wavetables can be synced. Note that the FAT knob has no meaning for the 2nd oscillator when SYNC is enabled. This is because the detuning eect is only possible with oscillators that are in free run mode. Of course FAT can still be used on the 1st oscillator. 12 DUNE Users Manual

OSC MIX
The OSC MIX knob blends seamlessly between the level of the rst and second oscillator. Turned fully

3.2.2 Oscillator 3
The third oscillator is controlled by the OSC 3 section. It is slaved to oscillator 1 and tuned precisely one octave lower. This is useful to add sub-bass to a sound, making it more voluminous. Waveform choices include sawtooth, pulse and triangle. The LEVEL knob adjusts the level of the sub-oscillator. Set to zero, the oscillator is inaudible.

brighter timbre is produced when turning the knob to the right. This is often useful, as the bass frequencies contained in white noise are often objectionable.

3.4 Common oscillator controls

3.4.1 Pulse Width
Located in the COMMON section below OSC 1, the pulse width knob adjusts the duty cycle of the pulse waveform for oscillator 1 and 2 (see g. 3.3). The default is 50%, corresponding to a square wave. Note that this parameter has no eect if waveform shapes other than pulse are selected.

3.3 Noise Generator

With the exception of the attack shapes, all three oscillators described so far generate perfectly periodic waveforms with a certain pitch. Sometimes it is useful, however, to spice up a sound with a random element that has no xed pitch. This can be useful to synthesize percussive sounds, to recreate the behavior of wind or plucked string instruments during transients or to synthesize nature sounds such as re, water or wind. For this reason, Dune oers a white noise generator. White noise is a type of noise which contains all frequencies equally. Two knobs located in the NOISE section control the white noise generator. The LEVEL knob adjusts the amount of white noise, which is summed with the signal coming from the oscillators. The COLOR knob lters the noise signal so that a 13

25%

50%

75%

Figure 3.3: Pulse Width.

DUNE Users Manual

3.4.2 Ring Modulation (RM)

A further interesting eect that can be applied to oscillators 1 and 2 is to multiply them with each other. This can be seen as one oscillator modulating the other in its amplitude (see g. 3.4). The eect depth can be controlled using the RING MOD knob. Set to zero, the ring modulator output is inaudible. Mathematically, the result of this process is that the sums and dierences of both signals frequencies are generated. If the oscillators are detuned, this will typically lead to inharmonic, metallic sounds.
1 0 -1 0 1 0 -1 0 1 0 -1 0 0.2 0.4 Time (s) 0.6 0.8 1 0.2 0.4 0.6 0.8 1 0.2 0.4 0.6 0.8 1

3.4.3 Frequency Modulation (FM)

Apart from simply multiplying two oscillator signals, it is also possible to let one oscillator control the frequency of another oscillator. This synthesis principle is known as Frequency Modulation (FM). The typically fast pace of the modulation generates a lot of overtones in the oscillator being modulated. This results in new waveforms, and gets particularly interesting when dynamically varying the amount of frequency modulation. Dune oers three FM modes. In the rst mode called "1->2 fbk", oscillator 1 is the modulation source while oscillator 2 is the destination. The amount of frequency modulation, that is how strongly the second oscillator is aected by the rst, is determined by the FM 1 knob. The FM result is audible at the output of oscillator 2, so OSC MIX should typically be turned fully clockwise. As an extra eect, the FM result can be fed back into its input using the FM 2 knob. In the second mode called "1->2 dual", once more the rst oscillator modulates the second (controlled by FM 1), but additionally the second oscillator further modulates a copy of itself (controlled by FM 2). Again, the FM result is audible at the output of oscillator 2, so OSC MIX should be turned fully clockwise. The third FM mode is "Filter FM", which is completely dierent from the former two modes. Filter FM means that the lter cuto frequency is modulated by 14 DUNE Users Manual

Figure 3.4: Ring modulating two sinusodials with frequencies 2 Hz and 50 Hz.

an oscillator. In DUNE, FM 1 controls how much the rst oscillator changes the lter cuto, while FM 2 adjusts how much the second oscillator modulates the lter.

Magnitude

Frequency

3.5 Filter Controls

The raw oscillator sound is typically too bright to be useful. Furthermore, the periodic nature of the osccilators results in a dull timbre. Many natural instruments like a ute or piano feature a short, bright transient behavior, and then decay to a more steady, darker timbre. This behavior can be modelled by using a time-varying lter. The lter section is located in the top right area of the user interface, its controls are described below.

Cutoff frequency

A band-pass (BP) lter damps frequencies around the cuto frequency. As a result, bass and treble get attenuated.

Magnitude

CUTOFF
Perhaps the most important lter parameter is the CUTOFF knob. It sets the corner frequency where the lter operates. Its meaning depends on the lter type chosen: For low-pass (LP) lter types, frequencies above the cuto frequency are damped: 15
Cutoff frequency

Frequency

A band-stop (BS) lter rejects frequencies around the cuto frequency and passes everything else. DUNE Users Manual

Magnitude Magnitude Cutoff frequency

Frequency Cutoff frequency Frequency

A high-pass (HP) lter attenuates all frequencies below the cuto frequency and passes the higher frequencies unchanged.

Magnitude

Frequency Cutoff frequency

The ve lters described above form the basic lters encountered in most synthesizers. The low-pass lter is the most common, as it fully preserves the bass frequencies and allows the natural progression from a bright to a dark timbre when being modulated. For this reason, all other lter types have an optional lowpass lter operating in series with them in order to increase their versatility. To modulate the cuto frequency and produce a dynamically changing timbre, the LFOs and lter envelope can be used. Both options will be discussed later in this chapter.

RESO
If the output of a lter is fed back to its input, resonance occurs, which is a sinusodial oscillation near the cuto frequency (see g. 3.5). The RESO knob controls the depth of this eect. At lower settings, resonance can be used to add presence to a sound. Using higher settings, the sinusodial oscillation gets strong 16 DUNE Users Manual

When a comb lter is chosen, the frequency spectrum looks like a comb with a series of regularyspaced spikes in it. The cuto knob adjusts the spacing of the spikes.

enough to use the lter in a similar fashion as an oscillator. This property can be useful to create special eect sounds such as laser guns, electronic bass drums etc.
Magnitude Resonance

In rare cases, you may also want to set the envelope amount to a negative value. This can be helpful to create sounds which become bright when releasing a key. A negative envelope amount can be set using the modulation matrix, with the envelope amount knob set to zero.

Frequency Cutoff frequency

KEY TRACK
The key track parameter determines how much the cuto frequency is aected by the MIDI key note. Set to zero, all notes share the very same cuto frequency as specied by the CUTOFF parameter. Nonzero values move the cuto according to the key pressed, with higher keys corresponding to higher cuto frequencies. At low settings, this parameter is useful to create subtle timbre variations when dierent notes are played. At higher settings, key tracking can be used to simulate the properties of acoustic instruments that have a varying timbre dependent on the note played.

Figure 3.5: Response of a resonant low-pass lter.

ENV
This knob controls how much the lter envelope (described later in this chapter) aects the cuto frequency. Set to zero, the lter envelope has no eect on the cuto frequency. At 100%, the envelope spans the entire cuto range from the minimum to the maximum value. Most sounds will use a low-pass lter with an envelope amount setting in between the two extremes and the envelope attack and sustain set to their minimum values. This creates the most common timbre which is a bright start followed by a darker sustain stage, a property shared by many acoustic instruments. Note that when a dual lter is used, the lter envelope aects both lters simultaneously. 17

OFFSET
The meaning of this knob depends on the chosen lter, and is thus discussed separately for each lter type in the following section. DUNE Users Manual

3.6 Filter Models

By clicking on the list box in the lter section, one of 16 dierent lter models can be chosen.

LP Ladder 12/24 dB
Two more low-pass lters with 12 and 24 dB attenuation, respectively. This type was painstakenly modelled after the lters of legendary analog hardware synthesizers, which employed a transistor ladder structure. This lter combines a great sound with authentic behavior of cuto frequency movements as well as response to resonance. Thus it requires more CPU than the two previous low-pass lter models.

Lowpass 12 dB
The rst lter is a low-pass type, thus attenuating frequencies above the cuto frequency. The slope of attenuation is 12 dB per octave, which is relatively soft. Additionally the CPU usage of this lter type is very low, making it an excellent choice for a wide range of sounds. The OFFSET knob has no eect on this lter model.

LP24 -> LP12

This model consists of a combination of two low-pass lters in series, as illustrated in g. 3.6. The rst lowpass has a slope of 24 dB while the second is a 12 dB type, yielding a total attenuation of 36 dB per octave. Using the OFFSET knob, the cuto frequency of the second 12 dB lter can be adjusted relative to the main cuto frequency.

Lowpass 24 dB
This type is identical to the rst lter, but features a slope twice as steep. Starting from the cuto frequency, each octave upwards is attenuated by 24 dB instead of 12 dB. This creates a much stronger ltering eect than the previous lter model. If the cuto frequency is set to 1000 Hz, for instance, it means that frequencies at 4000 Hz will be attenuated by roughly 48 dB and thus become practically inaudible. Note that the 24 dB lter model needs slightly more CPU than the 12 dB type. The OFFSET knob has no meaning in this lter mode. 18

OSC Signal

Low-pass filter #1

Low-pass filter #2
Adjust cutoff using OFFSET knob

Figure 3.6: Two low-pass lters chained in series.

DUNE Users Manual

BP12 -> LP12

This dual lter structure consists of a 12 dB bandpass followed by a 12 dB low-pass lter. Once more, OFFSET adjusts the low-pass lters cuto frequency.

more frequencies and thus creating a brighter timbre. Moved to the left, the cuto frequency of the low-pass decreases resulting in darker sounds.

LP12+Dist BS12 -> LP12

Same as the previous model, but with a band-stop lter instead of a band-pass. A low-pass lter preceded by a distortion eect. The distortion eect models the typical characteristic of analog semiconductors. The OFFSET knob controls the gain level of the signal before being fed into the eect. Note that at center position, some distortion is already audible. Turn the knob to the right to increase the gain and thus the distortion, turn it to the left to decrease the eect. This lter model can be used to either add some spice to sounds by using negative gain settings resulting in only a subtle eect, or to create very harsh sounds by turning OFFSET fully clockwise. As the distortion eect is processed before the low-pass lter, the eect of the distortion is most audible at high cuto frequencies.

HP12 -> LP12

Same as the previous model, but using a high-pass lter. Note that in this model, the low-pass lter can be turned o completely by setting OFFSET to the maximum value. This may be useful in scenarios where a pure high-pass ltering eect is desired.

Comb -> LP24

This type is a dual lter comprising a comb lter followed by a low-pass lter in series. While both lters respond to all controls in the same manner, a cuto frequency oset for the low-pass lter can be specied by using the OFFSET knob. When this knob is centered, the low-pass and comb lter share the same cuto frequency. Moved to the right, the cuto frequency of the low-pass lter is shifted upwards, passing 19

LP12+Bitcrush
Similar to the LP+Dist lter, a low-pass lter is preceded by a distortion eect. Here, the distortion is not achieved by a virtual analog model but by simple bit reduction of the signal coming from the oscillators, resulting in harsh quantization noise. The OFFSET conDUNE Users Manual

trol sets the number of bits used, with higher settings corresponding to fewer bits and thus more distortion.

LP/BP/HP Sweep
This multimode lter sweeps from lowpass over bandpass to a highpass type, according to the OFFSET knob. The middle position yields a bandpass response.

LP12+Follow
This is a special purpose lter model, which consists of an ordinary low-pass lter followed by a key tracked high-pass lter. The key tracking for the high-pass lter is independent of the KEY TRACKING parameter in the lter section, it is congured automatically so that the cuto frequency corresponds exactly to the MIDI note played. The eect of this is to weaken the fundamental frequency, useful to resemble thin stringtype sounds such as an acoustic guitar string. The depth of the high-pass eect can be adjusted using the OFFSET knob.

LP12/LP12 Split
The four split lter modes, starting with LP/LP, work fundamentally dierent from the series lters. Rather than processing the fully mixed signal from the oscillators, in the split modes the oscillator signals are processed separately by two lters in parallel. In the LP/LP conguration, oscillator 1 is routed through the rst low-pass while oscillators 2+3, as well as the noise signal, are processed by the second low-pass. The OFFSET parameter adjusts the cuto frequency of the second low-pass lter.

LP24+Saturation
A low-pass lter based on the LP ladder model with a saturation eect in series. The OFFSET knob controls the amount of saturation. The eect is more subtle than the LP12+Dist model, it can substantially enhance the feel and overall character of a sound, however. 20

OSC 1

Low-pass filter #1 Low-pass filter #2

OSC 2+3+N

Figure 3.7: Split model using two low-pass lters.

DUNE Users Manual

BP12/LP12 Split
This conguration is identical to LP/LP, except that the rst lter is a band-pass type. This means oscillator 1 will be routed through a band-pass lter while the remaining oscillators plus noise are processed by the low-pass. Again, OFFSET allows to adjust the cuto frequency of the low-pass lter relative to the main cuto frequency.

mon change is to slightly detune the stacked voices, resulting in thick bass, lead or pad sounds. Another frequently used technique is to spread the stacked voices in the stereo eld, making the sound more spatial. Note that the Dierential Unison Engine (DUNE) described in chapter 4 allows to modify any parameter of stacked voices in a simple fashion, taking the unison concept to an entirely new level. The basic unison parameters can be found in the UNISON section located below the oscillators.

BS12/LP12 Split
Same as the previous model, but with a band-stop lter instead of a band-pass.

VOICES
This knob controls the number of voices to use for each note played. Note that the global polyphony is reduced by this setting. When using four voices per note, the global polyphony will be reduced by a factor of four. Make sure to increase the polyphony if necessary (see chapter 2).

HP12/LP12 Split
Same as the previous model, but employing a highpass lter.

3.7 Unison Section

Dune allows to stack several voices for the same note. This is useful to for a variety of tasks, the most common being to create the illusion of many instruments of the same type playing simultaneously (e.g. a string section). To obtain an audible change, the instanced voices must dier in one or more parameters. The most com21

DETUNE
This parameter detunes the unison voices. Higher settings correspond to more variation, a minimum of two voices is necessary to create an audible change. The detuning is always centered around the note pitch. When playing e.g. A4 (440 Hz) and detuning two voices by 1 Hz, the two pitches would be 339 Hz and DUNE Users Manual

441 Hz, thus still creating the sensation of a 440 Hz note.

MONO
When enabled, only one note can be played at a time. This can be useful for bass and lead sounds, particularly in combination with GLIDE. It creates a unique playing feel and sound which can be better for monophonic lines.

SPREAD
Spreads the unison voices in the stereo eld. A minimum of two voices must be dialed in using the VOICES knob to create an audible eect. At maximum position, the voices will be fully spread in the stereo eld in the case of using two voices, one voice will be hard left and the other one hard right. In case of three voices, one voice will be hard left, one dead center and one hard right, etc.

GLIDE
When nonzero, this parameter causes each note to smoothly adjust its pitch from the previous note to the new one. Higher settings correspond to a slower, more noticeable glide eect. Sometimes this parameter is referred to as portamento. Note that when MONO is enabled, GLIDE aects only notes which overlap.

SOLO
Allows to solo individual voices. Note that only voices that are actually in use can be soloed. Pressing solo on the 4th voice of a 3-voice patch will thus lead to silence.

VOLUME
Sets the overall volume of the entire synthesizer.

3.9 Modulation Envelope

An envelope is used to model the progression of timbre, volume or pitch of a sound, from start to nish. An envelope is triggered whenever a key is hit. The modulation envelope can be assigned to almost any sound parameter via the modulation matrix. All envelopes 22 DUNE Users Manual

3.8 Output Section

The OUTPUT section contains basic performance parameters and allows to set the global volume.

in Dune can be described by four stages called Attack, Decay, Sustain and Release (ADSR), see g. 3.8.
Level

lower level, the sustain level. The DECAY control species the duration of the decay stage, i.e. how long it takes to fall back to the sustain level. The slope of the decay stage is logarithmic.

SUSTAIN
Sustain Time

Attack

Decay

Release

This parameter species the sustain level that is reached after the decay stage ends. The sustain stage lasts as long as a key is pressed.

RELEASE
Key pressed Key released

Figure 3.8: The modulation envelope.

The nal release stage is triggered whenever a key is released. The RELEASE parameter species the duration it takes the envelope to hit zero. The slope of the release stage is logarithmic like the decay stage.

ATTACK
The ATTACK parameter species the duration it takes for the envelope to reach its maximum value. When set to zero, the envelope immediately starts at the peak value. The slope of the attack stage is linear.

3.10 Filter Envelope

The lter envelope modulates the lter cuto frequency and thus the timbre of the sound. Many sounds start with a bright timbre and then decay to a darker tone. This behavior can be modelled with the lter envelope. The depth of the eect is controlled with the ENV knob in the lter section. The lter envelope has the same shape as the modulation envelope (see g. 3.9). 23 DUNE Users Manual

DECAY
After reaching the peak, the decay stage commences. During the decay stage, the envelope falls back to a

Level

SUSTAIN
This parameter species the sustain level that is reached after the decay stage ends. The sustain stage lasts as long as a key is pressed.

Sustain

Time

Attack

Decay

Release

RELEASE
Key pressed Key released

Figure 3.9: The lter envelope.

ATTACK
The ATTACK parameter species the duration it takes for the envelope to reach its maximum value. Most sounds use a setting near the minimum in order to start bright.

The nal release stage is triggered whenever a key is released. The RELEASE parameter species the duration it takes the envelope to hit zero. Note that when SUSTAIN is set to zero, the RELEASE parameter may have no eect if the envelope has previously reached zero already.

3.11 Amplitude Envelope

DECAY
After reaching the peak, the decay stage commences. During the decay stage, the envelope falls back to a lower level, the sustain level. The DECAY control species the duration of the decay stage, i.e. how long it takes to fall back to the sustain level. 24 Located below the Filter envelope, the amplitude envelope controls the progression of the volume of a sound (see g. 3.10). It works in the same manner as the lter and modulation envelopes, but oers two extra parameters, SPIKE and HOLD. DUNE Users Manual

Level Spike

HOLD
HOLD species a duration in milliseconds in which the peak level is maintained, before the decay stage commences. This parameter can be useful to obtain more punch when modelling percussive sounds, which often decay quickly. HOLD is exclusively accessed from the modulation matrix.

Sustain

Time

Attack

Hold

Decay

Release

DECAY
Key pressed Key released

The DECAY parameter species the duration of the decay stage, i.e. how long it takes the amplitude to fall back to the sustain level.

Figure 3.10: The amplitude envelope.

SUSTAIN ATTACK
The ATTACK parameter species the duration it takes for the amplitude envelope to go from zero to its maximum level. This parameter species the sustain level that is reached after the decay stage ends. The sustain stage lasts as long as a key is pressed.

RELEASE SPIKE HARD/SOFT

Using this parameter, a spike can be added during the attack stage, to give a sound more bite during the transient stage. Two types are available, a hard and a soft spike. Both parameters are accessed via the modulation matrix (see chapter 4). 25 The nal release stage is triggered whenever a key is released. The RELEASE parameter species the duration it takes the envelope to hit zero. Note that when SUSTAIN is set to zero, the RELEASE parameter may have no eect if the envelope has previously reached zero already. DUNE Users Manual

3.12 LFOs
Using oscillators, the lter unit and envelopes, it is possible to control the basic properties of a sound, such as timbre, volume and pitch. For many bass and percussive sounds this is enough to get good results, but for pad or lead type sounds, the sustain stage may still sound dull. This is because the pitch, lter cuto and volume are steady in this stage and do not change. This is where LFOs (low frequency oscillators) come into play. LFOs work just like ordinary oscillators, generating a periodic signal using similar waveforms (see g. 3.11). They are inaudible, however, and their only purpose is to continually change one or more aspects of the sound. The most typical applications are modulating the volume, cuto or pitch, resulting in a vibrato or tremolo eect. Dunes three LFOs are much more capable than that, however, as almost any parameter discussed so far can be used as a modulation destination. Additionally, LFOs can modulate each other in volume or frequency to obtain yet more interesting variations. The three LFOs are controlled by the sections labelled LFO 1, LFO 2 and LFO 3 on the left side of the user interface. Assigning destinations to LFOs and adjusting the modulation depth is performed in the modulation matrix, which is covered in the fourth chapter of this manual. 26

Sawtooth

Pulse

Sine

Noise

Figure 3.11: Basic LFO waveforms.

Shape
Use the four LEDs to select one of the four waveform shapes depicted in g. 3.11. Sawtooth, Pulse and Sine are periodic waveforms, the fourth shape is S+H Noise (Sample-and-Hold Noise). S+H Noise is a signal with random, abrupt changes. It can be used for special eects or to simulate the behavior of old analog hardware, by employing a very slow and subtle modulation.

RATE
By default, LFOs run at a constant rate specied in Hz, independent of the MIDI note played. Typical settings are between 3-6 Hz for vibrato or tremolo eects. DUNE Users Manual

When the SYNC switch is enabled, the rate is specied in units of the current song tempo, such as quarters, eights or sixteenths notes, with either their standard durations, or in triplet (T) or dotted (*) form. Examples: 1/4 species the duration of a quarter note. 1/8+ sets the modulation rate to a dotted eight note. 1/16T sets the modulation rate to a sixteenth triplet. 1/1 sets the modulation rate to span one bar. 2/1 sets the modulation rate to span two bars.

from the S+H noise generator. Turned fully left, the knob has no eect while turned to the right, the S+H signal is softened the most.
Sawtooth Pulse

25%

50%

75%

Figure 3.12: The SKEW parameter.

FADE-IN
Usually modulations start immediately when a key is pressed and last for the entire duration of the sound. Sometimes, however, the modulation can be objectionable in the early attack stage of the sound. To preserve the transients, the fade-in parameter can be used to gradually increase the modulation from zero to its maximum value, for a duration specied in seconds.

SKEW
The SKEW knob is used to change the shape of the LFO waveforms. It can be used on all LFO waveforms. Using SKEW, the sawtooth can be tweaked into an exponential shape using values above 50%, and into a logarithmic shape using lower values (see g. 3.12). If the pulse shape is chosen, SKEW controls the pulse width, with 50% corresponding to a square wave. The sine wave can be changed towards either a parabolic or triangular shape. When S+H noise is selected, this parameter serves to soften the abrupt signal coming 27

RESET
Instead of the one-shot mode, LFOs 2+3 oer a RESET switch. When disabled, it causes the LFO to run continously, independent of whether any keys are pressed. When enabled, the LFO is reset each DUNE Users Manual

time a key is pressed, starting from zero phase. This means that the modulation will always sound exactly the same.

VEL
The notes generated by the arpeggiator need a velocity, which can either be the velocity of the MIDI key pressed, or the velocity specied in the arpeggiator pattern. The VEL control blends seamlessly between both options, the leftmost setting corresponding to the velocity of the MIDI key pressed and the rightmost using the pattern velocities only.

3.13 Arpeggiator
An arpeggiator (short: ARP) is a module that generates melodic or rhythmical patterns from incoming MIDI notes. The pattern employed is programmable per patch and contains a note list controlling the sequence as well as extra information that can be used to alter other properties of the sound, such as its volume or timbre. The ARP module is enabled or disabled using the ARP ON switch in the OUTPUT section. The arpeggiator parameters as well as its pattern are accessed by choosing ARP PAT in the center screen. The following sections describe the key parameters to control the ARP module, which are located right below the pattern data.

LENGTH
The notes generated by the arpeggiator usually have a length of a single step, followed by a break of the same duration. Using the LENGTH control, the duration of the notes can be increased or decreased. Turned to the left, the notes get a staccato feel, while the opposite direction yields smoother sounding sequences.

RATE
Adjusts the tempo in which the arpeggiator generates sequences from incoming MIDI notes. When SYNC is enabled, the tempo is slaved to the host sequencer and can be specied in musical intervals such as 8th note, 16th notes, dotted notes (*), triplets (T) etc. When SYNC is disabled, the rate is specied in Hz. 28

SWING
This control shues the position of every other 16th note, ahead or backwards by the specied amount. This parameter can be used to obtain a typical swing feel with a setting of +50% and above. In the arpeggiator pattern, the shued notes are located at positions 3, 7, 11, 15, 19, 23, 27 and 31. DUNE Users Manual

Arpeggiator Modes
The arpeggiator module in Dune comprises ve modes described below.

CHORD
In this mode, if one or more keys are held down simultaneously, the sound will be rhythmically varied according to the sequence programmed in the arpeggiator pattern. Note that the pitch information contained in the arpeggiator pattern is not used in this mode.

DUOPHONIC
In duophonic mode, the arpeggiator plays back a xed sequence of up to two notes simultaneously. Those notes are sequenced using the two columns in the arpeggiator pattern. The sequence is transposed according to the key you press. Pressing multiple keys has no eect in this mode, only the lowest key will be used.

tions of basic playback of xed sequences only transposed up- or down. The outcome of the dynamic mode depends on two factors: how many keys are pressed simultaneously by the user, and how the underlying arpeggiator pattern is programmed. If just one key is pressed, the dynamic mode is identical to the simple mode, playing back the programmed sequence transposed according to the MIDI note of that key. If two or more keys are pressed simultaneously, the programmed sequence is transposed according to the lowest MIDI key. The second, third etc. keys then override individual notes of the sequence, allowing the musician to create a wealth of new melodies from very basic patterns. The notes to override are specied in the arpeggiator pattern. In the pattern, the second column next to each MIDI note allows to set either no override (), in which case that note behaves just like it would in Simple mode, or it is set to 2nd, 3rd, 4th... corresponding to the second, third, fourth etc MIDI key held down, counting from the leftmost key.

MOD
In this mode, the arpeggiator does not create any audible sequence. It is actively sending note and velocity information to the modulation core, however, which allows you to use the arpeggiator unit as a pure modulation source. This can be useful for a variety of ef29 DUNE Users Manual

DYNAMIC
This arpeggiator mode is a new development available exclusively in Dune. It is designed to assist the musician in a creative manner and overcome the limita-

fects common in electronic music, such as rhythmically varying the timbre or volume of a patch.

3.14 Eects
Dune oers six eects units to further enhance the sound. All of them may be used simultaneously, and each unit oers several sub-types to further increase its versatility. It is important to note that the eects are global, that is all voices are rst summed and then processed by the eect section.The eects are processed from left to right in the order they appear, i.e. distortion is applied rst and reverb last. Despite the global nature of the eect section, it is worth pointing out that each voice can have its own eect depth, ranging from completely dry to fully wet.

SIMPLE
When in simple mode, the arpeggiator will play back a pre-programmed sequence when hitting a single key. The sequence is automatically transposed according to the MIDI note of that key. Pressing multiple keys simultaneously has no eect in this mode.

ONE-SHOT
Same as SIMPLE, except that the sequence plays only once and stops afterwards.

3.14.1 Distortion
A distortion eect amplies the signal in a nonlinear manner, creating new overtones and thus a rather harsh sound. A total of seven dierent types may be chosen:

VOICE 2/4/6/8
Identical to SIMPLE mode, except that the arpeggiator only res the even-numbered voices. The oddnumbered voices are not aected by the arpeggiator and play normally. This is useful for athmospheric textures or soundscapes with one sustained note accompanied by an arpeggiated sequence. 30

TYPE
LP+Crunch is a distortion eect with a lowpass lter in series. The low-pass lter is used to roll o higher frequencies. High frequencies may be objectionable when applying a lot of distortion. DUNE Users Manual

 HP+Crunch is a distortion eect with a highpass lter in series. The high-pass lter is used to roll o lower frequencies, which can be useful in combination with low AMOUNT settings. The eect is then similar to that of an Exciter, which adds high frequencies to a signal to increase its brightness and presence. LP+Toxic and HP+Toxic work in the same manner as the Crunch programs, but employ a dierent distortion model taken from the Toxic synthesizer plugin. LP+Valve and HP+Valve work in the same manner as the Crunch programs, but use a more subtle, asymmetric distortion curve known from valve ampliers. LP Only is a low-pass lter without any distortion applied. This can be useful to reduce the overall brightness of the sound. HP Only is a high-pass lter without any distortion applied. This can be useful to either remove unwanted low frequency content in the inaudible range (e.g. below 10 Hz), or to roll o the bass for sounds where too many low frequencies are undesirable (for instance percussive or lead sounds). 31

LP+Clip clips the signal at positive polarity. Use the drive knob to control the amount of clipping. The low-pass lter in series with the clipper can be used to roll o higher frequencies.

COLOR
This controls the low-pass or high-pass lters cuto frequency in Hz.

DRIVE
Adjusts the gain applied to the signal when entering the nonlinear distortion stage. Higher settings cause more distortion.

AMOUNT
Blends between the dry and processed signal. For a guitar-type distortion eect, set this parameter to 100%. Use lower settings for more subtle eects.

3.14.2 EQ-1
An EQ is used to boost or attenuate a certain frequency range. It features three basic types: DUNE Users Manual

TYPE
Peaking amplies or attenuates the region around the chosen frequency.
Magnitude (dB) Amount (+)
0 dB

Magnitude (dB) Amount (+)

0 dB

Amount (-) Frequency Cutoff frequency

Amount (-) Frequency Peak frequency

FREQ
Sets the frequency where the EQ operates.

Lo Shelf amplies or attenuates frequencies below the chosen frequency.

Magnitude (dB) Amount (+)
0 dB

Q
Adjusts the steepness of the EQ. Only relevant for the Peaking type. Q settings below 1 create broad peaks, while higher settings create narrow peaks.
Magnitude (dB)

Amount (-) Frequency Cutoff frequency

Q=1

0 dB

Frequency

Hi Shelf amplies or attenuates frequencies above the chosen frequency. 32

Peak frequency

DUNE Users Manual

GAIN
Species how much to attenuate or boost the chosen frequency. At center position (0 dB) the signal is not aected.

the delay time is continuously varied. The timedelayed copy can be added or subtracted from the dry signal, each option resulting in a dierent sound. Chorus I/II A chorus eect is obtained in the same way as a anger, but uses much longer delay times. This creates the impression of multiple voices playing simultaneously. The eect is similar to stacking several voices per note and detuning them.

3.14.3 EQ-2
This section is identical to EQ-1. It allows further processing of a dierent frequency region if required. For example, you could roll o low frequencies using EQ-1 and boost high frequencies using EQ-2.

RATE 3.14.4 Chorus, Flanger, Phaser

The fourth eect module can be switched between Phaser, Flanger and Chorus types. Those eects are created by summing a signal with a modied copy of itself, resulting in a sweeping eect of adjustable rate. Phaser (4, 6, 8) A phaser modies a signal with a series of lters and then mixes it with the dry signal. The cuto frequency of the lters is continuously varied. The number of lter stages can be set to 4, 6 or 8, each resulting in a dierent timbre. Flanger +/- Summing a signal with a timedelayed copy of itself creates a anging eect, if 33 Sets the modulation rate of the sweeping eect in Hz.

FREQ
Sets the center frequency for the Phaser when selected. For the Chorus/Flanger types, this parameters species the frequency range to include. Usually this should be set to 100% to include the entire frequency spectrum.

FEEDBACK
The output of the eect can be fed back to its input with this control, creating a resonant sweep. DUNE Users Manual

DEPTH
This parameter sets the modulation depth. Set to zero, the resulting eect will be static and does not change over time. At higher settings, the sweeping eect will start to become audible.

Multi-Tap uses several delay units to create a complex echo pattern. Diuse is similar to Simple, except that each echo gets increasingly diused.

COLOR AMOUNT
Blends between the dry and processed signals. The echoes can be processed by a 6 dB/oct lowpass or highpass lter, making each subsequent echo darker or brighter than the previous one. Negative values correspond to darker echoes, positive values to brighter echoes, at zero the echo timbre remains identical.

3.14.5 Delay
A delay eect produces a series of echoes. The duration of the echoes is always locked to the host tempo in order to guarantee a musically useful result. A total of nine delay programs are available.

F-BACK
The feedback parameter allows you to adjust how often the echoes are repeated. The percentage species the level change from one echo to the next, so 100% creates an innite series of echoes, 50% cuts the level of each subsequent echo in half etc.

TYPE
Simple creates a series of echoes centered in the stereo eld. Ping-Pong creates echoes alternating between the left and right channels. PP 75, PP 50, PP 25 and PP 12 are identical to Ping-Pong, except that the stereo image is reduced towards the center. 34

RATE L/R
The delay time can be specied independently for the left and right channels. It is always locked to the host tempo and is thus specied in quarters, eights, sixteenths etc., optionally in triplet (T) or dotted (*) form. Examples: DUNE Users Manual

 1/4 species an echo duration of a quarter note. 1/8+ sets the duration to a dotted eighth note. 1/16T sets the duration to a sixteenth triplet. 1/1 sets the duration to span an entire bar.

Hall simulates a hall including early reections. Reverb time should be set to 3-5 seconds. Cathedral simulates the reverb pattern of a large cathedral including early reections. Reverb time should be set to 5 seconds or more. Note that the reverb programs computing early reections also create a realistic echo buildup pattern, going from a sparse distribution of early echoes to an increasingly dense pattern. Thus they are more CPU demanding than the two diuse types.

AMOUNT
Blends between the dry and processed signal.

3.14.6 Reverb
A reverb eect is used to create the illusion of a sound being played back in a spatial environment such as a living room, hall or cathedral. Five types are oered in Dune:

PREDELAY
Adjusts the onset of the reverberated signal. When set to zero, the reverberated signal commences almost immediately. Higher settings delay the signal, which can be useful to change the perception of the room size. This is particularly important for the Diuse reverb types, which do not model early reections.

TYPE
Diuse-1 is a reverb type creating diuse echoes. It does not emulate a specic room size. Diuse-2 is a variation of Diuse-1, which consumes less CPU and can be used whenever performance is an issue. Room simulates a real room including early reections. Reverb time should be set to 1 second or less if an authentic eect is desired. 35

DAMP
Using the DAMP paramter, the simulated rooms wall materials can be adjusted. Higher settings correspond to reective walls, lower settings to very absorbent ones. The reection is frequency-dependent: The higher the Damp setting, the less higher frequencies are contained in the processed signal. DUNE Users Manual

DECAY
Sets the reverb time in seconds.

LOW CUT
The low-cut lter in the reverb eect can be used to remove unwanted low frequencies from the processed signal. This is useful for sounds containing strong bass frequencies, such as bass drums etc. Note that the dry signal is not aected by this, only the reverberated signal.

AMOUNT
Blends between the dry and processed signals.

36

DUNE Users Manual

4 Modulation Matrix
One of the biggest strength of subtractive synthesizers is their ease of use. The pitch, timbre and volume of a sound and its progression over time can be controlled in a simple and straightforward way. The simplicity is achieved by employing a xed structure with a limited set of parameters, however. In order to create more complex patches, modern synthesizers oer a modulation matrix, where you can choose from a set of sources and link them to almost any sound parameter.

The modulation matrix in Dune is located in the center of the interface, and accessed by clicking on either of the Mod Matrix buttons. Up to 24 source/destination combinations are possible per patch. Most importantly, the sources comprise the LFOs. The ability to link a LFO to any sound parameter makes the traditional LFO destination parameter obsolete and oers far greater exibility. Classic destination parameters include Pitch (to obtain a vibrato eect), Volume (to obtain a tremolo eect) as well as Filter Cuto. Further sources include the envelopes, in particular the modulation envelope. The modulation envelope is not linked to a particular parameter by default. Thus, like the LFOs, it must be assigned to a destination in the modulation matrix. Useful destinations for the modulation envelope include pitch and FM Amount for FM patches. The modulation matrix is also used to assign MIDI controllers to sound parameters. The modulation wheel or expression pedal, for instance, can be chosen as a source and linked to any destination parameter. The eect of note velocity is also controlled from within the modulation matrix. While typically linked to volume, it can be easily set to aect the lter cuto frequency or other sound parameters. Advanced users will appreciate the ability of the modulation matrix to modulate itself, by choosing any of the 24 modulation slots as a destination. 37 DUNE Users Manual

4.1 The dierential unison engine (DUNE)

Despite the exibility introduced by the modulation matrix, the sound design abilities of subtractive synthesizers are still limited by their architecture. For instance, nice sounds can be obtained by combining a short, percussive element and a longer, sustained element. The percussive element shapes the transient of the sound, while the sustained element shapes its body. To obtain such sounds, the classic approach employed by music producers or sound designers is to stack dierent sounds. This can be a very tedious and time-consuming process. It is especially problematic for kick and bass sounds containing low frequencies, where the exact phase relation of dierent parts can make or break a sound. Perhaps the biggest issue with stacking sounds, however, is the lack of common controls. Even if sounds are stacked within the same synth (provided that it oers a multi-part or multilayer mode), the sound parameters are almost always separated. This is ne if two sounds have vastly different properties, i.e. most sound parameters dier. In many cases, however, stacking two sounds with few parameter changes is sucient to obtain interesting, new sounds. To use the example above, changing a percussive sound to a sustained one or vice versa may be as trivial as modifying the amplitude sustain pa38

rameter. Likewise, changing the timbre from dark to bright is as simple as adjusting the cuto parameter, changing the pitch as easy as adjusting the oscillator tuning, etc. Such relative parameter changes are realized by the new dierential unison engine (DUNE), which overcomes the aforementioned limitations of current subtractive synthesizers. To understand this approach, the Unison concept must be briey revisited rst. Traditionally, unison on synthesizers means "playing all voices simultaneously". In unison mode, a classic synthesizer with 8 voices simply res all 8 voices simultaneously when pressing a key. The dierent voices are slightly detuned, which provides a chorus type effect and thus an overall fat sound, when playing a note. Unfortunately, ring all voices at once means that polyphonic play is no longer possible, as all available voices are in use. Hence, modern synthesizers use a more sophisticated unison mode, which allows to set an arbitrary number of unison voices that is only a subset of the total number of available voices. For example, a synthesizer with a maximum of 32 voices may oer the option to trigger 4 unison voices simultaneously. This still allows playing 8 notes at the same time (32 / 4 = 8). Another feature that is very common in todays synthesizers is the ability to specify an arbitrary detuning and stereo spreading of all unison voices. A synthesizer which employs 2 unison voices may detune both and spread them to the left and right DUNE Users Manual

side of the stereo panorama, which creates a very spacious eect. The Synapse Audio WASP is such a synthesizer. The idea behind Dune is to make the power of the unison mode accessible to sound designers. Why restrict the unison mode to just detuning or panorama changes? In Dune, any sound parameter can be changed in unison mode, relative to the basic parameter settings. This is accomplished by the modulation matrix. Apart from the classic source, amount and destination parameters, Dune adds the "Voice" parameter, which allows to restrict the modulation to one or more unison voices. This concept is best explained by a simple example matrix:

As a result, only those voices will be modulated. To experiment with and understand the unison engine, try the example above (or something similar) on the Init Patch (#128). Make sure that the number of unison voices is set to at least three. The number of unison voices can be set from the Unison panel, located above the modulation matrix. Use the SOLO switches in the same panel to toggle between individual unison voices and see how the modulation aects them. Restricting the LFO modulations to individual voices may give interesting results, but you may wonder how this helps in solving the sound design issues mentioned earlier. How is it possible to adjust sound parameters per voice? The following example will demonstrate this, and conclude the introduction of the dierential unison engine:

In this example, we have assigned all three LFOs to three dierent destinations: Filter Cuto, Pan (Panorama) and Volume. In the rst row, the Voice eld is left blank, which simply means to apply the modulation to all unison voices in use. If the number of unison voices is set to e.g. ve voices, then the lter cuto will be modulated in the same manner for all ve voices. The second and third column, set to modulate the volume and panorama, are restricted to aect the second and third unison voice, respectively. 39

Here we modulate two parameters, lter cuto and lter resonance. The modulations are set to aect the second unison voice. As a source, we chose "Const", which means constant. The result of those modulations is to simply adjust the two lter parameters relative to the knob settings. For example, if the Cuto knob is set to 50%, the second voice will have a cuto setting corresponding to 100% (50% + 50%). DUNE Users Manual

4.2 List of Sources

The following section lists all available modulation sources with a brief explanation. All sources, whether it is MIDI data or synth parameters, are converted to the same range, which is [0,+1] for unipolar and [-1,+1] for bipolar sources. The LFOs, pitch bend wheel, note number and the Random modier are bipolar sources, all other sources are unipolar. The current value of a source is multiplied with the amount value [-100 to +100] in the same modulation slot. The result of the multiplication is then added to the selected destination parameter.

PWheel
The MIDI pitch wheel data. Note that the pitch bend wheel always changes the pitch up or down dependent on the Bend up/down setting in the main panel. Set both to zero if you wish to use the pitch wheel exclusively for a dierent purpose.

ATouch
Quality MIDI keyboards not only transmit velocity, but send pressure information as well. This parameter is called Aftertouch. In contrast to velocity, the aftertouch information is sent permanently and for the entire keyboard, not per key. It is transmitted for as long as any key(s) are being pressed. Note that there is a few keyboards which support sending pressure information per key. This is called polyphonic aftertouch. While polyphonic aftertouch is supported by the MIDI standard, such keyboards are very rare and never found wide usage. Hence, polyphonic aftertouch is not supported.

Velocity
The MIDI Note-On velocity information, which is transmitted once at the instant a key is pressed. The harder a key is hit, the higher the transmitted value.

Note #
The MIDI Note number, using E4 (=64) as the center. Higher keys than the center key transmit positive values, lower keys negative values.

Const
This source simply sends a constant value of 1. Hence, the amount setting is directly added to the destination parameter. This can be useful for a wide range of tasks, for instance to oset a parameter for a specic 40 DUNE Users Manual

MWheel
The MIDI modulation wheel data (controller #01).

unison voice or to set parameters only available in the modulation matrix.

Breath
MIDI Breath controller (#02).

Random
Sets a random value whenever a voice is triggered. Very useful with pan as a destination, or to add subtle pitch modulations simulating the behavior of acoustic instruments or vintage analog synthesizers (both of which have a slightly inconsistent pitch each time a note is played).

Foot
MIDI Foot controller (#04).

Expr
MIDI Expression controller (#11).

LFO-1 Arp Note

The note information sent from the arpeggiator. This is a special purpose parameter, which should be used in combination with Pitch Semi as a destination and with the Arp Mode set to "Modulation". This will result in direct pitch changes within a voice, an eect common in old computers such as the C64. The resulting sound is dierent from the regular arpeggiator, which constantly triggers and releases voices. Current value of LFO-1.

LFO-2
Current value of LFO-2.

LFO-3
Current value of LFO-3.

LFO*MW Arp Vel

The velocity information sent from the arpeggiator. This can be used to modulate any parameter rhythmically, and synced to the host tempo if desired. 41 The value of LFO-1, LFO-2 or LFO-3 multiplied by the modulation wheel data. Use this to create vibrato or tremolo eects with the depth controlled by the modulation wheel. DUNE Users Manual

LFO*AT
The value of LFO-1, LFO-2 or LFO-3 multiplied by the aftertouch data. Useful to create vibrato type eects when applying pressure on the keyboard.

4.3 List of Destinations

The destinations of the modulation matrix comprise exclusively sound parameters, most of which have been explained in detail in chapter 3. Thus, the description of the destinations will mainly focus on typical applications and how they can be used in the context of the dierential unison engine. Also note that the value ranges used in the modulation matrix can dier from the ranges of the front panel knobs. Therefor, the parameter description will additionally explain the exact meaning of the AMOUNT value in the context of that parameter.

Voice #
The unison voice number counting from zero, i.e. the rst unison voice sends 0, the second voice sends 1, the third 2, and so on. This source can be useful to quickly set a parameter of each unison voice to a different value.

Mod Env
Current value of the modulation envelope.

Osc 1/2 Semi

The tuning of the rst/second oscillator in semitones. An amount value of +1 corresponds to one semitone, +12 transposes the oscillator one octave up, -12 transposes one octave down etc. In the context of the dierential unison engine, choosing Osc Semi as a destination allows you to specify arbitrary tunings for each voice. For example, if you long for a fourth or fth oscillator having a different pitch than the rst three oscillators, you could simply increase the number of unison voices and set the oscillator pitch of that voice only. 42 DUNE Users Manual

Filter Env
Current value of the lter envelope.

Amp Env
Current value of the amplitude envelope.

Osc 1/2 Fine

The ne tuning of the rst and second oscillator in cents. Cents are a fraction of a semitone (+50 equals half a semitone, +100 a full semitone). Modulate this parameter using a LFO as a source in order to obtain vibrato eects. For strong vibratos spanning a larger pitch range, use Osc 1/2 Semi as a destination instead. The modulation can be restricted to specic voices if desired. For example, you could have a static, lowpitched sine wave on the rst voice and a vibrating sawtooth on the second.

plished by using CONST as a source and restricting the modulation to a particular voice.

Osc 1/2 Phase

This parameter sets the absolute starting phase of the rst/second oscillator whenever a note is triggered. As a consequence, this switches o the default free-run mode of that specic oscillator. Set to zero, the specied oscillators starts at zero phase. An amount of +50 corresponds to a +180 degree phase shift, an amount of +100 to +360 degrees, etc. While the human hearing is largely insensitive to the starting phase of a single oscillator, the relative phase dierence between both oscillators can matter in some cases, for example when both oscillators share the exact same frequency.

Osc 1/2 Fat

The FAT parameter of the rst and second oscillator. The value range is identical to the front panel knobs.

Osc 1/2 Wave

When using the wavetables, this parameter allows you to set the waveform number relative to the one selected on the graphical interface. An amount of -1 switches to the previous waveform, an amount of +1 to the next etc. Waveforms can be switched on the y for classic wavetable synthesis. The transition is immediate, however, and thus may cause clicks. A more important application, perhaps, is to select dierent waveforms for dierent voices. This can be accom43

Osc 1/2 KeyTrk

This parameter sets the key tracking of the 1st/2nd oscillator and is only available in the modulation matrix. An amount of +100 corresponds to the regular key tracking, where each MIDI key number corresponds to one semitone. By changing this parameter to values other than +100, you can either realize strange tunings or turn o key tracking entirely by setting KeyTrk to 0. This is often done for drum sounds, which have no dened pitch. DUNE Users Manual

Osc 2 OneShot
Sets the second oscillator to "one shot" mode when amount is >0. In one shot mode, the oscillator plays only a single cycle of the waveform, which can be useful to shape the transient of a sound.

Pulse Width
Sets the pulse width for both oscillators, if the pulse waveform is selected for either the 1st or 2nd oscillator.

Noise Level
Adjusts the noise level parameter relative to the front panel knob, using the same value range.

Osc 3 Level
Adjusts the level of oscillator 3. The value range corresponds to the front panel knob.

Noise Colour
Adjusts the noise colour parameter relative to the front panel knob, using the same value range.

Osc 3 Phase
Sets the absolute starting phase of oscillator 3. Zero means the oscillators starts at zero phase, an amount of +50 corresponds to a +180 degree phase shift, an amount of +100 to +360 degrees etc.

Ring Mod
Adjusts the amount of ring modulation relative to the front panel knob, using the same value range.

Osc Mix
Sets the mix between the 1st and 2nd oscillator. This is a very important destination in the modulation matrix, as it allows you to realize dynamic timbre changes. In the context of the dierential unison engine, choosing this parameter as a destination adds another degree of exibility, as you can restrict the modulation to a specic unison voice. 44

FM 1
FM Amount 1. The meaning of the parameter depends on the selected FM mode (see chapter 3).

FM 2
FM Amount 2. The meaning of the parameter depends on the selected FM mode (see chapter 3). DUNE Users Manual

FM Depth
Controls the overall amount of frequency modulation from no modulation (0%) to full modulation (100%). This aects FM on a global level, including any modulation performed on the FM 1 and FM 2 parameters. By default, FM Depth is 100%. Lowering this value can be useful if the default FM eect is too extreme.

Refer to the table below, which lists the abbreviated lter names used in the modulation matrix. Filter Type Lowpass 12dB Lowpass 24dB LP Ladder 12dB LP Ladder 24dB LP24 -> LP12 BP12 -> LP12 BS12 -> LP12 HP12 -> LP12 Comb -> LP24 LP12+Dist LP12+Bitcrush LP12+Follow LP24+Saturation LP/BP/HP Sweep LP12/LP12 Split BP12/LP12 Split BS12/LP12 Split HP12/LP12 Split Matrix Name LP12 LP24 LP12b LP24b LP>LP BP>LP BS>LP HP>LP Comb>LP LP+Dist LP+Bitc LP+Folw LP+Sat LP/BP/HP LP/LP BP/LP BS/LP HP/LP

Mod Attack, Decay, Sustain, Release

Adjusts the modulation envelope parameters relative to whatever is set on the front panel. This allows you to specify dierent modulation envelopes for different voices or to dynamically vary those parameters for each note.

Filter Cuto
Adjusts the lter cuto frequency relative to the front panel knob and using the same value range.

Filter Type
Allows you to set the lter type, which is useful to specify dierent lters for dierent voices. For example, you could have one voice processed by a lowpass lter, and another voice processed by a bandpass lter. 45

Filter Env Amt

Adjusts the lter envelope amount relative to the front panel knob, using the same value range. DUNE Users Manual

Filter Reso
Adjusts the lter resonance relative to the front panel knob, using the same value range.

Spike Hard
This parameter introduces a short spike into the amplitude envelope (see chapter 3) and is only available in the modulation matrix.

Filter Oset
Adjusts the lter oset parameter relative to the front panel knob, using the same value range. The meaning of this parameter depends on the lter type chosen as explained in chapter 3.

Spike Soft
This parameter introduces a short spike into the amplitude envelope (see chapter 3) and is only available in the modulation matrix.

Amp Hold Filter KeyTrk

Sets the key tracking for the lter, which species how much the cuto frequency changes according to which MIDI note number a voice is playing. The parameter works in the same manner as the front panel knob, however you may specify negative values, too. Negative values cause low keys to have a higher cuto frequency than high keys. This parameter delays the onset of the decay stage (see chapter 3) and is only available in the modulation matrix.

Amp Attack, Decay, Sustain, Release

Adjusts the amplitude envelope parameters relative to whatever is set on the front panel. This allows you to specify dierent amplitude envelopes for dierent voices or to dynamically vary those parameters for each note.

Filter Attack, Decay, Sustain, Release

Adjusts the lter envelope parameters relative to whatever is set on the front panel. This allows you to specify dierent lter envelopes for dierent voices or to dynamically vary those parameters for each note. 46

Breath, MWheel and Velocity Curve

Using the curve parameters, you can change the effect the MIDI controllers Breath, Modulation wheel DUNE Users Manual

and Velocity have on the destination. By default, all MIDI controller values control the destination in a linear manner (1:1). For example, an incoming modulation wheel value of 80 has twice the eect which 40 has. By setting the curve parameter, you can change this 1:1 mapping to a nonlinear behavior. A value of zero corresponds to the default mapping. When the curve parameter is set to extreme positions (+/- 100), the resulting mapping causes the MIDI controller to work almost like a switch.
-100 Magnitude 0 +100 Breath / Mod Wheel / Velocity

LFO as a source is not possible or if you want to modulate the amplitude of LFO-1 using LFO-2 or LFO-3. Note that setting LFO-1 -> Pitch Semi is the same as setting Const -> LFO1*Semi.

LFO1*Fine
The tuning in cents, multiplied with the current value of LFO-1.

LFO1*Pulse Width
Adjusts the pulse width of both oscillators, multiplied with the current value of LFO-1.

LFO2*Cuto
The lter cuto parameter, multiplied with the current value of LFO-2.

Figure 4.1: MIDI Controller curves. Useful applications for the curve parameters include ne tuning the response of MIDI hardware controllers (especially breath controllers) as well as improving the "feel" of a modulation wheel or velocity sweep.

LFO2*Env
The lter envelope parameter, multiplied with the current value of LFO-2.

LFO1*Semi
The tuning in semitones, multiplied with the current value of LFO-1. Use this destination whenever using a 47

LFO2*FXDly
Changes the duration of the delay eect, relative to the knob setting, and multiplied by LFO-2. Note that DUNE Users Manual

all eects are global, hence some care must be taken when modulating the delay length. When RESET is enabled for LFO-2 and a patch is played polyphonic, clicks may occur.

knob were set fully clockwise, setting an amount of -100 would yield the minimum rate.

LFO 1/2/3 Phase

This resets the specied LFO whenever a new note is triggered. This is equivalent to enabling the LFOs RESET switch, except that you can specify the LFOs starting phase accurately. An amount value of +50 corresponds to a +180 degree phase shift.

LFO3*Amp
The overall amplitude, multiplied with the current value of LFO-3.

LFO3*Pan
The overall panorama position, multiplied with the current value of LFO-3.

MM Amount 1-24
The MM Amount destinations allow you to change the modulation amount of any modulation slot. This feature can be useful to build complex modulations. For instance, if LFO 1 modulates the noise level using MM slot 1, then you could have LFO 2 modulate that slot by choosing LFO 2 as a source, and MM Amount 1 as a destination. Another useful application is to make modulations dependent on a MIDI controller, e.g. you program a modulation envelope and wish to have the modulation depth controllable by the modulation wheel. In that case you would choose Mod Wheel as a source and the MM slot(s) containing the modulation envelope as a destination. You may also have one MM slot modulate another MM slot, which in turn modulates another MM slot 48 DUNE Users Manual

LFO3*Comb
When the Comb->LP24 lter type is selected, this destination modulates the comb lters delay according to LFO-3, otherwise it has no eect. Technically, modulating the comb lter delay time is the same principle employed by a anger eect.

LFO 1/2/3 Rate

Changes the rate of the specied LFO. The amount values correspond to the knob setting, so if the LFO Rate knob is set to zero, an amount of +100 would set the LFO to maximum speed. If the LFO Rate

etc. For such modulations to work properly, you must ensure that the MM Amount numbers occur in ascending order.

are clamped at +18 dB, which corresponds to a gain factor of 8.

Volume FX Dry/Wet
This parameter allows you to set the depth of the entire eect chain. You can specify the dry/wet eect mix for each voice or voice combinations separately, if desired. Another possible application is to modulate the eect depth with an LFO or envelope. The overall volume. Modulate this parameter using one of the three LFOs as a source in order to obtain tremolo eects.

Pan
The overall panorama. Modulate this parameter using one of the three LFOs as a source in order to move the sound in the stereo eld.

Detune
Adjusts the unison detune parameter relative to the front panel knob, and using the same value range.

Pitch Semi
The coarse tuning of the rst, second and third oscillator combined. An amount value of +1 corresponds to one semitone, so +12 transposes both oscillators one octave up, -12 one octave down etc. Note that the third oscillator is always slaved to the rst. Thus, unless you restrict this parameter to a particular unison voice, the entire sound will be pitched up or down. In the context of the dierential unison engine, choosing Pitch Semi as a destination allows you to specify arbitrary tunings for each voice. For example, you could transpose the rst voice one octave up or build entire chords with this parameter, each voice 49 DUNE Users Manual

Pan Spread
Adjusts the unison spread parameter relative to the front panel knob, and using the same value range.

Level (dB)
Allows you to adjust the level in decibels, which is useful to attenuate or boost individual voices. Be careful when using positive values, as the gain can be very high. To protect your hearing as well as speakers in case of improper use of this parameter, positive values

representing a particular chord note. You will nd that some of the factory patches employ this technique.

Pitch Fine
The ne tuning of the rst, second and third oscillator combined. Modulate this parameter using a LFO as a source in order to obtain vibrato eects.

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5 MIDI Reference
Most knobs and buttons on the front panel can be remote controlled via MIDI. Dunes default controller assignments follow common conventions and the MIDI standard as much as possible. The number of sound parameters Dune oers, however, is higher than the amount of available MIDI controllers. Most eect parameters and large parts of the modulation matrix are thus not assigned to any MIDI controller. To override the default MIDI assignment, rightclick on a knob and select "MIDI Learn", then move your hardware controller knob. To remove an assignment, choose "MIDI Forget". Once you close Dune, the changes will be made persistent and apply to any future instance of Dune. Dune Parameter CC # MIDI Ctrl Name Common Modulation Wheel 1 Modulation Wheel Glide 5 Portamento Time Sustain Pedal 64 Sustain Pedal Bank Select 0, 32 Bank Select Volume 111 51

Dune Parameter CC # MIDI Ctrl Name Unison Voices 51 Detune 53 Pan Spread 54 Oscillators Osc 1 Waveform 30 Osc 1 Fat 102 Osc 1 Semi 77 Sound Controller 8 Osc 1 Fine 24 Osc 2 Waveform 31 Osc 2 Fat 103 Osc 2 Semi 78 Sound Controller 9 Osc 2 Fine 34 Osc 3 Level 107 Osc 3 Waveform 108 Osc Mix 8 Balance Osc Sync 35 Noise Level 109 Noise Color 110 FM Amount 1 70 Sound Controller 1 FM Amount 2 106 Ring Modulation 71 Sound Controller 2 Pulse Width 79 Sound Controller 10 Arpeggiator Arp On 47 Arp Rate 50 Arp Note Length 52

DUNE Users Manual

Dune Parameter CC # MIDI Ctrl Name LFOs LFO 1 Rate 14 LFO 1 Waveform 15 LFO 1 Sync 16 LFO 1 Skew 17 LFO 1 Fade In 18 LFO 2 Rate 19 LFO 2 Waveform 20 LFO 2 Sync 21 LFO 2 Skew 22 LFO 2 Fade In 23 LFO 3 Rate 80 LFO 3 Waveform 81 LFO 3 Sync 82 LFO 3 Skew 83 LFO 3 Fade In 84 Mod Envelope Mod Attack 26 Mod Decay 27 Mod Sustain 28 Mod Release 29 Filter Filter Attack 38 Filter Decay 39 Filter Sustain 40 Filter Release 41

Dune Parameter Filter Cuto Filter Reso Filter Env Amt Filter Key Track Amp Envelope Amp Attack Amp Decay Amp Sustain Amp Release Eects EQ 1 Gain EQ 2 Gain Reverb Amount Delay Amount Phaser/Chor Amount Distortion Amount Mod Matrix MM Amount 1 MM Amount 2 MM Amount 3 MM Amount 4 MM Amount 5 MM Amount 6 MM Amount 7 MM Amount 8

CC # MIDI Ctrl Name 74 Brightness 42 43 46 73 36 37 72 89 90 91 92 93 94 112 113 114 115 116 117 118 119 Attack Time

Release Time

Eect Eect Eect Eect

1 2 3 4

Depth Depth Depth Depth

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Grant of license

6 Legal Information
6.1 Trademarks
VST is a trademark of Steinberg Soft- und Hardware GmbH. All other trademarks and trade names are the properties of their respective owners, and do not imply owners endorsement of this product, or guarantee full compliance with owners standards.

6.2 End User License Agreement (EULA)

By installing, copying, or otherwise using this software or any les provided with it, you agree to be bound by all of the terms and conditions of this license agreement. If you are not the original purchaser of the Software, or if you do not agree with the License Agreement, you must promptly remove the software from your computer, and cease any and all use of it. If you are accepting the License Agreement on behalf of an other legal entity, the use of the terms "you" and "your" in the License Agreement shall refer to such entity. 53

You are granted a personal, non-exclusive, nontransferable and limited license to install and use the Software for the purposes set forth herein. Unless you have purchased additional licenses, you may only install and use a single copy of the Software on a computer, and/or move the software to another computer, provided that you are the only individual using the software. If you are an entity, you may appoint one individual within your organization to have the right to use the Software under the terms of this License Agreement. This software, including all of its components and any additional les included with the distribution, is protected by copyright law and international copyright treaties. The total number of copies of the software used by you, may not exceed the number of licensed copies paid for by you, except that you may make one copy of the software solely for archival or backup purposes. The term of this license is perpetual, unless terminated under the conditions provided in the License Agreement. Except as provided in the agreement, you receive no rights to transfer, rent, lease, lend, copy, modify, market, transmit or reverse engineer the software, any component hereof, or any le provided with the distribution. The software, and any les included with the distribution, including sampled sounds, presets and demonstration songs, is licensed but not sold to you, for use in music production. If DUNE Users Manual

you have purchased this software as an upgrade from a previous version, this constitutes a single licensed product, to be used under the terms of this License Agreement.

software, and shall destroy all copies hereof, and shall not be entitled to any claims or refunds.

Disclaimer
The software, any component hereof, and any les distributed with the software, is provided "as is", and there is no warranty of any kind, either express or implied - including, but not limited to, the implied warranties of merchantibility and tness for any particular purpose. The risk as to the quality and performance of the program is with you, and the licensor will not be held responsible for any damage or loss, to your person or property, as incidential or consequential result of installing or using this software.

Termination
Your license to use the software is eective from the date you agree to the terms and conditions of this License Agreement. You license is automatically terminated if you fail to comply with the limitations described in the License Agreement, and no notice shall be required from the licensor to eectuate such termination. Upon termination of this License Agreement for any reason, you shall make no further use of the 54 DUNE Users Manual

Appendix
Sound Design Reference
The last two characters of every patch name are the authors initials. The following table lists all sound designers who contributed patches to Dune, and a website where you can learn more about their work. Ab. DG EDT IW LE MH MK PK RH RL Author Name David Goodwin Ed Ten Eyck Ingo Weidner Lance Emmerich Mark Holt Michael Kastrup Piet Kaempfer Richard Homann Rob Lee Email or Website kriminal@ntlworld.com http://www.edtaudio.com ingo_weidner@web.de lance.emmerich@gmail.com http://avors.me/markholtuk http://www.xsynth.com www.protonica.de www.synapse-audio.com www.basslinerecords.com

If you wish to contribute patches or banks to future versions of DUNE, do not hesitate to contact us.

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