AlgoMusic and Boris SynthLab Presents

AlgoMusic and Boris Synth Lab presents:

Atomic VSTi
Sequencer tool Atomic is a 16 step sequencer composing tool with a built in synth that also has the ability to control other softsynths or even hardware via it s M!"! out function# $he design is circular which allows a different approach to composing and sound design !nspired by circular step sequencers such as the Buchla Arbitrary %unction &enerator and %uture 'etro 'evolution# "edicated to (lectronic Music pioneer Allen Strange )1*+,-.//01# Features Sequencer: 16 step sequencer in a circular design with , rows2 Seminotes3 4elocity and &ate BPM 'ate with 5 modes including random# Separate rhythm grid Advanced arpeggiator with separate rate3 5 modes with gate and octave controls# Latch mode for continuous play as well as indevidual step mute# M!"! 6ut for use in modular hosts which also includes L%6 s and step modulators to control e7ternal vst s or hardware# Synth: . 6scillators with 1+ waveforms including additive partials# Separate phase controls3 and detune and octave tune as well as harmonic tuning mode# 48% with + filter types with velocity control# . dedicated envelope generators3 one for amp and one for filter# . L%6s3 Sub 6scillator3 Step Modulator3 'andom &enerator3 and 9eyboard control with :one and mod wheel assign which includes sequencer controls for step3 and rate# 8omprehensive mod matri7# Effects: ;-< delay with separate multimode filters which can be modulated via mod matri7# Spacial stereo reverb Phaser with wide sweeping range# Master section with volume3 pan and tuning ,. presets by $im 8onrardy and Boris 9# CC map for hardware M!"! =nob controllers#

Installation >narchive to your 4S$ directory# !t is best to have it in it s own folder# Be sure to rescan your 4S$ folder in your host as well# Demo Restrictions $he demo is restricted by a voice-over every ,/ seconds or so3 as well as M!"! out disabled uic! start guide 1#8lic=ing on the Synt button at the top toggles between sequencer view and synth view# .# 8lic=ing on the outside grill by the step numbers allows you to select which step you want# Alternately3 you can clic= on the 9eyb mod dialog which brings up a view for =eyboard and mod wheel control# 8lic=ing by the mod wheel brings up another dialog which allows you to select step3 rate and other controls for mod wheel control# ,# 8lic=ing on any of the Mod dialogs brings up the selected mod as well as the mod matri7# +# 8lic=ing on the actual ?ac= graphic under Midi 6ut brings up the M!"! 6>$ dialog# 8lic=ing on the little green arrow activates M!"! out##8lic=ing on the 8h-/1 dialog brings up a selection of M!"! channels for M!"! out# 5# $urning the Seq 'ate control all the way until the green arrow lights up 3 brings up another grid which allows you to enter specific rhythms for the sequencer# 6# $o mute a step3 clic= into the steps corresponding L(" so it turns red##$his turns the &ate on and off# @# $o ma=e the sequencer latch3 select a note on your M!"! =eyboard3 and hold it down# $hen deselect the 9ey button# $his will latch it# $o ta=e it off latch3 activate 9ey3 and select the same note again# 0# $o see the About3 clic= on the Atomic label# "resets Atomic only comes with ,. presets for a reason# Since Atomic is a composing tool3 we don t want to do the composing for you3 but show different ways in which Atomic can be used for your own composing needs# Ae have also supplied a blan= ban= which we hope will be the most used# By loading this ban=3 all the presets are set to a default so you can create your own presets and compositions#

#omposing $ith Atomic Atomic and other step sequencers are considered as composer tools# $he user inputs their own notes for use in a composition or as a bac=ground when playing live## Bere are some tips on how to compose your own sequences using Atomic# RealTime composing. $his is perhaps the best way3 as it allows you to hear the results as you are entering the notes# 1# Select only , steps3 and set the rate to a slower space3 so you can hear each note as it progresses# .# Bave the first step start at / position3 as you can always change =eys by selecting another =ey note on your midi =eyboard# ,# Ahile the sequencer is running3 move the =nobs for step . and , until you get a pleasing result to your own ears# +# Select the ne7t step3 and tune the note in the same way# 8ontinue adding and tuning each note in this way until you have as many notes as you need# 6f course3 you can go all the way to 16 steps3 but sometimes even + or 0 steps will do itC $o ma=e this easier3 you could also use a M!"! =nob bo7 )such as the M-Audio >8-,, or another type of =nob bo71 and starting on 8c163 and upwards for each step3 you can use real =nobs to tune it as the sequencer is running# $his is perhaps the most fun way to do it3 as it will feel li=e real hardware# Another method which especially wor=s well with a =nob bo7 is to select all 16 steps3 and then mute all steps so they are off )8lic= into the steps corresponding L(" so it turns red# See sequencer section1 Start the sequencer and then start turning =nobs so they come on and tune it intuitively# Another fun realtime composing method is select only + to 6 steps3 and have them running# $hen3 turn the seminote =nobs constantly to change the sequence as it is running3 while also recording the movements in your sequencer3 or capturing the audio as it is playing# StepTime composing $his is a technique in which you set the notes without actually running the sequencer until you are through completing your sequence# %or this to wor=3 you need to translate semi notes to actual notes# Bere is a translation table2

Semitone Translation Table -.+ 81 1 8D, -., 8D1 . ", -.. "1 , "D, -.1 "D1 + (, -./ (1 5 %, -1* %1 6 %D, -10 %D1 @ &, -1@ &1 0 &D, -16 &D1 * A, -15 A1 1/ AD, -1+ AD1 11 B, -1, B1 1. 8+ -1. 8. 1, 8D+ -11 8D. 1+ "+ -1/ ". 15 "D+ -* "D. 16 (+ -0 (. 1@ %+ -@ %. 10 %D+ -6 %D. 1* &+ -5 &. ./ &D+ -+ &D. .1 A+ -, A. .. AD+ -. AD. ., B+ -1 B. .+ 85 / 8, <ou can enter notes from a score3 or create a pattern on a =eyboard3 and then enter the notes one by one# $hen select a rate and play the sequence# Layering Since Atomic is fairly low in 8P>3 you can try several instances of Atomic3 all running at once for polyryhmic effects and composition# Since everything is BPM synced3 you can synchroni:e several instances together for a very detailed sound# Modular Hosts and tomic >sing Modular hosts such as (nergy;$3 Plogue Bidule3 8hainer3 the rac= system in $rac=tion3 and others3 it is possible to use the M!"! out function to control other softsynths# !n a modular host3 you will see a M!"! out control coming from the icon of Atomic which you can connect to other 4S$ s you have in the chain# !t is also possible to use the L%6Es and step gate in Atomic to control other synths in this way as well# See the M!"! menu where you can select functions and M!"! channels to control other softsynths

as well as hardware synths when using the M!"! 6>$ as output going from your computer to your hardware devices# <ou can also simply turn the main volume of Atomic down to hear what is happening with your hardware devices# $his e7pands the use of Atomic as an actual sequencer controlling tool for hardware synths#

Atomic controlling AMB (lectra Bass in (nergy ;$ v1#+ Patch cord colors2 Bright cyan F M!"!3 4iolet F Audio

Descriptions

!" Step sequencer: the heart of tomic $hree rows of 16 steps# 'ow one )large =nobs1 is for tuning the actual notes used and are quanti:ed to semitones to ma=e the the ?ob easier# $he middle position is / ) :ero1# &oing to the right will be positive semitones3 while going left will be negative semitones# $he actual =ey note is dependent on what note you have pressed on your M!"! =eyboard controller#So if you have middle 8 pressed down3 your sequence will be in the =ey of 8 )more lessC1

Muting Muting3 or turning off a step is accomplished by clic=ing on the step s corrsponding L(" ring# $he L(" indicator will turn red# $his turns the &ate on and off# $his function is good for real time sequencing# $he ne7t row of 16 steps is velocity# Ae decided to use velocity3 as you can have several functions on a synth that are velocity controlled3 such as filter cutoff as well as volume3 or any other function that uses 4elocity as a controller type# $his is also useful when controlling other synths via the M!"! out function# $he last row is the gate time# Bringing it lower achieves an almost staccato effect3 while turning fully cloc=wise achieves ?ust the opposite#

Sequencer Controls At the top are the actual controls for the sequencer# $here are two sections2 Arp mode and main sequencer mode as well as master tempo# $he main sequencer control)right1has a master rate )BPM synced1 with 5 modes of playing the sequencer2 G %orward H Bac=ward HG Bac=ward-%orward GH %orward-Bac=ward 'nd 'andom #uttons &reen arrows2)by the $empo display1 G selects internal BPM as indicated on the $empo display# H selects an e7ternal source which is the hosts BPM cloc= #Select this if you want all your sequences to be BPM synced to other material you are composing with your host# S(I2 button2 turns on and off the sequencer so you can use the synth only3 or the Arpegiator only#)see hint below1 S<J$2 toggles between synth view and sequencer view# P6L<2 Ahen highlighted turns on polyphonic mode for the synth# Ahen is is nonhighlighted3 the synth is in mono mode# 9(<2 $urns on and off =eyboard control of the sequencer# $his can also be used to latchE or ma=e the sequencer operate continuously without having to have a note depressed on your M!"! =eyboard controller# $here are two ways to do this2 1# Select a note on your M!"! =eyboard3 and hold it down# $hen deselect the 9ey button# $his will latch it# $o ta=e it off latch3 activate 9ey3 and select the same note again# Another use for this2 After selecting your =ey note3 select 9(< again3

and you can play other notes on your M!"! =eyboard to change =eys3 and releasing a note will ma=e to go bac= to the original =ey you started on# A useful composing tric=# .# !f you are using a host that has a transport )play3 stop3 record3 ect1 ta=e it off 9(< and then select play on your host s transport# selecting stop will ta=e it off latch mode# Bowever3 using this method3 only 8, will be selected as the =ey note# An alternate way to latch is simply to have 9(< on3 and depress your sustain pedal on your M!"! 9eyboard to =eep the sequencer running#

Custom Tempo$s Bring the 'ate control fully cloc=wise until the indicator turns a red color3 then clic= on the green arrow button# $his brings up another screen for actually creating your own tempo maps# $here are + rows of 16 steps in which to input your own tempo map# Play the 8ustom 'ym patch as an e7ample# rp Mode $his operates ?ust li=e the main sequencer rate controls with rate3 5 modes of operation as well as a global &ate control# $here are also octave transpose selections# $he notes of the sequencer are actually the notes used for the arpeggiation process s# By using different rates on the Arp and main sequencer modes3 you can create polyrythmic effects and interesting rhythms as well# Hint: if you turn off the sequencer by selecting the S(I button so it is un-highlighted3 you can then turn on the Arp function and use it as a standard arpeggiator# $he notes used for the arp will be the chords you hold down on your M!"! =eyboard#

Synth Section The synth %ie& is acti%ated by selecting the S'(T button. T&o oscillators. 8enter =nobs are the waveform selections for 6scillators A and B# 1+ waveforms each# )Square3 Saw3 'amp3 Pea='amp3 Soft'amp3 Sine and 0 harmonic waveforms1# 4olume and pan# !f the 4olume is at :ero3 the synth is in off position# &lide )Portamento1 time control# 6ctave ) K and - . octaves1 "etune )Sets the amount of detuning 1# Analog )Analog "rift "epth L heat variation in Analogue synths1# Phase )offset of the phase1# 'ange B )<ou can select the Pitch 6ffset for 6S8 B -,3-.3 -1)oct13 1L63 1L53 1L,)root13 /3 ,L13 5L13 6L13 @L1 )harmonic13 K13 K.3 K, )oct1 1# &reen Arrow button 2 Phase modulation or %M effects L off3 aGb3 bGa L in this mode PhaseM=nob equals amount1 Jote2 it is not recommended to use Squ3 Saw3 'amp Aave%orms which can produce clic=s and noises## )elocity 4elocity =nob on the left is for velocity amount to the main amp )volume1 4elocity =nob on the right is for the filter cutoff# Jote2 $hese are depth controls for the velocity controls on the step sequencer# *ilter section + %ilter types )Lowpass3 bandpass3 Bighpass3 Band 'e?ect1 8utoff is inside =nob while 'esonance is outer =nob positions# $here is also a (nvelope amount control coming from the dedicated filter envelope#

En%elopes $he envelopes are standard A"S' type# )Attac=3 "ecay3 Sustain3 'elease1 Selecting the green arrow button on the right will page you to the dedicated %ilter envelope# Selecting the green arrow button on the left will page you to the dedicated Amp (nvelope#

Modulation $he modulation section is on the bottom left under Mod # Selecting one of the modulation types will bring up a display showing the controls for that particular modulation as well as a modulation matri7# $hese include2

L*+! and L*+, Sync selections2 triggering for start position can be selected from three sources2 9ey) =eyboard1 Seq ) Sequencer1 or %ree )continuous1 'ate3) speed1 phase3 shift and level controls are provided# $here are also + waveform selections2 Sine3 saw3 squareLpulse and random as well as 6nL6ff button# !f a modulator is not wor=ing3 be sure to chec= that it is onC 6ther notes2 if 'andLwave is select the PhaseM=nob will wor= as a Smooth control# !f PulseLwave is selected the Phase =nob will wor= as PA )pulse width1

Sub +scillator 8an wor= as modulator or oscillator )with output on filter1 9ey2 selection to have the oscillator follow the =eyboard or not# Low2 uses sub frequencies3 such as an L%6# ) lowered 5 octaves1 $rans)pose12 -@octLK@oct3 !t can also wor= as Joise by selecting $ranspose to a lower frequencyN PM2 pulse modulation2 $he Phase =nob can also wor= as Smooth and color by turning off the low button# 6>$2 level out# + waveforms2 sine3 saw3 SquareLpulse and random#

Step A simple step grid for gating effects with 5 modes) same as sequencer controls1 with it s own rate control#

R ($his is a gateLrandom generator# A new random number is generated every time there is a pulse )as pulse can be used for =ey-gate or sub-osc1# 'andom ratio2 >se different values to vary the random sequences# 8ontrols include 9ey)board1 and Sub) oscillator1 modes# Low and Bi range selections used to set the random output range#$here are also 'atio and smoo)th1 controls#

.eyb /.eyboard0 Oones2 selecting to the far right or left of the bar above the =eyboard display actually allows you to select a :one of the =eyboard to play the sequencer# $his is useful in a live situation in which you can have Atomic :oned to the far left of the =eyboard to control sequences3 and another vst assigned to the other side of the =eyboard for leads or chord wor=# Modulation &heel assign. clic=ing on the none display right ne7t to the mod wheel allows you to select from a number of modulation points for the mod wheel to control# A fun one is the K or - Steps which allow you to change the number of steps on the fly while the sequencer is playing# Selecting 'ate is also e7cellent as well# $here are K and selections so you can choose how the mod wheel will control the parameters#

Mod Matri1 8enter position is no effect or :ero amount# going to the right is positive percent3 while to the left is negative percent# Slot 1-+ - mono modulators )L%6-13. and Step Mod1 Slot 5-0 - poly modulators )Sub 6sc3 'and and 9ey $rac=1

%&&ects (ffect are selected from the top right# $here are mi7 controls ne7t to each effect#

"(L2 "elay $his is a stereo delay unit with modulatable Multi-filter controls# "elay A and B are identical in these ways2 Separate BPM synced rate controls# 8lic=ing on the fractions by rate reveals a pull-down list of selections for different BPM rates# Level)center bar1 and feedbac= ) outer slider1 as well dampening and panning controls are available# !n the center is a filter section with 1/ filter types as well as cutoff and resonance controls# Ahat ma=es this unique is that the filter is modulatable within the mod matri7# Loo=ing on the mod matri73 you will see destinations for del cut and del res #

RE): Stereo Re%erb 'oom Si:e2 8lic=ing the mouse inside the spea=er grid and moving it up and down will determine the room si:e# $he sliders to the right and left are level controls# in left )synth out13 in right )delay out1# Je7t are controls for width3 "mp) "amping1 Pre ) predelay1 and mi7#

PBS2 Stereo Phaser $he side sliders determine the minimin and ma7imin ranges of the phasing effect# 8lic=ing into the circle and moving the mouse up and down will determine the effect wideness and sound# 8lic=ing into the small center ring will change the phaser types# Spd)speed1 and fb= )%eedbac=1 controls are also provided#

MIDI Section At the bottom left below the mod section is the M!"! section# 8lic=ing on the the small green arrow button activates M!"! out which can be used to control other M!"! devices# ) see modular hosts and Atomic1# 'ight below the green arrow button is another dialog which allows you to set the outgoing M!"! channel# 8lic=ing on the plug graphic actually brings up the M!"! page# $his has settings that allow some of Atomic s modulation modules to modulate e7ternal devices such as softsynths or hardware# M2-2: "elay# Sets the delay amount for notes coming out# >seful for offsetting other M!"! devices to the master device#

L*+!3 L*+, and STE42 (ach of these has a low and high range as well as a 88 number select# %or e7ample3 on another softsynth3 8816 controls the %ilter cutoff# Selecting L%61 to 8816 will allow the L%61 of Atomic to control the other softsynths filter cutoff# Many ideas are possible# Master Section $his includes Master Pan3$une and 4olume Level# Ahen using Atomic as a sequncer for another device3 you can turn down the master volume all the way so you only hear the controlled device if desired# ## Table' $his enables Atomic to be used with a M!"! =nob bo7 controller for realtime twea=ing of it s parameters# FFFFFFFFFFFFFFFFFFFFFFFFF Mod Aheel P 88D/1 P -----------------------------------portamento P 88D/5 P -----------------------------------semiL1st P 88D16 P -----------------------------------semiL.st P 88D1@ P -----------------------------------semiL,st P 88D10 P -----------------------------------semiL+st P 88D1* P -----------------------------------semiL5st P 88D./ P -----------------------------------semiL6st P 88D.1 P -----------------------------------semiL@st P 88D.. P -----------------------------------semiL0st P 88D., P -----------------------------------semiL*st P 88D.+ P -----------------------------------semiL1/st P 88D.5 P -----------------------------------semiL11st P 88D.6 P

-----------------------------------semiL1.st P 88D.@ P -----------------------------------semiL1,st P 88D.0 P -----------------------------------semiL1+st P 88D.* P -----------------------------------semiL15st P 88D,/ P -----------------------------------semiL16st P 88D,1 P -----------------------------------veloL1st P 88D6@ P -----------------------------------veloL.st P 88D60 P -----------------------------------veloL,st P 88D6* P -----------------------------------veloL+st P 88D@/ P -----------------------------------veloL5st P 88D@1 P -----------------------------------veloL6st P 88D@. P -----------------------------------veloL@st P 88D@, P -----------------------------------veloL0st P 88D@+ P -----------------------------------veloL*st P 88D@5 P -----------------------------------veloL1/st P 88D@6 P -----------------------------------veloL11st P 88D@@ P -----------------------------------veloL1.st P 88D@0 P -----------------------------------veloL1,st P 88D@* P -----------------------------------veloL1+st P 88D0/ P -----------------------------------veloL15st P 88D01 P -----------------------------------veloL16st P 88D0. P -----------------------------------gateL1st P 88D0, P -----------------------------------gateL.st P 88D0+ P ------------------------------------

gateL,st P 88D05 P -----------------------------------gateL+st P 88D06 P -----------------------------------gateL5st P 88D0@ P -----------------------------------gateL6st P 88D00 P -----------------------------------gateL@st P 88D0* P -----------------------------------gateL0st P 88D*/ P -----------------------------------gateL*st P 88D*1 P -----------------------------------gateL1/st P 88D*. P -----------------------------------gateL11st P 88D*, P -----------------------------------gateL1.st P 88D*+ P -----------------------------------gateL1,st P 88D*5 P -----------------------------------gateL1+st P 88D*6 P -----------------------------------gateL15st P 88D*@ P -----------------------------------gateL16st P 88D1/. P -----------------------------------rateLseq P 88D1/, P -----------------------------------modeLseq P 88D1/+ P -----------------------------------stepsLseq P 88D1/5 P -----------------------------------cutoff P 88D1/6 P -----------------------------------reso P 88D1/@ P -----------------------------------detune P 88D1/0 P -----------------------------------waveform osc a P 88D1/* P -----------------------------------waveform osc b P 88D11/ P -----------------------------------waveform osc b P 88D111 P -----------------------------------veloLamp P 88D11. P

-----------------------------------veloLfilter P 88D11, P -----------------------------------phase P 88D11+ P -----------------------------------envLfilter depth P 88D115 P -----------------------------------waveform L%6-1 P 88D116 -----------------------------------rate L%6-1 P 88D11@ P -----------------------------------level L%6-1 P 88D110 P -----------------------------------waveform L%6-. P 88D11* -----------------------------------rate L%6-. P 88D1./ P -----------------------------------level L%6-. P 88D1.1 P -----------------------------------master level P 88D@ P -----------------------------------master pan P 88D1/ P -----------------------------------master tune P 88D* P -----------------------------------delay %; P 88D1. P -----------------------------------reverb %; P 88D1, P -----------------------------------phaser %; P 88D1+ P ------------------------------------

Dedication

This &or5 is dedicated to Electronic Music 4ioneer

llen Strange )1*+, to %eb-.//01

Allen Strange was one of the leading music educators3 pioneering electronic music in academia# Be studied with some of the prominent composers of the twentieth century3 such as Barry Partch3 9en &aburo and Pauline 6liveros3 and has wor=ed with "onald Buchla3 who first created the voltage controlled synthesi:er around the same time as 'obert Moog# Be is author of several boo=s including the operation manuals for the Buchla synthesi:er systems# Bis boo= (lectronic Music2 Systems3 $echniques3 and 8ontrols is still widely sought for its clarity and non technical musical presentation# Be was also the president of the !nternational 8omputer Music Association#

4ersonal note !n college3) "eAn:a in 8upertino3 8alifornia3 >SA1 ! too= the electronic music course which was then taught by Allen# ! came into the class not =nowing a filter from an envelope# After a year3 he recommended me as tutor for the class# ! also too= private lessons from him# 6ne of his methods was to bring me in his room full of Buchla synths3 unplug all the patch cables3 hand them to me3 then leave the roomC

Much later on3 when ! was totally into my Atari algorithmic applications3 he invited me to give a lectureLdemo for his class at San Qose state# !t turned out well3 as we were able to pro?ect the Atari screen to + feet tallC Another neat fact was although he is well =nown for his avant-gard compositions and techniques3 he also taught a class in country music# ! also found it interesting that he played bass in a ?a:: ensemble with "avid Bristol3 who was one of the main programmers for the ";@ when it came out# ! still have my ";@ boo=s with his patches in it# ! thin= he was the one who did the (Piano preset we have all come to cherish thru the years#

Ahen ! got to visit him last summer ).//@13 he told me all sorts of stories about "on Buchla and how he came up with his designs for his synths and got to spend some time with him# Be gave me one on one lessons in Ma7 MSP3 and got listen to music and en?oy good Me7ican food# Be was a great guy3 and ! will dearly miss him# Be has been a big influence on my own wor= as well as countless others as he was a pioneer for electronic music education as well as a leading composer for new music# 6Tim Conrardy /March 780 Resources: Ai=ipedia3 the free encyclopedia http2LLen#wi=ipedia#orgLwi=iLAllenMStrange 8amel Audio !nterview http2LLwww#camelaudio#comLartists#phpRa!"F,1 Main site http2LLwww#vo7novus#comLcomposerLAllenMStrange#htm

Credits tomic Copyright lgoMusic ,778 http:99&&&.algomusic.net Concept: Tim Conrardy -esign: #oris . 4resets: Tim Conrardy and #oris . Manual: Tim Conrardy Custom Modules: -a%id Haupt. +ther modules : Chris .erry3 ttila *ustos3 .elly Lynch SynthEdit by :eff McClintoc5