TubeOhm Phasewave

phase distortion synthesizer VSTi

user manual

TubeOhm 2013
Preface:
First of all we would like to thank our beta testers who stood us in word and deed.

Thanks to:
Roberto, Ronald, Luke (http://trancetechnosoundbanks.com) and Paul.
Hermann Seib for providing SAVIHost. http://www.hermannseib.com/savihost.htm

Furthermore, our thanks also go to our users, who have supported our work since the dawn of
TubeOhm.

We present to you a new inspiring instrument with a vast sound of the cosmos, that you can
dive into to explore new sonic horizons.
In this sense, beam me up, Scotty.

A lot of work has been put into the development of Phase Wave. Software does not program
itself, every bar, every button, every color and every sound has many hours of work and effort put
in and requires a painstaking amount of attention to detail.

We offer this instrument at a fair price. Generally, you do not get a sample CD for it. I ask you to
support our people so that we can continue to carry on our work. The worst case scenario for us is
really for someone to upload and "SHARE" via various networks. This destroys our work, and our
livelyhood completely. Honestly, who wants to have to use dongle hardware and software with a
registration code and whatever else to regulate honestly purchased software.
I do not in any case.

When puchasing this software, TubeOhm grants to its registered users the right to use the
software on up to 5 computers. The exception to this are schools and organizations. They
will get special conditions for the purchase of a multi-license.

A publication of the final software, sales and rental is the sole responsibility of the company
TubeOhm. Exceptions only on request.
The sounds of the demo and the full version can be used for comercial purposes.

Disclaimer.
The Phasewave software was tested as in depth as possible on different systems to our satisfaction.
However, it can be that due to different operating systems, your particular computer and sound
card will not ensure the Phasewave will work 100% in all situations, therefore, we suggest to test
the demo before buying.

Phasewave can produce high pulse levels and distortion. It is up to the user to set the hardware
correctly. We accept no responsibility for any damage to your hearing, boxes, amplifiers, or loss of
data on the PC.
If problems occur, please contact us by phone: 0049 2368 57164 or e-mail:
Kontakt@TubeOhm.com

So, thats it. Here we go.

Andre'
TubeOhm 11.10.2013
PHASE WAVE synthesizer introduction:

In the Mid-1980s, (in the last millennium!), different manufacturers of synthesizers looked at
different ways of creating sounds due to the resounding success of FM synthesis.
Analogue was OUT, IN were powerful digital sounds, and actually, pure digital synthesizers then
offered new and unprecedented opportunities with previously unheard of sounds.

An offshoot of this digital sound synthesis was that in 1984, PD synthesis was developed by a
company previously known as a calculator manufacturer. PD stands for 'phase distortion'.

As with FM synthesis, PD had no need for analogue subtractive synthesis style filter functions.
Sound changes were created using the DWC = 'digital wave control' programs.
The PD synthesis engine generates very independent tones which can sound both very digital, yet
can still sound like warm analogue. PD can also have its own sound.

PHASE WAVE, what is under the bonnet?

TubeOhm Phasewave is based on the synthesis of PD from 1984. However, the parameters were
assumed not dull, but since expanded where it makes sense technically sound.
There are for example the following features:

1 :) Full stereo (switchable) in the signal path

2 :) DWC modulation of DCO A by DCO B (similar filter FM)
3 :) Three, instead of an LFO with advanced waveforms.
4 :) simplified envelopes or optional six in EXPERT MODE 8 stage, freely programmable
envelopes
5 :) An effects section with chorus, delay and reverb
6 :) LFO's and delay can be synchronized to the host BPM.
7 :) ARP 1and ARP 2 for rythmic sequences and arpeggios.
8 :) 10 voices simultaneously.

The stereo WAVE PHASE MODE gives an specially wide-ranging sound. Even without effects it
can sound very spatial.

DWC, hmmm? Why no filter?

Ah, the magic word is DWC or 'digital waveform control'. Well, what's that again?

Simply put, we can, for example, use a sine signal to distort to a saw signal.
The PHASE distortion can be controlled by an ADSR or LFO giving filter-like curves. So, although
we say 'no filter', the distortion of the phase of the oscillator gives us a filter-like sound.

Just remember, DWC is similar to the cutoff << >> , just like an analogue synthesizer!

And the resonance?

To generate resonance signals, the oscillator or 'DCO' (digitally controlled oscillator) has three
special resonance waveforms . With these signals, Phasewave can produce resonant filter sweeps.
In Phasewave there are also the usual suspects with the names:
LFO 1 = low frequency oscillator , it works polyphonically.
LFO 2 = low frequency oscillator, monophonically.
M-LFO = for using on the pich wheel / aftertouch only.

P-ENV A/B = controls DCO A/B pitch and the amplitude/frequency of LFO 1
DWC ENV A/B controls DWC from DCO A/B , similar to a cutoff-envelope

VCA ENV A/B controls the amplitude of DCO A/B

So you see, the basic elements of a synthesizer are all there. If you equate DWC to cutoff
the picture should be clearer.

So now it begins.

First of all, all the knobs/switches have a MOUSE OVER FUNCTION!

There is a numerical display of the values of the buttons.

If the mouse pointer is placed over a value, up pops a help window.

Holding down the CTRL key on the PC keyboard and simultaneous movement of a button allows fine
adjustments of values.

Phasewave
Lets look first at the Phasewave at rest.

Firstly, what is striking that it is the Phasewave is almost mirrored symmetrically. This makes it
easy to program.
Wave phase contains identical 2x2 PD DCO's. One DCO 2 and A 1 and B 1 and DCO 2.
Here is part of DCO A, Pitch envelope, pitch modulation, DWC envelope, wave select DCO 1,
DWC and modulation, DCO A 1 and 2, the DWC control, the DWC keyboard track, DWC velocity,
stereo detune, DCO B >> DWC 1 modulation of the VCA and A with K-track velocity and volume.
All of this translates to DWC with CUTOFF.

DWC = digital Wave CONTROL (nearly Cutoff)

K-TR = keyboard tracking which attenuates with decreasing pitch from the overtones
VELO = changes the harmonic content through the key velocity strength
STEREO = detune the left and the right channel

It's not so complicated, right?

So, now we come to the DCO B.

In addition, B still contains the DCO and SEMI FINE tuning

The Tremolo Pan module can modulate the DCO outputs for A and B in panoramic or tremolo, and
controls DCO A 1-2 and DCO B 1-2.

At the same time the complete graphical user interface is implemented as a kind of signal flow
diagram. So you can see, where the signals are routed.

Now then:
A, D, S, R are the four segments of a simple envelope.
A= attack time
D= decay time
S = sustain level
R = release time

You can set/adjust the strength of the pitch modulation to the DCO A with the BUTTON P-MOD.
The Pitch Env contains the simple mode, the ATTACK, DECAY, SUSTAIN and RELEASE phase.

By switching to the EXPERT MODE SWITCH to the we get an 8 stage envelope where almost
every conceivable curve shape is possible.

In Expert Mode we also have two new buttons, Time, and SMT, also a triangle as a switch.

Time determines the time for the complete cycle of the envelope, SMT is a smoothing function
(SMOOTH) and takes the envelope of the peaks. So it smoothes the curve.

The triangular switch changes the POP-UP function menus.

A rectangle is displayed, opens at the click with the mouse on a field in the envelope of a POP-UP
menu with various functions.
If the knob to shape changed with every click on a segment of the envelope the SHAPE is changed.

It is possible to select the number of segments, for each segment, various waveforms (SHAPES) are
selected. There is a REPEAT function. The handle can be increased via BOX SIZE.
So it is for example possible to distribute the release phase over several segments.
It has been shown, however, that is, to generate 80% of the sounds that the simplified envelope, but
as you can see, there is something for the sound designer among you.
By the way, it can all 6 envelopes are switched to the EXPERT MODE and all functioning in the
same way.

Terms:
Shapes = the curves
Sustain Stages = Example: if I take a seven-segment envelope and three segments defined as
sustain stage, so I still have 4 more for the release phase. When you release the key again so is strongly
modulated
Repeat Stage = looping the envelope from Stage Start ,1,2,3,,,
Active Stages = optional 1 ... 7 segment envelope
Box Size = changes the size of the square handles ingen
Zoom = a zoomed area
Insert and Delete = inserts a segment, or deletes a segment.
Total Time = addition changes the entire run time of the envelope.
The LFO's

Wave phase contains two LFOs to modulate tasks. A third LFO which can only sine is controlled
by the mod wheel and aftertouch.

Now, one might assume the LFO 1 and LFO 2 for DCO A and DCO B, but this is not so.
Both LFO can modulate both optionally DCO A and B in the DCO frequency and also in DWC.

They are not configured identically.

LFO 1 works polyphonic, for each voice its separate LFO .
Furthermore, LFO 1 can be modulated in frequency and amplitude over the pitch envelope A .

FAD(fade in) to ON, then the amplitude of the LFO 1 via the Pitch Envelope A Hllkuve is
controlled.
With the FRQ BUTTON, the frequency of the LFO 1 is controlled by the P-ENV A envelope.

Now the LFO 1 can also optionally DCO A and / or B DCO control in frequency
F-MOD = FREQUENCY mode. The F-MOD button determines the amount of frequency
modulation to DCO A or B or A and B.

The same applies to the DWC modulation.

The LFO controls DWC (cutoff) of DCO A or B or both.

The fundamental frequency of the LFO is set via a slider and is shown also in the LCD display.

Furthermore, you can select one from twenty different waveforms for the LFO modulation.

About the BPM button both LFOs are synchronized to the tempo in BPM HOST.
The frequency controller then acts as a divider or multiplier.

Example:
Are for example 120 BPM from the DAW, then the LFO can play frequencies of BPM
from 7,5-15-22,5-30-37,5-45-52,5-60-75-90-105-120-180-240 and 300 BPM.

SYNC is turned on so the LFO is always running off with phase = 0. It is possible to synchronize
via SYNC and BPM both LFO's, or simply adjust the sound speed.

Then there's the CL switch.

Since both have peak LFO waveforms can be for example come on volume modulation to unsightly
clicks in the audio signal. CL is active, so the LFO signal is smoothed with a LP filter, and peaks do not
occur. However, depending on the desired sound as a click is sometimes not bad, so you can turn it on
or off.
The LFO 2 works in principle like LFO 1, but monophonic! All voices are modulated by a single
LFO.
Furthermore, LFO 2 contains only a simple fade in. A control by other modulators does not exist.

The patches, titling, and save.

Display.

Browser
Phasewave has 2 displays for the patches.
1 :) the display screen
2 :) the browser.
How to assign new names?

By clicking directly on the name of the white lettering on the display , it is highlighted.
Now you can enter a new name using the PC keyboard.
Save the Sound >> Patch patch will be stored as a single sound with the same name.
A Patch always saves just one sound.

With the switch BANK load / save , it is possible to save a complete soundbank with 128 patches.
'Save' switch, this opens the browser window. A new name should be awarded for a complete bank.
The Patch browser:

The patch browser has two functions. Firstly, the patches will be forwarded via the arrow buttons
R / L. Second, it opens by clicking with the mouse directly on the patch name the patch Browser,
which displays all 128 sounds. Using the mouse, the patch can now be selected.

Control Wheels and After Touch

Both, the pitch wheel and mod wheel are used for the additional frequency modulation of
Phase wave. For the mod wheel, we have an additional M-LFO. With this, the frequency
modulation and the frequency of the M-LFO can be changed.
AMP sets the modulation at the maximum stroke of the MOD WHEEL's.

About AT, AFTERTOUCH , if AT switched on, we can control the LFO modulation now with
AFTER TOUCH. The AMP controller also determines the strength of the maximum
modulation via after-touch. The AMP controller also controls both modulation sources MOD-
Wheel/Aftertouch the maximum strength.

The pitch wheel works similarly. The SEMI button raises the pitch in semi-tones to a maximum pitch
for the wheel. Again, there is the AT 'after touch' switch.
If AT is set, the pitch boost is now controlled via AFTER TOUCH.
Attention, aftertouch in addition to P-Wheel and also the M-wheel
modulation.
If i have set 3 semitones, after touch add 3 semi, in the end you have 6 semi up.
The same applies to the Mod Wheel. If the mod wheel is on maximum, AT adds more modulation.
This only if you use a keyboard with aftertouch, or you have set the Mod wheel to it's maximum
and you use After-Touch.

The VIB FIX button allows a basic modulation of the DCO's , regardless of the position of the mod
wheel or aftertouch.

Portamento function

The GLIDE knob is the portamento time, this is the time that the sound needs to slowly glide to it's
final pitch set.

MONO = wave phase only works monophonic

TRG = a multi-trigger function and works only in conjunction with MONO.
TRIG is turned off, the sound at each new keystroke is newly struck.
If TRG is on and 2 Keys on the Keyboard play simultaneously in MONO mode, the
sound glides to the next Key, without the sound of the newly struck.

The TRemolo/PANorama Modulation.

For both DCO A1-2 and B1-2 for DCO can be separately modulated tremolo or pan.
In this case, the switch 1-2 is the source of modulation, LFO 1 or LFO 2.
With the TP switch either tremolo or pan is selected.
TREMOLO= Amplitude modulation.
In conjunction with a panoramic LFO 1 or 2 controlling the sound from left to right.
The LFO knob controls the strength of the modulation on the tremolo or panning.
It controls 'A' the DCO A 1-2 and 'B' the DCO B 1-2.
RING-MODULATION

Phase Wave offers 2 types of ring modulation.

1 :) DCO A is DCO A ring-modulated with
2 :) DCO A is ring modulated with DCO B
When the lower switch is turned on, you get ringmodulated DCO B >>DCO A.
The ring modulation happens before the VCA !

The DWC MODULATION from DCO A through DCO B

Well, quite interesting is the DWC modulation of A by DCO B.

This results in slightly distorted sounds, or depending on the strength of the setting moving stereo
high frequency cluster.
How does it work? Basically, the output of the DCO B modulates DWC A.
So DCO B changed in the audio frequency harmonic spectrum of DCO A.

This only happens once. Turn on full statically by the MOD button. The LED indicates the activity.

In addition by both pitch envelope or by the DWC envelopes this feature

can be modulated in amplitude.
The source can be set with the switches P-ENV A / B or DWC-ENV A / B.
For example, P-ENV A is set at a slow time and the ATTACK knob MOD turned up, so DCO A
will be slowly and then more and more modulated by DCO B.
The result is a progressive change of the tone curve to a complete distortion.

If now DCO B is detuned , this can give stereo effects, phasing or strong modulations.
Why stereo, how does it work ?

The DCO A1-2 and DCO B 1-2 are each internally twice, once built for the right and left channel.
This alone is still no stereo effect.

The 'STEREO' button detuned slightly DCO (A) to the left channel and to the right channel.
After detune, a 440 Hz signal becomes left 439.5 Hz and the right 440.5 Hz.
The sound then seems more spacious.

The option for the stereo B DCO operates in the same way. The interaction of the two DCO A / B and
the stereo controller creates complex, located in the stereo image reciprocating pattern.
By reducing the stereo setting, the sounds are getting poorer modulation in stereo width.

MONO on the stereo effect is turned off. (obviously, what else?)

MIDI learn function and MIDI Input

Basically receives wave phase on all MIDI channels (omni mode). That should be OK, since the
various DAW's MIDI filter and offer the MIDI channels are set in the DAW anyway for the track.
Also available in the standalone version, it's possible to set MIDI the channel filter. Therefore can be
omitted in the phase wave an additional setting of MIDI channels.

MIDI LEARN
You can control the main parameters of phasewave with a hardware controller, Phasewave
contains a simple MIDI LEARN function for all important parameters. All the buttons, and some
switches may thus be remotely controlled by a hardware controller.
How do I assign a MIDI CC to a software button?
Assigning a hardware button on a software button is easy.
For MIDI LEARN, right clicking on a software button opens the MIDI LEARN menu.

Then MIDI 'LEARN' clicked. The soft button now waiting for a MIDI Control (CC)
Signal. By turning a knob on the hardware controller, a MIDI CC signal is sent to Phasewave. The
button now knows it has to respond to that signal and can be controlled directly with the hardware
button.

The following should be noted. The MIDI CC information applies to the entire bank. It is not
possible to assign Patch 1 Patch 2 to different controllers.

An example: I want to remotely control the DWC button for DCO.

Via MIDI LEARN i can control the soft knob by a hardware Knob. This assignment now applies
to the entire sound bank with 128 sounds.

The system, arpeggiators and effects

The SYSTEM button hides the keyboard or the SYSTEM / ARP / EFFECT
Pannel.

Use System, the fundamental pitch of the instrument is set.

OCT selects the octave octave of -2 .. 0 +2
FINE TUNE tunes the instrument.
Wave phase contains two arpeggiators. While ARP 2 is designed as a conventional ARP, ARP 1 is
more a rhythm generator and it works as follows.

In this panel individual rhythms can be set.

SINGLE CLICK will turn the notes on.

DOUBLE-CLICK on the same note deletes.
Clicking on the note, hold, and move the mouse left/right, changes the gate length.
Clicking and holding while moving the mouse up/down, sets the Note Velocity.

Line 1 is always for the first note is played. Line 2 for the second note, Line 3 for the third note, etc.
3 lines are provided with notes, the instrument can only play three parts because the rows 4 ....10
are empty.

Furthermore, the ARP 1 contains the following elements .

1 :) the on / off switch.
2 :) the octave switch , after a repetition of the rhythm is played 1,2,3 octave higher.
3 :) ' mod ' sets the playback direction.
4 :) HLD is a HOLD function. This plays after a single keystroke sequence endlessly.
5 :) GATE sets the gate length and is important in combination with the ARP 2
6 :) SEMI mid which determines the pitch of the rhythm is played .
7 :) FRQ is the frequency with which the ARP 1 and 2 work .
FREQ is the fine adjustment by MLT as a multiplier, the frequency can be increased.
8 :) BPM switches to the BPM host sync. MLT by the multiplier or divider for the frequency is then
determined .
For example, the DAW operates at 120 BPM .The ARP 1 can run with 240 or 120 or 60 BPM
The divider / multiplier is always guaranteed that the frequency is in sync.

ARP 2 is similar.
It also includes an on / off switch and the octave and the play pattern can be set.
In ARP, the notes are usually played in turn.
Gate sets the gate length.
The frequency is set for both ARPs with the same regulator 'FRQ' and the MLT switches.
The following modes are possible with the arpeggiator.
1 :) ARP 1 on, ARP 2 off
2 :) ARP 1 on, ARP 2 on. In this mode, ARP 2 is controlled by Arp 1. By changing the ARP
Gate length one now repeats the notes of the ARP 2 can be adjusted.
3:) ARP 1 off, ARP 2 on. Now ARP 2 works as a normal arpeggiator.

Effects

To thicken the sound Phasewave still contains a chorus, a delay and a reverb.

Chorus is designed as a three-stage chorus. The stages can each be switched on.
FRQ controls the chorus speed, MIX mixes the original signal with the chorus signal.

Delay has two modes, a normal mode and a cross (X) mode.
These modes are switched with the switch II-X.
The 'MOD' switch modulates the delay time with a slow sine. As a result, the delay does not sound
so static.
'BPM' BPM-synced delay to the host tempo. As with the ARP, the division / multiplication factor
can be set.

LP-HP knob to the left, the filter works as an LP filter and attenuates the high frequencies.
LP-HP knob to the right, the filter works in HP mode and allows only high frequencies.
Time sets the delay time, feedback determines the repetition of the echo.
'Mix' mixes the original signal with the delay.

Reverb
Feedback and Diffusion can adjust the reverb density. The EQ is a wideband bandpass which
emphasizes the mids or highs. DMP is designed as a LP filter and cuts the frequency band.
SPRT adjusts the stereo effect, Room creates a PRE-DELAY.
The release time is influenced by DEC (DECAY).
'Mix' mixes the original signal with the delay.

Hope you have fun with Phasewave.

Greets

Andre'
TubeOhm
Signal Flow A

Signal Flow B: