SOFTWARE USER MANUAL

SOFTWARE VERSION 1.2

EN160929
END USER LICENSE AGREEMENT [EULA]
Falcon (henceforth the Product) is licensed to you as 3. OWNERSHIP
the end user. Please read this agreement carefully. You As between you and UVI, ownership of, and title to, the
cannot transfer ownership of these sounds and software enclosed digitally recorded sounds (including any copies)
they contain. You cannot re-sell or copy the Product. are held by UVI. Copies are provided to you only to
enable you to exercise your rights under the license.
LICENSE AND PROTECTION
4. TERM
1. LICENSE GRANT This agreement is effective from the date you open this
UVI grants to you, subject to the following terms and package, and will remain in full force until termination.
conditions, a non-exclusive, non-transferable right to use This agreement will terminate if you break any of the
each authorized copy of the Product. terms or conditions of this agreement. Upon termination
you agree to destroy and return to UVI all copies of this
The product is the property of UVI and is licensed to product and accompanying documentation.
you only for use as part of a musical performance, live or
recorded. This license expressly forbids resale or other 5. RESTRICTIONS
distribution of the sounds and software included in the Except as expressly authorized in this agreement, you
Product or their derivatives, either as they exist on disc, may not rent, sell, lease, sub-license, distribute, transfer,
reformatted for use in another digital sampler, or mixed, copy, reproduce, display, modify or time share the
combined, filtered, resynthesized or otherwise edited, enclosed product or documentation.
for use as sounds, multi-sounds, samples, multi-samples,
wavetables, programs or patches in a sampler, microchip 6. HARDWARE
or any hardware or software sample playback device. Accompanying USB flash media is only guaranteed
You cannot sell the Product content or give it away for in its original state, as an installation medium for the
use by others in their sampling or sample playback Product. Any variance from this use including but not
devices. In the event UVI terminates this agreement due limited to deleting, altering or adding data, reformatting
to your breach, you agree to return the original and all the media or any physical alteration of the device will
other copies of the software and documentation to UVI. void its warranty. If the media is found to have a physical
UVI reserves all rights not expressly granted to herein. or manufacturing defect please contact our support
department (http://www.uvi.net/contact-support).
2. PROTECTION OF SOFTWARE
You agree to take all reasonable steps to protect the 2016 UVI. All rights reserved. All trademarks are the
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unauthorized copying or use. You agree not to modify
the product to circumvent any method or means adopted
or implemented by UVI to protect against or discourage
the unlicensed use of copying of the Product.
 TABLE OF CONTENTS
INTRODUCTION 5 TREE 54 LEARNING FALCON 300: EVENTS  98 PHASOR133
SYSTEM REQUIREMENTS  6 LIST 56 301 USING THE ARPEGGIATOR 99 ROTARY 134
1.0-1.2 CHANGE LOG7 FILE BROWSER 59 302 USING THE MICROTUNER 101 THORUS135
INSTALLATION  8 PRESET BROWSERS 64 303 USING THE SCRIPT PROCESSOR102 ANALOG FILTER136
1: REGISTER YOUR SERIAL NUMBER 9 MIXER  65 BIQUAD FILTER 137
2: INSTALL FALCON 10 PERFORMANCE 67 APPENDIX A BRICKWALL FILTER 138
3: ACTIVATE YOUR LICENSE 11 GENERAL CONVENTIONS 68 SAMPLING OSCILLATORS103 COMB FILTER 139
4: AUDIO & MIDI DEVICES 12 SAMPLE 104 CROSSOVER FILTER 140
5: ADDING SOUNDBANKS  13 USER PRESETS 69 SLICE105 LOWPASS 12 141
PREFERENCES  71 STRETCH107 LOWPASS 24142
STRUCTURE 14 IRCAM GRANULAR 108 ONE POLE143
LEARNING FALCON 100: SYNTHESIS 73 IRCAM MULTI GRANULAR  109 PHASOR FILTER 144
COMPONENTS  17 101 WORKING WITH PRESETS 74 IRCAM SCRUB111 REZ FILTER145
OSCILLATORS  18 102 SAVING A USER PROGRAM 75 IRCAM STRETCH 112 SVF146
EFFECTS 19 103 SAVING A USER MULTI 76 UVI FILTER 147
MODULATORS 20 104 SIMPLE SYNTH77 SYNTHESIS OSCILLATORS113 VOWEL FILTER 148
EVENT PROCESSORS  21 105 ARPEGGIATED SYNTH 78 ANALOG114 WAHWAH149
106 EVOLVING PAD 80 ANALOG STACK115 XPANDER FILTER150
INTERFACE 22 107 INTERACTIVE WOBBLE BASS  81 DRUM116 3 BAND SHELF151
TOOLBAR 23 108 DRUM KIT FROM SAMPLES  84 FM 117 8 BAND EQ 152
STATUS BAR 25 109 DRUM KIT FROM A LOOP 85 NOISE118 BIG PI TONE153
MAIN  26 110 DRUM KIT FROM SYNTHESIS 86 ORGAN119 CONVOLVER154
EDIT 27 PLUCK120 TILT155
PROGRAM 29 LEARNING FALCON 200: WAVETABLE 122 TONE STACK156
LAYER  30 EFFECTS AND MODULATION 88 AUTOPAN 157
KEYGROUP 31 201 USING DUAL DELAY  89 EFFECTS 123 GAIN158
OSCILLATOR 32 202 USING SPARKVERB 90 ANALOG TAPE DELAY 124 GAIN MATRIX 159
MAPPING 33 203 USING EFFECTS RACKS 91 DUAL DELAY125 TREMOLO 160
MODULATION  37 204 USING MACROS 92 DIFFUSION126 UVI WIDE161
SAMPLE EDITOR  43 205 USING HOST AUTOMATION 94 IREVERB 127 ANALOG CRUNCH162
EFFECTS 46 206 USING STEP ENVELOPES 95 SPARKVERB128 DIODE CLIPPER163
EVENTS  48 207 USING MULTI ENVELOPES 96 ANALOG CHORUS129 DRIVE164
MODS 49 208 USING OSC 97 ANALOG FLANGER 130 EXCITER165
INFO 51 ENSEMBLE 505131 FUZZ166
PARTS 52 FLANGER132 GUITAR BOXES167

3
 TABLE OF CONTENTS
OVERDRIVE168 DOUBLE DRIVE202
WAVE SHAPER 169 UVI DRIVE 203
3 BAND COMPRESSOR 170 COMPRESSOR 204
3 BAND LIMITER 171 LIMITER205
COMPRESSOR EXPANDER172 UVI MASTERING206
GATE 173 BEAT REPEAT  207
MAXIMIZER  174 RING MODULATOR 208
STUDIO LIMITER 175 ROBOTIZER209
PHASE METER 176 UVI DESTRUCTOR 210
SPECTRUM ANALYZER 177
TUNER  178 EVENT PROCESSORS
EFFECTRACK 179 ARPEGGIATOR 212
REDUX 180 MIDI PLAYER214
UVINYL181 MICRO TUNER215
SCRIPT PROCESSOR216
LEGACY EFFECTS
FX DELAY183 MODULATORS
FAT DELAY184 AHD218
PING PONG DELAY 185 ANALOG ADSR219
SIMPLE DELAY 186 ATTACK DECAY220
STEREO DELAY 187 DAHDSR221
GATE REVERB188 DRUNK222
PLAIN REVERB 189 LFO223
PREDELAY REVERB 190 MACRO 224
SIMPLE REVERB191 MULTI ENVELOPE225
CHORUS192 STEP ENVELOPE226
CROSS PHASER193
PHASER 194 APPENDIX B: SCRIPTING IN LUA228
AUTO WAH 195 LINKS229
FX FILTER196
TALKBOX 197
2 BAND EQ 198
3 BAND EQ 199
ROTARY SIMPLE200
ROTARY SPEAKER201

4
INTRODUCTION

MODULATION PERFORMANCE
Rich sound means motion and Falcon can create it Falcon was designed with a rich performance
whenever and however you need it. AHD, Analog toolset including full Open Sound Control (OSC)
ADSR, Attack Decay, DAHDSR, Drunk, LFO, Multi implementation, host automation, flexible MIDI and
Envelope and Step Envelope modulation generators audio routing, MIDI learn, key range and velocity
all come standard and cv in the Falcon environment. range controls, keyswitching and more. Whether
Create variation over time or on demand, drive your youre working with a single instrument or an
oscillators, effects or even other modulators, then ensemble, in a DAW or standalone, Falcon gives
add the most important parameters to the macro you the control you need to create dynamic and
panel for clear and intuitive performance control. captivating performances.

EVENTS SOUNDS
Falcons Event processors provide control and Falcon comes with an incredible collection of
FALCON
analysis of the pre-synthesis phase of your sound, presets created by some of the worlds most
Falcon is multi-timbral hybrid instrument, bringing together an extensive collection of
from manipulating incoming MIDI data to creating recognized sound designers, but theres much
oscillators, effects, modulators and event processors and delivering them in a workflow-
it algorithmically. Utilize factory processors such as more to discover. Falcon is fully-compatible with all
adaptive and highly-scriptable environment.
an advanced Arpeggiator, Micro Tuner, Chorder, UVI and UVI-Powered soundbanks, opening up a
Harmonizer, Strum simulator, MIDI Player, Unison world of over 200 instruments from a growing list of
SYNTHESIS
and Shepard effects, or code your own from scratch companies like AcousticSamples, GospelMusicians,
Falcon offers 15 highly-optimized oscillators covering the spectrum of modern sampling
with the powerful Lua scripting language. VI Labs and VirHarmonics.
and synthesis techniques. Sample-based oscillators include IRCAM Granular, IRCAM Multi
Granular, IRCAM Scrub, IRCAM Stretch, Sample, Slice and Stretch. Synthesis oscillators
INTERFACE SCRIPTING
include Analog, Analog Stack, Drum, FM, Noise, Organ, Pluck and Wavetable.
From editing at the component level to mixing Falcon implements custom scripts throughout its
and realtime performance of multiple instruments, architecture allowing you to create everything
EFFECTS
Falcons interface was designed to be both from custom Event processors to professional-
Over 80 high-quality effects are at your disposal, categorized for easy navigation: Delays,
ergonomic and adaptable. Due to the nature level skinned instruments with the powerful and
Reverbs, Modulation, Filters, Equalizers, Amps and Stereo, Drive and Distortions, Dynamics,
of instrument design and interactive music lightweight Lua scripting language. Dont know
Analysis and more. UVIs rich heritage of effect design is in full force with sophisticated
performance, projects can quickly become large anything about scripting? Dont worry, Falcon has
delays, versatile reverbs (including the Sparkverb algorithm and a CPU-optimized
and multifaceted. Falcons UI was structured to help a built-in visual editor for creating fully customized
convolution reverb), compressors, vinyl, reamping effects and more. Add effects at the patch
mitigate that complexity and allow you to quickly macro-driven interfaces.
level, as sends or even per note.
focus regardless of the level of detail.

5
SYSTEM REQUIREMENTS

MAC OS WINDOWS LICENSE

COMPATIBILITY COMPATIBILITY AUTHORIZATION
Audio Unit VST Your license allows for unlimited installation and up to 3
VST AAX concurrent authorizations of Falcon on any combination
AAX Stand Alone of computer hard drives or iLok dongles.
Stand Alone

MINIMUM SYSTEM REQUIREMENTS MINIMUM SYSTEM REQUIREMENTS MANAGEMENT

Intel CPU Core 2 Duo or faster License management is a simple drag-and-drop process
2 GB of RAM+ 2 GB of RAM+ done through the free iLok License Manager client app.
1 GB of Disk Space 1 GB of Disk Space iLok License Manager is installed with Falcon.
MAC OS X 10.7+ Windows 7+ Visit iLok.com to sign up for a free account.
iLok Account (Free) iLok Account (Free)

6
1.0-1.2 CHANGE LOG
FALCON 1.2.0 FALCON 1.0.6 - toggling shift key while moving loop points will move both points
- add Phasor: A new phaser effect with up to 12 orders - fix crash in script in case of script errors accordingly to the loop length
- add Phasor Filter: Similar to phasor but with manual frequency control - add free running option for each oscillator in Analog Stack (see - fix automation names in AAX when assigning automations
- add Diode Clipper: A new distortion effect Inspector) - fix tempo update in Slice oscillator when changing bar/beat settings
- add remixing feature to IRCAM streth oscillator allowing to control - fix possible crash with selection and edit all oscillator function
volume of sine, noise and transients - smoothed random LFO do not smooth the first outputed random value FALCON 1.0.1
- new Dual Delay parameters - fix modulation handling on Drunk initial value - fix right-column file browser scrollbar visibility when the tree width
- new Xpander filter parameters - fix regression in forward xfaded loop introduced in previous build becomes larger than the available size
- new Rotary FX parameters - fix possible stucked notes with scripted instrument in Digital Performer - better auto naming behavior when binding macros to host automation
- new UVI Wide parameters - fix possible issue in Analog ADSR with very small attack time slots: the host automation name now uses the macro display name
- fix Legato behavior in Stretch and IRCAM stretch oscillator - allow manual renaming of host automation slots
- fix memory leak FALCON 1.0.5 - add Legato mode in IRCAM Stretch allowing to start new voices at the
- allow to set start/end markers using the current mouse selection - fix regression introduced in 1.0.4 with some scripts position of currently playing voices. Similar to Legato in regular stretch.
- fix regression regarding IRCAM Stretch oscillator offline rendering - fix potential crash in xfade + alternate sample loops - fix tie mode in arpeggiator in special case
- optimize patch encoding - added master gain parameter to Big PI Tone
FALCON 1.1.0 - fix issue with Places
- add Thorus: A new Chorus FX with up to 8 voices FALCON 1.0.4 - improved support for different kinds of .wt file import
- add Sample controls (start, detune, key follow), Noise sustain and - fix speed modulation on multi point envelope - display connected MIDI modulation source in TreeView
Stereo control to Pluck oscillator - allow to duplicate Oscillators, FX and EventProcessors by pressing Alt - fix potential crash in Multipoint envelope while deleting loop points
- add phase and different oscillator tuning controls in FM oscillator key when Dragndroping their module name while the envelope is running and the loop point is being played.
- add M/S Maximizer in Effect Rack presets - fix S&H LFO with null speed - added selection indicator in XpanderFilter mode menu
- add Fuzz4 in Effect Rack presets - fix potential crash in IRCAM Multi Granular when using reversed grains
- add script for MPE devices (LinnStrument, Roli Seabord, ...) FALCON 1.0.3 - fix parameter automation display names in AU
- add Copy/paste from clipboard for module preset in module menu to - allow to set omni on only one MIDI port - fix TreeView browser state serialization
easily copy FX settings among instances - fix batch oscillator type changes with custom start/stop markers - fix ratio modulation display
- CPU improvements in some FXs - fix regression regarding sample loading/purge in scripts - added support for browsing user wavetables folder located in
- fix regression with Double Drive and UVI Drive introduced in 1.0.7 - add Pre/Post insert flag on auxes $(documents)/UVI/Falcon/User Data/Wavetable/
- fix possible crash when loading IR in Convolver or IR Reverb - fix graphic issue on OSX pre 10.11 - added support for browsing pluck user excitations folder located in
- fixes in MicroTuner $(documents)/UVI/Falcon/User Data/Pluck/
- fix issue related to sample markers when changing oscillator type FALCON 1.0.2 - added support for browsing user Impulse Responses folder located in
- Effect Rack is now featured in its own folder in Modules tree - fix possible issue with cross-faded alternate looping in Sample $(documents)/UVI/Falcon/User Data/IR/
- fix crash when receiving a very large amount of MIDI events oscillator - allow . as note name separator in automatic sample import
- allow to disable label or macro value display by right clicking on it in - WaveEditor sample auditioning now work like a play/stop toggle - fix issue when trying to modulate Organ Harmonic parameter
Edit mode - add Reveal in Explorer/Finder in treeview browser - fix potential errors in script processor when using midi port D
- fix Offset reload in Editon mode matrix mod connections - remember last Audio Config in Standalone app
- other minor fixes - allow to change the default VST AudioConfig for VST Hosts that dont
implement setSpeakerArrangement
FALCON 1.0.7 - allow using return key to go back to parent folder in right-panel
- fix regression with legato multi point envelope introduced in 1.0.4 browser
- fix issue with Guitar Boxes under Reaper - fix potential crash when dragging stuff on the keygroup mapping view
- allow edit of oscillators in multi selection when collapsed.
- fix possible crash when deleting mapper - fix issue with non Latin character in MIDI panel on OSX
- fix noise when activating filters in UVI Drive and Double Drive - fix possible crashes in rare cases when connecting modulation
- fix crash when adding Granular oscillator using Tree view - allow to duplicate a Part using right click menu on it
- fix crash when adding MIDI player in Edit view - add new Script Event Modulation module which allows polyphonic
- fix sample start handling in Sample oscillator script driven modulation source
- allows right click on module tab to change their type (similar to long - improve randomness in noise oscillator
press behavior) - allow to modulate Layer glide time
- fix potential crash in script processor when launching lots (100000+) of - add an offset to connection in edition mode (Macro and MIDI learn) as
asynchronous commands well as support for mappers
- fix possible issue with Mono Retrigger mode - add sorting to key and velocity columns in Keygroups list
- rotary FX improvements - Chaos LFO waveforms now handle Phase parameter
- fix for scala keyboard mapping (.kbm) with 0 size - add Stereo switch in Noise oscillator
- fix brown noise volume issue

7
INSTALLATION
INSTALLATION STEP 1: REGISTER YOUR SERIAL NUMBER

REGISTER
If you purchased Falcon at UVI.net,
1. LOGIN TO YOUR ACCOUNT ON UVI.NET
your serial number is already in the
PRUDUCT(S) TO REGISTER section
of My Products page
THEN NAVIGATE TO THE MY PRODUCTS PAGE
If you purchase Falcon from resellers,
please check install guide provided
from the vender
You can see a list of the products
youve registered and their serial
numbers anytime at: 2. LOCATE YOUR PRODUCT AND CLICK
uvi.net/my-products
REGISTER IT NOW
You will be redirected to the Product Registration page
to complete the registration process

3. IF YOU ALREADY HAVE AN ILOK ACCOUNT

CLICK I ALREADY HAVE AN ILOK ACCOUNT
AND PROCEED TO LOGIN

If you do not have an iLok account yet click
Create a FREE iLok account and follow the instructions provided

4. ONCE YOUR ILOK ACCOUNT NAME IS DISPLAYED,

CLICK CONTINUE TO DEPOSIT THE LICENSE INTO
YOUR ILOK ACCOUNT
NOTE: This step cannot be undone, please carefully verify that
your iLok account name is accurate

9
INSTALLATION STEP 2: DOWNLOAD AND INSTALL FALCON

INSTALL
You can download your products at 1. DOWNLOAD YOUR SOFTWARE AT
any time through uvi.net/my-products
To install Falcon Factory, follow the
UVI.NET/MY-PRODUCTS
steps at STEP5: Adding Soundbanks Scroll to Falcon
Choose your platform and hit Download

Then click Falcon Factory to download the

soundbank for Falcon

2. RUN THE INSTALLER

Follow the on-screen instructions

NOTE for Windows:

Select VST Plug-Ins folder for your DAW

The default path is:

Program Files/Steinberg/VSTPlugins

10
INSTALLATION STEP 3: ACTIVATE YOUR LICENSE

ACTIVATE
1. LAUNCH ILOK LICENSE MANAGER
The iLok License Manager client app
is included in the Falcon installation
Your license allows for up to 3
concurrent activations on any
combination of computer hard drives
or iLok dongles
Activations can be moved between
devices freely, at any time 2. LOGIN TO YOUR ACCOUNT
To see how many authorizations you
have left simply select the license
in iLok License Manager and click
Show Details
To deactivate an authorization,
right-click it and select Deactivate.
This will return the license to the
Available tab.
3. CLICK THE AVAILABLE TAB
Please make sure to deactivate
all licenses from your computer
before selling your computer or
making any major hardware changes
or upgrades. Once you activate
licenses to your computer, there
will be no way to deactivate them
without access to this computer in its
4. DRAG THE LICENSE TO A COMPUTER OR ILOK
current state.

5. CLICK OK TO CONFIRM ACTIVATION

11
INSTALLATION STEP 4: AUDIO & MIDI DEVICES (STAND ALONE)

CONFIGURE I/O 1. LAUNCH FALCON

If you plan to use Falcon in stand
alone mode you may need to select
which MIDI inputs and Audio outputs
you want Falcon to use. This only 2. SELECT AUDIO AND MIDI SETTINGS...
needs to be done the first time
you launch Falcon, or if you make FROM THE MENU
changes to your hardware (such
as changing your audio interface
or controller keyboard), as these
settings will be saved and reloaded
the next time you start Falcon.
3. SELECT THE DESIRED AUDIO AND MIDI DEVICES...
If you intend to use Falcon primarily
as a plugin you can skip this step, as
the audio and MIDI settings will be
defined by your host DAW.

AUDIO DEVICES ROUTING MIDI DEVICES

Select the desired audio interface, sample rate Falcon can address up to 17 stereo outputs. Falcon can listen to 4 MIDI devices. Use this
and buffer size from the menus. If you dont see Use this panel to link Falcons outputs with panel to link Falcons inputs with the MIDI
your device listed, make sure its powered on those of your audio interface. sources available on your system.
and hit Refresh Audio Devices.

12
INSTALLATION STEP 5: ADDING SOUNDBANKS (OPTIONAL)

LOAD SOUNDBANKS 1. LAUNCH FALCON

UVI Powered soundbanks are high-
quality sound and instrument libraries
available from UVI and third-party
developers. Soundbanks are fully
supported and seamlessly integrated
in Falcon.

To use soundbanks in Falcon you

2. OPEN PREFERENCES
just need to tell it where to find them.

NOTE: Falcon includes two

soundbanks (Falcon Factory.ufs,
and Falcon Tutorial.ufs), follow these
instructions to make them available
to Falcon.

3. CLICK THE SOUNDBANKS PAGE

4. CLICK THE ... BUTTON AND SELECT

THE FOLDER THAT CONTAINS YOUR
SOUNDBANK (.UFS) FILES

5. RESTART FALCON, SOUNDBANKS WILL

BE AVAILABLE IN THE BROWSER
13
STRUCTURE
STRUCTURE

Structure Multi Part Program Layer Keygroup

Effects Effects Effects Effects Effects

Modulators Modulators Modulators Modulators Modulators
Events Events Events Events Events
Oscillators

File Management Multi (.uvim) Program (.uvip)

Control Signal Flow

Audio Signal Flow

FALCON is a hierarchy of components, structured Each of those PARTS then contains: Each level of this hierarchy has a rich variety of
so that you can focus on the high-level arrangement one PROGRAM, which contains options for crafting your sound, using:
or drill down to deeper levels as you prefer. one or more LAYERS, each which contains MODULATION control signals, such as LFOs,
one or more KEYGROUPS, each which contains envelopes, and MIDI controllers
Each instance of Falcon contains: one or more OSCILLATORS AUDIO EFFECTS, such as filters, delays, and reverb
one MULTI, which contains MIDI EVENT PROCESSORS, such as arpeggiators,
one or more PARTS micro tuners, and script processors

15
STRUCTURE
For example, a multi might contain two parts: a drum
loop and a grand piano. The drum loop could have A single Pluck oscillator routed
a single layer with a single keygroup, which contains into a spectrum analyzer
a single oscillator playing a single audio sample.
The grand piano program might contain three
layers, each of which contains dozens of keygroups
and audio samples, multiple envelopes and a script
processor, all passing through reverb, EQ, and a
multi-band compressor.

At its simplest, you can launch Falcon, load some

instruments or loops, and just begin playing without
worrying about how its all put together. At the other
end, you can craft from scratch your own multi-
layered and advanced programs containing dozens
or hundreds of oscillators with numerous modulation
sources, and then mix many instruments and loops
together using multiple parts and effects chains.

The sounds included with Falcon or with third-party

libraries contain highly-detailed and richly-varied
programs that dont require any editing at all.
However, Falcon also provides the means to modify Dozens of keygroups, with
and extend sounds, which can be peeled back one multiple sample oscillators and
layer at a time for increasingly detailed adjustments. effects each, represent just a
single layer of VI Labs exquisite
Ravenscroft Grand Piano

16
COMPONENTS
The basic components of Falcon are:

OSCILLATORS
EFFECTS
EVENT PROCESSORS
MODULATIONS

These components, described in the

following sections, can be combined
in near-infinite variations to produce
compelling sounds and instruments.
COMPONENTS OSCILLATORS

OSCILLATORS

OSCILLATORS An oscillator is the basic building block of a Falcon

program. Oscillators generate the initial sound, which
is then modulated, transformed, and combined with
other oscillators into a full program. An oscillator can
One of Falcons greatest strengths be one of two types: synthesis or sampling.
is its ability to freely layer
oscillators to create elaborate SYNTHESIS
hybrid instruments that capitalize Synthesis oscillators produce purely synthesized
on the unique features of both sounds no audio sample is triggered. The
sample-based and algorithmic synthesis oscillators provided are capable of a wide
sound creation. There are no variety of sounds, from classic virtual analog synths
A synthesis-type oscillator: Analog Stack
preset limits on the quantity to drum modeling to string synthesis.
or type of oscillators you can
use, youre limited only by your
SAMPLING
computers processing power
Sampling oscillators play back an audio sample.
and imagination.
Each of the sampling oscillators is suited for
different types of audio samples and different
playback needs, from traditional pitch and speed
transposition to slicing drum loops to granular pitch
adjustments.

For in-depth details on each oscillator type, see:

[Appendix A > Oscillators]

A sampling-type oscillator: IRCAM Multi Granular

18
COMPONENTS EFFECTS

EFFECTS

EFFECTS Effects are audio signal processors. This includes

classic effects such as filters, reverb, and delays,
to advanced analysis tools such phase meters
and spectrum analyzers. Effects can be added
Falcon includes over 80 high- independently at every level of the multi, from a The Xpander Filter, one of the many Filter-type effects in Falcon
quality effects, categorized for single keygroup up to the master output.
easy navigation: Delays, Reverbs,
Modulation, Filters, Equalizers, MULITFX
Amps and Stereo, Drive and Multiple effects can be saved and recalled as a
Distortions, Dynamics, Analysis group with a single Multi FX preset. This provides
and more. With effects suited for a way for complex chains of effects to be recalled
nearly every need from creative instantly.
mangling to precise sound
sculpting, mixing and analysis, For more information on using effects, see:
Falcon provides a tremendous [Interface > Main > Effects Tab]
sound design facility.
For in-depth details on each effect type, see:
[Appendix A > Effects]

MultiFX are entire effect chains that can be saved and recalled as needed

19
COMPONENTS MODULATORS

MODULATORS
A Multi Envelope modulator provides unlimited breakpoints with complex curve control and interpolation options
Falcon includes 8 modulation
generators including AHD, Analog
ADSR, Attack Decay, DAHDSR,
Drunk, LFO, Multi Envelope
and Step Envelope. Modulation MODULATORS EXTERNAL
generators can be instanced at Modulators are signal generators that modify a controls External modulation sources originate beyond the Falcon
any level in a patch allowing them value. Modulators dont affect the audio or MIDI signal instance. External sources include MIDI messages,
to control nearly any parameter, be directly; rather, they adjust the values of Falcons such as continuous controllers (CCs), pitch bend,
it on an oscillator, effect or even controls. There are two main categories of modulation velocity, aftertouch, and others. Some pre-defined
on another modulator. This system sources: internal and external. external sources are also available, such as sources that
allows you to paint motion into randomize or alternate values.
your sounds almost effortlessly, INTERNAL
from subtle variation over time to Internal modulation sources originate from within the Additionally, when using Falcon as a plug-in, you can
complex on-demand sequences. Falcon multi or program. This includes a variety of assign a control to be linked to the host programs
different types of envelopes and LFOs, which can be automation controls. Host automation extends Falcons
created at every level of Falcons hierarchy: master, part, available modulation options by tapping into the hosts
program, layer, and keygroup. modulation and automation capabilities as well.

Additionally, macros are a special type of internal For more information on using modulations, see:
modulation. When a control is assigned to a macro, a [Interface > Main > Modulation Editor]
macro control appears on the Info tab. When the macro
control is adjusted, so is the control assigned to it. A For in-depth details on each modulation type, see:
control can be assigned one-to-one to a macro, as a [Appendix A > Modulators]
shortcut for a commonly used control in the program, or
multiple controls can be assigned to a single macro, for
complex transformations of multiple controls by adjusting
a single knob or button.

20
COMPONENTS EVENT PROCESSORS

EVENT PROCESSORS

EVENT PROCESSORS Event processors are MIDI signal processors.

This includes well-known processors such as
arpeggiators and micro-tuners, to complex,
customized processing with the script processor.
Falcons Event section provides
control over pre-synthesis data, SCRIPT PROCESSORS
namely the manipulation, analysis Script Processors are a unique subset of Events
or generation of MIDI. Event Processors which allow Falcons functionality to
processors can do anything from be extended with the Lua language. Factory Script
arpeggiating incoming notes or Processors include the Chorder, Harmonizer,
strumming them like a guitar to Unison, Ensemble and many more. Load any Script An advanced arpeggiator provides deep control over note sequences
applying micro tunings, playing Processor and click the Edit Script button to take a
back MIDI files or creating look at how they work. Experiment with modifying
generative sequences. them or write your own, Script Processors provide
both an extremely powerful way to interact with
existing instruments and a sophisticated code-
driven approach to sound design.

For more information on event processors, see:

[Interface > Main > Events Tab]

For in-depth details on each event processor type,

see: [Appendix A > Events]

Falcons Script Processors provide a powerful way to create your own custom tools

21
INTERFACE
INTERFACE TOOLBAR

1 2 3 4 5

TOOLBAR
The toolbar is displayed at the top MAIN MENU CHANGING THE VIEW
1 3
of the window and is always visible The main toolbar menu contains commands for loading/ The MAIN, MIXER, and PERF buttons change the
in Main, Mixer, and Performance saving files and configuring Falcon. The menu is divided primary view of the Falcon window. See [Interface >
views. Most controls in the toolbar into four sections; details about the commands in each Main], [Interface > Mixer], and [Interface > Performance]
apply globally to the entire Falcon section can be found on the following: for more information.
instance. [User Presets]
[Preferences] The left and right sidebars can be individually hidden or
4
[Toolbar > Window size] shown with the SHOW/HIDE SIDEBAR buttons. The left
sidebar displays the PARTS EDITOR, TREE EDITOR,
MULTI MANAGEMENT and LIST EDITOR; the right sidebar displays the PRESET
The name of the CURRENT MULTI is displayed in the BROWSER.
2
toolbar. Double-clicking the name will open the multi
File Browser. For more information on loading multis, NOTE: The left sidebar is displayed in Main view only. In
see: [User Presets > Multis] and [Interface > Main > File Mixer and Performance views, the left sidebar will not be
Browser]. displayed even if the button is enabled.

The NEXT MULTI / PREVIOUS MULTI buttons load TEMPO AND TRANSPORT CONTROLS
5
the next or previous multi in the same directory as the Falcons current TEMPO is displayed in the toolbar. You
current multi. The Next button will also advance into can edit the tempo here as well, from 10 to 400 bpm,
subdirectories and load the next multi there, if any. by double-clicking to enter a value or by clicking and
dragging the value up and down. NOTE: When Sync To
Host is enabled, the Tempo cannot be edited manually.

23
INTERFACE TOOLBAR

6 7 8 9

TOOLBAR
If you would like to tap to enter the tempo rather than GLOBAL TUNE AND VOLUME
6 9
typing in a value, use the TAP button. For best results, GLOBAL TUNE adjusts the tuning for all parts, using the
tap repeatedly at a consistent tempo. A above Middle C as a reference. Global Tune defaults to
440 Hz, and is adjustable from 420 Hz to 460 Hz.
Enabling SYNC TO HOST will cause Falcon to follow an
7 external tempo source the host applications tempo GLOBAL VOLUME adjusts the output volume for the
when using Falcon as a plug-in inside a host application, Main Outs.
or MIDI Beat Clock when using Falcon as a standalone
application. Additionally, enabling AUTOPLAY will cause WINDOW SIZE
Falcon to play and stop along with the host application. To adjust the size of the Falcon window, open the
When using Falcon as a standalone application, the Toolbar menu and choose Small size, Big Size, or Fit
AutoPlay button is not displayed. For details on part screen size.
auto-play, see also [Interface > Main > Parts > Auto Play].

The PLAY and STOP buttons are used to manually start

8
and stop Falcons playback. When AutoPlay is enabled,
the Play and Stop buttons also activate to show the
current state of the host applications transport.

24
INTERFACE STATUS BAR

1 2 3

STATUS BAR
The status bar is displayed at VERSION PERFORMANCE SUMMARY
1 3
the bottom of the window and The installed version of Falcon is displayed on the left The right side of the status bar displays a performance
provides quick, at-a-glance side of the status bar. summary for the current multi:
information. memory usage
HOVER HELP CPU usage
2
As you use Falcon, the center of the status bar displays number of voices currently playing
contextual help, such as Global Volume when hovering
over the output volume knob in the top toolbar, or
Oscillator tune in semitones when hovering over the
Oscillator modules Coarse Tune knob.

25
INTERFACE MAIN

MAIN
The Main view is the primary view
for creating and editing parts in
Falcon, and the instruments and
samples that those parts contain.

Left Sidebar Center Pane Right Sidebar

The primary areas of the Main view are:

The CENTER PANE, for viewing and editing parts

The LEFT SIDEBAR, for additional part controls
The RIGHT SIDEBAR, for browsing and loading samples
and presets

26
INTERFACE MAIN EDIT

2
1

EDIT
The Edit tab is the primary view for
editing a program.

...

THE EDIT TAB When a section is shown, it can also be collapsed or

The major sections within the Edit tab are: expanded using the arrow to the left of the section name.
Double-clicking the section header also collapses or
PROGRAM expands the section.
1
LAYER
KEYGROUP The first four sections Program, Layer, Keygroup,
OSCILLATOR Oscillator form a hierarchy. That is, a program contains
MAPPING EDITOR layers, a layer contains keygroups, and a keygroup
MODULATION EDITOR contains oscillators. For more information on how these
pieces fit together, see [Structure].
Each section may be shown or hidden, using the
2
corresponding buttons in the upper-right toolbar.

27
INTERFACE MAIN EDIT

EDIT 4

To add a new module to a lane, press the plus (+) button

3 6
Each of these four sections contains a Parameters view to display a menu of available modules. Each module
which displays its controls, The section parameter view displays a tab, and the modules controls are shown or
can be shown or hidden by pressing the toggle in the hidden by selecting the tabs name. The module can be
section header. enabled or disabled with the POWER button on the left
of the tab, or deleted with the X button on the right of the
tab. Additionally, a press and hold on the modules name
4
Other lanes can be shown or hidden for each section, will display a preset browser menu to replace the existing
such as effects, event processors, or modulation sources. module with a different one.
These lanes can be toggled with the corresponding
buttons in the section header. NOTE: For the Effects and Event lane, the left-to-right
order indicates the signal flow. For the Modulations lane,
Each of these lanes is a condensed view of a the order isnt significant. For more information, see:
5 [Main > Modulations Tab].
corresponding tab, displaying only the modules of
that type which are saved at that particular level of the
program hierarchy.

28
INTERFACE MAIN EDIT PROGRAM

2 3 4 5

EDIT PROGRAM
THE PROGRAM EDITOR POLYPHONY sets the default number of simultaneous
4
GAIN and PAN set the output level and stereo voices available for each layer in the program.
1 placement for the entire program. These are distinct from (To override this on individual layers, see [Custom
the Part gain and pan settings, and are saved with the Polyphony] in the Layer section.)
program.
Keeping polyphony as low as you can helps reduce
5
To choose whether samples in the program are streamed the processing power needed to play back the
2 from disk or not, set the STREAMING toggle. For more program, especially if you have per-keygroup effects or
details on streaming, see [Preferences > Streaming]. modulations. The NOTE POLYPHONY value sets the
maximum number of simultaneous triggers of the same
To transpose incoming MIDI to the program, adjust the note. A setting of zero is a special value that indicates
3
OCTAVE and SEMI settings. UNLIMITED.

29
INTERFACE MAIN EDIT LAYER

2 3 4 5 6

EDIT LAYER
THE LAYER EDITOR CUSTOM POLYPHONY sets the maximum polyphony
5
GAIN and PAN set the output level and stereo for the layer. A setting of zero is a special value that
1 indicates that there is no layer-specific limit.
placement for the selected layers.

PLAY MODE determines what happens when additional The VELOCITY CURVE sets the mapping of incoming
2 6
notes are triggered while another note is held. In POLY velocity values. The default is NORMAL (1:1 mapping).
modes, multiple notes can be played at once, in MONO To change the velocity curve, right-click and choose one
modes only the last triggered note will be played. of the presets:
CONSTANT: The same velocity is always triggered,
Additionally, with POLY PORTAMENTO or MONO regardless of the incoming velocity. To set the value,
3 double-click and enter a velocity value.
PORTAMENTO there is a glide from the previous note
to the current one. The duration of the glide is set by MAX: A constant velocity of 127
GLIDE TIME. PORTAMENTO MODE chooses whether HARD: Remapped so that higher velocities are triggered
the time is always the same (Constant Time), or whether NORMAL: Default, 1:1 mapping
the time is proportionally longer based on the spread SOFT: Remapped so that lower velocities are triggered
between the two notes (Proportional Time). In MONO
PORTAMENTO SLIDE mode, the next note always starts The curve displays incoming velocities on the X axis,
from the pitch of the previous note and glides to the new and triggered velocities on Y. For finer adjustment of the
pitch, even if the next note is played after the previous velocity curve, hold the Shift key and drag the curve up
note is released. or down. You can also double-click and enter a value:
Values between -1 and zero cover the range between the
UNISON VOICES sets the number of voices triggered Hard and Normal presets
4 Values between zero and +1 cover the range between
with each note received. When using multiple voices,
the Unison modulation sources (found under External > the Normal and Soft presets
Other) can be used to modulate parameters per voice, Values between +1 and 127 set a constant velocity
such as Keygroup Pitch or Pan, for a dynamic sound.
30
INTERFACE MAIN EDIT KEYGROUP

2 3 4 5

EDIT KEYGROUP
THE KEYGROUP EDITOR NEXT BAR: The keygroup is triggered at the beginning
GAIN and PAN set the output level and stereo of the next full bar
1
placement for the selected keygroups.
The Next Beat/Bar options are useful when triggering
TRIGGER MODE determines what event triggers the keygroups with tempo-synced effects such as
2 arpeggiators, or a keygroup containing a tempo-synced
keygroup to play back:
ON: Keygroup is triggered by note on; this is the default. loop.
OFF: Keygroup is triggered by note off.
OFF + E: Keygroup is triggered by note off, and the The EXCLUSIVE GROUP is a way of indicating
4
current level of the amplitude envelope will be used as keygroups which should be mutually exclusive. The
the initial amplitude. classic use case is a group of hi-hat sounds, where a
OFF + V: Keygroup is triggered by note off, and the note closed hi-hat should cutoff any open hi-hat sounds.
off velocity will be used as the initial amplitude. There are 32 separate exclusive groups available per
OFF + VE: Keygroup is triggered by note off, and both layer. A setting of zero is a special value that indicates no
note-off velocity and the amplitude envelope will be exclusive group assignment.
applied to determine the initial amplitude.
When LATCH is enabled, notes are held (or latched on)
5
Off + E, Off + V, and Off + VE modes are helpful for indefinitely when they are triggered; to release the note,
matching the amplitude of a release sample with the play the same note again.
samples that preceded it.

TRIGGER SYNC determines how the keygroup is played

3 back once triggered:
IMMEDIATE: The keygroup is triggered immediately
NEXT BEAT: The keygroup is triggered at the beginning
of the next full beat
31
INTERFACE MAIN EDIT OSCILLATOR

2 3 4 5

EDIT OSCILLATOR
THE OSCILLATOR EDITOR Negative values invert the transposition; for example, if
A keygroup contains one or more oscillators. With EDIT the root key is G4 and a G#4 is played, at -200% the note
1
ALL OSCILLATORS enabled, the parameters described will be transposed as if an F4 was played. For a constant
below will be edited simultaneously for all oscillators in pitch regardless of the note triggered, use 0%.
the keygroup. To edit each oscillator individually, disable
Edit All Oscillators and select the desired oscillator tab. If there are multiple oscillators in the keygroup, the
5 TRIGGER MODE chooses which will be triggered:
The COARSE TUNE and FINE TUNE controls set the ALL: All oscillators in the keygroup are triggered
2
oscillators pitch in semitones and cents. These controls simultaneously with every note.
are for static adjustments, and cannot be modulated. CYCLE: Oscillators are triggered individually, round
The PITCH control, however, can be modulated, and is robin style. The first oscillator will be triggered on the
adjustable over a wide range (4 octaves). Typical usage first note, the second oscillator with the second note, and
might be: FINE TUNE to pitch-correct a sample thats so on, always in the same order. With oscillators A, B,
slightly out of tune, COARSE TUNE to shift the pitch a and C, the order will always be A-B-C, A-B-C, etc.
few keys up or down the keyboard, PITCH to modulate RANDOM CYCLE: Same as Cycle, but the order is
the oscillators pitch with an LFO or envelope randomized within each cycle. Each oscillator will always
be triggered once per cycle. Additionally, the first note
GAIN and sets the output level for the selected of a cycle will never be the same as the last note of the
3
keygroups. previous cycle, so there wont be any direct repeats. With
oscillators A, B, and C, the order might be B-A-C, A-C-B,
NOTE TRACKING determines how incoming notes are then C-B-A.
4
transposed. At 100%,each note is transposed relative RANDOM: One random oscillator is triggered
to the root key 1:1. At 200%, transposition is double; for individually. With oscillators A, B, and C, the order might
example, if the root key is G4 and an G#4 is played, the be A-C-C-B-A-B-B-C-A.
note will be transposed as if an A4 was played.

32
INTERFACE MAIN EDIT MAPPING

EDIT MAPPING
THE MAPPING EDITOR To adjust a keygroups key range or velocity range,
The Mapping Editor displays the arrangement of the select the keygroup then click and drag any edge.
programs layers and keygroups. Programs can contain
anywhere from a single keygroup in a single layer Hold the Command key (Mac) or Control key (Windows)
1
assigned to the entire key range and velocity range, before you start dragging the keygroup edge to fade the
to many layers each with dozens of keygroups that are key or velocity range. The beginning of the fade will be
assigned to very small ranges. indicated by a dashed line within the keygroup.

Above the piano keyboard, the key range is displayed The toolbar above the mapping area displays details
2
horizontally and the velocity range is displayed vertically. for the selected keygroup, such as its root key, key
Each keygroup appears as a block covering its key and range, velocity range, and more. These fields can all be
velocity range. When a program has multiple layers, the edited in the usual manner: double-clicking to enter text,
layers are stacked on top of each other. scrolling, and so on. You can also select and edit multiple
keygroups at once.
Pressing a key on the piano keyboard will trigger the
note; if a keygroup is assigned to that key, it will be Additional commands are available under the menu,
3
played back. Higher velocities are triggered by pressing available by pressing the menu button towards the left
the key closer to the bottom; lower velocities are end of the toolbar. TIP: The same menu is also available
triggered by pressing close to the top. by right-clicking in the mapping editor.

To view the mapping area in greater detail, zoom in or

out horizontally using the + and - buttons in the lower
right, or resize it vertically by dragging the Mapping
Editor toolbar up or down.

33
INTERFACE MAIN EDIT MAPPING

EDIT MAPPING
There are two additional options for helping navigate the
4
mapping editor: HIGHLIGHT PLAYED KEYGROUPS,
and MIDI SELECT. These options can be toggled on
or off with the buttons at the right end of the toolbar.
When Highlight played keygroups is enabled, keygroups
are visually highlighted as they are triggered. With MIDI
select enabled, keygroups are selected as they are
Additionally, if you hold the Alt/Option key while dragging
triggered.
in samples, a custom import dialog is displayed. Choose
the MAPPING METHOD, such as NOTE NAME or
To edit a keygroup, select one or more keygroups
BLACK KEYS, many of which determine details about
then right-click to display a contextual menu of editing
the sample from its file name or other metadata. The
commands (described below).
selected mapping method displays a description with
details about how it will determine each files assignment.
IMPORTING SAMPLES AS KEYGROUPS The layer for the imported samples is chosen with
5
Samples can be easily imported as keygroups by drag
the DESTINATION LAYER selector. Samples can be
and drop from the sidebar browser or your desktop.
imported to one of the existing layers, or to a new layer.
You can drag a single sample, or multiple samples at
once. The vertical placement of the sample as you drop
it is a quick shortcut for the new keygroups key range
assignment the closer you drop the sample to the top
of the velocity range, the larger key range the keygroup
will span.

34
INTERFACE MAIN EDIT MAPPING
ADDING, MOVING AND DELETING KEYGROUPS
The Mapping Editors menu contains all of the edit
commands available in the Mapping Editor. To open the
menu, right-click anywhere in the Mapping Editor grid
or choose the menu button towards the left end of the
toolbar.

Standard editing and selection commands are provided:

CUT
COPY
EDIT MAPPING PASTE
DUPLICATE
DELETE
UNDO
REDO
SELECT ALL
DESELECT ALL
INVERT SELECTION

To move keygroups between specific layers, choose one

of the following and select a new or existing layer:
PASTE KEYGROUP TO
MOVE KEYGROUP TO

A new keygroup can be created, in the current layer or

a new layer. Choose one of the following, then choose
Sample or Synth:
CREATE KEYGROUP
CREATE KEYGROUP IN NEW LAYER

To copy the settings of one keygroup and apply them

to another keygroup, copy a keygroup, then select the
keygroup to be updated and choose Apply Keygroup
Template. This will replicate the same keygroup settings
(such as envelopes and other modulation sources)
without changing the oscillator type.

35
INTERFACE MAIN EDIT MAPPING
EDITING KEYGROUP RANGES LAYER RULES
The EXTEND commands extend the keygroups range Layer Rules provide a way to
in the chosen direction (right, left, top, or bottom) until dynamically change how a
another keygroup boundary is encountered, or it reaches programs layers are triggered.
the maximum value. The Auto Extend options are similar, For example, you might want
but extend in both directions: left and right for AUTO to switch between legato and
EXTEND KEY RANGES, or top and bottom for AUTO stacatto articulations, or cycle through multiple variations
EXTEND VELOCITY RANGES. A keygroup can also be of the same note to provide a more realistic performance.
reduced to only its root key, with AUTO REDUCE KEY Choose EDIT LAYER RULES from the Mapping Editors
RANGES. menu to open the Layer Rules Editor.
EDIT MAPPING For keygroups that overlap keys or velocities, choose The rules are displayed on the left, and a list of layers is
RESOLVE OVERLAPPING KEY RANGE or Resolve displayed on the right. First, right-click and add a ROOT
Overlapping Velocity Range to adjust the ranges of RULE. Next, right-click and add a SUB-RULE, one for
the keygroups so they no longer overlap. Alternatively, each layer or group of layers that you would like to be
the ranges of the keygroups can remain the same, but affected by the rule. Then select each sub-rule, and
key or velocity fades can be applied with AUTO FADE choose the desired layers from the list of target layers on
OVERLAPPED KEYGROUPS. the right.

If you would like to simply change which keygroup is Now choose a RULE TYPE for the root rule, such as
displayed on top of the other, without adjusting their fade Key Switch. Each sub-rule can now be assigned to the
or ranges, choose MOVE KEYGROUP TO FRONT or specific criteria which will trigger that layer. For example,
MOVE KEYGROUP TO BACK. with a Key Switch rule and two sub-rules, the first sub-
rule might be assigned to C0 and the second to D0.
KEYGROUP SAMPLES
For keygroups with sampling oscillators, it can be helpful The rule types are:
to use the SET KEYGROUP NAME AS SAMPLE NAME Key Switch, Pitch Bend, Speed, Note Duration, Cycle,
command to give the keygroups more meaningful names. Random, Legato, Random Cycle, MIDI CC

If a programs samples cant be located, the samples will Sub-rules can be added to sub-rules, to create further
be marked as missing. SELECT MISSING SAMPLES branches in the layer triggering logic.
will select any keygroup that contains an oscillator with
a missing sample; FIND MISSING SAMPLES checks for TIP: Falcons Script Processor module can also be used
missing samples and displays an error window listing any to dynamically change playback styles. For more details,
missing files. From there, you can choose to ignore the see [Appendix B: Scripting in Lua].
missing samples, or open the file browser to locate them.

36
INTERFACE MAIN EDIT MODULATION

4
2

EDIT MODULATION
THE MODULATION EDITOR directly affect Falcons output. A modulation source
The Modulation Editor displays modulation assignments must be assigned to modulate another control to have
and sources and is the central location for editing an effect. The location in Falcons hierarchy where you
modulation generators. create the modulation source determines its availability
as an assignment choice.
When you select a parameter, the node and name of
1 Modulation data flows from the top (Master level), down
the parameter is displayed in the Modulation Editor.
For example, when the layer gain knob is selected, the through Part, Program, Layer and Keygroup levels to the
Modulation Editor displays Layer > Volume. bottom (Oscillators). Therefor, a modulation generator
instanced at the Master level can target any parameter
The top half of the Modulation Editor displays any within a given Falcon instance, and conversely a
2
MODULATION ASSIGNMENTS for the selected modulation generator instanced at the Keygroup level
parameter. can only see target parameters within its own Keygroup.

The bottom half of the panel displays a MODULATION NOTE: Master and part modulation sources arent
3 recommended to be assigned to program, layer, or
SOURCE EDITOR for the selected modulation source.
keygroup controls as programs can be saved and
The modulation source editor can be shown or hidden recalled separately from the containing multi, and could
4 with the button on the right side of the Modulation Editor result in missing modulation sources. If you work with any
header. modules instanced above the Program level make sure
that you save your work as a Multi (.uvim) file in order to
UNDERSTANDING MODULATION SOURCES maintain the integrity of your patch. For more information
A modulation source generates a control signal that is on signal flow in Falcon see [Structure].
used to modify other controls on its own, it doesnt

37
INTERFACE MAIN EDIT MODULATION

6 7 8 9

5 5

EDIT MODULATION

MODULATION ASSIGNMENTS To further adjust the range, you can toggle INVERT to
8
A parameter can have any number of modulation flip the range, or make detailed, custom shapes with the
5 MODULATION MAPPER EDITOR.
assignments. Each assignment can be enabled or
disabled with the POWER button on the left of the tab,
or deleted with the X button on the right of the tab. Each modulation source also has a SUB-MODULATION
9
source that modulations the depth of the primary
Each assignment displays the node, name, and type of modulation source signal. The sub-modulation source
6
the modulation source. For example, with a keygroup can be enabled/disabled, removed, replaced, and its
DAHDSR envelope named Amp. Env, the assignment ratio edited the same as for the primary modulation
will display Keygroup > Amp. Env [DAHDSR]. To choose source. One example would be an LFO assigned to an
a different modulation source for the assignment, press oscillators pitch for vibrato, and the mod wheel assigned
and hold on the name and choose a different source as a subsource; the mod wheel would then be used to
from the menu. dynamically set the depth of the vibrato.

The amount that the modulation source will affect the

7 parameter is set by the RATIO slider. The range is
displayed as +1 to -1 for most parameters, which can also
be thought of as +100% and -100%. For pitch-related
parameters, the range is +48 to -48 semitones.

38
INTERFACE MAIN EDIT MODULATION

10

11
12
13

EDIT MODULATION 14

15

MODULATION MAPPER EDITOR Create the mapper shape by clicking and dragging in the
10 13
The modulation mapper editor sits between the graph; hold the Alt/Option key to draw a straight line. You
modulation source and the parameter that its can also right-click and choose from a number of preset
modulating, remapping the values of the control shapes and functions.
signal according to the mapper shape.
When INTERPOLATED is enabled, the mapper
14
When no mapper is chosen, the modulation source transitions smoothly from one value to the next; when
is mapped to parameter with a basic 1:1 relationship, disabled, it transitions immediately from one value to the
visualized as a linear ramp from the lowest value next, which can create a stair-stepped effect.
to the highest value.
Enabling INTEGER OUTPUT further constrains the
15
To enable a mapper, choose an existing mapper from the values output by the mapper to integer values only.
11
MAPPER SELECTOR MENU or press the ADD button to
create a new one. You can also LOAD and SAVE preset
files from disk, as well as RENAME or DELETE them.

To set the size of the graph, set the horizontal axis with
12
the SIZE value and the vertical axis with RANGE.

39
INTERFACE MAIN EDIT MODULATION

16 17

EDIT MODULATION
MODULATION SOURCE EDITOR Directly above the modulation sources controls is a
16
The Modulation source editor displays the parameters of navigation strip displaying the available modulation
the selected modulation source or sub-source. sources for the selected parameter. The modulation
sources are displayed in a scrollable horizontal strip,
The specific parameters shown for each modulation with icons separating the sections that they belong
source are described in detail in [Appendix A: Modules > to. You can also add new modulation sources to each
Modulators], and general use of modulation modules is section, using its + button.
described in [Interface > Main > Modulations Tab].
For modulation generators that support TEMPO SYNC
17 there is a small metronome icon in the toolbar. To enable
The modulation source editor displayed here has a few
additional controls for helping navigate between different tempo sync simply toggle it on.
modulation sources.

40
INTERFACE MAIN EDIT MODULATION

18 19

EDIT MODULATION
20

MAKING MODULATION ASSIGNMENTS

To assign a modulation source, right-click the parameter
that you would like to modulate and choose from the
menu.

Choose ADD MODULATION to create a new To quickly assign an MIDI CC to a parameter, choose
18 20
assignment, using either an existing modulation source MIDI LEARN. You can then choose a MIDI CC from the
or a new one. on-screen menu, or send the desired MIDI CC from your
MIDI keyboard controller. To remove the assignment,
To edit existing modulation connections, choose choose Clear from the MIDI Learn window, or choose
19
EDIT MODULATIONS to view the parameters current MIDI UNLEARN from the modulation context menu.
assignments in a pop-up directly next to the parameter.
Choose CLEAR MODULATIONS to remove all
modulation assignments for that parameter.

Parameters can also be assigned to macros, for quick

control from the Info Tab. Choose ASSIGN TO MACRO
and assign one of the existing macros, or create a
new one. To remove the assignment, choose DELETE
MACROS assignment.

41
INTERFACE MAIN EDIT MODULATION
AUTOMATION ASSIGNMENTS

HOST AUTOMATION
If you are using Falcon as a plug-in and would like
to control a parameter with your host applications
automation tools, choose ASSIGN TO HOST
AUTOMATION and assign one of Falcons 128 host
automation controllers. To remove the assignment,
choose UNASSIGN HOST AUTOMATION.

EDIT MODULATION A limited number of parameters can be automated

externally, but not modulated. For those, right-clicking
the parameter will open the MIDI/AUTOMATION
CONTROL dialog, where a MIDI or host automation
source can be assigned.

OSC (OPEN SOUND CONTROL)

Finally, if you would like to control a parameter
externally with Open Sound Control, the parameters
OSC path is displayed in the menu. The path can also
be copied to the clipboard for easy assignment in
another application.

42
INTERFACE MAIN EDIT SAMPLE EDITOR

2
4

5
3
1

SAMPLE EDITOR

SAMPLE EDITOR The SAMPLE INFO button displays an overlay on top

3
For sample-based oscillator types, the Sample Editor of the sample waveform with details about the loaded
displays a waveform editor and additional controls sample: the sample file location, bit depth, sample rate,
specific to audio files and loops. (See [Appendix > number of channels, duration, and file size. If the sample
Oscillators > Synthesis] for details on the editor controls is looped, details about the files loop are displayed as
available for each of the synthesis-based oscillator well.
types.)
The PARAMETERS button shows or hides the oscillator
4
The Sample Editors primary display is the waveform of parameters that are unique for that oscillator type. See
1
the loaded audio sample. If the oscillator doesnt yet [Appendix > Oscillators > Sampling] for details on each
have a sample loaded, you can load one by drag and sampling oscillator type.
drop from the sidebar file browser or the Finder (Mac) /
File Explorer (Windows). NOTE: Some of the sampling oscillators have a partial
subset of the full set of sample editing options described
The time ruler above the waveform displays the duration below. The SAMPLE oscillator module has the largest
2 of the sample. To change the time format between variety of sample editing operations available.
Samples, Beats, or Seconds, right-click the ruler.
SAMPLE START/END
By default the samples waveform is zoomed to fit the
5
When a sample is loaded, you can adjust the points
display. To zoom in horizontally, hold the Alt/Option key where sample playback begins and ends within the file
while scrolling with your mouse scroll wheel or trackpad by clicking and dragging the S and E markers.
scroll gesture. Holding the Shift key while scrolling
zooms the waveform vertically.

43
INTERFACE MAIN EDIT SAMPLE EDITOR

6 7

SAMPLE EDITOR

EDITING LOOPING
6
To edit the sample file, click and drag to select a time Sample files can be played back and looped in a number
range for editing, then right-click to display a contextual of ways.
menu of editing commands.
Choose CHANGE PLAYING DIRECTION TO REVERSE
Standard editing and selection commands are provided: to simply play the sample in reverse; choose CHANGE
CUT. COPY, PASTE, UNDO, REDO, SELECT ALL, PLAYING DIRECTION TO FORWARD to change it back.
DESELECT ALL
Choose SET AS ONE SHOT to play back a sample in
Common sample editing commands are also provided: its entirety each time it is triggered, regardless of the
CROP, DELETE, NORMALIZE, SILENCE, REVERSE, keygroups amplitude envelope. This is a natural fit for
FADE IN, FADE OUT, PLAY SELECTION drum and percussion samples. Choose DISABLE ONE
SHOT to return to standard playback.
APPLYING EFFECTS
7
You can also permanently apply Falcons audio effects to To add a loop to the sample, make a selection in the
a sample file. Select some audio and choose APPLY FX sample. Then choose CREATE LOOP and pick one of
from the contextual menu, and choose the desired effect. the loop types:
Set the effect parameters, then press OK to apply. FORWARD LOOP: The looped section is played forward;
If you would like to make the effect permanent, when playback reaches the end of the loop, playback
remember to save the sample file. If not, choose Undo. begins again from the loop start point.
ALTERNATE LOOP: The looped section is played
alternately forward (from the loop start to loop end) and
reverse (from loop end to loop start).

44
INTERFACE MAIN EDIT SAMPLE EDITOR
10

SAMPLE EDITOR

Once a loop is created, you can adjust the points where SAVING
8 10
the loop begins and ends within the file by clicking and The standard module preset browser controls are also
dragging the L and R markers. displayed (see [Module Preset Browser]). The Preset File
menu also displays these options specific to sampling
You can also choose to crossfade the looped section. oscillators.
9
This can sometimes help make a loop sound less looped. SAVE PRESET: Saves the oscillator parameters
Choose ENABLE XFADE to enable loop crossfade, or SAVE SAMPLE: Saves the sample/file in place
DISABLE XFADE to disable it. When the loop crossfade SAVE SAMPLE AS: Saves the sample to a new file
is enabled, you can adjust the loop crossfade point with SAVE SAMPLE WITH PLAYBACK OPTIONS: Saves the
the X marker. sample/file in place and writes the sample and loop start/
end markers to the file
When a sample has a loop and a note triggering the SAVE SAMPLE AS WITH PLAYBACK OPTIONS:
sample is released, there are two release playback Saves the current sample to a new file and writes the
options: sample and loop start/end markers to the file
ENABLE LOOPED RELEASE: Sample playback will loop
in the looped section until the release phase is over. To reveal the sample files location, right-click the sample
DISABLE LOOPED RELEASE: Sample playback will and choose REVEAL IN FINDER (Mac) / REVEAL IN
continue past the loop end marker until the release EXPLORER (Windows) from the contextual menu.
phase is over or the sample end marker is reached,
whichever comes first. BATCH EDITING
Lastly, to remove the loop, choose DELETE LOOP. When multiple keygroups are selected, the Batch
menu appears. From the Batch menu, you can apply an
action to all of the selected keygroups at once, such as
normalizing samples or applying FX.

45
INTERFACE MAIN EFFECTS

2
3

EFFECTS
EFFECTS TAB TIP: Keygroup effects are per voice. The more voices
The Effects tab displays all of the audio effects you play back, the more effects processing power your
processing paths, from the effects on the master output computer will need. Keygroup effects are best suited for
down to effects on an individual keygroup. effects that you want to be processed distinctly for each
voice.
1
NAVIGATION The signal flow is top to bottom. To reorder effects, press
To choose which effects path you are viewing, choose and hold on an effects header and drag it to the new
a node from the navigation breadcrumbs. Press on a position. To replace an effect, press on the effects name
nodes name to show its effects. You can also press on and choose a different effect from the menu.
the arrow to the right of a node to view one of its child
nodes. For example, you can press the arrow to the right For details on each of the effects included in Falcon, see
of Program and choose from one of its layers. [Appendix A > Effects].

You can also select a node in the Tree view sidebar, and Each effect can be enabled or disabled with the POWER
2 button to the left of its name, or deleted with the X
the Effects tab will show the selected nodes effects. For
more details on the Tree view, see [Interface > Tree]. button at the far right end.

ADDING EFFECTS TEMPO-SYNCING EFFECTS

3 4
To add an effect, press the + button in the upper right Some effects, such as delay or tremolo, can sync their
and choose an effect from the menu. You can also drag time-based parameters to Falcons tempo. If an effect
and drop effects from the Preset Browser on the right. supports tempo-syncing, a TEMPO SYNC toggle button
will appear next to the Preset File menu.

46
INTERFACE MAIN EFFECTS

10 8 9

7
5

EFFECTS
SAVING FX PRESETS The program aux FX are fed by sends on each layer and
5
Each effects module has a preset browser for saving, keygroup in the program. These settings are saved in the
recalling, and browsing presets for that effect type. program.

To save an effect preset, press the Preset File menu, To view and add aux FX in the Effects tab, choose the
6 8
choose Save Preset, and name the preset. For more aux bus from the navigation menu on the Part or Layer
details on the preset browser, see [User Presets > nodes. Each aux effects section has four independent
Module Preset Browser]. aux busses.

MULTI FX To adjust the aux sends to each of the aux busses, show
7 9
Multiple effects can also be saved and recalled as a the aux FX nodes in the Tree view. On each node where
group with a Multi FX preset. This provides a way for aux sends are present, you can set the send level, mute/
complex chains of effects to be recalled instantly. Multi unmute the send, and toggle the send between pre/post
FX presets are saved and loaded through the Multi FX fader. For more details on the Tree view, see [Interface >
preset menu. All effects for the current node can be Tree].
enabled or disabled together with the POWER button
to the left of its name. To clear all effects for the node, You can also view the master aux FX and their sends
choose Clear Multi from the Multi FX preset browser. in the Mixer view. For more details on the Mixer, see
[Interface > Mixer].
AUX FX
There are two aux effects sections: master aux FX and MODULATION AND KEYBOARD SECTIONS
10
program aux FX. The Modulation and Keyboard sections can be toggled
The master aux FX are fed by sends on each part in in the Effects tab, using the buttons in the top right.
the multi. These settings are saved in the multi.

47
INTERFACE MAIN EVENTS

4 5

2
3

EVENTS
EVENTS TAB The signal flow is top to bottom. To reorder event
The Events tab displays all of the MIDI event processing processors, press and hold on an event processorss
paths, from master event processors down to event header and drag it to the new position. To replace an
processors on an individual layer. (Event processors event processors, press on the event processorss name
are not added to keygroups, as they generally address and choose a different event processor from the menu.
events that span multiple keygroups.) For details on each of the event processors included in
Falcon, see [Appendix A > Event Processors].
1
NAVIGATION Event processors can be toggled on/off with the POWER
To choose which event processing path you are viewing, button or deleted with the X button in their toolbar.
choose a node from the navigation breadcrumbs. Press
on a nodes name to show its events. You can also press SAVING EVENT PRESETS
on the arrow to the right of a node to view one of its child Each event processor module has a preset browser for
nodes. For example, you can press the arrow to the right saving, recalling, and browsing presets.
of Program and choose from one of its layers.
To save an event processor preset, press the Preset
4
You can also select a node in the Tree view sidebar, and File menu and choose Save Preset. For more details on
2 the preset browser, see [User Presets > Module Preset
the Events tab will show the selected nodes events. For
more details on the Tree view, see [Interface > Tree]. Browser].

ADDING EVENTS MODULATION AND KEYBOARD SECTIONS

3 5
To add an event processor, press the + button in the The Modulation and Keyboard sections can be toggled
upper right and choose one from the menu. You can also in the Events tab, using the buttons in the top right.
drag and drop them from the Preset Browser on the right.

48
INTERFACE MAIN MODS

2 3

MODS
MODULATIONS TAB TIP: Keygroup modulations are per voice. The more
The Modulations (Mods) tab displays all of the modulation voices you play back, the more processing power your
sources, from master modulation sources down to computer will need. Keygroup modulations are best
modulation sources for a single keygroup. suited for parameters that you want to be modulated
distinctly for each voice.
1
NAVIGATION NOTE: Unlike Effects and Events, the list of modulation
To choose which modulation sources you are viewing, sources doesnt have a top-to-bottom signal flow. Until
choose a node from the navigation breadcrumbs. Press a modulation source is assigned to modulate other
on a nodes name to show its modulation sources. You controls, it wont have an effect on the signal flow. See
can also press on the arrow to the right of a node to view [Interface > Main > Modulation Editor] for more details.
one of its child nodes.
To replace a modulation, press on the modulations name
You can also select a node in the Tree view sidebar, and choose a different modulation from the menu.
2 and the Modulations tab will show the selected nodes
modulation sources. For more details on the Tree view, For details on each of the modulation sources included in
see [Interface > Tree]. Falcon, see [Appendix A > Modulators].

Each modulation source can be enabled or disabled with

ADDING MODULATION SOURCES
3 the POWER button to the left of its name, or deleted with
To add a modulation source, press the + button in the
the X button at the far right end.
upper right and choose a modulation sources from the
menu. You can also drag and drop modulation sources
from the Preset Browser on the right.

49
INTERFACE MAIN MODS
SAVING MODULATION PRESETS
Each modulation module has a preset browser for
saving, recalling, and browsing presets for that specific 7
modulation type.
4
To save a modulation preset, press the Preset File
4
button, choose Save Preset, and name the preset. For
more details on the preset browser, see [User Presets >
Module Preset Browser].

MODS 5
RENAMING A MODULATION SOURCE
To rename a modulation source, double-click its name.
Using a descriptive name can help differentiate between
modulation sources of the same type (Amp. Env. and
Filter Env. for example).

ASSIGNING A MODULATION SOURCE 5

6
To assign a modulation source, right-click a control
and choose from the Add Modulation menu. Existing
modulation sources are listed first, or you can choose to
create a new modulation source on the spot.

For more information on modulation assignments, see

[Interface > Main > Modulation Editor]. 6

MODULATION AND KEYBOARD SECTIONS

7
The Modulation and Keyboard sections can be shown or
hidden in the Modulations tab, using the buttons in the
top right.

50
INTERFACE MAIN INFO
INFO TAB
The Info tab provides an overview of the selected
program, houses macro controls, and provides a location
for custom text and images via. the (I) view. 2

MACROS 3
If macros have been assigned in the program they will
1
appear here. Macros are useful for placing important
controls on the front panel of a program.

INFO 2
To change the layout of the macro controls, press the
EDIT button in the upper left to switch to Edit Mode. You
can press and drag a control to move it, double-click a
label to rename it, or right-click and use one of the edit
commands from the contextual menu. For more details
on macros, see [Appendix A > Modulations > Macros].

1
PROGRAM INFORMATION
3
Press the (I) button in the upper right to display program
information. Many factory presets will contain details
about the program such as modwheel assignments,
macro descriptions or tips for playing it. You can add and
4
save descriptions for your own programs as well.
Programs in UVI soundbanks also display an image for
the program. If multiple images are present, < and >
arrows will be displayed and pressing them will cycle
through the images.
SCRIPT INTERFACE
KEYBOARD If the program contains a script that defines a custom
4
At the bottom of the Info tab, a keyboard is displayed and user interface, the script interface will be displayed by
can be clicked to play the program. The key range of the default. To toggle between the script interface and the
program is highlighted, with keys outside the key range standard interface, use the Script button at the top of the
darkened. If keyswitch layer rules have been created, Info tab.
those keys are highlighted blue. Additionally, key color
can be customized using the Script Processor. For more
details on keyswitches, see [Interface > Main > Mapping
Editor > Layer Rules].

51
INTERFACE MAIN PARTS
PARTS
The Parts List displays a list view for managing and
editing all of the parts in Falcon, and for selecting a part 2
to be displayed and edited in the center pane. 4
3
The Parts List is displayed in the left sidebar, which can
be hidden or shown with its button in the Toolbar.

To resize the Parts List width, click and drag on its right
1
edge. As the Parts List widens, the controls rearrange to
PARTS allow for greater numbers of parts to be viewed at once.

MANAGING PARTS
When a part is selected in the Parts List, it will be
displayed in the Main views center pane for editing.
Press anywhere on the part to select it.

The Parts List menu at the top left of the Parts List has
additional options for the selected part:
Empty selected part
Load program in selected part 1
New program in selected part

To add or remove parts, use the + and - buttons next

2
to the Parts List menu. To reorder parts, press and hold
anywhere on the part and drag it to the new position.

MULTI CONTROLS
3
This section displays global controls for the Falcon multi.
The name of the currently loaded multi is displayed.
To load a different multi, double-click the name to open
the file browser, or use the next and previous buttons to
browse multis in the same directory.

The GLOBAL VOLUME and GLOBAL TUNE are also

4
displayed; see [Toolbar > Global Volume] and [Toolbar >
Global Tune] for details. OUTPUT METERS display the
audio levels for the Main Out output.

52
INTERFACE MAIN PARTS
PARTS LIST
5 6
The Parts List displays controls for each of Falcons parts. 7
Each of these settings are independent from the settings
saved in the program loaded in the part. These part
settings are saved and recalled with the multi (or your
host session if youre using Falcon as a plug-in).
9
The program name of the currently loaded program is
5
displayed. If there are unsaved changes, an asterisk will
appear next to the name, for example, Love 1.
PARTS To load a different program, double-click the name to 8
12

open the [File Browser], or Shift-double-click to open the

righthand sidebar [Preset Browser]. In either case, the
browser will be opened to the location of the currently
loaded program.

You can also use the next and previous buttons to 10 11

6 browse files in the same directory, or right-click and
choose an option from the contextual menu:
Empty part, Delete part, Load program, Reload program, Option-click a mute or solo button to mute or solo only
New program that channel; Command-click (Mac) or Control-click
(Windows) to mute or solo all channels except the one
The MIDI INPUT and AUDIO OUTPUT assignments you clicked.
7
are displayed for each part. By default, each new
part is assigned to the Main Out, and its MIDI input is The OCTAVE and SEMI controls transpose the parts
incremented (A1, A2, A3, ). To change the assignment, 10
incoming MIDI, in octaves and semitones.
press and hold and choose from the menu. If the MIDI
assignment is set to Omni, it will listen for MIDI input on If a loop is loaded in the part, two additional controls are
all ports and all channels, and display an asterisk. 11
displayed:
AUTO PLAY: When enabled, the loop will be triggered
OUTPUT METERS display audio levels for the parts when Falcons playback begins.
8
output. Also, whenever a part receives MIDI on its PLAY: Highlights when the loop is playing, and can also
assigned input channel, the MIDI input indicator flashes. be used to manually start/stop loop playback.

VOL and PAN controls set the output level and stereo The parts color is displayed on the right side. To change
9 12
placement for the part. Each part also has MUTE and its color, click on the color bar and choose a color from
SOLO buttons to mute or solo the parts output. Alt/ the color picker.

53
INTERFACE MAIN TREE
TREE
The Tree view displays a hierarchical view of a single
1
part, with each branch on the tree displayed as a node.
2

The Tree view contains two major sections:

INSTRUMENT, which displays the structure of the
nodes, and INSPECTOR, which displays details about
the selected node. The Tree view is displayed in the left
sidebar, which can be hidden or shown with its button in
the Toolbar.
TREE The Inspector and Instrument sections can be collapsed
3

or expanded with the arrow to the left of the section

name. Additionally, the height of the Inspector section
can be adjusted by dragging its top edge.

INSTRUMENT
1
The Instrument section displays the nodes for a single
part, as well as a few global nodes. To choose which
part is displayed, choose the desired part from the PART
SELECTOR MENU in the upper right.

To choose which nodes are shown or hidden in the

2
Inspector, use the buttons in the upper right to toggle
these node types: Effects, Event Processors, Modulation
Sources, Aux FX busses and sends

Some node types are always displayed and cannot be

hidden: Master, Host Automation, Part, Program, Layer,
Keygroup, Oscillator

NAVIGATING WITH TREE VIEW

3
To navigate the nodes, press a node to select it and view
its details in the Inspector. Press the arrow to the left of
a node name to expand or collapse it. Holding the Alt/
Option key while expanding a node will expand all of its
children nodes as well.

54
INTERFACE MAIN TREE
The selected node in the Tree view also updates
navigation in Falcons other views, such as the Edit view,
Effects Tab, and so on. Using the Tree view to navigate
layers, keygroups, effects, and modulation assignments
can be very helpful in a large, complex program.

Double-clicking a node will jump to that nodes primary

edit view. For example, double-clicking an effect will
reveal it in the Effects Tab, and double-clicking a
modulation source will reveal it in the Mods Tab.
TREE NODE OPTIONS
4

4
To see a menu of options available for a particular node,
select it and choose the menu icon in the upper left, or
right-click the node.

INSPECTOR
5
The Inspector displays details about the node that is
selected above in the Instrument section.

For properties that can be edited, double-click the value

to type in a new value, or click-drag the value up/down.

TIP: Most properties are also displayed in other views

such as the Edit view or Mixer, but there are some
under-the-hood properties displayed only in the 5
Inspector.

55
INTERFACE MAIN LIST
LIST
The List view displays a detailed rundown of the settings
for a single part and its currently-loaded program.
1 2
It contains four sections: Part, Program, Layers, and
Keygroups.

The List view is displayed in the left sidebar, which can

4
be hidden or shown with its button in the Toolbar. To
resize the List view width, click/drag on its right edge.

LIST Each section can be collapsed or expanded with the

arrow to the left of the section name.
3 5

PART
1
The Part section displays the part settings for the
selected part.

To choose which part is displayed, choose a part from

2
the PART SELECTOR MENU in the upper right.

The Part settings displayed in List view are the same as

those displayed in [Interface > Parts].

PROGRAM
3
The Program section displays the settings for the
program loaded in the chosen part. The Program settings
displayed in List view are the same as those displayed in
the Program section in the Edit view.

On the right side of the Program section is the

4 PROGRAM MENU, which contains options for creating,
loading, saving, and protecting a program. For details on
each of these options, see [User Presets].

Additionally, there are PREVIOUS PROGRAM and NEXT

5
PROGRAM buttons for browsing program files.

56
INTERFACE MAIN LIST
LAYERS
The Layers section displays a list of all layers in the
program. The selected layer in the List view also updates
which layers are displayed in the Edit view. Using the
Layers List to view one layer at a time can be very helpful
in a large, complex program.

To select a layer, press on its name or ID; hold the

6
Command key (Mac) or Control key (Windows) to select
multiple layers at once. To deselect all layers, press in
LIST the space beneath the last layer in the list. (When there
is no specific layer selected, the Edit view displays a
composite of all layers, and edits to Layer settings apply
to all layers.)
9
The Layer settings displayed in List view are the same as 8
those displayed in the Program section in the Edit view
(see [Interface > Main > Edit > Program]) or the Tree view
inspector (see [Interface > Main > Tree]). 7
6
To choose which settings are displayed in the Layers list,
7
right-click a column header and enable or disable the
desired columns.

On the right side of the Layers section is the LAYER

8
MENU, which contains options for editing layer rules, and
copying, pasting, and duplicating the selected layers. For
details on these options, see [Interface > Main > Mapping
Editor].

Additionally, there is an ADD LAYER button for quickly

9
adding a new layer, and a REMOVE LAYER button for
removing the selected layers.

57
INTERFACE MAIN LIST
KEYGROUPS
The Keygroups section displays a list of all keygroups 11
in the selected layers. The selected keygroup in the
List view also updates which keygroup is selected in
the Edit view. Using the Keygroups List view to select 13
specific kegroups can be very helpful in a large, complex
program. 12

To select a keygroup, press on its name; hold the

10
Command key (Mac) or Control key (Windows) to select
LIST multiple keygroups at once. To deselect all keygroups,
press in the space beneath the last keygroup in the list.
10

(When there is no specific keygroup selected, the Edit

view displays a composite of all keygroups, and edits to
Keygroup settings apply to all keygroups.) The Keygroup
settings displayed in Keygroup view are the same as
those displayed in other Keygroup and Mapping Editor
sections.

To choose which settings are displayed in the Keygroups

11
list, right-click a column header and enable or disable the
desired columns. Pressing a column name will sort the
list by the chosen column; press it again to reverse the
sort order.
14
On the right side of the Keygroups section is the
12
KEYGROUP MENU, which contains options for copying,
pasting, and duplicating the selected layers. For details
on these options, see [Interface > Main > Mapping Editor].

Additionally, there is an ADD KEYGROUP button

13
for quickly adding a new keygroup, and a REMOVE
KEYGROUP button for removing the selected
keygroups.

Click/drag the right edge of the column to expand its

14
width to accommodate large parameter sets.

58
INTERFACE MAIN FILE BROWSER
FILE BROWSER
1
The File Browser is a view for browsing, searching,
auditioning, and loading files in Falcon.

There are three types of file browsers:

PROGRAM FILE BROWSER, for loading programs,
loops, and samples
MULTI FILE BROWSER, for loading multi files
SIDEBAR FILE BROWSER, for quick drag & drop
loading of any file type
FILE BROWSER
PROGRAM FILE BROWSER
1 2 3 4
To open the program file browser, double-click a
program name or an empty part in the Parts List, Mixer,
or Performance view, or choose Load Program from the
Toolbar menu.

The program file browser has four sections in its left

sidebar:
SEARCH
DEVICES
PLACES
SOUNDBANKS

Each available disk or volume is listed in the DEVICES

2
section, including network volumes.

The PLACES section is a list of favorite folders saved for

3
easy recall. To add a location to Places, drag a folder in
the browser over to the Places section in the browser
sidebar. To remove a folder from Places, right-click the
folder name and choose Remove from Favorite Places.

Each mounted soundbank file is displayed in the

4
SOUNDBANKS section. This includes soundbanks that
you mount on-demand, and those auto-mounted on
startup. For details on auto-mounting soundbanks, see
[Preferences > Soundbanks].

59
INTERFACE MAIN FILE BROWSER
Some UVI soundbanks also have an additional VERIFY
5
SOUNDBANK INTEGRITY option, available by right-
clicking the name of the mounted soundbank. This
verifies that the soundbank file was not corrupted when it
was downloaded or moved between disks.

The SEARCH section is an alternative to choosing a

5
specific location and browsing its contents; instead,
a search term is entered and matching results are
displayed across all searchable locations. For more
FILE BROWSER details on Search, see below.

BROWSING AND LOADING

Choose a location from one of the sections in the sidebar
to displays its contents. Its files and subfolders are
displayed in columns extending to the right.

To load the selected program or audio file, double-click

6
the file name or press the OK button. You can also drag
and drop a file from the browser to the Parts List, by
dragging onto an existing part or by dragging beneath
the last part in the list to load it as a new part. To close
the browser without loading a file, press the CLOSE
button or press the Escape key. To unload the program
or sample file currently loaded in the selected part, press
the EMPTY button.

To reveal the location of a file or folder in the browser,

right-click its name and choose REVEAL IN FINDER
(Mac) or REVEAL IN EXPLORER (Windows). To delete a
file, right-click its name and choose DELETE FILE.

BROWSER OPTIONS
The program file browser has a number of options,
displayed as toggle buttons along the bottom:
AUTO LOAD will automatically load the audio file 7 6
7
selected in the browser into the currently selected part.
AUTO PLAY will automatically play the selected audio
file to audition the file without loading it.
60
INTERFACE MAIN FILE BROWSER

8 9 10 11 12 13

FILE BROWSER
If an audio files tempo doesnt match Falcons current SEARCH
8
tempo, enabling ORIGINAL TEMPO will cause the file to Rather than navigating to a specific folder and file, you
be auditioned at its original tempo. When disabled, the can use search to find files that match your criteria.
audio file auditions at Falcons current tempo. To set which locations are searched, add the folder
in the Soundbank preferences. For more details, see
The DISPLAY INFO button toggles the information [Preferences > Soundbanks].
9
panel displayed in the lower half of the browser. When
enabled, it displays information about the selected file. To search, begin typing in the search field and results
12
will appear as you type. Search results are one of three
To load multiple programs into a single part (for example, types of files:
10
for multiple articulations of a single instrument, to be INSTRUMENTS: program files
switched with layer rules), enable LOAD AS LAYERS. LOOPS: looped audio samples
This will load additional programs within the current SOUNDS non-looped audio samples
file as new layers (leaving the current program effects,
modulations, etc. untouched). When disabled, each To search across all types at once, highlight SEARCH
13
loaded program fully replaces the currently loaded in the sidebar. To show results for one specific file type,
program. highlight the type name instead. You can also enter a
search term, then switch between types to view the
To automatically close the file browser when the OK different results. The search results display information
11 button is pressed or a file is double-clicked, enable about each file, such as its name and file type. To choose
AUTO CLOSE; otherwise, the browser remains open which columns are displayed for the list of search results,
until you press the CLOSE button or press the Escape right-click a column header and enable or disable the
key. desired columns. Pressing a column name will sort the
list by the chosen column; press it again to reverse the
sort order.

61
INTERFACE MAIN FILE BROWSER
To clear the search results, highlight the current search
14 15
term and delete it, or close the browser.

MULTI FILE BROWSER

14
To open the multi file browser, double-click the multi
name in the Parts List or Toolbar, or choose Load Multi
from the Toolbar menu.

The multi file browser is similar to the program file

browser, but loads only multi files. When a multi is
FILE BROWSER loaded, it clears the current multi and replaces all
multi settings with the new one. If APPEND MULTI is
17 16

enabled, additional multis are loaded within the current

multi as new parts (leaving the current master effects,
modulations, etc. untouched).
16
SIDEBAR FILE BROWSER
15
The sidebar file browser is displayed in the right sidebar
in Main, Mixer, or Performance views, and can be hidden
or shown with its button in the Toolbar. To resize the
sidebar width, click and drag on its left edge.

The sidebar browser is similar to the full-size browser,

but all navigation happens in a single column. Folders
can be expanded or collapsed with the arrow to the left
of the folder name. You can also double-click a folder
name to drill down one level; to navigate back up to the
containing folder, double-click .. (Parent Folder).

Pressing on the sidebar menu button opens a navigation

16
menu. The menu displays links to each of your
Soundbanks, Places, and Devices, as well as the path
from the current folder back up to where you started.

To go back to the top level, choose /.

17

62
INTERFACE MAIN FILE BROWSER
SOUNDBANKS
18
Each mounted soundbank file is displayed in the
SOUNDBANKS section. Press on a soundbank name to
expand it and display the soundbanks contents; press
again to collapse the soundbanks contents.

AUDITIONING AND LOADING FILES

The sidebar browser also has some options for quickly
auditioning samples and adding them to a program.

FILE BROWSER 19
AUTO PLAY will automatically play audio files
16

The PLAY / STOP button next to it lets you manually

20
start and stop sample playback.

The VOLUME slider sets the playback level.

21

When AUTO LOAD is enabled, the sample is

22
automatically loaded in the selected keygroup. This is
especially useful when you have already mapped the key
range and velocity range of a keygroup, but would like to
replace the sample file.

20

19

22 21

63
INTERFACE MAIN PRESET BROWSERS
PRESET BROWSERS
The Preset Browsers are views for browsing and loading
preset files for specific module types, such as effects or 1
event processors.

The Preset Browser is displayed in the right sidebar,

which can be hidden or shown with its button in the
Toolbar. To resize the Preset Browser width, click and
drag on its left edge.
2
PRESET BROWSERS 1
There are six Preset Browsers, each displayed as a tab in
the sidebar. From left-to-right the tabs represent:
FILES
OSCILLATORS
EFFECTS
MULTI FX
EVENT PROCESSORS
MODULATION SOURCES

For details on the File Browser, see [Interface > File

Browser]; for the rest, see below.

BROWSING PRESETS
Each tab displays all of the factory and user presets for
the chosen type. Presets are organized into folders, and
can be nested as many levels as needed.

LOADING A PRESET
2
To load a preset from the Preset Browser, drag and drop
the preset to the desired location. For example, you can
drag an oscillator preset to the Mapping Editor, an effects
preset to a channel strip in the Mixer, or a modulation
source preset onto any control that can be modulated.
When a target can accept the preset you are dragging,
the target highlights.

64
INTERFACE MIXER

MIXER
The Mixer view is similar to
a traditional audio mixing
console, with gain, pan, output 1
assignments, and effects
assignment and editing. The top
half of the Mixer view displays the
interface of the currently selected
effect; the bottom half shows
channel strips for each of the part,
aux, and master outputs.
2

MIXER OPTIONS To show/hide sections of the Mixer, use the toggle

2
To add or remove parts, use the + and - buttons on the buttons on the right side. Each section can be
1
right side of the Mixer. To reorder parts, press and hold independently shown or hidden:
on the part name and drag it to the new position. PARTS
AUXES
MASTER
FX
AUX SENDS

65
INTERFACE MIXER
PART SETTINGS AUXES
3 5
The Part settings displayed in the Mixer are the same as The Mixer also displays the four master aux effect
in the Parts List, but displayed here in a familiar audio busses. Each parts channel strip has sends for the aux
mixer style. For more information on part settings, see busses. Each send has an enable/bypass switch on the
[Interface > Main > Parts]. left, and a pre/post-fader switch on the right. The default
is post-fader; toggle to switch to pre-fader.
Double-clicking a part name opens the file browser. You
can also right-click on a part name for additional options The aux channel strips are similar to the part channel

MIXER from the contextual menu:

EMPTY PART
strips, just without the part-specific settings. Note that
the output of the aux busses are always routed to the
LOAD PROGRAM Main Out.

EFFECTS MASTER
4 6
The Mixer is an intuitive view for managing audio effects. Lastly, the Mixer displays the Master channel strip. Effects
To add an effect, press on the + button on any channel can be added to the Master output just as with parts and
strip and choose an effect from the menu. You can also auxes, and the master fader adjusts the Global Volume.
drag and drop effects presets from the Preset Browser
onto the + button.
3 5 6

After the effect is added, it will be selected and its

controls will be displayed in the effects editor above. The
effects module displayed here is the same as is shown in 4
the Effects Tab view.

To replace an existing effect with a different one, press

and hold on the effects name and choose a replacement
from the menu. You can also drag and drop an effects
preset onto it from the Preset Browser.

Effects can be bypassed temporarily by pressing the

bypass button next to its name. Alternatively, you can
bypass by Shift-clicking the effects name, or with the
effects power button when the effect is selected and
displayed in the effects editor.

To remove an effect, press and hold on the effects name

and choose Empty from the menu. You can also use
the effects X button to remove it when the effect is
selected and displayed in the effects editor.
66
INTERFACE PERF (PERFORMANCE)

1 2 3

PERFORMANCE
The Performance view displays a
birds-eye view of all parts at once.
This can be used as an overview
when there are a large number
parts, or during a live performance
for quick and simple access to part
settings. PART SETTINGS taking their existing ranges and constraining them. For
1
Each part displays the same controls as in the Parts example, a mono bass synth could be mapped to the left
Editor (see [Interface > Main > Parts]). However, if the hand key range and a synth lead to the right hand key
Parts column is resized to be relatively narrow, some range. For more information on setting key and velocity
controls will be hidden automatically. ranges within a program, see [Mapping Editor].

PART KEY AND VELOCITY RANGE KEYSWITCH

2 3
The KEYBOARD RANGE and VELOCITY RANGE The KEYSWITCH sets a keyswitch note for the part.
restrict the key and velocity range for the part. These are When the chosen note is played, the part will be toggled
independent from the key and velocity range mapping on. This is useful when toggling between multiple
of the programs layers and keygroups. Drag to adjust articulations or styles of the same instrument, such
the ends of the range, or click and drag anywhere on as staccato and legato strings. Press the checkbox to
the current range to move it. Holding the Option/Alt key enable a keyswitch, then double-click the note name to
while dragging to apply a fade. edit the value and assign a note.

NOTE: Changing a parts key or velocity range in NOTE: Keyswitches assigned to parts in Performance
Performance view wont extend a parts key or velocity view are independent from keyswitches saved in the
range beyond what the program provides. These key program. For more information on keyswitches within a
and velocity range settings help stack or split parts by program, see [Mapping Editor > Layer Rules].

67
INTERFACE GENERAL CONVENTIONS
HOVER RIGHT-CLICK
Hovering the cursor over a control will display the Right-click (or Control-click on Mac) to display a
controls current value in a pop-up help tag (sometimes contextual menu if one is available. Contextual menus
also called a tool tip). are used for many useful shortcuts, such as assigning
modulation sources to a control. The menu items
available in the contextual menu vary based on the item
that you have right-clicked.

GENERAL CONVENTIONS
Throughout Falcon, some common
conventions are used for adjusting
and interacting with controls.

CLICK AND DRAG

Click and drag a control to adjust its value. Hold the
Command key (Mac) or Control key (Windows) while
dragging a control for finer adjustment. You can also
hover over a control and scroll with your mouse scroll
wheel or trackpads scroll gesture. ALT/OPTION-CLICK
Alt/Option-click a control to return it to its default value.
DOUBLE-CLICK
Double-click a control to enter a numeric value. To ARROW KEYS
confirm a new value, press the Return key or click The arrow keys can be used to change the selected item
outside the text field. To dismiss without changing the in most lists, menus, and file browsers.
value, press the Escape key.

68
USER PRESETS
MODULES
Each type of module Oscillator, Modulation, Effects, SIDEBAR PRESET BROWSER
and Event Processor supports saving and loading The Preset Browser is displayed in the right sidebar.
presets. Numerous factory presets are included for each
module, and you can save user presets as well. Module
presets allow for easy recall and reuse of specific module
settings in different programs.

USER PRESETS MODULE PRESET BROWSER

Each module displays a preset browser in the The Preset Browser displays all module presets in one
upper right: place for easy browsing. For more information, see
[Interface > Main > Preset Browsers].
After creating or editing sounds in
Falcon, you can save the results
PROGRAMS
as presets for individual modules,
The PRESET MENU displays the name of the current A program file saves the state of everything within the
programs for a single instruments,
preset. Pressing the name displays a dropdown menu of program, including all of its layers and keygroups. If its
and multis for all parts and programs
factory and user presets for the module. displayed in the Info Tab or the Edit Tab, its saved with
in the entire Falcon instance.
the program.
The NEXT PRESET and PREVIOUS PRESET buttons
load the next or previous preset for the module. NOTE: A program does not save any part-specific
settings, such as part gain/pan, part effects, and so on.
To save a user preset, press the PRESET FILE MENU To save part settings, use a multi (see below).
and choose SAVE PRESET from the menu. User presets
can be organized into subfolders, as many levels deep as Many views throughout Falcon have options available
you need. TIP: The Preset File menu additional options for managing program files, such as in the Toolbars main
for sample-based oscillators. For more information, see menu and the Parts List contextual menu. Each command
[Interface > Main > Sample Editor]. is explained below.

CREATING
NEW PROGRAM: Creates a new, empty program.

LOADING
LOAD PROGRAM: Opens the Program File Browser.
RELOAD PROGRAM: Reloads the most recently saved
version of the program; this discards any unsaved
To load a user preset from any location on disk, press the changes to the program.
Preset File menu and choose LOAD PRESET from the RECENT PROGRAMS: Lists up to ten recently loaded
menu. programs for quick access.

69
USER PRESETS
SAVING SAVING
SAVE PROGRAM: Saves the program file only SAVE MULTI: Saves over the current multi
SAVE PROGRAM AS: Saves the program file only, SAVE MULTI AS: Create a new file for the current multi
under a new name SAVE MULTI AND SAMPLES AS: Saves the multi file
SAVE PROGRAM AND SAMPLES: Saves the program under a new name, and all samples into a subfolder with
file and all sample files the program name
SAVE PROGRAM AND SAMPLES AS: Saves the SAVE AS DEFAULT MULTI: Saves the current multi
program file under a new name, and all of the programs to be the default multi. The default multi is loaded

USER PRESETS samples into a subfolder with the program name

SAVE PROGRAM SAMPLES: Saves all samples only;
whenever the Falcon plug-in or standalone application is
first launched. This provides a useful method for loading
does not save the program file a custom set of sounds, effects, event processors, and so
on every time you use Falcon.
PROTECTING
PROTECT PROGRAM: Adds a password to the program. CLEARING
This is useful for complex, scripted programs where the CLEAR MULTI: Clears the multi (empties all parts).
topology needs to remain unchanged. Once protected,
only the Info tab is available for the program; the Edit
view is disabled. In the Tree and List views, the program 1
node displays only limited settings; the layer, keygroup,
and oscillator nodes are not displayed.
UNPROTECT PROGRAM: If the program is protected,
you must enter the program password to edit the
program.

MULTIS
A multi file saves the state of the entire Falcon instance
all parts, programs, effects, and master settings.

Multi files are managed primarily from the Toolbars main

1
menu.

LOADING
LOAD MULTI: Opens the Multi File Browser
RECENT MULTIS: Lists up to ten recently loaded multis
for quick access.

70
PREFERENCES

PREFERENCES
Falcons general settings are
configured in the Preferences
window. To open the Preferences,
choose Preferences from the menu
in the Toolbar.

GENERAL STREAMING
When you drag and drop samples into a program, by Rather than loading an entire sample into memory,
default the sample will play back for as long as the samples may be read (streamed) from disk as they
note is held. Enable the One Shot option for SAMPLE are played. This can improve overall performance by
DRAGNDROP MODE to instead import all samples as balancing resources between your computers RAM
one shot by default. To change an individual sample to and its disk drives. That said, streaming performance is
One Shot, see [Interface > Main > Sample Editor]. directly affected by the speed of the disk, so the faster
the disk, the better.
Each part displays a color in multiple places throughout
Falcon. Choosing Chromatic for PART COLOURING The default settings are optimized for most use cases.
SCHEME will assign each new part a random color; To adjust the settings for your computer, choose the
choosing Grey will assign all parts the same shade of appropriate Hard drive type and Cache size. To confirm
grey. your changes, press the Apply button. To revert to the
default settings, press the Default button.
Falcons UI can be rendered with OpenGL, which can
help with overall performance by offloading some of For details on enabling or disable streaming for individual
the processing needed to draw the UI from the CPU to parts, see [Interface > Main > Edit > Program].
the GPU. To enable OpenGL rendering, enable the USE
OPENGL RENDERER checkbox. For best results when
using OpenGL rendering on Windows, make sure to
update to the latest drivers for your graphics card.

71
PREFERENCES

PREFERENCES

SOUNDBANKS OSC
Each SEARCH PATH is a location on your computer that Open Sound Control (OSC) is a protocol used to
will be scanned for sound libraries. To add or change communicate between different computers and other
a search path, press the button and browse for the audio devices, optimized for use with networked devices.
desired folder. You can also select a path and type to Falcon can be controlled remotely by any app or device
add a new path or edit an existing one. To delete a path, that supports OSC.
select the path name, press the Delete key, then press
the Return key. Enabling the Open Sound Control Server will begin
broadcasting Falcon as an OSC destination. DESIRED
Each search path has the following options: NAME and DESIRED UDP PORT set the preferred name
INDEXED: Any supported files found in the search and port for the current Falcon instance. Once the OSC
path will be indexed for searching in the File Browser. server is running, ZEROCONF NAME and UDP PORT
For details on searching, see [Interface > Main > File show the actual name and port assigned to the current
Browser]. Falcon instance.
RECURSIVE: The search path directory itself and any
subfolders within it will be searched. (When disabled, For more details on using OSC in Falcon, see [Interface >
only the search path directory itself will be searched.) Main > Modulation Editor > Automation assignments].
Note: this can significantly increase Falcons startup time. For general information on OSC, see:
AUTO-MOUNT: Any UFS soundbanks in the search path http://opensoundcontrol.org
will be auto-mounted in the File Browser.

72
 TOPICS:

LEARNING FALCON 100:

101 WORKING WITH PRESETS
102 SAVING A USER PROGRAM
103 SAVING A USER MULTI
104 MAKE A SIMPLE SYNTH

SYNTHESIS
105 MAKE AN ARPEGGIATED SYNTH
106 MAKE AN EVOLVING PAD
107 MAKE AN INTERACTIVE WOBBLE BASS
108 MAKE A DRUM KIT FROM SAMPLES
109 MAKE A DRUM KIT FROM A LOOP
110 MAKE A DRUM KIT FROM SYNTHESIS

The following section will illustrate of Falcons oscillator types has a The Falcon factory soundbank
the basics of using Falcon, from different speciality; only a few of is available through your UVI.net
loading and saving patches to the possibilities are explored here. / My Products page, meanwhile
creating a number of common the UVI Tutorial Set soundbank
sounds and instrument setups Before continuing, check that is installed with UVI Workstation,
from scratch. Its a perfect place to you have your audio and MIDI which is available as a free
start if youre new to Falcon and devices connected and working download on UVI.net.
need some quick tips to get going. properly. Additionally, some of the
following examples use programs
Falcons synthesis engine offers and samples from UVI factory
a wide range of tools for playing, soundbanks. Its recommended
editing, and creating instruments to have both the Falcon Factory.
and samples. You can freely ufs and UVI Tutorial Set.ufs
mix sounds created with pure soundbanks available to follow
synthesis and sample playback along with all of the examples.
even in the same program. Each
 LEARNING FALCON 101: WORKING WITH PRESETS

3 5

7
4
1 2

LOADING AND TWEAKING A PRESET keyboard. Press the keys on the keyboard to trigger Editor provide editing of sample files, the mapping
Lets start by loading a sound from one of Falcons a note, or play a note from your MIDI controller. You of the layers and keygroups, and modulation
1
included soundbanks. Double-click part name should hear the instrument now; if not, check your assignments.
(Empty) in the Parts List to open the File Browser. Audio and MIDI settings.
Lets make some edits to the instrument. To change
6
The factory soundbanks will appear in the To see a description of the instrument, press the Info the programs output level and panning, go to the
2 Soundbanks section of the File Browser. Select i button in the upper right. PROGRAM section and adjust the GAIN and PAN
the UVI TUTORIAL SET soundbank, then UVI settings.
PRESETS > ELECTRIC PIANO. Lets make some changes to the program, by
4
adjusting the REVERB and DRIVE macro controls. Lets also change the instrument from polyphonic to
7
Press OK or double-click the program name to load Click a knob and drag to adjust it. You can also monophonic. Go to the LAYER section and change
it, and the Main view now displays the parameters hover over a control and scroll your mouse scroll Play Mode mode to MONO PORTAMENTO, and
of the loaded program. The Info tab shows the wheel, or scroll with your trackpad. adjust GLIDE TIME to change the amount of slide
front panel of the program with macro controls for between notes.
commonly-used settings, and the Edit tab shows all Thats a start, but to dig in a little deeper, lets switch
5
of the programs parameters. to the EDIT tab. Here we can see the settings for
the major components of the instrument: program,
Lets go to the INFO tab first. Here we can see layer, keygroup, and oscillator. Additionally, the
3
the instruments macro controls and an on-screen Sample Editor, Mapping Editor, and Modulation

74
 LEARNING FALCON 102: SAVING A PROGRAM

SAVING A PROGRAM
Now that weve made some changes to the
1
program, lets save our edited version. The main
menu in the toolbar is a central location for many of
Falcons save/load options. From the MAIN MENU,
choose SAVE PROGRAM AS.

Choose the location where youd like to save the

file, enter a file name, then Save your edited
program is now saved with a new file name. The
original program file is unchanged, and your edits
are saved under the new program.

If you make some more edits to this program, you

can save the same file again with Save Program. 2
That will save the same file in place, and wont
prompt again for a file name.

If youd rather discard changes youve made since

2 the last time you saved the file, you can instead
choose to reload the program file. Right-click the
part in the PARTS LIST and choose RELOAD
PROGRAM from the context menu to undo all of
those changes.

75
 LEARNING FALCON 103: SAVING A MULTI

3
1 6
4

5
2

SAVING A MULTI Now lets adjust the parts relative to each other:
4
Now that we have one instrument loaded and reduce the VOLUME on part 2 to -12 dB, and
1
edited to our liking, lets load some additional transpose part 2 by setting OCTAVE (Oct) to -1.
sounds. In the PARTS LIST, use the + BUTTON
to add a few more parts. For the drum loop, press PLAY on Falcons toolbar,
5
and you will hear the drum loop auto-play, synced to
Lets load a few more sounds from the UVI Tutorial Falcons tempo. Edit Falcons tempo, and the drum
2 Set soundbank, such as the UVI PRESETS > loop automatically stays in sync.
STRING ANALOG instrument and LOOPS-REX >
096-DRUM LOOP, and start building a multi-timbral Now with our multi taking shape, lets save it. From
6
multi. the MAIN MENU in the toolbar, choose SAVE
MULTI AS.
To stack parts 1 and 2, change the MIDI INPUT
3
CHANNEL on parts 1 and 2 to A1. Play a few All of the details about this instance of Falcon are
notes from your MIDI controller you should now saved in the multi, and can be recalled with this
hear both parts trigger at the same time. single file.

76
 LEARNING FALCON 104: MAKE A SIMPLE SYNTH

5
2

3 4

MAKE A SIMPLE SYNTH To stack multiple synth sounds, we can add a

1
Now that weve looked at editing existing sounds, second synth keygroup. Lets choose CREATE
1
lets start creating some new ones from scratch. KEYGROUP > SYNTH TEMPLATE a second time, 6
In an empty part, go to the Main > Edit view. In the and another keygroup will be stacked on top of
MAPPING EDITOR, right-click and choose CREATE the first. For this keygroup, lets choose one of the
5
KEYGROUP > SYNTH TEMPLATE. oscillators factory presets, such as ACCORDION.

A new keygroup has been created, mapped to the Perhaps instead of stacking these sounds, this
2 6
full key and velocity range. could be a split program instead, with one sound
for the left hand and another for the right hand. To
Play a few notes, and youll hear a simple sine do that, well need to adjust the key ranges of the
3
wave oscillator. Lets change that to a sawtooth keygroups so they dont overlap. Right-click in the
wave, by clicking the WAVEFORM and choosing Mapping Editor and choose SELECT ALL, then
SAWTOOTH from the menu. choose RESOLVE OVERLAPPING KEY RANGE.

We can continue building our sound by editing the The keygroups can now be easily edited separately.
4
other synth engine parameters, such as enabling For example, the key and velocity ranges could
Stereo mode and adding additional voices. be further adjusted by dragging the edge of the
keygroup.

77
 LEARNING FALCON 105: MAKE AN ARPEGGIATED SYNTH

MAKE AN ARPEGGIATED SYNTH base note. For example, a ratio of 2.0 means the
Falcon has numerous synthesis options in addition frequency is doubled, or one octave up from the
to the classic virtual analog oscillator weve already base note. Whole integers and simple ratios (3/2,
seen. Lets explore the FM (frequency modulation) 4/3, etc.) create some of the more obvious harmonic
synth oscillator, using one of the factory presets as relationships, but the ratios are fully adjustable
a starting point. and small changes can create interesting and
unexpected results. Lets set OPERATOR C TO 2.17
3
Open the right-hand sidebar and choose the and OPERATOR D TO 1.17 and hear the difference.
1
OSCILLATORS TAB. Expand the Synthesis folder,
and drag the FM oscillator to the MAPPING The operators can also be arranged in a variety
EDITOR. of topologies. Using the same ratios, different
topologies can change the sound drastically.
While playing a few notes, press the next or To change the topology, press on the topology
2
previous buttons in the oscillator module to browse diagram in the lower right and choose a topology
the presets. Lets choose the EP HOLLOW preset from the menu. For example, change the
4
and build from there. TOPOLOGY from #8 to #7.

The FM oscillator has four operators (A, B, C, and Now that weve customized the sound source, lets
D), and each operators frequency is a ratio to the make it more dynamic by adding an arpeggiator.

78
 LEARNING FALCON 105: MAKE AN ARPEGGIATED SYNTH (PART 2)

6 8

Switch to the EVENTS tab, press the + button, and Then choose a MIDI CC for the arpeggiator to
5 8
choose Arpeggiator. output; a general purpose MIDI CC such as 16 is a
good choice.
To load one of the factory presets, press on the
6
PRESET MENU and choose one from the menu. Switch back to the EDIT view, right-click the
Lets choose one of the sequenced pitch presets,
9 FEEDBACK knob, and choose MIDI LEARN. In the
such as ARPEGGIATOR > LINE > HIGH MUSE. pop-up, choose MIDI CC 16 from the menu. 9

Press and hold a few keys to hear the arpeggiated Press and hold a note, and youll see the value
sequence. There are actually three layers to the automating in sync with the arpeggiator sequence.
arpeggiator: note velocity, pitch, and MIDI CC. To Lets also slow the tempo down just a bit. Since the
view the different layers, RIGHT-CLICK THE STEP arpeggiator is tempo-synced, it will automatically
GRID and choose the layer from the menu. adjust when Falcons tempo changes.

Lets use the MIDI CC layer to generate a control

source for modulating the FM operators. Switch to
the MIDI CC layer, then press and drag across the
7
step grid to enter step values.

79
 LEARNING FALCON 106: MAKE AN EVOLVING PAD

MAKE AN EVOLVING PAD Lets change the pitch of oscillator 2s pitch offset to
4
Now lets build a pad sound, one that evolves over be +7 SEMITONES from oscillator 1, and oscillator 3
time by using modulation to create movement. to be +1 OCTAVE. 6

1 In an empty part, create a new synth keygroup. We can also modulate each oscillator
5 independently. To add a new modulation source for
This time, lets use the Analog Stack synth; press on the oscillator 2 pulse width modulation, right-click its
2 the oscillator name and choose Analog Stack from PWM knob and choose ADD MODULATION.
the menu to change the synth type.
We want to modulate this per-voice, so well
The Analog Stack starts with the same basic options
6 create a keygroup modulation source by choosing
as the Analog oscillator type, but offers a unified INTERNAL > KEYGROUP > NEW LFO. 7
bank of eight oscillators for quickly created stacked
sounds. The new modulation source now appears in the
7
MODULATION EDITOR. If you dont see the
Press the POWER button on oscillators 2 and 3 Modulation Editor, make sure that its toggle button
3
to enable them. Each oscillator has independent is enabled at the top of the Edit view, and that its
controls for its waveform shape, gain, pain, pitch expanded with the arrow next to its name.
offset, and so on.

80
 LEARNING FALCON 106: MAKE AN EVOLVING PAD (PART 2)

Play a note and youll hear the LFO modulating

PWM; this LFO is modulating it too drastically,
though, so lets edit it.

Change the DEPTH TO 0.25, play a note again,

8 10
and youll hear that its intensity has been reduced.

We can also slow down the LFO speed, to 0.15 HZ.

9
Lets do the same with oscillator 3 PWM, but with a
different LFO.

Create another LFO, and set its frequency to be

10
different than the first LFO. This will create a sound
that shifts and evolves over time. In this way, we
can continue to build up the sound by adding
modulation to each oscillators parameters, such as
pan, phase, or pitch.

81
 LEARNING FALCON 107: MAKE AN INTERACTIVE WOBBLE BASS

3
1

MAKE AN INTERACTIVE WOBBLE BASS SOUND Play and hold a note to audition the wavetable.
Falcons modulation engine provides endless While holding the note, adjust the WAVE INDEX to
opportunities for customizing and modifying sounds. change the active waveform within the wavetable.
Lets create a wobble bass that we can tweak in This is a good control to adjust in realtime while
realtime from our MIDI controller. playing, so lets assign the Mod Wheel as a
modulator.
As with the previous examples start with a clean
1
patch, create a new Synth Template keygroup and Right-click the Wave Index knob and choose ADD
4
change the Analog oscillator to WAVETABLE. MODULATION > MODULATION WHEEL.

We also want this sound to be monophonic, so in The new modulation assignment now appears in the 5
2 5
the Layers section, change the Play Mode from Poly Modulation Editor. (If you dont see the Modulation
to MONO RETRIGGER. Editor, make sure that its toggle button is enabled at
the top of the Edit view, and that its expanded with
To change the wavetable, press on the menu above the arrow next to its name.)
3
the waveform and choose from the menu. Lets
choose MULTI > BASS > INSECT.

82
 LEARNING FALCON 107: MAKE AN INTERACTIVE WOBBLE BASS (PART 2)

7
8

Each modulation assignment has a ratio slider that On the new LFO, uncheck its BIPOLAR option, then
9
defines how the modulation source maps to its set its modulation ratio to -0.5. A unipolar LFO will
assigned parameter. By default the full range of the modulate in only one direction, and a negative ratio
6 mod wheel will map to the full range of the Wave means that direction will be downward. 9
Index knob, but in this case wed like the mod wheel
to sweep over only half of the Wave Index range. Play a note, and youll hear the cutoff frequency
So, to halve the range, adjust the MIDI CC 1 RATIO sweeping downward with the LFO. The LFO is
SLIDER TO 0.5. applied as a constant modulation, however. To apply
the LFO modulation selectively with the modulation
Now lets add a low pass filter. To add a filter, go to wheel, add the mod wheel as a sub-modulation
7 the KEYGROUP > EFFECTS LANE and press the + source. Right-click on the SUB menu and choose
button, and choose FILTER > LOWPASS 12. 10 MODULATION WHEEL.

To create the wobbling effect, we can modulate Play a note now, and you wont hear the LFO
8 the cutoff frequency with an LFO. Set the CUTOFF applied any more. As you raise the mod wheel, the
FREQUENCY near the upper end of the its range, LFO modulation will be increasingly applied, along 10
then right-click, choose ADD MODULATION, and with the Wave Index modulation we assigned to the
add a new LFO. mod wheel earlier.

83
 LEARNING FALCON 108: MAKE A DRUM KIT FROM SAMPLES

MAKE A DRUM KIT FROM SAMPLES Choose SELECT ALL from the MAPPING EDITOR
3
Creating new programs from samples is just as easy MENU, then press the BATCH button and choose
as creating a synth-based program. Most of Falcons SET PLAYBACK TYPE > SET AS ONE SHOT.
controls are used in the same way whether youre
using synth oscillators or sample files. Lets create a We might also want to adjust the settings of
drum kit from sample files. individual samples. For example, if a sample needs
4
to be panned or have its pitch adjusted, select the
Open the right-hand sidebar and use the keygroup and then edit the value in the Mapping
1
BROWSER tab to locate a folder containing some Editors toolbar.
drum samples on your system.
Lastly, lets set an exclusive group for the hi-hat
Select the drum samples you want to use and drag sounds. This will mimic the natural behavior of hi-
2 them onto the MAPPING EDITOR. hat sounds cutting each other off, such as a hi-hat
closing and cutting off a ringing open hi-hat.
Now lets set the imported samples to be one shot
samples, so that the entire sample will be played Select the hi-hat keygroups, then set EX. GROUP
4
back when the note is triggered. to 1 in the Keygroup section.

84
 LEARNING FALCON 109: MAKE A DRUM KIT FROM A LOOP

3 5

4
6

MAKE A DRUM KIT FROM A LOOP You can convert these slices to separate To adjust the slice boundaries, select a KEYGROUP
3 5
Drum loops often provide great source material keygroups, in order that each slice can be triggered to toggle the Sample oscillator view and then grab
for building a drum kit, especially if the loop has independently. Press the MAP button, and a new the S (start) or E (end) markers and drag them as
distinct hits where the different kit elements arent layer will be created with the slices mapped to desired.
overlapped. By slicing and mapping the hits in the individual keys.
loop, we can easily take a single loop and turn it into DOUBLE-CLICK THE SAMPLE WAVEFORM
6
a full kit. The original keygroup containing the loop will still between the start and end markers to select it, from
4
be present in a muted layer. To hide it, open the here you can RIGHT-CLICK to reveal a number of
Lets start by loading a drum loop into an empty TREE view and select only the MAPPED layer. common wave editor commands such as reverse,
1
part. Navigate to the UVI TUTORIAL SET normalize, fade in/out and silence. Changes made
soundbank and double-click LOOPS-REX > 100- Play a few notes on your keyboard to trigger here still reference the original file so they will effect
HIP HOP BEAT.RX2. the new sliced keygroups. You can now easily all slices.
rearrange the slices to the mapping of your choice,
Youll see that the sample is loaded within the such as a standard drum mapping. Slices can be tweaked and tuned in limitless ways.
2
SLICE oscillator, with slices marked at each Try changing the sample oscillator type to Stretch
transient. Press Play in Falcon, and the slices are Each slice from the mapped loop is actually referring and adjusting the Tempo Factor, or adding effects to
played back in sync with Falcons tempo. back to the original sample, with custom start and a specific keygroup to effect only one slice, or at the
end markers to define the slice within the larger layer level to effect them all.
sample.

85
 LEARNING FALCON 110: MAKE A DRUM KIT WITH SYNTHESIS

MAKE A DRUM KIT WITH SYNTHESIS determines the key range of the keygroup, with
Instead of starting with a looped sample or a wider ranges set near the top and narrower ranges
collection of sampled drum hits, we can also create near the bottom.
entirely new drum sounds from scratch with Falcons
Drum synth oscillator. The Drum oscillator consists of two sound
generators, a pitched oscillator and a noise
Open the right-hand sidebar and choose the generator. The two can be independently edited,
1 5
Oscillators tab. Expand the SYNTHESIS > DRUM then the mix between the two is set the with the
folders, and youll see all of the drum synth oscillator Mixer. The Master section adjusts the combined
presets. signal, with EQ, distortion, and other settings.

Before we get started zoom in a bit in the MAPPING To give the kick a little more edge, lets change the
2 4
EDITOR to see the key range were going to focus Oscillator waveform from sine to TRIANGLE, and
on in greater detail. Click the + button on the bottom move the OSC/NOISE SLIDER to add a little noise.
right of the editor to zoom in.
Now lets import the SD MANIAC preset from
5
Lets start by adding the BD preset BD SAVING the SD folder to D1, and play a few notes to see
3
to cover the range B0 to C1. As you drag-and-drop, how the kick and snare sound. Lets bump up the
the vertical position within the Mapping Editor DISTORTION, and lower the Q on the noise filter.

86
 LEARNING FALCON 110: MAKE A DRUM KIT WITH SYNTHESIS (PART 2)

9
6

10

For toms, lets drag over a preset from the Electric Then click and drag a selection over each of the
6 10
Tom folder, LARGE TOM, to F1. tom keygroups, then click on the AMP. ENV tab
in the MODULATION EDITOR. When you adjust
We can then tune the tom with the oscillator the envelopes RELEASE knob, youll be editing the
7
FREQUENCY SLIDER. release time for all of the selected keygroups.

11
To use this customized tom as the starting point for We can also use the Drum oscillator for synth lead
8 11
additional toms, right-click the keygroup and choose or bass sounds. For example, drag in a preset
12
DUPLICATE SELECTED KEYGROUP. from the Synth folder, such as CLEAN SYNTH, to
cover the range C2 TO C3. Moving this keygroup
The duplicated keygroup will initially appear stacked to a separate layer will give us more flexibility with
9
on top of the existing one; grab the new keygroup effects routing and other program settings, so lets
and drag it over to G1, then adjust its frequency to move the keygroup.
change the toms pitch.
Right-click the synth keygroup in the Mapping Editor
12
To change the length of time the toms ring out lets and choose MOVE KEYGROUP TO > NEW LAYER.
tweak their amplitude envelope. If its not already
displayed, toggle visibility of the Modulation Editor
with its button in the upper right of the Edit view.

87
 TOPICS:

LEARNING FALCON 200:

201 USING DUAL DELAY
202 USING SPARKVERB
203 USING EFFECTS RACKS
204 USING MACROS

EFFECTS + MODULATION
205 USING HOST AUTOMATION
206 USING STEP ENVELOPES
207 USING MULTI ENVELOPES
208 USING OSC

Falcon has an extensive selection If youve followed the examples in For a detailed overview of each
of audio effects and modulation the previous chapter you should effect module and modulation
sources that can be configured already be familiar with the basic source please consult:
in both simple and extremely concepts and use of effects and Appendix: Modules > Effects, and
complex ways to achieve powerful modulators in Falcon. Here well Appendix: Modules > Modulations.
effects. The majority of these build on that experience and
modules all function based on explore some ways to further
a similar set of principles and enhance your ability to both
interactions. design sound and get hands-on
with your patches.
 LEARNING FALCON 201: USING DUAL DELAY

1 8

3-7
2

USING DUAL DELAY The Stereo and Phase graphs are the centerpiece Now lets adjust the filter to clean up the low
4 7
Dual Delay is a delay effects module that is capable of the Dual Delay interface. As you adjust the frequency content, set FILTERS > LOW CUT to
of a wide range of time-based effects, from classic parameters below, the graphs are updated in 1.6 KHZ.
delays to reverb-like decays to more unusual realtime. Lets turn the DELAY > FEEDBACK knob
effects, with an immersive interface to visualize the up to 70%, you will see both the number of delay Once you have the effect where you like it you
8
stereo and phase adjustments being made. taps and their magnitude increase. can save its state as a preset. In the upper right of
the effect module, press the Preset File menu and
Lets start with a LEAD preset from the FALCON Time and Feedback can be the same for the left choose SAVE PRESET, and enter a name for the
1 5
FACTORY soundbank, find and double-click and right channels, or one channel can be shifted preset, here well title it MY PRESET.
RETRO LEAD to load it. relative to the other. Turn the TIME L/R knob
counter-clockwise to L X 0.50 and you will see Youll now see your custom presets in the Browser,
9
Switch to the EFFECTS tab, right-click the Analog the left channel delay taps are half the duration of within a User Presets folder alongside the factory
2 Tape Delay effect header and choose the DUAL the right channel delay taps. presets for the module.
DELAY > BASIC STEREO preset.
Lets add some gentle pitch modulation to our
6
First lets increase DELAY > TIME to 1/4 for a more sound to give it a chorusing effect. Change
3
pronounced delay effect. The delay time can be MODULATION > DEPTH to 1.00 CENTS and
specified in milliseconds, or in bars/beats if tempo- MODULATION > RATE to 0.1 HZ.
sync is enabled (as it is here).

89
 LEARNING FALCON 202: USING SPARKVERB

1
5
6
2 4

USING SPARKVERB like. Click the MIXER button in Falcons header to Lets send some signal from our 3 loops over to
2 5
SparkVerb is a unique and versatile reverb with change the current view. Now we can see our 3 SparkVerb. Set the Aux1 sends for them as -16DB,
an extraordinarily light CPU footprint. A single Size instrument parts on the left and 4 aux channels and -60DB and -30DB, respectively. We can now
parameter emulates room reflections from 4m to the master on the right. hear all three tracks effected by the reverb.
50m while Decay can be shaped globally and with
independent low and high frequency multipliers, Click the + button at the top of the AUX1 channel Now, finally, lets toggle SparkVerbs POWER
3 6
each with adjustable crossovers. and select REVERB > SPARKVERB > 05 - ROOM button on/off to A/B the results. From here, we can
> AMBIENCE ROOM, you should now see the continue exploring SparkVerbs settings and if we
Lets create a quick set of loops using the UVI SparkVerb interface at the top. find one that works well that we want to save, we
1 TUTORIAL SET soundbank. Navigate to it and can make a preset to recall later.
create new parts for 096-DRUMLOOP, 100-FUNK At the center of the SparkVerb interface is the
BASS and 100-SHAKER by dragging them over to spectral display. frequency is mapped across the X You can also create interesting textures from
the parts list. If the loops arent playing automatically axis (low to high) and decay time along the Y axis. SparVerbs decay with its Freeze function. For
hit Play in Falcons header or in your DAWs transport example, while a drum loop is playing, press the
if youre using Falcon as a plugin. Since weve instanced SparkVerb on an effect bus Freeze button just after a snare hit the decay will
4
lets turn the MIX amount up to 100%, as well hold indefinitely, even if the drum loop stops. That
Now that we have some loops lets put SparkVerb control the wet amount with individual track sends. decay will be held until Freeze is disabled.
on an Aux channel. This will allow us to use 1
instance of SparkVerb for as many parts as we

90
 LEARNING FALCON 203: USING EFFECT RACKS
4
1
6

5
7

USING EFFECT RACKS Lets add a delay and a filter to chain 1, If you want to change the layout of the Macro panel
2 6
The Effect Rack is a special kind of effect module ANALOG TAPE DELAY and LOWPASS 24. hit ctrl-e (cmnd-e on OS X) to enter EDIT MODE.
that creates a new effects path inline where the Select both macro knobs and right-click over the
Effect Rack module is added, similar to patching in Enable the Modulation Editor by clicking the background for helpful layout options. You can also
an external rack of effects from a mixing console.
3 VISIBILITY TOGGLE in the EDIT TOOLBAR. add a custom background by dragging an image
Macros can then be added for front-panel control onto the panel. Hit ctrl-e (cmnd-e) again to exit Edit
of the effects in the Effect Racks FX chain. Now right-click the DELAY knob in the Analog Tape mode when your changes are complete.
4
Delay effect and select ASSIGN EFFECT RACK
To see it in action load a program, then switch the MACRO > ADD NEW MACRO. In the Editor below To set the overall level of the FX chain, adjust the
7
EFFECTS Tab and add an EFFECT RACK. you will see the Macro modulator we just created FX Chains VOLUME SLIDER in the Tree view.
along with all of its editable parameters. Locate
When the Effect Rack is added, it doesnt add any a field titled DISPLAYNAME, double-click and We can even add whole additional FX chains to a
1 audio processing on its own; instead, it creates rename it to Delay. Do the same for the filter cutoff, single Effect Rack for parallel processing. To do this
a new FX chain. Navigate to the TREE tab and renaming it CUTOFF. right-click the Effect Rack in Tree view and select
toggle open the our new Effect Rack. Inside we see ADD FX CHAIN.
Chain1, can right-click this chain to add as many Now lets head back to the Effect Rack front panel
5
effects as we like. by selecting the Effect Rack in the Tree view. Now If you save an Effect Rack preset, the settings for all
we see our two macros and the names we set for of its loaded effects will also be saved along with all
them. macro assignments and customizations.

91
 LEARNING FALCON 204: USING MACROS

USING MACROS MIDI or Host Automation assignments so you can

Macros are intermediary modulation sources which control the macros from your MIDI keyboard or host
modulate other controls, useful for placing a small application.
number of important controls on the front panel
of a patch. Any parameter that can be modulated To see which parameters the macros are assigned
2
can be assigned to a macro, and single macros can to, switch the left sidebar to the TREE view. Press
drive any number of parameters. the ARROW next to the macro name to expand it
and display its assignments.
Lets start with a program that already has some
1
macros assigned, such as the ELECTRIC PIANO Lets create a new macro. To create an adjustable
program from the UVI TUTORIAL SET soundbank. vibrato, we can modulate keygroup pitch with an
Load the program, then switch to the INFO tab in LFO and assign a macro to control the depth of the
the Main view. LFO.

There are two types of macros: continuously- Switch to the EDIT view, right-click the Keygroup
3
adjustable knobs and on/off toggle buttons. You can PITCH knob, and choose ADD MODULATION >
adjust these controls just like any other knobs or KEYGROUP > NEW LFO.
buttons, and even modulate the macros with other
mod sources. For example, you might want to make

92
 LEARNING FALCON 204: USING MACROS (PART 2)

5 6

On the new LFO, set the FREQUENCY to 5.8 HZ resonance, but with different ratios: 1.0 for cutoff,
4
and turn the DEPTH knob down to ZERO, then and -0.5 for resonance. As you turn up the macro
right-click it and choose ASSIGN TO MACRO > knob, it would raise the cutoff frequency but lower
ADD NEW MACRO. the resonance, with the resonance value adjusted
by half of the amount that the cutoff value was
Switch back to the INFO tab, and youll see the new adjusted.
5
macro knob. Adjust the KNOB, and you can hear
the depth of the LFO modulation increasing.

To help remember what the macro is modulating, we

6
can give the knob a more meaningful label. Press
the EDIT button in the top left, then double-click the
label and enter a new name, such as VIBRATO.

You can assign macros one-to-one, for remote

control of a single parameter as above, or you can
assign one macro to multiple parameters for simple
control over complex transformations. For example,
you could assign one macro to both filter cutoff and

93
 LEARNING FALCON 205: USING HOST AUTOMATION

USING HOST AUTOMATION If your host application supports it, the name of the
3
In addition to Falcons extensive internal modulation assigned parameter may be displayed in the host
sources, when using Falcon as a plug-in you application. Otherwise, the numbered parameter
can take advantage of your host applications name (such as Host Automation 1) will be
automation capabilities. Each Falcon instance has displayed.
128 automation connections that can be assigned to
individual controls. Each host automation connection can be assigned
to one parameter at a time. If you assign a host
To make a host automation assignment, right-click a automation connection thats already assigned to
parameter, choose Assign to Host Automation, and a different control, the original assignment will be
choose one of the available items. removed when the new assignment is created. If
you want to create a one-to-many connection try
For example, right-click Part 1s VOLUME slider and first setting up a macro and then assigning the
1
choose ASSIGN TO HOST AUTOMATION > HOST macro control to host automation.
AUTOMATION 1.

The name of the assigned parameter will be

2
displayed in the TREE view.

94
 LEARNING FALCON 206: USING STEP ENVELOPES

1 3

2 5

USING STEP ENVELOPES Adjust the value of a few steps to be HALF or Tempo-syncing can be especially helpful if the
3
The Step Envelope is a programmable envelope QUARTER, and youll hear an effect similar to envelope is modulating pitch, as can be the Bipolar
for creating time-based effects, and makes a great delay feedback taps. You can also apply smoothing option. Enabling Bipolar mode puts zero in the
programmable pattern sequencer. between steps to avoid transitions that are too center and values can step above to +1 or below
abrupt, pop/click, and so on. to -1. To set the pitch range for the envelope, adjust
A good way to understand the Step Envelope the modulation ratio. For example, with a ratio of +12
1
is to use it to modulate keygroup gain. Load the You can also configure the number of steps, as well and the Bipolar option enabled, the envelope with
ANALOG STRINGS from the UVI TUTORIAL SETS as the length (in Hertz, or in bars/beats when the modulate 1 octave (12 semitones).
soundbank. module is tempo-synced). When the Step Envelope
is tempo-synced, the number of steps is often set You can also create LFO-like patterns that glide
5
Right-click the KEYGROUP GAIN knob and choose to a multiple of the number of beats in the current smoothly from step to step. With Interpolation Mode
2
ADD MODULATION > KEYGROUP > STEP time signature. However, non-multiples can result set to SPLINE, a continuous line is interpolated from
ENVELOPE. Play a few notes, and youll hear the in interesting, shifting patterns that dont obviously the individual bars, creating a continuously variable
signal gated on the empty steps, and full volume on loop. modulation source thats suited for pitch sweeps,
the steps with full bars. wobbles, and so on.
To enable TEMO-SYNC for the Step Envelope click
4
Each step doesnt have to be fully on or fully off, the sync icon in the MODULATION HEADER. Be sure to explore the Step Envelope preset folders,
however you can continuously adjust the value of as they contain over 1,000 ready-to-use patterns.
each step between the two.

95
 LEARNING FALCON 207: USING MULTI ENVELOPES

1
4

USING MULTI ENVELOPES A pop-up editor will appear showing all of the
3
The Multi Envelope is an envelope with a user- modulation sources linked to the control. Right-click
defined shape, consisting of any number of points. the AMP. ENV. name and replace it with a MULTI
This allows for truly customized envelopes beyond ENVELOPE.
classic DAHDSR envelopes, such as sweeps that
evolve over a long period of time or looped LFO- Now lets load a Multi Envelope preset, use the
4
like shapes. PRESET MENU to select ENVELOPES ONE SHOT
> ENVELOPE SWELL, and play a few notes.
A good way to understand the Step Envelope 5
1 is to use it to modulate keygroup gain. Load the To change the envelope shape, grab an existing
ELECTRIC PIANO from the UVI TUTORIAL SETS point and drag it, double-click to insert a new point,
soundbank. or Shiftright-click to remove a point. You can also
drag the lines between the points to adjust the
Go to the MAIN > EDIT view, right-click the curvature of the line.
2
KEYGROUP GAIN knob and select EDIT
MODULATIONS. If youd like a bigger canvas to work on, press the
5
EYE button next to the Preset File menu.

96
 LEARNING FALCON 208: USING OSC

2-3

USING OSC (OPEN SOUND CONTROL) Each one of Falcons parameters that can be
Open Sound Control is a protocol used to 2
controlled externally has an OSC Path that uniquely
communicate between different computers and identifies it, such as /uvi/Part 3/Program/Layer
other audio devices. OSC is commonly used as a 1/Gain. When a parameter is right-clicked, the
way for remote software control, such as from a contextual menu displays the parameters OSC path.
central sequencer thats driving Falcon installations
on multiple networked computers, or for There is also a convenient shortcut provided for
touchscreen control from a wireless mobile device.
3
copying the parameters OSC path to the clipboard.
You can then use that OSC path in any OSC-
To start using OSC in Falcon the OSC server needs equipped application to control that parameter.
1
to be enabled. Go to Falcons PREFERENCES
window, select the OSC tab, and enable OPEN
SOUND CONTROL SERVER. This will make Falcon
discoverable on the network by other OSC-enabled
applications. Falcon will automatically negotiate a
unique name and port number.

Once enabled, Falcon can be controlled remotely

by any application or device that supports OSC.

97
 TOPICS:

LEARNING FALCON 300:

301 USING THE ARPEGGIATOR
302 USING THE MICROTUNER
303 USING THE SCRIPT PROCESSOR

EVENTS
Weve looked at ways to create The most commonly used Event
and effect sounds and weve processors are the Arpeggiator,
looked at ways to modulate them, MicroTuner and MIDI filters like the
now lets take a look at Event Chorder, Harmonizer and Strum.
processors. These are easily mastered devices
providing great performance utility.
Event modules can generally
be thought of as MIDI effects, In the following chapter well take
processing incoming MIDI signals a look at a few of these devices
or generating them, though with and some of the ways that we can
the Scipt Processor its possible effectively implement them in our
to extend that paradigm to own projects.
include extremely sophisticated
creative devices and interface
customization.
 LEARNING FALCON 301: USING THE ARPEGGIATOR

USING THE ARPEGGIATOR However, especially when layered, non-multiples

5
The Arpeggiator is a classic synthesizer effect can result in interesting patterns without obviously
which modifies the incoming notes and plays them loop points.
in a programmable pattern to create a dynamic
sequence. Lets slow the SPEED down to 1/8 and add a few
4 more steps to this pattern. Change NUMSTEPS to 9
Lets start by loading the ELECTRIC PIANO and enable step 9 by clicking the STEP STATE box
1 program from the UVI TUTORIAL SET soundbank. underneath it, so that steps 1, 2, 3, 4, 6, 8, and 9 are
On and steps 5 and 7 are Off.
In EDIT mode change the play mode to POLY
2
PORTAMENTO. Now lets customize the value of these steps, adjust
5 6
the VELOCITY amount by click-dragging in the
Switch over to the EVENTS tab, hit the + button graph, and modify the GATE by shift-click-dragging.
3
and select the ARPEGGIATOR > ARP BASIC > 2
OCTAVE UP preset. To give the pattern a more defined groove lets
6
change NUM STRIKE to 2 and shift-click the STEP
Since the Arpeggiator is always tempo-synced, STATE button on step 7 to merge it with the step
the number of steps is often set to a multiple of before it.
the number of beats in the current time signature.

99
LEARNING FALCON 301: USING THE ARPEGGIATOR (PART 2)

The number of notes played is a combination of The Arpeggiator has three layers: Velocity and Pitch layer can be thought of as a kind of user-defined
7
the Octave, Repeat Top, Repeat Bottom, and Num for notes, and MIDI CC for generating a MIDI CC as LFO. To choose which MIDI CC is generated by the
Strike parameters. The Octave parameter takes an additional control signal. Right-click the step grid Arpeggiator, set the MIDI CC menu.
each triggered note and adds octaves of the same to change which layer is displayed. The step state
note above or below it. Repeat Top and Repeat (on, off, or merged) is shared between the three
Bottom will repeat the lowest or highest played note layers, but the velocity, pitch, and MIDI CC value for
an additional time. Num Strike sets the number of the step is independent.
consecutive strikes for every note.
The Pitch layer has a range of 48 semitones (4
The play mode determines how the arpeggiator octaves), with zero in the center. The pitch value
cycles through the played notes (and any repeated of each step is also displayed above the step grid,
notes and octaves). For example, if the play mode as is always visible regardless of the layer youre
is Up & Down, the lowest note will be played first currently viewing.
and cycle up to the highest, then cycle down to
the lowest. So if C2, F2, and G2 are held, they will The MIDI CC layer is useful for generating an
be played as C2, F2, G2, F2, C2, F2, and so on. additional modulation source, especially one that
The Chord play mode is notable because all held is also cyclical. For example, you could modulate
notes are played at once, rather than cycled; the on/ the cutoff frequency of a filter in sync with the note
off state, velocity, and pitch values are still applied. pattern of the arpeggiator; in this way, the MIDI CC

100
 LEARNING FALCON 302: USING THE MICROTUNER

1 3

USING THE MICRO TUNER Double-click the new MicroTuner to reveal it in the Save this document as pyth_12.scl (UTF-8
2 4
The Micro Tuner allows the exploration of many EVENTS editor to the right. In its default state the encoding) and drag the resulting file onto your
unique and interesting temperaments, both modern MicroTuner doesnt do anything. From here we MicroTuner. You can save this as a MicroTuner
and classical. It also allows ethnic instruments to be could load an existing preset, but for this example preset and it will be available for future projects.
played in their natural tuning. were going to use a custom Scala file.
Now change the GLOBAL TUNE in Falcons header
5
For this example were going to create an instance Lets create a new Scala file to describe 12-tone to 430.5 HZ. With A4 tuned to 430.5 Hz, C4 will
of Falcon in 12-tone Pythagorean temperament with Pythagorean temperament. Create a new text be at 256 Hz. This would be a good time to save
C4 at 256Hz. Pythagorean tuning is based on a document and paste in the following: out the Multi if you wanted to create a template or
stack of intervals called perfect fifths, each tuned in even Save as Default Multi if you consistently use a
the ratio 3:2, and creates exceptional harmonics. ! pyth_12.scl particular tuning.
3 !
12-tone Pythagorean scale
Navigate to the TREE tab, right-click the MASTER 12
! Now lets load a patch to hear the results, something
1
node and select ADD EVENT PROCESSOR > 2187/2048 with a long release, try PADS > BEAUTY IS SIMPLE
9/8
MICROTUNER. Placing the MicroTuner at the 32/27 2 from the FALCON FACTORY soundbank.
81/64
Master level means that all parts in Falcon will be 4/3
effected, this is a great way to ensure that any and 729/512 There are many MicroTuner presets that come
3/2
all instruments loaded or created from here on out 6561/4096 with Falcon, and that can be expanded easily with
27/16
will be in tune. 16/9 custom Scala files.
243/128
2/1

101
 LEARNING FALCON 303: USING THE SCRIPT PROCESSOR

2
5

3 4

USING THE SCRIPT PROCESSOR Falcon includes numerous factory preset scripts In the Script Processor module, press the LOAD
The Script Processor module provides custom for a variety of purposes, such as automatic 4 SCRIPT button on the left and choose the printer.
event processing capabilities, using the Lua-based harmonization, unison voice generation, MIDI CC lua file.
scripting language UVIScript. filtering, and more. You can also write your own
scripts to further customize Falcon. Then enable the SHOW CONSOLE OUTPUT
The Script Processor module has two primary sets
5
option, which is generally used for displaying debug
of controls: the standard controls for interacting Lets start with a simple script that prints some messages, and play a few notesyou will see that
with the script itself, and the controls defined by the
3
information about each note to the Script as each note is triggered and released, a line of
loaded script (knobs, buttons, menus, and so on). Proccessor console. Enter the following code into a information about the note is printed to the console
text editor and save the file as printer.lua: so long as the scripts PRINT button is enabled.
Lets load the Spanish Guitar program from the UVI If you disable the Print button, the messages no
1 Tutorial Set soundbank. Then go to the MAIN > printer = OnOffButton(Print, true) longer print to the console.
EVENTS tab, add the Script Processor module, then function onNote(e)
if printer.value == true then
load the PERFORMANCE > STRUM preset. print(On : , e)
end
postEvent(e)
This script has one parameter, Lag, with a value end
2
range of 1 to 200 ms. Adjust LAG and play a chord, function onRelease(e)
and youll hear the notes played in succession as if if printer.value == true then
print(Off: , e)
strummed rather than triggered all at once. end
postEvent(e)
end

102
APPENDIX A:
SAMPLING OSCILLATORS
Falcon includes 7 sampling
oscillators each equipped with a
unique feature set suited for a variety
of tasks from basic playback, loop
slicing, to advanced time stretching
and granular processes.
APPENDIX A: SAMPLING OSCILLATORS SAMPLE

SAMPLE START sets the starting point for playback

SAMPLE when the sample is triggered, as a percentage of the

time between the Sample Start and Sample End markers
in the sample file (see: [Interface > Main > Sample Editor]).

The Sample oscillator uses the The INTERPOLATION MODE sets the quality of the
traditional method of audio sample transposition. Choosing Lo-fi will reduce the amount
playback. When a sample is of processing needed to transpose the file compared
triggered at a pitch higher than its to Standard mode, and likewise choosing Best will
base note, the sample is played increase the processing overhead. (For other styles of
back more quickly; when below its transposition, try the other sampling oscillators as well.)
base note, the sample is played
back more slowly. When ALLOW STREAMING is enabled, the sample will
be streamed from disk if the program has Streaming
enabled. When disabled, the sample will always be
played from memory and not streamed from disk, even if
Streaming is enabled for the program.

104
APPENDIX A: SAMPLING OSCILLATORS SLICE

TEMPO subtle variations in the sample and there will be a larger

SLICE To set the loops tempo, choose its TIME SIGNATURE

and enter the loops duration in BARS and BEATS. The
number of slices.

BPM field will update as you change the other tempo To add a slice manually, double-click in the space
parameters. between the samples waveform and the time ruler. You
The Slice oscillator is ideal for can also add multiple slices at once on divisions of the
percussive or strongly rhythmic If youd like to playback the loop at a multiple of its musical grid by right-clicking, choosing ADD MARKERS
samples which can be sliced into original tempo, use the TEMPO FACTOR parameter for WITH GRID SETTING, and choosing a beat division
discrete sections. Slices of the coarse speed adjustments (up to 4x faster or slower). such as eighth note.
sample can be played back in the
original order, or rearranged to DETECTION Existing slices can be moved by clicking and dragging
create new sounds. The MARKERS setting determines whether to use slices anywhere along the slice. To protect a slice from being
already saved in the file (imported) or the slices youve edited, right-click the slice and choose LOCK. The slice
defined (user markers). Loops in UVI soundbanks will can be ignored by right-clicking it and choosing MUTE,
have imported slices, as will common loop formats such or it can be removed entirely with DELETE.
as REX and Apple Loop files.
PLAYBACK
If you choose to create your own slices, use the A single slice can be auditioned by clicking anywhere
SENSITIVITY slider to automatically detect and create on its waveform. When a slice is selected, you can also
slices. At the far left, slices will be created only by very use the forward/back AUDITION buttons to audition
prominent beats and there will be a small number of the next/previous slice. The Audition play and stop
slices; at the far right, slices will be created by more buttons can be used to playback the entire file. When

105
APPENDIX A: SAMPLING OSCILLATORS SLICE (CONTINUED)
AUTOPLAY is enabled, the loop will be triggered when EXPORTING AND CONVERTING THE LOOP

SLICE Falcons playback begins. (This button is the same as the

AutoPlay button in the Parts List.)
The entire loop can be exported as a new audio file
with the WAV button. When you press on it and drag, it
creates a new audio file that can be dragged to your host
SYNC determines how the loop interacts with Falcons application or desktop. The new audio file is created with
tempo and playback position. When set to position, all of the current settings applied: tempo, envelope, etc.
the sample is played back at Falcons tempo and also
locks to its playback position; in tempo mode, only the
tempo is matched. When set to off, Falcons tempo and
playback position are ignored and the sample is played
back at its original tempo. Or, to export the slices with each as an individual audio
file, choose EXPORT and specify the folder where the
In all Sync modes, the START control sets the slice samples will be saved. To save a program with the slices
where playback begins when the loop is triggered, mapped to individual keys, press on the PART button
with zero being the first slice in the loop. The SPEED and drag it to the Parts List or to the desktop or other
parameter adjusts the loops playback tempo, up to 50% folder.
faster or slower.

For MAP, see: Exporting and converting the loop.

EXTENSION If you would prefer to create a new layer in the current

When the loops playback tempo is slower than its program rather than a separate program, press the MAP
original tempo, you can choose to extend the slices so button in the Playback section. This will Mute and MIDI
that the loop is still continuous. With SLICE EXTENSION Mute the original layer, and create a new layer with the
set to AUTO, extension of the slices will be configured slices mapped to individual keys.
automatically. When disabled, use the AMOUNT
and TIME parameters to fine-tune how the slices are
extended.

ENVELOPE This will also change the audio drag & drop button to a
You can also optionally enable a slice envelope. When MIDI button. When you press on it and drag, it creates a
enabled with the ENVELOPE button, the ATTACK, MIDI file that can be dragged to your host application or
HOLD, DECAY, SUSTAIN parameters adjust an desktop. The MIDI file triggers the slices in their original
amplitude envelope that is applied to each slice as it is order and timing, which you can then edit for new
triggered. arrangements of the slices.

106
APPENDIX A: SAMPLING OSCILLATORS STRETCH

The Stretch oscillator will pitch-shift the sample 2 TEMPO field, which can be modified with the TEMPO

STRETCH octaves from its root key. Beyond that range the pitch
will be constant, even if the keygroups key range
FACTOR (400%) and TEMPO FINE (50%) controls.

extends further. ANALYSIS

To fine-tune the pitch-shifting, adjust the GRAIN SIZE
The Stretch oscillator pitch-shifts PLAYBACK and SENSITIVITY parameters. For highly rhythmic or
the sample when triggered above SAMPLE START sets the starting point for playback percussive material, try increasing Sensitivity for better
or below its root key, but keeps when the sample is triggered, as a percentage of the transient preservation. Additionally, if a sample contains
the speed of the sample constant. time between the Sample Start and Sample End markers a solo instrument, try enabling SOLO MODE for the best
in the sample file (see: [Interface > Main > Sample Editor]). pitch-shifting; for polyphonic samples, turn off
Solo Mode.
Additionally, when LEGATO MODE is enabled, if a new
note re-triggers the sample, playback will continue from
the current sample position but at the new pitch. With
Legato mode disabled, playback will always begin from
the samples start position.

SAMPLE TEMPO
Although the speed of sample playback is constant
across its key range, setting the SYNC mode to
TEMPO will sync the samples playback speed to
Falcons tempo. Set the samples base tempo with the

107
APPENDIX A: SAMPLING OSCILLATORS IRCAM GRANULAR

GRAIN SYMMETRY changes the skew of the grain window

IRCAM GRANULAR The GRAIN section configures the shape of the grains. by balancing the grain envelope attack and decay, as
percentages of the grain size:
SIZE sets the duration of the grains. DENSITY 0% sets an attack of 0% and decay of 100%; this results
determines how many grains will be played at once, in more percussive grains
The IRCAM Granular oscillator with 1.00 representing standard playback. With values 50% sets an attack of 50% and decay of 50%; this is the
uses granular synthesis to create less than 1.00, there will be silence between the grains standard, balanced window
a wide range of sounds. The audio with a rhythmic result similar to tremolo; with values over 100% sets an attack of 100% and decay of 0% means;
sample is divided into small grains 1.00, there is increasingly more overlap of grains with this results in reversed grains
which are then re-combined and a harmonic result similar to a chorus or sometimes a
played back in new ways to create ring modulator. JITTER varies the consistency of grain WINDOW sets the shape of the window (an envelope
realistic pitch shifting or as the playback timing. applied to the signal when creating grains); choose from
basis for a textured soundscape. Triangle, Hanning or Welch curves, or Square.
FADE sets the amount of the grain affected by the
fades of the grain envelopes attack and decay, as a PITCH VARIATION adds randomization to the pitch of
percentage of the full grain size. At the default 100%, the each grain, from minor variations of a few cents to an
full grain can be faded, which results in a triangle-shaped entire octave.
envelope. At less than 100%, there is a plateau in the
middle, resulting in a more trapezoidal envelope. PITCH CORRECTION sets how grains will be
transposed. The Grain Size option keeps grain size
constant, while the Period option adjusts the size of
the grain.

108
APPENDIX A: SAMPLING OSCILLATORS IRCAM GRANULAR (CONTINUED)
POSITION

IRCAM GRANULAR The POSITION section controls determine the playback

position in the sample file.

POSITION determines the starting point for playback, as

a percentage of the duration between the sample start
and end markers. With Speed set at or near zero, this
can be used to manually scrub to any location within the
file. POSITION VARIATION adds randomization to the
current position, with a range of zero to 500 ms from the
current position.

SPEED sets the scrubbing speed factor, with 1.00 as

normal speed, zero as staying in place on the current
grain, and 10.00 as 10x faster. DIRECTION sets the
direction of scrubbing, from +1.0 for fully forward to -1.0
for fully reverse.

If there is a loop in the audio file, the Loop Mode sets

how it will be handled:
NONE: The loop will be ignored
FORWARD: The looped section is played forward; when
playback reaches the end of the loop, playback begins
again from the loop start point
FORWARD-BACKWARD: The looped section is played
alternately forward (from the loop start to loop end) and
reverse (from loop end to loop start)

109
APPENDIX A: SAMPLING OSCILLATORS IRCAM MULTI GRANULAR

VOICES SYMMETRY

IRCAM MULTI GRANULAR The VOICES section set the voice-specific settings.
VOICES sets the number of unison voices. With a single
PITCH VARIATION
PITCH CORRECTION
voice, the result will be similar to the standard IRCAM
Granular oscillator. This module also has additional Grain settings not found
The IRCAM Multi Granular in IRCAM Granular:
oscillator is a multi-voice variant The other Voice controls set relative variations for each DURATION VARIATION sets the amount of grain size
of the IRCAM Granular oscillator. voice; TIME SPREAD adjusts the timing of each voices variation. Enable Reverse will reverse the individual
Each voice can be varied in trigger, and POSITION SPREAD sets the position within grains (not the overall playback direction, which is
multiple ways to achieve a range the sample file. controlled with Direction).
of unison effects.
GRAIN POSITION
The GRAIN section shapes the grains themselves. Most The POSITION parameters are the same for the IRCAM
of the GRAIN parameters are the same for the IRCAM Multi Granular oscillator as the IRCAM Granular oscillator;
Multi Granular oscillator as the IRCAM Granular oscillator; for details, see: [Appendix A: Modules > Oscillators >
for details, see: [Appendix A: Modules > Oscillators > IRCAM Granular].
IRCAM Granular]. POSITION
SIZE VARIATION
DENSITY SPEED
JITTER DIRECTION
WINDOW LOOP MODE
FADE

110
APPENDIX A: SAMPLING OSCILLATORS IRCAM SCRUB

PLAYBACK OPTIONS

IRCAM SCRUB The Playback parameters are the same for the IRCAM
Scrub oscillator as the IRCAM Granular oscillator; for
The Options parameters are the same for the IRCAM
Scrub oscillator as the IRCAM Stretch oscillator; for
details, see: [Appendix A: Modules > Oscillators > IRCAM details, see: [Appendix A: Modules > Oscillators > IRCAM
Granular > Position]. Stretch > Options].
The IRCAM Scrub oscillator is SPEED TRANSIENTS
similar in usage to IRCAM Granular, POSITION SHAPE
with random-access scrubbing and DIRECTION ENVELOPE
speed/direction control, but uses STEREO
the same top-quality algorithm as ANALYSIS
the IRCAM Stretch oscillator. As The Analysis parameters are the same for the IRCAM
with IRCAM Stretch, this requires Scrub oscillator as the IRCAM Stretch oscillator; for
more processing power than the details, see: [Appendix A: Modules > Oscillators > IRCAM
standard granular oscillator. Stretch > Analysis].
WINDOW
PADDING
OVERLAP

111
APPENDIX A: SAMPLING OSCILLATORS IRCAM STRETCH

PLAYBACK necessary to reduce unwanted artifacts. Often, no

IRCAM STRETCH SPEED sets the scrubbing speed factor, with 1.00 as
normal speed, zero as staying in place on the current
oversampling will be needed. OVERLAP sets the relative
amount of grain overlap. As with oversampling, higher
grain, and 10.00 as 10x faster. SAMPLE START sets the values are more processor intensive.
starting point for playback when the sample is triggered,
The IRCAM Stretch oscillator is as a percentage of the time between the Sample Start REMIX
similar to the standard Stretch and Sample End markers. Remix mode separates the signal into 3 discrete
oscillator, but uses very high components and allows you to mix and automate their
quality PhaseVocoder time-stretch SAMPLE TEMPO levels. The 3 signal components are SINE (harmonics),
and pitch-shifting with transient The tempo parameters are the same for the IRCAM NOISE and TRANSIENTS.
and envelope preservation. This Stretch oscillator as the standard Stretch oscillator; for
requires more processing power details, see: [Appendix A: Modules > Oscillators > Stretch OPTIONS
than the standard pitch-shifting > Sample Tempo]. TRANSIENTS: Transient preservation; helpful for highly
used in other oscillators, so it rhythmic or percussive samples
is best used when the source ANALYSIS ENVELOPE: Envelope preservation; helpful for avoiding
material requires the highest WINDOW sets the size of the sampling window for grain unwanted pitch artifacts with some samples
quality pitch shifting. size. Grain size is optimally set to a size proportional STEREO: Phase locks between stereo channels
to the fundamental note of the sample, with grain size SHAPE: Shape preservation; helpful for preserving the
twice the duration of the fundamental. PADDING sets character of voices and other monophonic sounds
the amount of oversampling, to x1 (no oversampling), LEGATO: New voice playback position will start where
x2, or x4. As oversampling is processor intensive, its currently playing voices are located
recommended to apply oversampling as little as is

112
APPENDIX A:
SYNTHESIS OSCILLATORS
Falcon includes 8 synthesis-oriented
oscillators including featured VA,
analog stack, percussion, noise,
organ, FM, wavetable and a physical
string modeling oscillator.
APPENDIX A: SYNTHESIS OSCILLATORS ANALOG

The Analog section contains the primary oscillator The DETUNE knob and menu adjust the amount and

ANALOG controls. WAVEFORM sets the shape of the waveform;

choose from saw, square, triangle, sine, noise, or pulse.
style of pitch adjustment to each voice.

PWM (pulse width modulation) modifies the shape of the

waveform, and is often modulated with an LFO. START
The Analog oscillator is a classic PHASE adjusts the point in the waveform at which
virtual analog synthesizer. playback will begin, and POLARITY reverses the polarity
of the waveform.

The Hard Sync section determines the phase sync

between voices. When SYNC is enabled, voices are
phase-synced to a control oscillator that is not displayed
or heard; SHIFT sets the amount of drift from the control
oscillator.

The Unison section sets the number of voices and

how they will be modified. VOICES sets the number of
simultaneous voices, and STEREO toggles between
mono and stereo. PHASE SPREAD sets the style of
phase spread for the voices. When stereo is enabled, the
STEREO SPREAD knob controls the amount of stereo
spread and the menu chooses the style of stereo spread.

114
APPENDIX A: SYNTHESIS OSCILLATORS ANALOG STACK

Each oscillator has a subset of the controls available

ANALOG STACK on the full Analog oscillator: ENABLE/DISABLE,

WAVEFORM SHAPE, PWM, START PHASE, and
POLARITY. For details on those parameters, see:
[Appendix A > Oscillators > Analog].
The Analog Stack module is
similar to the Analog oscillator, but Additionally, oscillators 2-8 have an SYNC TO OSC 1
designed specifically for easily option to sync their phase to oscillator 1.
layering multiple oscillators. Each
Analog Stack module contains The Mixer section adds GAIN and PAN controls for
eight oscillators. balancing the level and stereo placement of each
oscillator.

The Transposition section has four controls for

adjusting each oscillators pitch: OCT and SEMI for
MIDI transposition, and CENTS and PITCH for audio
transposition.

115
APPENDIX A: SYNTHESIS OSCILLATORS DRUM

OSCILLATOR The AMPLITUDE ENVELOPE offers ATTACK and

DRUM The pitched oscillator begins with a WAVEFORM

SHAPE; choose from sine, triangle, saw, or pulse. Set
DECAY, same as the pitched oscillator. Additionally, you
can choose a DECAY STYLE of exponential or linear;
the base pitch of the oscillator with FREQUENCY, and exponential decay is more rapid at first, while linear
then use the PITCH MODULATION controls to further decay is a constant rate.
The Drum oscillator is designed for adjust it. DEPTH sets the amount of modulation in
creating percussive sounds. There semitones, and RATE determines how quickly that pitch MIXER
are two sound sources: a pitched range is modulated. The SHAPE of the modulation The MIXER sets the relative levels for the oscillator and
oscillator and a noise generator. can be exponential (a rapidly decaying envelope), sine noise generators. When centered, the two are mixed
(traditional up and down LFO), or noise (semi-random together in equal amounts; drag the slider up or down for
walk). relatively more or less of each sound source.

The AMPLITUDE ENVELOPE is a simple AD envelope, MASTER

with ATTACK and DECAY parameters. The Master section provides overall adjustment and
effects for the oscillator: EQ GAIN, EQ FREQUENCY,
NOISE DISTORTION, and VOLUME.
The Noise generator provides a FILTER. The Filter TYPE
can be set to low-pass, band-pass, or high-pass, and VELOCITY SENSITIVITY levels can also be set
both CUTOFF FREQUENCY and Q can be adjusted. independently for Oscillator Volume, Oscillator Pitch
Modulation, and Noise Volume.

116
APPENDIX A: SYNTHESIS OSCILLATORS FM

OPERATORS The LEVEL control sets the output level for each

FM There are four operators. Each operator has a

RATIO which defines its frequency relative to the base
operator. Depending on the topology chosen, this control
will instead adjust the modulation index for operators, B,
frequency. At 1.0, the frequencies are the same; at C, and D.
2.0, the frequency of the operator is double the base
The FM oscillator is an FM frequency; and so on. MASTER
(frequency modulation) synth. The relationship between the operators and how they
FM synthesis uses multiple signals The HZ toggle changes the operator from a relative ratio modulate each other is chosen with the TOPOLOGY
with frequencies in the audible frequency to an explicit frequency set in Hz. menu. Additionally, operator D can be fed back into itself,
range to modulate each other with the FEEDBACK knob setting the amount.
and create unique and complex The FINE control provides fine tune adjustment of
sounds. +/- 1200 cents. If HZ mode is enabled the functionality
changes to a FREQUENCY MULTIPLIER, allowing
oscillator frequencies from 0.001 Hz to 20 kHz.

The PHASE control sets the start phase for the operator.

The SNAP toggle locks RATIO to harmonic intervals (e.g.

x1, x2, x3 etc.). In HZ mode this control is disabled.

117
APPENDIX A: SYNTHESIS OSCILLATORS NOISE

The NOISE TYPES are laid out on a grid; select a

NOISE name to choose the noise type. Depending on the

selected noise type, a VALUE control may be available
to changes a characteristic of the noise, such as Rate,
Density, Chaos, and so on. (Some noise types, however,
The Noise oscillator generates dont have any parameters.)
a variety of different pre-defined
noise types.

118
APPENDIX A: SYNTHESIS OSCILLATORS ORGAN

There are eight drawbars, each representing a different

ORGAN harmonic, labeled with the traditional pipe sizes originally

used on pipe organs. The 8 drawbar is the base note,
and each doubling or halving of the pipe size represents
an octave upward or downward. For example, when a C3
The Organ oscillator emulates an is triggered, 8 plays C3, 16 plays C2, and 2 plays C5.
electric organ.
Each drawbar has GAIN and PAN controls. The Gain
slider is used in the traditional drawbar style, where
pulling it towards you (in this case, downward) increases
the gain for that harmonic.

The PERCUSSION section adds a percussive harmonic,

when enabled with the ON button. This harmonic is
chosen with the HARMONIC knob, and the FAST mode
toggle determines its decay speed. This additional
harmonic decays quickly, even when notes are otherwise
sustained.

119
APPENDIX A: SYNTHESIS OSCILLATORS PLUCK

MIXER PICK

PLUCK There are three sources for the initial excitation: a

pitched oscillator, a noise oscillator, and an audio sample.
The Pick parameters adjust the character of the
plucking point. Enable the PICK FILTER to add a picked
You can blend the levels of each sound source with the simulation to the string excitation; set the position on
MIXER sections SAMPLE, SYNTH and NOISE sliders. the string with PICK POSITION and the intensity of the
Pluck is a physically inspired picking with PICK DEPTH.
string synthesis module, aimed SAMPLE
toward synthetic sounds with a To load an AUDIO SAMPLE, press on the menu above CONTOUR
natural decay. A short excitation the waveform image and choose from the menu of SHAPE adjusts the relative roundness or thinness of
waveform is triggered and fed factory preset samples. Alternatively, you can load your the excitation sources; negative values are rounder, and
through a filtered delay line; the own audio file by dragging and dropping it onto the positive values are thinner. ROLLOFF is a lowpass filter
characteristics of the decay are sample area. NEXT and PREVIOUS buttons are also of the excitation sources.
determined by the waveform, filter present, for browsing samples. START sets the sample
style, and other adjustments. start time. DETUNE provides sample pitch control of DYNAMICS sets the range of high frequency attenuation
+/- 48 cents. KEYFOLLOW sets the amount of influence (in dB) between the minimum and maximum note-
of key position over filtering. INTERPOLATION MODE on velocity. At lower velocities, more high frequency
chooses the quality of sample playback. Standard is ideal attenuation is applied.
for most scenarios.
FINGER
SYNTH With a HARMONIC RATIO of 1.00, the fundamental of
EXCITATION BRIGHTNESS adjusts the brightness of the triggered note is played; above 1.00, a harmonic
the excitation sources by changing the duty cycle of the note above the base note is played. The value is a ratio
source, similar to pulse width modulation. relative to the base note: 2.00 is one octave higher
than the fundamental, and so on. Just as with a physical 120
APPENDIX A: SYNTHESIS OSCILLATORS PLUCK (CONTINUED)
string, not all ratios will produce a clear harmonic tone. To tune the second string relative to the first, set

PLUCK Some more commonly used ratios include whole integer

values (1.0, 2.0, etc.) and simple integer ratios such as 1.5
COARSE TUNE to the interval in semitones (up to +2
octaves) and FINE TUNE in cents (up to 20 cents).
(3/2), 1.33 (4/3), and 1.25 (5/4). Additionally, a ratio of 1.01
is useful for simulating a palm-muted string. To dampen Some string materials, such as steel piano strings, are
the harmonic, increase HARMONIC DAMP. more inharmonic than others, such as nylon guitar
strings. INHARMONICITY controls the amount of stretch
When STRETCH is enabled, each sample is either of the string partials from the harmonic series.
processed through the delay and filter or passed through
unprocessed. Increasing the Stretch value will increase DECAY
the likelihood of samples passing through unprocessed. DECAY and RELEASE set the durations for the
With more unprocessed samples, there result is a slight amplitude envelope decay time. BRIGHTNESS highlights
buzzing sound which is useful for noise or drum sounds. or attenuates a high frequency shelf for the decay, and
DECAY CUTOFF sets the cutoff for a lowpass filter.
TUNING & COUPLING
By default, one plucked string is simulated; for two BRIDGE LOSS sets an amount of additional high
strings, change the STRINGS value. When there are two frequency dampening applied. On physical strings,
strings, the COUPLING MODE determines how they high frequencies dampen more quickly than lower
interact and the COUPLING amount sets the amount of frequencies; applying some additional dampening can
interaction. help make the decay sound more natural.
SERIAL: The two strings are in series, with the first
feeding the second. With Coupling at zero, only the DECAY TYPE chooses the filter type used to dampen
first string is heard; at 1.00, the first string is not directly the decay:
heard, and only the second string (excited by the first) is MA: The classic damping mode as used in the
heard. A Coupling of 1.00 results in a slower attack time, pioneering Karplus-Strong paper on plucked-string
similar to a cello. synthesis.
BRIDGE: A small amount of the first strings energy is fed MA2: A linear phase damping filter that is more
to the bridge and excites the other string through cross controllable than the MA filter.
feedback. LP1: The MA and MA2 have a gentle dampening
BEATING: Strings are coupled trough a rotation matrix, and may be too bright for some uses. LP1 is a more
causing the sound to beat at a few Hz. As Coupling progressive filter that dampens high frequencies more
increases, the beating will be faster. Detuning the second than MA or MA2. Conversely, LP1 may dampen too much
string also has an impact on the depth and complexity of for some sources, but is a good fit for sounds like muted
this beating. basses.
INHARMONIC: Similar to Beating, but the beating SHELF: Compromises between MA and LP1; high
frequency is in the audible range. This can result in bell- frequencies are not dampened as much as with LP1, but
like or plate-like sounds, similar to a ring modulator. the filter curve is more progressive than the MA or MA2
filters.

121
APPENDIX A: SYNTHESIS OSCILLATORS WAVETABLE

First, a wave is chosen. Press on the waveform menu to Depending on the wavetable, transitioning from slice to

WAVETABLE choose from one of the many factory preset waves or

use the next/previous buttons to browse. Additionally,
slice has the potential to be abrupt. There are therefore
two smoothing options: SMOOTH WAVE INDEX and
you can load your own audio files (or even image files) by SMOOTH OCTAVES.
dragging and dropping them onto the waveform area.
The WaveTable oscillator uses a PHASE DISTORTION MODE chooses the style of the
table containing multiple waveform Audio files are imported with one slice per channel. phase distortion, and PHASE DISTORTION AMOUNT
shapes. While a single waveform Slices will also be imported if slices are arranged one sets the amount.
is played at any given time, after the other within an audio file, and the number of
modulation between the different slices is specified the end of the file name following an To set the point within the waveform cycle where it
waveforms produces distinct and underscore (e.g. MySweep_128.wav). Image files are will begin when triggered, change the START PHASE
unique sounds. imported with each row of pixels as the wave cycle, control. For simple waveforms, the image of the
with one slice per row. (Very large image files may be waveform will update to show the result of the phase
resampled or cropped.) change.

If the wave has multiple slices, the WAVE INDEX The majority of the UNISON controls for the WaveTable
determines which slice in the wavetable will be played. module are the same as found on the Analog module;
Commonly, this is modulated to sweep through slices for details, see: [Appendix A > Oscillators > Analog >
while playing. Unison]. There is one additional Unison parameter for
the WaveTable oscillator, WAVE SPREAD, which sets the
range of Wave Index values for each voice.

122
APPENDIX A:
EFFECTS
Falcon includes over 80 high-
quality effects, categorized for
easy navigation: Delays, Reverbs,
Modulation, Filters, Equalizers, Amps
and Stereo, Drive and Distortions,
Dynamics, Analysis and more. With
effects suited for nearly every need
from creative mangling to precise
sound sculpting, mixing and analysis,
Falcon provides a tremendous sound
design facility.
 APPENDIX A: EFFECTS DELAYS ANALOG TAPE DELAY

TEMPO SYNC

DELAY

ANALOG TAPE DELAY DELAY sets the length of delay, in ms or bars/

beats (if tempo-synced), and FEEDBACK chooses
the percentage of signal fed back into the module.
SPREAD sets the amount of stereo spread, from zero
Analog Tape Delay is inspired by percent (mono) or 100 percent (full stereo).
classic analog delays using reel-
to-reel tape loops. DISTORTION
DISTORTION MODE set the style of distortion (Tape,
Tape/Tube, and Analog), and TRASH set the amount
of distortion.

MIX
DRY and WET knobs set the balance between the
dry (unaffected) and wet (affected) signal sent to the
modules output.

124
 APPENDIX A: EFFECTS DELAY DUAL DELAY

TEMPO SYNC

DELAY HIGH CUT rolls off higher frequencies.

DUAL DELAY TIME sets the length of delay, in ms or bars/beats (if

tempo-synced). FEEDBACK chooses the percentage ROTATION
of signal fed back into the module. Both Time and The Rotation section adjusts the phase of the INPUT,
Feedback have L/R controls to adjust the value for OUTPUT, and FEEDBACK signals.
Dual Delay is a delay module with one channel or the other as a percentage of the main
multiple controls for modifying value. WIDTH
one or both channels to produce INPUT adjusts the stereo spread of the signal input
a rich array of time-based effects, PEAK EQ to the effect, and OUTPUT adjust the spread of the
with an immersive interface to help A peak EQ located in the feedback loop. FREQ sets output signal.
visualize the stereo and phase the EQ frequency. GAIN sets the EQ gain amount (+/-).
adjustments being made. Q sets the filters bandwidth. MIX
DRY/WET knob sets the balance between the dry
MODULATION (unaffected) and wet (affected) signal sent to the
DEPTH chooses a detune amount for the delay taps, modules output.
and RATE sets the speed of modulation. OFFSET
adjusts the phase offset of the delay line LFO. DISPLAY
The display shows a visual representation of how the
FILTERS controls will affect the STEREO and PHASE output of
The filters affect only the wet signal; the dry signal is the module.
not filtered. LOW CUT rolls off lower frequencies, and

125
APPENDIX A: EFFECTS REVERB DIFFUSION

The DIFFUSION control sets the amount of diffusion

DIFFUSION applied. DIFFUSION START chooses the time delay

until diffusion beings to be applied.

MIX sets the balance between the dry (unaffected)

Diffusion spreads the signal and wet (affected) signal sent to the modules output.
over time, creating a simple yet
versatile decay with reverb-like
results.

126
APPENDIX A: EFFECTS REVERB IREVERB

If there is audio passing through the IReverb while DAMP

IREVERB parameters are being adjusted, the dry signal will be

heard momentarily. This is because convolution is
To filter the output, use LOW DAMP and HIGH DAMP
to dampen the low or high frequencies, respectively.
a processor-intensive effect and briefly muting the
processing signal is necessary to avoid pops/clicks or MIX
IReverb is a convolution reverb. other artifacts. DRY and WET knobs set the balance between the
Given an impulse response for a dry (unaffected) and wet (affected) signal sent to the
physical space or a piece of gear, IMPULSE modules output.
IReverb can accurately reproduce To load an IMPULSE RESPONSE, drag and drop an
what the input source would audio file to the sample area, or load one of the factory IMPULSE FILES
sound like if it were actually in that presets. To save the currently loaded impulse, choose SAVE
space or played through that piece IMPULSE to save the current file or SAVE IMPULSE
of hardware. REVERB AS to save as a new file.
TIME sets the duration of the wet signal, specified as
a percentage of the impulse responses duration. PRE
DELAY sets the amount of delay before the wet signal
is heard.

WIDTH adjusts the stereo width of the impulse

response. At negative values, the left an right channels
are swapped.

127
APPENDIX A: EFFECTS REVERB SPARKVERB

DECAY 4x, for each delay line. MODE sets the modulation

SPARKVERB The central DECAY parameter controls the duration

of the reverb decay. Low and Hi frequency bands can
interpolation style; choose from Dark (default; some
high-frequency decay damping), Lo-Fi (more high
further tailor the decay response across frequencies. frequency diffusion), or Bright (more precise high-
Choose frequency for each band with LO XOVER and frequency response, but more processor intensive).
SparkVerb is a unique and HI XOVER, and set the decay ratio (relative to the
versatile algorithmic reverb, main Decay time) with LO DECAY and HI DECAY. If DIFFUSION
centered around a frequency- you would rather cut the Low or Hi bands instead, use DIFFUSION ON/OFF toggles the short-term diffusion
based spectral display. DECAY LOW-CUT and DECAY HI-CUT. option. When enabled, DIFFUSION START sets the
The sound can be shaped with delay time until the diffusion is heard, and DIFFUSION
separate frequency bands, or ROOM AMOUNT sets how much diffusion will be applied.
adjusted globally. ROOM SIZE sets the size of the simulated space, from
small rooms (4 meters) to very large rooms (50 meters). OUTPUT
SHAPE sets the delay distribution and distortion of the MIX sets the balance between the dry (unaffected)
room, from zero (highest echo density) to 1.00 (highest and wet (affected) signal sent to the modules output.
spectral mode density). PRE DELAY sets the amount WIDTH adjusts the stereo spread of the modules
of delay before the wet signal is heard. DENSITY output. ROLLOFF sets the cutoff frequency of an
changes how dense the reflections will be; lower overall lowpass filter to adjust the brightness of the
values will be more like distinct echoes. wet signal. Enabling FREEZE will hold the current
decay infinitely, until Freeze is disabled.
MODULATION
DEPTH chooses the depth of the decay modulation,
in cents. RATE chooses a relative ratio, from 1/4 to
128
APPENDIX A: EFFECTS MODULATION ANALOG CHORUS

SPEED sets the speed of the modulation, WIDTH

ANALOG CHORUS adjusts the width of the stereo spread, and

INTENSITY sets the depth of the effect.

TRANSIENT ENHANCEMENT adjusts how much

Analog Chorus is a chorus module transients are affected by the module. Higher values
that is inspired by a popular allow for more prominent, unmodulated transients.
analog effects pedal.

129
APPENDIX A: EFFECTS MODULATION ANALOG FLANGER

SPEED sets the speed of the modulation, and

ANALOG FLANGER INTENSITY sets the depth of the effect. WIDTH adjusts
the delay times and modulation depth to increase the
stereo width of the effect.

Analog Flanger is a flanger module TRANSIENT ENHANCEMENT adjusts how much

that is inspired by a popular transients are affected by the module. Higher values
analog effects pedal. allow for more prominent, unmodulated transients.

130
APPENDIX A: EFFECTS MODULATION ENSEMBLE 505

MODE chooses the style of ensemble, with mode I being

ENSEMBLE 505 a less pronounced effect and mode III being the most.
A lowpass filter is applied after the ensemble; TONE
adjusts the cutoff frequency.

Ensemble 505 is an ensemble MIX sets the balance between the dry (unaffected) and
chorus effect, inspired by the wet (affected) signal sent to the modules output.
ensemble effect section of a
popular synth.

131
 APPENDIX A: EFFECTS MODULATION FLANGER

TEMPO SYNC

SPEED sets the speed of the modulation (in Hz, or bars/

FLANGER beats if tempo-synced), DELAY TIME adjusts the amount

of delay applied, and DEPTH sets the depth of the
effect.

Flanger is a classic flanger effect, FEEDBACK sets the percentage of signal fed back into
where the input signal is delayed the module, and MIX sets the balance between the
with a variable time delay and fed dry (unaffected) and wet (affected) signal sent to the
back onto itself. modules output.

132
 APPENDIX A: EFFECTS MODULATION PHASOR

TEMPO SYNC

ORDER MIX

PHASOR NOTCHES changes the number of filters in sequence

which correlates to the number of peaks and valleys you
SPREAD emphasizes the stereo effect. DEPTH controls
the wet/dry mix amount.
see displayed in the visualizer.

Phasor is a variable 12-order CONTOUR

automatic phaser effect In Phasor an LFO sweeps between two variable
frequencies, these are controlled with MIN FREQ and
MAX FREQ. FEEDBACK controls the amount of the
effected signal reinjected.

LFO
SPEED sets the speed of the LFO, which defaults to a
free-running frequency between 0.01 Hz and 10.00 Hz.
Toggling the TEMPO SYNC icon in the header allows
the LFO to syncd to the host clock and set between 1/64
tri and 32x. LFO SHAPE controls the shape of the LFO
which can be set to TRIANGLE, SINE, S&H or RANDOM.

133
APPENDIX A: EFFECTS MODULATION ROTARY

CABINET MICS

ROTARY MODEL changes the cabinet type. RADIUS sets the size
of the cabinet. DRIVE sets the amount of overdrive in the
MIC DISTANCE sets the distance of the mics to the
cabinet.
cabinet circuit. MIC ANGLE sets the angle between the mics relative to
the cabinet.
Rotary is a highly-customizable SPEED sets the rotary style:
speaker emulation effect modeled BRAKE = none
after the classic two-way rotating CHORALE = slow speeds
designs created for electric organs TREMOLO = fast speeds
in the 1940s
Chorale and Tremolo speeds are controllable with the
CHORALE and TREMOLO knobs below.

HORN FILTER sets the filter mode of the cabinets horn.

HORN VOLUME adjusts the rotating horn level.
DRUM VOLUME adjusts the rotating drum level.

ORDER sets the number of box reflections being

simulated. REFLECTION sets the mix amount for the
reflected signal.

BOX REVERB arms or disables a reverb on the cabinet.

134
APPENDIX A: EFFECTS MODULATION THORUS

CHORUS

THORUS VOICES set the number of chorus voices utilized from

2-8. SPEED sets the chorus frequency from 0.1 Hz to 1.0
Hz. DEPTH sets the pitch modulation depth from 1 to 40
cents. MODE influences the percieved the stereo effect
Thorus is a variable 8-voice chorus and can set to either Standard or Wide.
that provides an exceptionally
clear effect and a number of useful COLOR
color controls CROSSOVER sets the crossover frequency between the
Low (pass-through) signal and the High (chorused) signal.
LOW GAIN controls the level of the low (pass-through)
signal. EDGE controls the feedback amount of the High
(chorused) signal. TONE controls the frequency of the
low-pass filter.

OUTPUT
MIX controls the wet/dry mix amount of the effect.

135
APPENDIX A: EFFECTS FILTER ANALOG FILTER

MODE chooses the type of filter: low pass (LP), high pass

ANALOG FILTER (HP), or band pass (BP).

CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
Analog Filter is a multimode filter example, 2.00 KHZ (B5). RESONANCE adjusts how
inspired by the filter section found much the cutoff frequency is emphasized.
on a popular American analog
synth.

136
APPENDIX A: EFFECTS FILTER BIQUAD FILTER

MODE chooses the type of filter: low pass (LP), high pass

BIQUAD FILTER (HP), band pass (BP), or notch.

CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
The classic swiss-army knife example, 2.00 KHZ (B5). RESONANCE adjusts how
multimode filter. much the cutoff frequency is emphasized.

137
APPENDIX A: EFFECTS FILTER BRICKWALL FILTER

CUTOFF sets the frequency for the filter; the note name

BRICKWALL FILTER corresponding to the frequency is also displayed, for

example, 2.00 KHZ (B5).

TYPE chooses the type of filter: low pass (LP) or high

Brickwall Filter is a filter with a pass (HP). SLOPE sets how sharply the filter slopes
steep slope, for brickwall filtering downward at the cutoff frequency.
beyond the cutoff frequency.
SOFT BYPASS lets the signal continue to pass through
the module, but the output signal is unaffected. This
is an ideal way to bypass the effect while playing, as
the regular bypass can potentially pop/click if enabled/
disabled during playback.

138
APPENDIX A: EFFECTS FILTER COMB FILTER

MODE chooses the type of comb filter applied: Plus

COMB FILTER (frequencies are added) or Minus (frequencies are

subtracted).

CUTOFF sets the frequency for the filter; the note name
A classic comb filter, where a time corresponding to the frequency is also displayed, for
delayed version of the signal is example, 2.00 KHZ (B5). RESONANCE adjusts how
fed back into itself and added or much the cutoff frequency is emphasized.
subtracted. This results in a unique
frequency peaks and valleys
where the phase of the signals
combine or cancel each other out.

139
APPENDIX A: EFFECTS FILTER CROSSOVER FILTER

TYPE chooses the type of filter: low pass (LP), high pass

CROSSOVER FILTER (HP), or band pass (BP).

LOW-MID FREQ and MID-HIGH FREQ set the

frequency boundaries for the crossover. When Low Pass
Crossover Filter has a selectable is chosen, only the Low-Mid knob can be adjusted; the
filter type and variable crossover Mid-High Freq knob is disabled. Likewise, when High
frequencies for the affected band. Pass is chosen, only the Mid-High knob can be adjusted.
Both knobs can be adjusted when Band Pass is chosen.

140
APPENDIX A: EFFECTS FILTER LOWPASS 12

CUTOFF sets the frequency for the filter; the note name

LOWPASS 12 corresponding to the frequency is also displayed, for

example, 2.00 KHZ (B5). RESONANCE adjusts how
much the cutoff frequency is emphasized.

LowPass 12 is a 12 dB/octave low

pass filter.

141
APPENDIX A: EFFECTS FILTER LOWPASS 24

CUTOFF sets the frequency for the filter; the note name

LOWPASS 24 corresponding to the frequency is also displayed, for

example, 2.00 KHZ (B5). RESONANCE adjusts how
much the cutoff frequency is emphasized.

LowPass 24 is a 24 dB/octave low

pass filter.

142
APPENDIX A: EFFECTS FILTER ONE POLE

MODE chooses the type of filter: low pass or high pass.

ONE POLE CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
example, 2.00 KHZ (B5). KEY TRACKING adjusts
A gentle and very efficient 6dB/ how the cutoff frequency is adjusted relative to the
octave lowpass or highpass filter. note played.
The most efficient of all filters
by far.

143
APPENDIX A: EFFECTS FILTER PHASOR FILTER

ORDER

PHASOR FILTER NOTCHES changes the number of filters in sequence

which correlates to the number of peaks and valleys you
see displayed in the visualizer.

A manual version of the Phasor CONTOUR

effect FREQ sets the filter frequency. FEEDBACK controls the
amount of the effected signal reinjected.

MIX
SPREAD emphasizes the stereo effect. DEPTH controls
the wet/dry mix amount.

144
APPENDIX A: EFFECTS FILTER REZ FILTER

MODE chooses the type of filter: low pass (LP), high pass

REZ FILTER (HP), or band pass (BP).

CUTOFF sets the frequency for the filter; the note name
corresponding to the frequency is also displayed, for
Rez Filter is inspired by the filter example, 2.00 KHZ (B5). RESONANCE adjusts how
section found on a popular much the cutoff frequency is emphasized.
Japanese synth.

145
APPENDIX A: EFFECTS FILTER SVF

CUTOFF sets the frequency for the filter; the note name

SVF corresponding to the frequency is also displayed, for

example, 2.00 KHZ (B5). RESONANCE adjusts how
much the cutoff frequency is emphasized.

SVF is a state variable multimode KEY TRACKING adjusts how the cutoff frequency is
filter. adjusted relative to the note played.

FILTER MODE chooses the type of filter: low pass (LP),

high pass (HP), band pass (BP), peak, or notch. Drive
Mode chooses the style of overdrive, linear or soft.

146
APPENDIX A: EFFECTS FILTER UVI FILTER

CUTOFF sets the type and amount of filter. At the center

UVI FILTER position, no filter is applied. To the right of center, a high-

pass filter is applied, and further to the right raises the
cutoff frequency. Likewise, further left of center applies
a low-pass filter and drops the cutoff frequency. The Q
UVI Filter is a filter that is control sets the filters shape.
continuously adjustable between
low pass and high pass modes. If you load presets saved in older versions of MachFive
or UVI Workstation, MAPPING MODE will be set to
Legacy; otherwise, use Standard.

147
APPENDIX A: EFFECTS FILTER VOWEL FILTER

MODE chooses the style of filter: low pass (LP2), band

VOWEL FILTER pass (BP2), or high pass (HP2). Two vowel sounds can
be chosen for the filter, set with FILTER A and FILTER B,
and the blend of the two is controlled with MORPH. The
Q control sets the filters shape.
Vowel Filter is a dual filter version
of the classic talkbox effect. Set the number of formants with NUM FORMANTS, the
formant frequencies are shifted higher or lower with the
FORMANT control.

148
APPENDIX A: EFFECTS FILTER WAHWAH

WAH sets the filter frequency, which is commonly

WAHWAH modulated or controlled with a pedal or other MIDI

controller. DRIVE sets the amount of overdrive applied,
and MODEL sets the style to a variety of common wah
pedal models.
WahWah is a wah filter effect with
full manual control over the wah MASTER sets the output gain level.
amount, same as with an effect
pedal.

149
APPENDIX A: EFFECTS FILTER XPANDER FILTER

MODE for DC gain drop (e.g. crank it when you want more

XPANDER FILTER MODE sets the filter shape. Click the image to choose
between 37 different options or use the left/right arrows
OOMPH than SIZZLE). KEY TRACKING adjusts how the
cutoff frequency is adjusted relative to the note played.
to scroll through them. ALGORITHM allows you to choose between two modes:
MODE I emulates a classic constant-Q filter solver,
A highly-customizable multi-mode Filter types include: MODE II is a modern zero-delay filter solver. 2X enables
filter with 37 shapes, vintage LP - low pass oversampling for the filter and provides the cleanest
and modern algorithms, built-in HP - high pass results when active.
saturation and oversampling. BP - band pass
AP - all pass OVERDRIVE
PK - peak filter TYPE sets the style of overdrive used: Soft Saturation,
T - twin filter Hard Clip, or Linear. AMOUNT sets the amount of
overdrive used.
The number indicates the order of the filter (e.g. LP1 is a
low pass filter with a 6 dB/octave slope).

FILTER
CUTOFF sets the frequency for the filter; the note
name of the corresponding frequency is also displayed
(e.g. 2.00 kHz (B5)). RESONANCE adjusts how much
emphasis is given to the cutoff frequency. THICKNESS
overdrives the filter at lower frequencies to compensate

150
APPENDIX A: EFFECTS EQUALIZER 3 BAND SHELF

The crossover points between the bands are set with the

3 BAND SHELF LOW/MID FREQ and MID/HIGH FREQ controls.

Each of the three bands have a GAIN control for

boosting or cutting its frequency.
The 3 Band Shelf has Low, Mid,
and High bands. The Mid band is a
bell curve, while the Low and High
bands are shelves.

151
 APPENDIX A: EFFECTS EQUALIZER 8 BAND EQ

POP-OUT EDITOR

The eight bands are: When a band is selected, an information box is displayed

8 BAND EQ two rolloffs: high-pass (HP) and low-pass (LP)

two shelves: low-shelf (LSHELF) and high-shelf
in the upper left. As the band is adjusted, its Gain,
Frequency, and Q values update in realtime.
(HSHELF)
four peaks: PEAK1, PEAK2, PEAK3, PEAK4 To view a larger graph, drag the bottom edge of the
The 8 Band EQ is a parametric module to resize it.
EQ with multiple types of bands, Each band can be enabled or bypassed by pressing its
all laid out on a large, graphical name. When enabled, the button is colored in. Press the EXTERNAL WINDOW button in
display. the module title bar to open the graph in a
All bands have a fully variable FREQUENCY. The high- separate window to view it even larger.
pass and low-pass bands have a fixed slope, while the
remaining shelf and peak bands have adjustable GAIN
and Q.

In addition to the knobs and toggle switches, the bands

can also be edited graphically in the frequency graph:
Press and drag a point to adjust its frequency by
dragging right/left, or its gain by dragging up/down.
Press and drag a bands color bars to adjust Q.
Right-click a point to enable/disable the band.
Double-click a point to return it to its default value.

152
APPENDIX A: EFFECTS EQUALIZER BIG PI TONE

TONE adjusts the amount and type of filter applied. At

BIG PI TONE zero a lowpass filter is applied, at 10.00 a highpass filter

is applied, and the interim values are a blend of the two.
The blended result is similar to a shelving filter with a
notch in the middle.
An emulation of the tone circuit in
a popular fuzzbox guitar pedal.

153
APPENDIX A: EFFECTS EQUALIZER CONVOLVER

IMPULSE

CONVOLVER To load an IMPULSE RESPONSE, drag and drop an

audio file to the sample area.

MIX
Convolver is a simple convolution DRY and WET knobs set the balance between the
processor, ideally suited for dry (unaffected) and wet (affected) signal sent to the
emulating EQs, cabinets, and so modules output.
on. For reverb, the IReverb effect
is recommended; see: IMPULSE FILES
[APPENDIX A > Effects > Reverb > To save the currently loaded impulse, use the Preset File
IReverb] menu and choose SAVE IMPULSE to save the current
file or SAVE IMPULSE AS to save as a new file.

154
APPENDIX A: EFFECTS EQUALIZER TILT

The TILT control sets the amount of gain applied each to

TILT band. With negative values, the low shelf is boosted and
the high shelf is cut; the opposite occurs with positive
values.

The Tilt module has two shelf CUTOFF sets the frequency for the EQ; the note name
bands, a low shelf and a high shelf, corresponding to the frequency is also displayed, for
which are applied inversely. example, 2.00 KHZ (B5).

155
APPENDIX A: EFFECTS EQUALIZER TONE STACK

MODEL chooses the style of amplifier head, and the

TONE STACK BASS, MID, and TREBLE controls set the relative levels
for each tone band. GAIN sets the modules output gain,
as a percentage of its input.

Tone Stack emulates the tone

controls found on many common
amplifier heads.

156
 APPENDIX A: EFFECTS AMP & STEREO AUTOPAN

TEMPO SYNC

SPEED sets how quickly one auto-pan cycle is

AUTOPAN completed, in Hz or bars/beats (if tempo-synced).

DEPTH sets how far across the stereo field the auto-pan
will cover, with 100 percent covering the full distance
from hard left to hard right.
Autopan varies stereo panning
with an LFO. MODE chooses the pan law for the auto-pan cycle.

157
APPENDIX A: EFFECTS AMP & STEREO GAIN

VOLUME sets the amount of boost or cut, from +12 dB to -.

GAIN
Gain is a simple level adjustment
module, used to boost or cut the
signal level.

158
APPENDIX A: EFFECTS AMP & STEREO GAIN MATRIX

The INPUT channels are listed down the side, and the

GAIN MATRIX OUTPUT channels are listed across the top. Each in/out
relationship can be edited by typing in a new value or
clicking and dragging the value:
At 1.00, the signal is passed through at full strength and
Gain Matrix sets the gain level its original phase
and phase of each channel. This At 0.00, output is silenced for that channel
allows for simple per-channel gain At -1.00, the output is passed through at full strength but
adjustments, or for specialized with the opposite phase
gain/phase transformations.
Factory presets provide some Gain Matrix also supports multi-channel configurations,
common transformations, such as such as quad, 5.1, 7.1, and others.
decoding mid-side to stereo.

159
 APPENDIX A: EFFECTS AMP & STEREO TREMOLO

TEMPO SYNC

FREQUENCY sets how quickly the LFO cycle is

TREMOLO completed, in Hz or bars/beats (if tempo-synced). DEPTH

sets how far across the gain range the cycle will cover,
with 100 percent covering the full distance from - to
0 dBFS.
Tremolo varies amplitude with
an LFO.

160
APPENDIX A: EFFECTS AMP & STEREO UVI WIDE

WIDTH adjusts the stereo spread of the modules

UVI WIDE output. At zero, the stereo image of the input signal is
unaffected. Positive values increase the stereo spread
and negative values reduce it, down to a mono signal at
-100%.
UVI Wide is a stereo width
enhancer with a high-shelf filter. DELAY sets the amount of delay applied to one channel
to help create a wider a stereo image.

EXTRA WIDTH provides additional frequency control

by way of a high-shelf EQ. EXTRA WIDTH FREQ sets
the EQ frequency, EXTRA WIDTH GAIN controls the EQ
gain adjustment (+/-).

161
APPENDIX A: EFFECTS DRIVE & DISTORTION ANALOG CRUNCH

INPUT GAIN sets the gain adjustment into the module,

ANALOG CRUNCH before any distortion is applied.

OVERDRIVE and TRASH set the amount and character

of the distortion, and MIX sets the balance between the
Analog Crunch is inspired by clean and overdriven signals.
overdrive/distortion effect pedals
commonly used with electric OUTPUT GAIN sets the final, post-distortion gain
guitars. adjustment.

162
APPENDIX A: EFFECTS DRIVE & DISTORTION DIODE CLIPPER

CLIPPER

DIODE CLIPPER DRIVE controls the overall effect intensity.

ASYMMETRY shifts the saturation symmetry between
the two diodes, effecting the even/odd harmonic ratio.

Diode Clipper is a circuit-modelled CONTOUR

diode clipping stage similar to The circuit of Diode Clipper includes a passive non-
those found in many overdrive linear, dynamic-driven HP/LP filter that exhibits effects
stomp boxes. like hysterisis when saturated. TONE sets the frequency
of the LP filter, while HIGH PASS controls the HP filter
frequency.

163
APPENDIX A: EFFECTS DRIVE & DISTORTION DRIVE

MODE set the style of drive (Analog, Mild, or Strong), and

DRIVE AMOUNT sets the amount of drive.

Use OVERSAMPLING to set the amount of oversampling

applied (if any), from 2x to 16x. As oversampling
Drive offers a straight-ahead drive/ is processor intensive, its recommended to apply
distortion, with three different oversampling as little as is necessary to reduce
flavors of distortion. unwanted aliasing. Often, no oversampling will be
needed.

164
APPENDIX A: EFFECTS DRIVE & DISTORTION EXCITER

AMOUNT chooses the amount of excitation applied,

EXCITER MIX sets the balance between the clean and excited
signals. MODE sets the style of exciter, using common
characteristics of Tape or Tube exciters.

Exciter is a classic exciter effect,

adding brightness and saturation.

165
APPENDIX A: EFFECTS DRIVE & DISTORTION FUZZ

INPUT GAIN sets the gain adjustment into the module,

FUZZ before any fuzz is applied.

OVERDRIVE and TRASH set the amount and character

of the fuzz, and MIX sets the balance between the clean
Fuzz is inspired by classic fuzz and fuzzed signals.
guitar and bass effect pedals.
OUTPUT GAIN sets the final, post-fuzz gain adjustment.

166
APPENDIX A: EFFECTS DRIVE & DISTORTION GUITAR BOXES

MIX sets the balance between the original and amplified

GUITAR BOXES signals.

SEPARATION sets the amount of delay, in ms, from

amplifier to the microphone. SPREAD sets the amount of
Guitar Boxes emulates a guitar stereo spread, from zero percent (mono) or 100 percent
cabinet, with multiple cabinet (full stereo).
models and mic types.
MODEL chooses the style of amplifier, from well-known
amp models to general device types to unusual FX
simulations. MIC TYPE adjusts the characteristic of the
microphone capturing the amplified signal, as a Dynamic,
Condenser, or Ribbon mic.

167
APPENDIX A: EFFECTS DRIVE & DISTORTION OVERDRIVE

INPUT GAIN sets the gain adjustment into the module,

OVERDRIVE before any distortion is applied.

OVERDRIVE and TRASH set the amount and character

of the distortion, and MIX sets the balance between the
Overdrive emulates overdrive clean and overdriven signals.
distortion commonly used on
guitars. OUTPUT GAIN sets the final, post-distortion gain
adjustment.

168
APPENDIX A: EFFECTS DRIVE & DISTORTION WAVE SHAPER

INPUT GAIN sets the gain adjustment into the module,

WAVE SHAPER and PRE FREQ sets the frequency of lowpass filter
applied before any waveshaping.

Choose the WAVE SHAPE by clicking the waveform

Wave Shaper distorts the input selecting a wave from the menu, then use AMOUNT and
signal by transforming the shape KNEE to adjust characteristics of the wave shape.
of the waveform, which often
results in heavily distorted sounds. Use OVERSAMPLING to set the amount of oversampling
applied (if any), from 2x to 16x. As oversampling
is processor intensive, its recommended to apply
oversampling as little as is necessary to reduce
unwanted aliasing. Often, no oversampling will be
needed.

POST FREQ sets the frequency of a highpass filter

applied after waveshaping. OUTPUT GAIN sets the gain
adjustment, after waveshaping is applied.

MIX sets the balance between the clean and overdriven

signals.

169
APPENDIX A: EFFECTS DYNAMICS 3 BAND COMPRESSOR

The 3 Band Compressor has Low, Mid, and High bands.

3 BAND COMPRESSOR The crossover points between the bands are set with the
LOW/MID FREQ and MID/HIGH FREQ controls.

Each of the three bands have standard compressor

The 3 Band Compressor is a multi- controls: THRESHOLD, RATIO, ATTACK, RELEASE,
band version of the compressor, MAKEUP. For more information on compressor settings,
with adjustable crossover see: [Appendix A: Modules > Effects > Dynamic >
frequencies. Compressor Expander]

170
APPENDIX A: EFFECTS DYNAMICS 3 BAND LIMITER

The 3 Band Limiter has Low, Mid, and High bands. The

3 BAND LIMITER crossover points between the bands are set with the
LOW/MID FREQ and MID/HIGH FREQ controls.

Each of the three bands have standard limiter controls:

The 3 Band Limiter is a multi-band THRESHOLD, MARGIN, and RELEASE. For more
version of the Studio Limiter, with information on limiter settings, see:
adjustable crossover frequencies. [Appendix A: Modules > Effects > Dynamic > Studio
Limiter]

171
APPENDIX A: EFFECTS DYNAMICS COMPRESSOR EXPANDER

Both the compressor and gate have Threshold, Ratio,

COMPRESSOR EXPANDER Attack, and Release controls. THRESHOLD sets the

level at which the compressor or gate will be applied.
RATIO sets the ratio between input gain and output
gain. ATTACK and RELEASE set the speed at which
Compressor Expander is a dual the compressor or gate begins or stops processing the
dynamics processor the signal after it has crossed the threshold.
compressor tames signal peaks
over a chosen threshold, and the MAKEUP GAIN applies a manual gain adjustment to
expander gates the signal below a compensate for the gain reduction of the compressor. Or,
second, independent threshold. to have makeup gain applied dynamically, enable AUTO
MAKEUP.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

Lastly, the INPUT METER on the left side of the module

displays the level of the input signal, and the GAIN
REDUCTION METER on the right side of the module
displays the amount of gain reduction applied. Note that
the righthand meter is not an output meter.

172
APPENDIX A: EFFECTS DYNAMICS GATE

THRESHOLD sets the level at which the gate will be

GATE applied. ATTACK and RELEASE set the speed at which

the gate begins or stops processing the signal after it has
crossed the threshold.

Gate is a traditional gate, silencing

signals below a chosen threshold.

173
APPENDIX A: EFFECTS DYNAMICS MAXIMIZER

THRESHOLD sets the level at which limiting will be The TIMELINE displays the input signal and gain

MAXIMIZER applied, and CEILING sets the maximum output level. reduction over time. The blue graph rises from the
bottom of the timeline and indicates the amplitude of the
LOOKAHEAD sets the amount of time the module will input signal; the red graph grows downward from the top
lookahead at the input signal; longer lookahead times of the timeline and indicates gain reduction.
Maximizer is a look-ahead limiter can achieve a better response for transients and other
with a graphical timeline to sudden changes in amplitude.
visualize the dynamic range of the
input and output. RELEASE sets the speed at which the limiter stops
processing the signal after it has fallen below the
threshold.

The INPUT METER on the left side of the module

displays the level of the input signal, and the GAIN
REDUCTION METER on the right side of the module
displays the amount of gain reduction applied. Note that
the righthand meter is not an output meter.

174
APPENDIX A: EFFECTS DYNAMICS STUDIO LIMITER

THRESHOLD sets the level at which limiting will be

STUDIO LIMITER applied. MARGIN sets the maximum output level,

which can also be thought of as the margin between
the maximum signal output by the limiter and zero
dBFS. RELEASE sets the speed at which the limiter
The Studio Limiter is a high-quality stops processing the signal after it has fallen below the
limiter, suited for individual parts or threshold.
for full stereo mixes.
MIX sets the balance between the dry (unaffected) and
wet (affected) signal sent to the modules output.

175
 APPENDIX A: EFFECTS ANALYSIS PHASE METER

POP-OUT EDITOR

REFRESH sets how quickly the audio signal is measured,

PHASE METER and DECAY sets how quickly the measurement fades
from the display.

AMP MODE chooses a scale for the amplitude of the

The Phase Meter displays the input signal, Linear or dB.
phase correlation of the signal.
When the signal is fully mono, To view a larger meter, drag the bottom edge of the
a vertical bar is displayed; with module to resize it.
stereo channels that are fully
out of phase, a horizontal bar is Press the EXTERNAL WINDOW button in
displayed. the module title bar to open the meter in a
separate window to view it even larger.

176
 APPENDIX A: EFFECTS ANALYSIS SPECTRUM ANALYZER

POP-OUT EDITOR

FFT SIZE defines the length of the frequency sampling To view a larger graph, drag the bottom edge of the

SPECTRUM ANALYZER window; larger sizes are more precise, but require more
processing power. WINDOW TYPE chooses the function
module to resize it.

used for sampling. Press the EXTERNAL WINDOW button in

the module title bar to open the graph in a
The Spectrum Analyzer displays MAX DB sets the maximum value that can be displayed separate window to view it even larger.
the frequency content of the in the analyzer (the very top of the graph), and DB
signal. Frequencies are displayed RANGE sets the range below the maximum value that
on the X-axis, increasing from left will be displayed. X SCALE chooses the scale used for
to right, and amplitude is displayed the horizontal axis: Linear, Log, Semitones, or 3rd Octave.
on the Y-axis, increasing from The labels on the left and top sides of the graph update
bottom to top. as you adjust the Max dB, dB range, and X scale settings.

DRAW TYPE chooses how the frequency response

will be drawn on the graph: as a single continuous line
(Line), as multiple thin lines (Bin), or thick bars (Bands).
REFRESH sets how quickly the graph is re-drawn.

177
 APPENDIX A: EFFECTS ANALYSIS TUNER

POP-OUT EDITOR

REFRESH sets how quickly the tuner reacts as the audio

TUNER signal changes.

FREQ MIN and FREQ MAX set boundaries for the

lowest and highest frequencies that the tuner will detect.
The Tuner is a chromatic tuner with
a needle-style meter, accurate To view a larger tuner, drag the bottom edge of the
to 1 cent increments. The Tuner module to resize it.
is a helpful tool when adjusting a
samples pitch with its keygroup Press the EXTERNAL WINDOW button in
Fine Tune parameter. the module title bar to open the tuner in a
separate window to view it even larger.

178
APPENDIX A: EFFECTS MISC EFFECT RACK

When the Effect Rack is added, it creates eight MACROS The overall level of the FX chain can be adjusted in the

EFFECT RACK and one FX CHAIN. To view the FX chain, choose

the FX chain in the Tree view or via the Effects Tabs
Tree view, or the chain can be disabled with the POWER
button. You can also create additional FX chains under
navigation nodes. You can then add the desired effects the same Effect Rack module, by right-clicking its node in
to the FX chain. the Tree view and choosing ADD FX CHAIN.
The Effect Rack creates a new
effects path inline where the Effect The Effect Rack macros can be used as FRONT PANEL
Rack module is added. Macros are controls for parameters on effects in the FX chain. To
added for front-panel control of assign a macro, right-click a parameter on an effect in
the effects that are added to the the FX Chain and choose ASSIGN TO EFFECT RACK
Effect Racks FX chain. MACRO. To change a macros name, double-click the
macros name on the Effect Rack and enter a new name.

179
APPENDIX A: EFFECTS MISC REDUX

RESAMPLING FILTER

REDUX FREQUENCY sets the resampling frequency, with

JITTER introducing time variations to the resampling.
FILTER POSITION chooses whether the filter is off,
before resampling (pre), or after (post). FILTER MODE
BITS sets the bit depth, and DITHER sets the amount chooses the type of filter: low pass (LP), high pass (HP),
of dither (a type of low-level randomized noise). or band pass (BP).
Redux is a resampler for creating
lo-fi effects such as extreme bit TYPE chooses the style of resampling: DECIMATE FILTER FREQUENCY sets the frequency for the filter,
reduction. inserts zeroes in between sampled values, and and FILTER RESONANCE adjusts how much the cutoff
BLOCKER holds a sampled value until the next frequency is emphasized.
sampled value.
OUTPUT
QUANTIZE LAW sets the type of quantization to one of MIX sets the balance between the dry (unaffected) and
two common algorithms: linear or mu-law (also known as wet (affected) signal sent to the modules output.
-law).

The ANTIALIASING toggle sets whether an anti-aliasing

filter is enabled. When disabled, frequencies over the
sampling rate may WRAP AROUND when resampled
and cause unusual harmonics.

180
APPENDIX A: EFFECTS MISC UVINYL

VINYL

UVINYL Choose the general vinyl characteristics with YEAR,

RPM TYPE, and amount of WEAR.

NOISE
UVinyl is a vinyl simulation effect. To add noise to the record, add ELECTRICAL NOISE or
MECHANICAL NOISE with their Gain controls.

DUST AND SCRATCH

To add DAMAGE to the record, add DUST or SCRATCH
with their Gain controls. The relative frequency of dust
and scratches can be adjusted with the DUST AMOUNT
and SCRATCH AMOUNT controls.

OUTPUT
The signal can be folded down to mono with the
MONO toggle.

181
APPENDIX A:
LEGACY EFFECTS
The Legacy FX modules were
included in past versions of
MachFive and UVI Workstation.
When older program and multi files
are loaded, Legacy FX modules may
be recalled.

For new programs and multis, its

recommended to use the standard
effects modules.
 APPENDIX A: LEGACY EFFECTS DELAY FX DELAY

TEMPO SYNC

DELAY TIME sets the length of delay, in ms or bars/

FX DELAY beats (if tempo-synced), and FEEDBACK chooses the

percentage of signal fed back into the module.

CUTOFF sets the type and amount of filter. At the center

FX Delay is a stereo delay with position, no filter is applied. To the right of center, a high-
auto-panned stereo modulation. pass filter is applied, and further to the right raises the
cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.

The delay is also auto-panned; SPEED controls the auto-

pan rate, in Hz or bars/beats (if tempo-synced).

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

183
 APPENDIX A: LEGACY EFFECTS DELAY FAT DELAY

TEMPO SYNC

DELAY TIME sets the length of delay, in ms or bars/

FAT DELAY beats (if tempo-synced), and FEEDBACK chooses the

percentage of signal fed back into the module.

DIFFUSION sets the density of the delay taps.

Fat Delay uses multiple delay lines
and diffusion to produce a dense CUTOFF sets the type and amount of filter. At the center
delay tail. position, no filter is applied. To the right of center, a high-
pass filter is applied, and further to the right raises the
cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

184
 APPENDIX A: LEGACY EFFECTS DELAY PING PONG DELAY

TEMPO SYNC

DELAY TIME sets the length of delay, in ms or bars/

PING PONG DELAY beats (if tempo-synced), and FEEDBACK chooses the
percentage of signal fed back into the module.

CUTOFF sets the type and amount of filter. At the center

Ping Pong Delay is a standard position, no filter is applied. To the right of center, a high-
delay with additional stereo pass filter is applied, and further to the right raises the
processing. cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.

SPREAD controls the stereo spread of the modules

output. At zero, the output is mono; negative values feed
the input to the left channel first, and positive values to
the right channel first.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

185
 APPENDIX A: LEGACY EFFECTS DELAY SIMPLE DELAY

TEMPO SYNC

DELAY TIME sets the length of delay, in ms or bars/

SIMPLE DELAY beats (if tempo-synced), and FEEDBACK chooses the

percentage of signal fed back into the module.

CUTOFF sets the type and amount of filter. At the center

Simple Delay is a general-purpose position, no filter is applied. To the right of center, a high-
delay. pass filter is applied, and further to the right raises the
cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

186
 APPENDIX A: LEGACY EFFECTS DELAY STEREO DELAY

TEMPO SYNC

The left and right channels have independent delay time

STEREO DELAY assignments; LEFT DELAY TIME and RIGHT DELAY

TIME set the length of each channels delay, in ms or
bars/beats (if tempo-synced). FEEDBACK chooses the
percentage of signal fed back into the module.
Stereo Delay offers a configurable
stereo delay with separate CUTOFF sets the type and amount of filter. At the center
delay paths for the left and right position, no filter is applied. To the right of center, a high-
channels. pass filter is applied, and further to the right raises the
cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

187
 APPENDIX A: LEGACY EFFECTS REVERB GATE REVERB

TEMPO SYNC

PRE DELAY sets the amount of delay before the wet

GATE REVERB signal is heard, in ms or bars/beats (if tempo-synced),

and DECAY TIME sets the duration of the reverb decay.
GATE TIME sets the time duration, in ms or bars/beats (if
tempo-synced), until the gate is applied to the decaying
Gate Reverb provides a gate signal.
for cutting off the reverb decay
abruptly. HIGH DAMP sets the amount of dampening applied to
high frequencies.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

188
APPENDIX A: LEGACY EFFECTS REVERB PLAIN REVERB

DECAY TIME sets the duration of the reverb decay, and

PLAIN REVERB HIGH DAMP chooses the amount of dampening applied

to high frequencies.

MIX sets the balance between the dry (unaffected) and

Plain Reverb is a general-purpose wet (affected) signal sent to the modules output.
reverb.

189
 APPENDIX A: LEGACY EFFECTS REVERB PREDELAY VERB

TEMPO SYNC

PRE DELAY sets the amount of delay before the wet

PREDELAY VERB signal is heard, in ms or bars/beats (if tempo-synced),

and DECAY TIME sets the duration of the reverb decay.
HIGH DAMP chooses the amount of dampening applied
to high frequencies.
Predelay Verb is a standard reverb
fed through a delay line. MIX sets the balance between the dry (unaffected) and
wet (affected) signal sent to the modules output.

190
APPENDIX A: LEGACY EFFECTS REVERB SIMPLE REVERB

CUTOFF sets the type and amount of filter. At the center

SIMPLE REVERB position, no filter is applied. To the right of center, a high-

pass filter is applied, and further to the right raises the
cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.
Simple Reverb provides an
optional lowpass or highpass filter DECAY TIME sets the duration of the reverb decay, and
before the signal is fed into the HIGH DAMP chooses the amount of dampening applied
reverb. to high frequencies.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

191
 APPENDIX A: LEGACY EFFECTS MODULATION CHORUS

TEMPO SYNC

SPEED sets the speed of the modulation (in Hz, or bars/

CHORUS beats if tempo-synced), DELAY TIME adjusts the amount

of delay applied, and DEPTH sets the depth of the
effect.

Chorus is a classic chorus, where MIX sets the balance between the dry (unaffected) and
the input signal is combined with wet (affected) signal sent to the modules output.
multiple time- and pitch-modulated
variations of the input signal for a
shimmering unison effect.

192
 APPENDIX A: LEGACY EFFECTS MODULATION CROSS PHASER

TEMPO SYNC

SPEED sets the speed of the modulation (in Hz, or

CROSS PHASER bars/beats if tempo-synced), and MIN FREQ and MAX

FREQ set the minimum and maximum frequencies of the
frequency sweep.

Cross Phaser is a phaser that also DEPTH sets the depth of the effect, and FEEDBACK
applies auto-panning to produce a sets the percentage of signal fed back into the module.
wider and more varied effect.

193
 APPENDIX A: LEGACY EFFECTS MODULATION PHASER

TEMPO SYNC

SPEED sets the speed of the modulation (in Hz, or

PHASER bars/beats if tempo-synced), and MIN FREQ and MAX

FREQ set the minimum and maximum frequencies of the
frequency sweep.

Phaser is a classic phaser effect, DEPTH sets the depth of the effect, and FEEDBACK
where the input signal is phase sets the percentage of signal fed back into the module.
modulated and fed back onto
itself.

194
APPENDIX A: LEGACY EFFECTS FILTER AUTO WAH

GAIN sets the input level to the module. SENSITIVITY

AUTO WAH sets the intensity of the auto wah filter, and the Q
control sets the filters shape. DRIVE applies post-filter
overdrive.

Auto Wah is a wah pedal effect,

with its filter frequency set
automatically from the modules
input level.

195
APPENDIX A: LEGACY EFFECTS FILTER FX FILTER

LOW FREQ enables and sets the cutoff frequency for the

FX FILTER lowpass filter; likewise, HIGH FREQ enables and applies

the highpass filter. The LOW Q and HIGH Q controls set
the shape of each filter band.

The FX Filter module has two

filters, lowpass and highpass,
applied in series.

196
APPENDIX A: LEGACY EFFECTS FILTER TALKBOX

FILTER MODE chooses the type of filter: low pass

TALKBOX (LP), high pass (HP), or band pass (BP). VOWEL MODE
chooses the vowel sound for the filter.

CUTOFF sets the frequency for the filter; the note name
Talkbox simulates the vowel corresponding to the frequency is also displayed, for
shaping and filtering of a classic example, 2.00 KHZ (B5). RESONANCE adjusts how
talkbox effect pedal. much the cutoff frequency is emphasized.

197
APPENDIX A: LEGACY EFFECTS EQUALIZER 2 BAND EQ

Both bands have a FREQUENCY control for setting its

2 BAND EQ central frequency and a GAIN control for boosting or

cutting around that frequency.

The 2 Band EQ has Low and High

bands.

198
APPENDIX A: LEGACY EFFECTS EQUALIZER 3 BAND EQ

The Mid band has a FREQUENCY control for setting the

3 BAND EQ bands central frequency and a Q control for the bands

shape. Each of the three bands have a GAIN control for
boosting or cutting its frequency.

The 3 Band EQ has Low, Mid,

and High bands. The Low and
High bands have fixed frequency
assignments, while the Mid band is
adjustable.

199
APPENDIX A: LEGACY EFFECTS AMP & STEREO ROTARY SIMPLE

SPEED sets the rate of the speaker rotation, and DEPTH

ROTARY SIMPLE sets the intensity of the effect; at higher Depth values,
the pitch is also markedly affected.

Miking the speaker is also simulated, with MIC

Rotary Simple is a single-speaker DISTANCE setting the distance of the mic from the
emulation of a rotary speaker. speaker.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

200
APPENDIX A: LEGACY EFFECTS AMP & STEREO ROTARY SPEAKER

CROSS FREQUENCY sets the crossover point for the

ROTARY SPEAKER Low and High frequency bands. LOW SPEED and HIGH
SPEED set the rate of the speaker rotation for each
band, and DEPTH sets the intensity of the effect; at
higher Depth values, the pitch is also markedly affected.
Rotary Speaker is a dual-speaker
emulation of a rotary speaker, with Miking the speaker is also simulated, with MIC
an adjustable crossover. DISTANCE setting the distance of the mic from
the speaker.

201
APPENDIX A: LEGACY EFFECTS DRIVE & DISTORTION DOUBLE DRIVE

PRE DRIVE sets the initial amount of overdrive, followed

DOUBLE DRIVE by the filters. HIGH FREQ and LOW FREQ controls set
the amount of high pass and low pass filter applied (if
any). Post-filter drive is applied with POST DRIVE, with
GAIN providing the final output level adjustment.
Double Drive is a filter sandwiched
by two drive stages.

202
APPENDIX A: LEGACY EFFECTS DRIVE & DISTORTION UVI DRIVE

DRIVE sets the initial amount of drive applied, followed

UVI DRIVE by the filter.

CUTOFF sets the type and amount of filter. At the center

position, no filter is applied. To the right of center, a high-
UVI Drive is a drive module with a pass filter is applied, and further to the right raises the
post-drive UVI Filter included. cutoff frequency. Likewise, further left of center applies
a low-pass filter and drops the cutoff frequency. The Q
control sets the filters shape.

GAIN provides the final output level adjustment.

203
APPENDIX A: LEGACY EFFECTS DYNAMICS COMPRESSOR

THRESHOLD sets the level at which the compressor

COMPRESSOR will be applied; when applied, RATIO sets the amount

of compression applied. ATTACK and RELEASE set
the speed at which the compressor begins or stops
processing the signal after it has crossed the threshold.
Compressor provides standard
dynamics compression. MAKEUP applies a manual gain adjustment to
compensate for the gain reduction of the compressor.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

204
APPENDIX A: LEGACY EFFECTS DYNAMICS LIMITER

GAIN sets the input level to the module. THRESHOLD

LIMITER sets the level at which limiting will be applied, and

CEILING sets the maximum output level. RELEASE sets
the speed at which the limiter stops processing the signal
after it has fallen below the threshold.
Limiter is a standard limiter,
compressing the signal with a MIX sets the balance between the dry (unaffected) and
fixed ratio that is higher than wet (affected) signal sent to the modules output.
the ratios available with the
Compressor.

205
APPENDIX A: LEGACY EFFECTS DYNAMICS UVI MASTERING

UVI Mastering has Low, Mid, and High bands. The

UVI MASTERING crossover points between the bands are set with the
LOW/MID FREQ and MID/HIGH FREQ controls.

Each band has a VOLUME control, which sets the gain

UVI Mastering is a mastering of the band before the combined signal is fed to the
processor for stereo mixes, such compressor, limiter, and tube saturator. COMP ATTACK
as Falcons main outs. It provides and COMP THRESHOLD set the compressor attack time
multiband compression, a limiter, and threshold, followed by the LIMITER THRESHOLD,
and tube saturation. and finally, TUBE AMOUNT.

206
 APPENDIX A: LEGACY EFFECTS MISC BEAT REPEAT

TEMPO SYNC

ACTIVE enables beat repeating; the most recent beat

BEAT REPEAT will be repeated until beat repeating is disabled. Once

disabled, playback continues from where it left off.

TIME sets the length of time that will be repeated, in ms

Beat Repeat slices the incoming or bars/beats (if tempo-synced).
audio on the grid that you specify,
and when activated will repeat the MIX sets the balance between the dry (unaffected) and
most recent slice. This enables wet (affected) signal sent to the modules output.
glitch effects and variations in
a live performance or looped
samples.

207
APPENDIX A: LEGACY EFFECTS MISC RING MODULATOR

FREQUENCY sets the frequency of the modulation

RING MODULATOR signal.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.
Ring Modulator combines the
input signal with a modulation
frequency, and both subtracts and
adds the modulation frequency to
the input frequency. For example,
with an input of 600 Hz and a
modulation frequency of 250 Hz,
the output will include both 350
Hz (600 minus 250) and 850 Hz
(600 plus 250).

208
APPENDIX A: LEGACY EFFECTS MISC ROBOTIZER

FREQUENCY sets the frequency of the ring modulation,

ROBOTIZER and DEPTH adjusts the intensity of the modulation.

FM controls a modulation signal that modifies the ring
modulation frequency.

Robotizer starts with a ring CUTOFF sets the type and amount of filter. At the center
modulator, with some additional position, no filter is applied. To the right of center, a high-
modulations. pass filter is applied, and further to the right raises the
cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

209
APPENDIX A: LEGACY EFFECTS MISC UVI DESTRUCTOR

BIT SIZE sets the bit depth, and SAMPLE RATE sets the

UVI DESTRUCTOR resampling frequency.

DRIVE sets the amount of pre-filter overdrive applied.

UVI Destructor is resampler and CUTOFF sets the type and amount of filter. At the center
bit reducer, with optional overdrive position, no filter is applied. To the right of center, a high-
and filter following the bit depth pass filter is applied, and further to the right raises the
and sample rate reduction. cutoff frequency. Likewise, further left of center applies a
low-pass filter and drops the cutoff frequency.

MIX sets the balance between the dry (unaffected) and

wet (affected) signal sent to the modules output.

210
APPENDIX A:
EVENT PROCESSORS
Falcons Event section provides
control over pre-synthesis data,
namely the manipulation, analysis or
generation of MIDI. Event processors
can do anything from arpeggiating
incoming notes or strumming them
like a guitar to applying micro
tunings, playing back MIDI files or
creating generative sequences.
APPENDIX A: EVENT PROCESSORS ARPEGGIATOR

TRIGGER MODE determines how the arpeggiator is bars down to 64th note triplet. STEP LENGTH sets the

ARPEGGIATOR triggered:
NOTE: Each note resets the arpeggiator position to the
duration of the trigger within the step duration; the lower
the Step Length value, the more staccato each step will
first step be. A Step Length Value >100% will result in each note
LEGATO: When multiple notes are played slightly overlapping the next note. GROOVE AMOUNT
The Arpeggiator is a classic simultaneously, each new note continues from the chooses the amount of swing applied to the grid.
synthesizer effect which modifies current step
incoming notes and plays them SONG POSITION: The arpeggiator continually cycles, NUM STRIKE chooses how many times each note will be
in programmable pattern to and any notes played are triggered at the current step triggered before moving to the next note in the pattern.
create a dynamic sequence. REPEAT BOTTOM and REPEAT TOP selectively repeat
Falcons arpeggiator provides MODE chooses the pattern of how notes will be the bottom-most or top-most note in the pattern.
many advanced controls such as triggered, from a simple upward progression to zig
per step length, gate, pitch and zags, spirals, and more. OCTAVE chooses the number Enabling HOLD will latch all notes as they are played as if
velocity as well as 27 different of octaves triggered in addition to the actual notes that they were being held down; to release the notes, disable
performance modes. were played. When Octave is not zero, OCTAVE MODE Hold.
sets whether the pattern of notes will be repeated
individually within each octave (Repeat Pattern) or ARP/VEL. BLEND sets the blend of the arpeggiator
whether the pattern will be completed once in total velocity value and the original note-on velocity values.
across all notes in all octaves (Repeat Keys). At zero percent, the resulting velocity is fully controlled
by the arpeggiator; at 100%, the resulting velocity is
NUM STEPS sets the number of steps in the grid, and fully controlled by the note velocity and the arpeggiator
RESOLUTION sets the beat value of each step, from 32 velocity values are ignored.

212
APPENDIX A: EVENT PROCESSORS ARPEGGIATOR (CONTINUED)
MIDI CC sets which MIDI CC is output by the MIDI CC PITCH OFFSET

ARPEGGIATOR layer of the arpeggiator, if any (see below). Choose off to

disable, or 0-127 to set the desired MIDI CC.
The values of the Pitch Layer are displayed as text above
each step. You can also edit these values directly for
more precise control.
STEP GRID
The STEP GRID sets and displays the values for each
step. There are three independent layers to the step grid:
VELOCITY, PITCH, and MIDI CC.

To change which layer is displayed,

right-click and choose a layer from
the contextual menu.

STEP VALUE
The size of the vertical bar within the step determines
the steps value. The larger the bar, the higher the value.
Note that when viewing the Pitch layer, the bar is bipolar,
with zero displayed in the vertical center of the step. To
change the duration of the step, hold the Shift key while
dragging the bar horizontally within its step.

STEP STATE
Beneath each step is a toggle that can pressed to set the
steps state. When enabled, the step outputs the value
displayed in the bar above; when disabled, the step does
not output any value. Additionally, you can merge a step
with the one before it to create steps than are longer
than one step of the grid. To merge a step, hold the Shift
key when pressing the steps state button. The step state
button for merged states is red. Alternatively, you can tie
a step to the one before it; the second step will still have
a unique value, but it will be triggered in a legato style.
To tie a step, hold the Alt/Option key when pressing the
steps state button. The step state button for merged
states is blue.

213
APPENDIX A: EVENT PROCESSORS MIDI PLAYER

To load a MIDI file, press the BROWSE button and

MIDI PLAYER choose a Standard MIDI File using the standard file
browser. When a MIDI file is loaded, its name is displayed
next to SEQUENCE NAME.

The MIDI Player module plays The BASE NOTE chooses which note will trigger
back a Standard MIDI File, tempo- playback of the MIDI sequence. Other notes will play
synced with Falcon. back as usual. When TRANSPOSE is enabled, every
note will trigger playback of the MIDI sequence,
transposed relative to the Base Note. When disabled,
only the Base Note will trigger playback.

When the MIDI file is triggered, it will play back once.

If LOOP is enabled, the MIDI file will be looped
continuously. Additionally, AUTOPLAY can be enabled
to automatically begin MIDI file playback when Falcon
begins playing.

By default, the MIDI Player will play back all sixteen

channels saved in the MIDI file. Press a channels
BYPASS button to bypass it.

214
APPENDIX A: EVENT PROCESSORS MICRO TUNER

The NOTE GRID displays the mapping of each note in

MICRO TUNER each octave. In standard tuning, each note is mapped

to a whole number: C-2 = 0.00, C#-2 = 1.00, D-2 = 2.00,
and so on. The note grid is display only; to edit the tuning
assignments, import Scala files as described below.
The Micro Tuner provides alternate
tunings to the standard twelve- The Micro Tuner modules preset browser has two
tone equal temperament tuning. additional items in its Preset File menu.

IMPORT SCALA TUNING: Import an .scl file

IMPORT SCALA MAPPING: Import a .kbm file

For more information on Scala, see:

http://www.huygens-fokker.org/scala

215
APPENDIX A: EVENT PROCESSORS SCRIPT PROCESSOR

This module has some standard controls at the top, with reloading to keep the current state of the script

SCRIPT PROCESSOR the script-defined controls below. parameters. The WATCH FOR SCRIPT CHANGES
option will automatically reload the script whenever the
STANDARD CONTROLS script file is modified; this can be useful while developing
To load a script, press the LOAD A SCRIPT button and a script and making repeated changes.
The Script Processor module choose a UVIScript file from the standard file browser.
provides general event processing When a script file is loaded, the SCRIPT NAME is The script console displays debug and print messages
capabilities beyond the specific displayed in the center of the script module title bar, and and is useful for debugging scripts. Toggle the SHOW/
event processors described its script-defined controls will be displayed below. HIDE CONSOLE OUTPUT button to show or hide the
earlier. script console. Press the CLEAR CONSOLE OUTPUT
To edit the script file, press the EDIT SCRIPT IN button to clear the current console messages.
EXTERNAL EDITOR button and the script file will be
opened in your default text editor application. SCRIPT-DEFINED CONTROLS
The script itself defines what sort of controls will be
If you would like to add a password to the current displayed. This includes knobs, buttons, menus, and
script, press the PROTECT SCRIPT button and enter a other controls similar to those seen in other Falcon
password. After a script is protected, you must enter the modules.
script password to open the script for editing.
MORE INFORMATION
Press the RELOAD CURRENT SCRIPT button to reload For more information on UVIScript, see:
the current script from disk, and reset its parameters [Appendix B: Scripting]
to their default values. Hold the Alt/Option key while

216
APPENDIX A:
MODULATORS
Modulation generators can be
instanced at any level in a patch
allowing them to control nearly any
parameter, be it on an oscillator,
effect or even on another modulator.
This system allows you to paint
motion into your sounds almost
effortlessly, from subtle variation
over time to complex on-demand
sequences.
APPENDIX A: MODULATORS AHD

The ATTACK, HOLD, and DECAY values can be set by

AHD the sliders, or by adjusting the points in the envelope

editor. Additionally, the curve of the Attack and Decay
ramps can be changed by dragging the line itself. For
more details on editing the envelope graphically in the
The AHD envelope (attack, hold, envelope editor, see: [DAHDSR > Envelope Editor]
and decay) is a simpler envelope
than a full DAHDSR envelope, To choose if and how velocity will affect the envelope,
similar to envelopes found on use the VELOCITY AMOUNT and VELOCITY
some classic synths. SENSITIVITY controls, as described in:
[DAHDSR > Velocity Amount and Sensitivity]

218
APPENDIX A: MODULATORS ANALOG ADSR

The ATTACK, DECAY, SUSTAIN, and RELEASE controls The manual TRIGGER button allows for the envelope to

ANALOG ADSR set the basic envelope shape, and DYNAMIC RANGE
controls the amount of the output range controlled by the
be triggered on-demand, and can be controlled remotely
via automation or modulation.
trigger velocity.

The Analog ADSR envelope Two modes alter how the envelope is triggered and
(attack, decay, sustain, and processed. If the ATTACK/DECAY mode is set to AD,
release) is an envelope with decay only the attack and decay phases of the envelope are
characteristics similar to classic used; sustain and release will have no effect. When set
analog envelopes, providing a to ADSR, all phases of the envelope can be configured.
more vintage feel than a precise The Analog ADSRs TRIGGER MODES are the same as
digital ADSR. for the LFO module; for details, see: [LFO>Trigger mode].

You can choose how velocity affects the envelopes

attack and decay with the VEL > ATTACK and VEL
> DECAY controls. Additionally, you can INVERT
VELOCITY to invert the velocity values as they affect
they envelope from the actual played velocity.

Likewise, you can choose how key follow affects the

envelopes attack and decay with the KEY > ATTACK
and KEY > DECAY controls.

219
APPENDIX A: MODULATORS ATTACK DECAY

DECAY is set to a time value, and ATTACK is set as a

ATTACK DECAY percentage of the Decay time.

The Attack Decay envelope

is the simplest modulation
envelope provided. An Attack
Decay envelope is often used for
percussive sounds that dont need
a sustain or release.

220
APPENDIX A: MODULATORS DAHDSR

The DELAY, ATTACK, HOLD, envelope. Points can be adjusted of the point while keeping the START or SET AS LOOP END.

DAHDSR DECAY, SUSTAIN, and RELEASE

values can be set by the sliders,
by dragging or double-clicking,
and the curve of ramps can be
shape of the overall envelope
constant. For example, when the
Loop endpoints are highlighted
orange.
or edited graphically by using the changed by dragging the line Hold point is moved, both the
envelope editor. itself. Hold time before the point and the Scrolling up and down with your
The DAHDSR envelope (delay, Decay time after the point will be mouse or trackpad will zoom the
attack, hold, decay, sustain, and To choose if velocity will affect When dragging points, you can adjusted, but the total envelope editors display in and out, and the
release) is a classic synthesis the envelope, use the VELOCITY hold different modifier keys to time will remain the same. If you Auto Zoom to Fit option snaps the
envelope style. It is an extension AMOUNT control. At zero percent, adjust the result: would like to adjust the value of display to the current size of the
of the common ADSR envelope, velocity will have no effect. Shift: fine control only one envelope segment at a envelope.
with an additional delay phase at VELOCITY SENSITIVITY remaps Command (Mac) Control time, enable RELATIVE MODE
the beginning and a hold phase the velocity input curve; values (Windows): constrain to vertical under the Envelope Editors menu.
between attack and decay. between zero and 100% use a movement only The menu can be opened by right-
progressively more exponential Alt/Option: constrain to horizontal clicking anywhere in the envelope
curve, and values between -100% movement only display.
and zero use an increasingly Shift+Command (Mac)
logarithmic curve. Shift+Control (Windows): While a note is held, the envelope
temporarily change absolute/ loops on the sustain phase
The ENVELOPE EDITOR is a relative mode (see below) by default. However, you can
graphical, interactive display change the looped portion of the
of the envelope shape. Each When a point is adjusted, it will envelope by right-clicking a point
point represents a phase of the affect the values on both sides and choosing SET AS LOOP

221
APPENDIX A: MODULATORS DRUNK

The INITIAL VALUE sets the starting point for the signal.

DRUNK From there, the signal varies semi-randomly around

that value, fluctuating with the BANDWIDTH speed.
The signal varies up or down, weighted according to
the BIAS. The SMOOTH speed determines the rate of
The Drunk module generates smoothing applied as the value varies.
a random walk signal which
simulates the natural randomness The default range of the Drunk module is bidirectional
that occurs in cases such as the from the starting value (bipolar). For a range that
drift in pitch or amplitude of a moves in a single direction relative to the starting value
sustained note. (unipolar), disable BIPOLAR mode.

The Drunk modules TRIGGER MODE determines how

the module is triggered. The trigger modes are the same
as for the LFO module; for details, see: [LFO > Trigger
mode].

222
 APPENDIX A: MODULATORS LFO

TEMPO SYNC

POP-OUT EDITOR

The LFO WAVEFORM can be one To set the point within the LFO begins. DEPTH controls the TRIGGER MODE determines how

LFO of the classic LFO shapes (Sine,

Square, Triangle, Ramp Up, Ramp
cycle where it will begin when
triggered, change the PHASE
vertical value range of the
LFOs cycle, and RISE TIME is
the LFO is triggered:
RETRIGGER: Each trigger of the
Down), or one of these additional control. The image of the a time period during which the LFO starts from the beginning of
shapes: waveform will update to show the Depth ramps up to its full range. the LFOs cycle.
The LFO, or low frequency result of the phase change (except SMOOTH sets a time value that LEGATO: Any simultaneous
oscillator, is an oscillator that ANALOG SQUARE for random/chaos waveforms, as smooths out transitions between triggers of the LFO will not trigger
generates a cyclical modulation RANDOM SAMPLE & HOLD the images are approximations of values in the LFOs cycles. These the LFO again, and will start at the
signal below the audible threshold. CHAOS LORENZ randomly-generated waveforms). adjustments can be used to same place as any other triggers
CHAOS ROSSIER The User waveform is a custom, create more varied and nuanced currently. All triggers will be
USER editable waveform shape. To edit modulations, such as a subtle released together when the last
the waveform, right-click to open vibrato that occurs only while a one is released.
The FREQUENCY control sets the it in a large overlay view. Click and note is sustaining after its initial NO RETRIGGER: The LFO runs
duration of one cycle of the LFO. drag to draw a waveform shape, attack and decay. continuously, triggering from the
When TEMPO SYNC is enabled, or right-click and choose RESET beginning when Falcons playback
the cycle duration ranges from TO DEFAULT to start over. Press The default range of the LFO cycle starts or stops.
32 bars down to 64th-note triplet, anywhere outside the overlay to is from -1 to +1 (bipolar). For a range
synced to Falcons tempo. When close it. of zero to +1 (unipolar), disable
TEMPO SYNC is disabled, the BIPOLAR mode.
cycle duration is in Hz (cycles per DELAY TIME is a time delay
second). between when the LFO is
triggered and when LFO playback

223
APPENDIX A: MODULATORS MACRO

A control can be assigned one-to-one to a macro, as a To change a macros name, double-click the macros

MACRO shortcut for a commonly used control in the program, or

multiple controls can be assigned to a single macro, for
DISPLAY NAME and enter a new name. This will change
the macros displayed name on the Info tab and in the
complex transformations of multiple controls by adjusting modulation assignment menu.
a single knob or button.
Macros are a special type of
internal modulation. When a macro NOTE: Although macros can be assigned to any
is added, a corresponding control control in a program that can be modulated, the macros
appears on the Info tab. When this themselves are only added to the Program node.
macro control is adjusted, so is the
control assigned to it. The default range of a macro is from zero to 100%
(unipolar). For a range of -100% to +100%, enable
Bipolar mode.

VALUE is the actual value sent when the macro is

adjusted, either directly via this knob or via the macros
control on the Info tab.

STYLE chooses the style of control that will appear on

the Info tab for the macro. CONTINUOUS displays a
continuously-variable knob, and ON/OFF displays a
toggle button with only two states.

224
 APPENDIX A: MODULATORS MULTI ENVELOPE

TEMPO SYNC

POP-OUT EDITOR

Because there can be any number Alt/Option-click-drag: Draw line to SPEED sets the time factor for To choose if and how velocity

MULTI ENVELOPE of points in the Multi Envelope,

unlike the other envelope modules
create two new points the envelope. At 1.0, the time is
as shown on the grid. At larger
will affect the envelope, use
the VELOCITY AMOUNT and
in Falcon, there are no knobs or The Multi Envelope has two loop values, the speed is multiplied VELOCITY SENSITIVITY controls,
sliders for setting the values of options. By default, the envelope and the envelope plays back as described in [DAHDSR >
The Multi Envelope is an envelope each envelope phase. All editing is looped, but the loop can be more quickly; at smaller values, Velocity Amount and Sensitivity].
with a user-defined shape, is done in the graphical Envelope removed via the REMOVE LOOP the opposite. For an example
consisting of any number of points. Editor. In addition to the Envelope option in envelope editors value of 200 ms between points,
This allows for more expressive Editors basic usage described contextual menu. If you wish to with Speed = 1.0 the transition will
and unique envelopes than a in [DAHDSR > Envelope Editor], add the loop back, choose Add be 200 ms, Speed = 0.10 will be
classic DAHDSR envelope, such the Envelope Editor for the Loop. The envelope release is not 2000 ms, and Speed = 10 will be
as sweeps that evolve over a long Multi Envelope has a number of looped by default, but you can 20 ms. SMOOTH sets the amount
period of time or looped LFO- additional features: change this via the SET RELEASE of smoothing applied to each step.
like shapes. The Multi Envelope LOOPED option in the menu.
can be tempo-synced or set to Shift-click or double-click: Add To change it back, choose SET The Multi Envelopes TRIGGER
discrete time values. point a new point RELEASE NOT LOOPED. MODE determines how the
Shift-right-click an existing point: envelope is triggered. The trigger
Remove the point When TEMPO SYNC is enabled modes are the same as for the
Right-click an existing point: for the Multi Envelope, the GRID LFO module; for details, see [LFO
Contextual menu, with options to option in the Envelope Editor > Trigger mode].
remove the point or set it as the menu becomes available and sets
loop start/end the metric division of the grid.

225
 APPENDIX A: MODULATORS STEP ENVELOPE

TEMPO SYNC

POP-OUT EDITOR

The value of each step can be set by clicking and The Step Envelopes INTERPOLATION MODE

STEP ENVELOPE dragging vertically. You can also click and drag
horizontally to draw a shape over multiple steps. To clear
determines how each steps value transitions to the next.
With the default Hold mode, each value is held for the
all steps, right-click and choose RESET TO DEFAULT. duration of the step, then immediately jumps to the next
To view the step editor in finer detail, choose edit button steps value; with the alternate Spline mode, each value
The Step Envelope is a in the module header to open it in a large overlay view. transitions to the next with a continuous spline curve.
programmable pattern sequencer. Press anywhere outside the overlay to dismiss it.
The Step Envelope can be tempo-
synced for steps of musical The number of steps in the grid is set with STEPS
SPLINE MODE OFF
divisions, or set to discrete time control, from 1 step up to 128 steps. The FREQUENCY
values. control sets the duration of each step. When TEMPO
SYNC is enabled, step duration ranges from 32 bars
down to 64th-note triplet, synced to Falcons tempo. SPLINE MODE ON
When tempo sync is disabled, step durations are in Hz
(steps per second). The Step Envelopes TRIGGER MODE determines how
the envelope is triggered. The trigger modes are the
The default range of each step is from zero to +1 same as for the LFO module; for details, see [LFO >
(unipolar). For a range of -1 to +1, enable BIPOLAR mode, Trigger mode].
which is useful for LFO-like patterns.
SMOOTH sets the amount of smoothing for each step.

226
APPENDIX B:
SCRIPTING IN Lua
APPENDIX B: SCRIPTING IN LUA

SCRIPTING IN LUA
Scripting in Falcon uses UVIScript, UVIScripts are saved as text documents with a `.lua` Heres what this script looks like in Falcons script
1
a domain-specific scripting extension, and loaded with Falcons Script Processor processor.
language built on top of the Lua module. For general information on using the Script
scripting language. Scripts in Processor module, see [Interface > Main > Events Tab] This script creates one knob, which sets the scripts
Falcon are essentially MIDI effects and [Appendix A > Event Processors]. center pitch value (line 1). When a Note On event occurs
with advanced capabilities, with (line 3), the notes pitch value is evaluated and modified
access to all of Falcons synthesis EXAMPLE relative to the center pitch value (lines 4-6), and then the
engine modules. Scripts can also To help demonstrate UVIScript, heres a simple example note is played with its modified pitch value (lines 7-8).
define their own interface, so that script for a pitch inverter (available in the Script Processor For example, if the center pitch is set to C3, when a C2 is
you can interact with the script in module as a factory preset, under Utilities > Invert Pitch). triggered a C4 would be played instead.
realtime.
CenterPitch = Knob(Center Pitch, 60, FULL DOCUMENTATION
0, 127, true) For more information on writing your own UVIScripts,
function onNote(e) please refer to the latest online documentation at:
local center = CenterPitch.value http://www.uvi.net/uviscript/
local delta = e.note-center
local note = center - delta For more information on the underlying Lua scripting
if note>=0 and note<=127 then language, see http://www.lua.org/docs.html
playNote(note, e.velocity)
end
end
function onRelease()
--
end

228
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