ohmforce experience manual

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The Ohm Force

Experience

Creative plug-in pack

User manual version 1.0 – 2003.06.12

This manual is copyright © Ohm Force 1999–2003. All rights reserved. No part may be
reproduced without written permission. VST technology by Steinberg Media Technologies AG.
All trademarks acknowledged.

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– T

ABLE

ONTENT

–

GETTING STARTED .............................................................................................................................................. 4

1.1

EATURES AND REQUIREMENTS

........................................................................................................................... 4

1.2

NSTALLING

......................................................................................................................................................... 5

1.2.1

Experience Pack CD-ROM ......................................................................................................................... 5

1.2.2

On-line download........................................................................................................................................ 5

1.3

IRST CONTACT

................................................................................................................................................... 5

1.4

EGISTRATION

..................................................................................................................................................... 6

COMMON FEATURES........................................................................................................................................... 7

2.1

RESET PANEL

..................................................................................................................................................... 7

2.1.1

Presets / Memorize...................................................................................................................................... 7

2.1.2

Transition time ............................................................................................................................................ 7

2.1.3

Load / Save Bank ........................................................................................................................................ 7

2.2

SING KNOBS AND FADERS

.................................................................................................................................. 7

2.2.1

Direct action ............................................................................................................................................... 8

2.2.2

Side-clicks ................................................................................................................................................... 8

2.2.3

Linked buttons............................................................................................................................................. 8

2.3

ARAMETER INFORMATION AND MODULATION

.................................................................................................... 9

2.3.1

Parameters .................................................................................................................................................. 9

2.3.2

Tempo control ............................................................................................................................................. 9

2.3.3

LFO ............................................................................................................................................................. 9

2.3.4

Automation................................................................................................................................................ 10

2.3.4.1

Support.................................................................................................................................................. 10

2.3.4.2

VST limitations ..................................................................................................................................... 11

2.4

MIDI

SUPPORT

.................................................................................................................................................. 11

2.4.1

Selecting MIDI ports................................................................................................................................. 12

2.4.2

Binding parameters to MIDI controls....................................................................................................... 12

2.4.3

Saving and restoring the MIDI configuration........................................................................................... 12

2.4.4

About Control Change messages .............................................................................................................. 13

2.4.5

Other MIDI features.................................................................................................................................. 13

2.5

TAND

ALONE VERSIONS

................................................................................................................................... 13

2.5.1

Setup.......................................................................................................................................................... 13

2.5.2

Loading sound files ................................................................................................................................... 14

2.5.3

Playback toolbar....................................................................................................................................... 14

2.5.4

Volume control.......................................................................................................................................... 15

OHMBOYZ ............................................................................................................................................................. 16

3.1

UNCTIONALITY

................................................................................................................................................ 16

3.1.1

Predelays................................................................................................................................................... 17

3.1.2

Delay lines ................................................................................................................................................ 18

3.2

SER INTERFACE

............................................................................................................................................... 19

3.2.1

Predelays................................................................................................................................................... 19

3.2.1.1

Tap description...................................................................................................................................... 19

3.2.1.2

Other controls........................................................................................................................................ 20

3.2.2

Delay lines ................................................................................................................................................ 20

3.2.2.1

Delay and mix ....................................................................................................................................... 20

3.2.2.2

Resonant filter ....................................................................................................................................... 21

RF .........................................................................................................................................................................21

3.2.2.3

Distortion .............................................................................................................................................. 22

3.2.2.4

High-shelf filter..................................................................................................................................... 22

3.2.2.5

Miscellaneous........................................................................................................................................ 22

3.3

MIDI

FACTORY SETTINGS

.................................................................................................................................. 23

3.3.1

Generic parameters................................................................................................................................... 23

3.3.2

Predelays................................................................................................................................................... 23

3.3.3

Delay lines ................................................................................................................................................ 24

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3.3.4

LFO phases ............................................................................................................................................... 25

PREDATOHM ........................................................................................................................................................ 26

4.1

UNCTIONALITY

................................................................................................................................................ 26

4.2

ANDS

............................................................................................................................................................... 26

4.2.1

Splitting ..................................................................................................................................................... 26

4.2.2

Band processing........................................................................................................................................ 27

4.2.2.1

Dynamics .............................................................................................................................................. 27

4.2.2.2

Distortion .............................................................................................................................................. 28

4.2.2.3

Mix........................................................................................................................................................ 28

4.3

ND OF THE CHAIN

............................................................................................................................................. 28

4.3.1

Tone .......................................................................................................................................................... 28

4.3.2

Feedback ................................................................................................................................................... 29

4.3.3

Stereo ........................................................................................................................................................ 29

4.3.4

Master section ........................................................................................................................................... 30

4.4

MIDI

FACTORY SETTINGS

.................................................................................................................................. 30

4.4.1

Generic parameters................................................................................................................................... 30

4.4.2

Band parameters ....................................................................................................................................... 30

HEMATOHM ......................................................................................................................................................... 31

5.1

UNCTIONALITY

................................................................................................................................................ 31

5.1.1

Architecture............................................................................................................................................... 31

5.1.2

A frequency shifter? .................................................................................................................................. 31

5.1.3

Frequency shifter typical usage ................................................................................................................ 33

5.2

FFECT

.............................................................................................................................................................. 33

5.3

ODULATION

.................................................................................................................................................... 33

5.3.1

LFO ........................................................................................................................................................... 33

5.3.2

Envelope follower ..................................................................................................................................... 34

5.4

ELAY

............................................................................................................................................................... 34

5.5

MIDI

FACTORY SETTINGS

.................................................................................................................................. 34

MOBILOHM........................................................................................................................................................... 36

6.1

UNCTIONALITY

................................................................................................................................................ 36

6.1.1

What is a phaser ?..................................................................................................................................... 36

6.1.2

Architecture............................................................................................................................................... 36

6.1.3

Cell description ......................................................................................................................................... 37

6.2

SING

OBILOHM

............................................................................................................................................. 38

6.2.1

Master volume........................................................................................................................................... 38

6.2.2

Tone .......................................................................................................................................................... 38

6.2.3

Cells .......................................................................................................................................................... 38

6.2.3.1

Oscillator............................................................................................................................................... 38

6.2.3.2

Feedback ............................................................................................................................................... 39

6.2.3.3

Filter...................................................................................................................................................... 39

6.2.3.4

Mix........................................................................................................................................................ 40

6.3

MIDI

FACTORY SETTINGS

.................................................................................................................................. 40

6.3.1

Generic parameters................................................................................................................................... 40

6.3.2

Cell parameters......................................................................................................................................... 40

6.3.3

LFO phases ............................................................................................................................................... 41

FROHMAGE .......................................................................................................................................................... 42

7.1

UNCTIONALITY

................................................................................................................................................ 42

7.2

ONTROLS

......................................................................................................................................................... 42

7.2.1

Band control.............................................................................................................................................. 42

7.2.2

Central panel ............................................................................................................................................ 43

7.2.3

Distortion .................................................................................................................................................. 43

7.3

MIDI

FACTORY SETTINGS

.................................................................................................................................. 44

CREDITS AND THANKS ..................................................................................................................................... 45

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1. Getting started

Thank you for purchasing The Ohm Force Experience plug-in pack. This manual is divided

into three sections:

Getting Started: explains how to install the Experience plug-ins and get them working;

Common features: rounds up the common features you will see on every effects in the

pack;

Using the effects: shows you how to operate each plug-in.

1.1 Features and requirements

The Ohm Force Experience is a pack of five high-quality audio effects, including:

•

OhmBoyz, a multi-tap delay

•

Predatohm, the award-winning multi-band compression and distortion

•

Hematohm, a frequency shifter

•

Mobliohm, a multi-phaser

•

Frohmage, a low-pass filter.

All of them are available in two interfaces, the “Classic Skin” and the “Funky Skin”.

They work as stand-alone programs, or as plug-ins for various platforms. The requirements

given below may vary depending on the latest program versions. See the latest release notes
in the file readme.txt on the CD–ROM.

You will need at least 64 MB of RAM, 25 MB on your hard-drive, a Pentium II-compatible PC

or a G4-compatible CPU on Apple Macintosh.

•

MacOS Classic

Requires OS 9.x and CarbonLib 1.5 or higher. Find out how to update on the Apple website:

http://www.apple.com/support/

. The plug-ins are available for the VST, MAS and RTAS

platforms.

•

MacOS X

Requires OS 10.1 or higher. The plug-ins are available for the VST and AudioUnits

platforms.

•

Windows

Requires Windows 98, 98 SE, ME, 2000 or XP. The plug-ins are available for the VST,

DirectX and Winamp 2 platforms.

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1.2 Installing

Depending on how you got the product(s) (Experience Pack CD-ROM or web download),

there are several ways to install the plug-ins.

1.2.1 Experience Pack CD-ROM

Insert the CD-ROM into your computer. If the installer does not pop up automatically, open

the CD folder and double-click on the installer icon. Then follow the instructions.

1.2.2 On-line download

Each version of each plugin has its own installation file. This, inevitably, means that there

are a large number of files to choose. To make finding the one relevant to you as easy as
possible, we have labeled them in the following way:

PluginNameVersion_Platform_license

For example, OhmBoyz134_vst2win_pro.exe is the installer for the “OhmBoyz v1.34 for VST

on the Windows platform, RTAS ProPack license”.

Only run the installers for the plug-in and version you need. There is no obligation to install

all of them. Follow the instructions given by the installers as they may vary from platform to
platform. Each plug-in has a unique serial number needed for the installation. Check the label
on your manual cover, there should be four groupings of User Id / Serial Number. When
prompted by the installer, enter these details exactly as they appear on the label.

Warning: Serial numbers are checked only when the plug-in is actually used. If you

mistyped the codes, a dialog box will warn you when you try to run the plug-in or during the
host program startup, not during the install process. To correct the serial number, you have to
quit the host application and reinstall the plug-in to the same location as previously. If you
decide to change the installation location, uninstall the plug-in first. It is prudent to
systematically uninstall plug-ins in the event of a registration code error.

Note: The stand-alone versions do not require a registration code to install.

1.3 First contact

Open a plug-in from the pack and feed it some sound. The MacOS Classic users should

ensure that there is enough memory reserved for the application.

A good way to start a feel for the units is to try the factory presets. On each plug-in you will

find a frame with eight numbered buttons in it. Click on these buttons to activate the eight
factory presets.

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Turn the knobs by clicking on them and dragging the mouse

vertically.

Note: If your mouse suddenly goes mad, stay calm and locate

the S

ETUP

button. Click on it to open the menu and unselect

NHANCED

OUSE

ODE

. This may happen with some mice, graphic

tablets or trackball devices.

1.4 Registration

In order to get the latest updates and support directly from the Ohm Force website, you can

register your plug-ins on-line. Experience Pack users: as you probably noticed during the
installation, the “User name” field is rather impersonal and identifies you with a number
displayed on the plug-in panel. If you register your plug-in, another code will be sent to you
that will label the plug-in to your own name.

To register, click on the S

ETUP

menu and select R

EGISTER

. Your computer should be

connected to the Internet. The Register option will open a browser on the Ohm Force web site
(

http://www.ohmforce.com

). You will also need to have an account on this web site; if you still

do not have one, you will be given the opportunity to create one. Follow the instructions on the
web page.

If the computer on which the plug-ins are installed is not connected to the Internet, you can

still register using another computer that is. Log in using your Ohm Force account. Click on
H

OME

then M

ORCE

RODUCTS

and follow the instructions in the Registration

Management section.

Important: If you choose to get a personalized code, you will have to reinstall the plug-

ins, as the old registration code will become obsolete.

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2. Common features

Ohm Force's plug-ins all share a lot of important features. They might not look alike,

because of variations in the graphic design, but they have the same basic functionalities. Let's
review them.

2.1 Preset panel

This bank of eight buttons enables you to memorize

your settings. Banks can then be saved onto your hard
disk. They are multi-platform, so you can load your
presets in any sequencer, or even on another computer.

You can also adjust the speed at which the knobs and sliders move from the current setting

to the new one.

2.1.1 Presets / Memorize

To memorize the current settings, click once on the M (or S

TORE

) button; it

will light up. Then click the preset button in which you wish to store the settings.

To apply a preset, make sure the M light is off. To turn it off, click the M

button once. Then click on the preset button you want to activate.

2.1.2 Transition time

This potentiometer enables you to vary the time the plug-in will take to morph

between two presets. The time, measured in seconds, is displayed beside it. By
default, the duration is set to one second. Set it to 0 if you want the preset
applied instantaneously.

2.1.3 Load / Save Bank

Use these two buttons to save and load your preset banks to and from the

hard disk. A bank contains the eight settings stored in the preset buttons.
Loading a bank will not modify the current settings until you select a number.
There are many presets bundled with your plug-ins. If you're trying to achieve a
particular sound, you can start with the preset closest to the idea you have in
mind and then tweak the settings to get the desired result.

2.2 Using knobs and faders

All knobs and faders work the same way. There are two modes: direct action and slide-

clicks.

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2.2.1 Direct action

You can move a knob by clicking on it (click on the slider part of a fader) and then keeping

the button pressed while moving the mouse up or down.

Actually, each button has a preferred direction for the mouse

movement: vertical for knobs and according to orientation for
the faders. If you move the mouse in the preferred direction, the
knob will turn quickly. However, if you move your mouse in the
perpendicular direction – i.e. horizontally for knobs, the
movement will be slow and very accurate.

Some potentiometers have notches which lock to certain values. It is possible, however, to

set the potentiometer position between two notches by moving the mouse in the perpendicular
direction, as mentioned above.

2.2.2 Side-clicks

The button is divided into two zones on which you can click to turn the button to the right or

to the left. For faders, the two zones are on either side of the slider. For knobs, they are
positioned at 4:30 and 7:30 on dial. The buttons will move slowly if you click and hold on these
zones without moving the mouse. This enables you to make very small adjustments to settings
with ease.

Flying knobs. If you click on this zone then move the mouse without

releasing it, the button will move automatically, and keep moving even after
you have released it. The further you move the mouse, the faster the button
will move. To stop the movement, just click on the button again. This is
especially useful during live sessions, as you can have many parameters
shifting at the same time without having to use the preset morphing feature.

2.2.3 Linked buttons

On most of the plug-ins (all except the Hematohm and the Frohmage), some knobs can be

linked, as they control similar parameters. For instance the parameters of the two OhmBoyz’
delay lines can be linked. This means that you can alter a parameter in both Line 1 and Line 2
at the same time – with a single click.

To do so, you have to click on the parameter with the right mouse button (click while

holding the [C

ONTROL

] key on Macintosh systems). The knobs in both channels will now move

in unison.

If you hold the [S

HIFT

] key and click on the right mouse button, both knobs move at the

same time but keep their own original gap. For instance, if the original value of the first knob
is 10 % and the original value of the second knob is 50 %, when you increase the value of the
first knob to 30 %, you will increase the value of the second button up to 70 % at the same
time.

You can undo the movement of the slave knobs by performing a right mouse click while

holding the [C

ONTROL

] key (the [C

OMMAND

] key on Macintosh).

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2.3 Parameter information and modulation

2.3.1 Parameters

This contextual display shows details of the selected parameter, the

one outlined in color. It would be horrifically complex if all the numeric
parameter values were displayed on the interface at once.

•

AME

Name of the selected parameter.

•

ALUE

This is the parameter value expressed in the selected unit (BPM or Hz). You can edit this

value by clicking on it. Press [R

ETURN

] to validate your change or [E

SCAPE

] to cancel it.

2.3.2 Tempo control

Because many plug-in applications are related to music and,

therefore, to rhythm, it is necessary to be able to synchronize with the
tempo of a piece.

Some host programs can automatically synchronize the plug-in’s internal tempo with their

own tempo. Alternatively, you can change the tempo by clicking on the buttons to the right of
the numeric display. You can also type into the numeric display itself.

The tempo feature is available on every plug-in except the Frohmage and Predatohm, since

these have no time-sensitive parameters.

2.3.3 LFO

Most of the Ohm Force plugins come with a modulation unit: the LFO, standing for Low

Frequency Oscillator. This is an oscillator producing a signal usually below the audio frequency
range. This signal additively modulates the parameter with which it is associated, causing it to
oscillate around a central value. This is useful for creating vibratos, tremolos or panoramic
rotations, along with more unusual effects.

Like the Parameter display, the LFO display is

activated when a parameter that has an associated
LFO is selected.

•

ERIOD

This is the time taken for one LFO oscillation (the length of the wave). LFOs are

synchronized to the tempo value to keep them in time with the music.

•

MPLITUDE

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This is the amplitude of the oscillations (the height of the wave). A 0% setting means that

the LFO will not affect the sound.

•

AVEFORM

This parameter defines the shape of the oscillations. Seven of the shapes are classic, the

three others are random oscillators.

INE

It is the default waveform. LFO sweeps smoothly back and forth.

RIANGLE

LFO travels linearly between two extreme points.

QUARE

LFO stays for one half-period at the maximum point, then for the other
half-period at the minimum point.

AMP UP

Goes linearly from the minimum point to the maximum one.

AMP DOWN

Like Ramp up, but in the other direction.

OS UP

A bit like Ramp up, but the LFO goes and arrives more gently at the
extreme points (a kind of shelf).

OS DOWN

Like Cos up, but in the other direction.

ANDOM

STEPS

When a period starts, the LFO generates random values which it keeps
constant until the end of that period.

ROWN

NOISE

LFO value changes randomly, combining wide, slow moves with small,
fast oscillations. With a very long period, this kind of LFO is perfect for
giving a parameter a natural, nervous, random variation.

ED NOISE

Somewhat like Brown Noise, but fast variations are damped, generating
even smoother random walks.

2.3.4 Automation

2.3.4.1

Support

Every parameter, including modulation settings (LFOs, etc.) is potentially automatable on

the RTAS, MAS, VST and AudioUnit platforms. However depending on your host’s capabilities,
you may be restricted to only 16 fixed parameters, or even have no automation capability at
all. Check the host’s reference manual to find out how to automate a parameter.

Digital Performer and ProTools display on the plug-in interface itself which parameters are

currently automated. A green triangle on a knob indicates that the automation is playing, and
a red disc shows automation being recorded.

The DirectX version does not support automation and DXi features yet, please use MIDI

automation instead.

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2.3.4.2

VST limitations

Some host programs like Emagic Logic Audio or earlier versions of Steinberg Cubase VST

have several limitations regarding VST plug-in automation. They can handle only a few
parameters, which is unfortunate as some Ohm Force plug-ins have hundreds. As a
consequence, some important parameters cannot be automated. It is possible to get around
this by using MIDI commands, but this is not always the most convenient solution.

To alleviate this problem, we give you the option of changing the order in which the VST

parameters are presented to the host. We should warn you that this section is rather technical.
Proceed by selecting S

ETTINGS

/ L

OAD

in the S

ETUP

button menu. Locate the file

easy_vst_automation.cfg.txt

in your effect's installation folder and open it. This will move

the most important parameters to the top of the VST list so that they can be automated.

If happy with the provided configuration file, you can make your own. First, save a

configuration using S

ETTINGS

/ S

AVE

(eg. my_settings.cfg.txt) load it into a text editor,

along with easy_vst_automation.cfg.txt so you can take a look for reference. You can see that
a configuration file is made of "keys". They have a name and a content, which can be made of
other keys, a recursive structure known as a tree in scientific circles. Key name and content
are separated by an equals sign (=), and complex key contents are enclosed by brackets.

The provided configuration file should be a lot smaller than your homemade one. This is

because it is a partial configuration, whereas yours is a complete one. Suppress some
irrelevant subkeys (the midi section, for example) in order to make the two files look more
alike. Yours will inevitably remain longer.

Let's focus on the parameter_reorder_map key. You'll see several parameter names as the

file you have just saved contains all potential plug-in parameters. Move the parameters you
want to automate to the top of the list. You can specify a particular order for the other
parameters if you want to, or you can simply suppress them. This does not mean that they will
not appear any more, or become unavailable for automation. When loading the configuration
file, the plug-in will automatically find the best mapping for the suppressed parameters. Once
you have finished sorting the parameters, save your work and load your configuration file into
the plug-in.

Important: If you created settings before applying the mapping file, you should save

them into an internal preset – as described in the Preset section of this manual. You should not
use the VST host's presets anymore because they will be completely reordered after the
change. Instead, apply your saved internal ohm preset to restore your sound. Fortunately, new
presets you make after the change can be stored in VST format and reloaded.

2.4 MIDI support

You can also use MIDI commands to control the plug-in parameters. MIDI can even replace

automation, because not only can the plug-ins receive MIDI commands, they can also emit
them.

The effects are in “Omni” mode, meaning they can receive MIDI commands from any

channel. However, all commands are sent via Channel 1. Commands can be regular CC
(Continuous Controllers), or RPN and NRPN (Non-Registered Parameter Numbers). The
decision as to whether to use CC or NRPN will depend upon the capabilities of your midi device.
CC is commonly used by hardware devices, but NRPN has a higher resolution.

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The factory MIDI settings use NRPN, but it is possible to change the mapping at any time.

The default mapping for each plug-in is listed in the respective section of this manual.

Note: MIDI support is disabled in the demo versions.

2.4.1 Selecting MIDI ports

Depending on your host, your MIDI devices and your system settings, you may have more

than one MIDI port available for MIDI input and output. It is possible to select which virtual
port you wish to use for receiving and sending MIDI events.

To choose the input port - the one from which MIDI data is received by the plug-in - click on

the S

ETUP

button, go to the MIDI / I

NPUT DEVICE

menu and select the one you want. Do the

same thing to select the output port, except, of course, you will need to click MIDI / O

UTPUT

DEVICE

. The selected MIDI port will be ticked in the menu. You can only use one input and one

output port at any one time.

If the connection fails, it is usually because the port you selected is already in use by

another application – most likely the host itself. In this case, check your host’s operating
manual to see if it is possible to free up the port.

2.4.2 Binding parameters to MIDI controls

The easiest way to associate a parameter with a specific

MIDI controller knob, or any MIDI Control Change, is to
use the auto-bind feature. First, activate the auto-bind
mode by checking MIDI / A

UTO

BIND

in the S

ETUP

menu.

If you have already selected a parameter its name will be displayed in brackets in the

menu, like this: Autobind [target : Volume]. If not, click on the knob you want to bind to a
MIDI control change. Only the last one selected will be taken into account for binding.

Once you have chosen the parameter, send a MIDI event to the plug-in (for example, turn a

knob on your external MIDI controller). It can be a simple CC, an RPN or an NRPN command.
As soon as the event is received, the connection is created automatically, and the MIDI
command will remain associated with this parameter. Only one parameter can be bound to
each MIDI command, and visa versa.

If you want to bind more parameters, repeat the procedure: select another parameter, and

send another MIDI event. Do not forget to exit the auto-bind mode, by un-checking the
corresponding entry in the S

ETUP

menu, when you have finished.

2.4.3 Saving and restoring the MIDI configuration

If you have numerous parameters to bind each time you want to use the plug-in, you can

save the configuration for later use. Currently selected ports will also be saved.

To do so, select S

ETTINGS

/ S

AVE

in the S

ETUP

menu. You can restore the settings at any

time by selecting S

ETTINGS

/ L

OAD

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Important: the MIDI configuration is not stored in presets, and therefore is not saved

with the host song. You will have to load the settings manually after having loaded a song on
your host application.

The true tech freaks among you will notice one can open the saved file in a text editor and

tweak the configuration from there. It is also possible to build “partial” configurations by only
keeping a couple of the “keys”. The content syntax is quite simple, but will not be covered in
this manual.

2.4.4 About Control Change messages

Although you can assign most of the CC numbers to plug-in parameters, there are things to

consider:

•

You cannot use certain CC numbers like Data Entry (6 and 38), Data Button Increment
(96), Data Button Decrement (97), nor you can use RPN and NRPN Parameters 98, 99,
100 and 101, because they are used for RPN and NRPN coding.

•

It is possible, but not advisable, to use the fine tuned section at the lower end of the
controller range (32 to 63). This will work, but if plug-in parameters are assigned to
coarse parts of the low controller range (0 to 31), the plug-in will also output the fine
commands, resulting in possible interference. For example, if you assigned Knob A to
CC 20 and Knob B to CC 52 (= 20 + 32), twisting Knob B would output CC 52
messages, whereas twisting Knob A would output both CC 20 and 52! Trying to record
automation in this manner could open the door to a whole world of pain.

2.4.5 Other MIDI features

•

LD ERRONEOUS

NRPN

BEHAVIOUR

This option is checked by default, and exists for historical reasons. Our plug-ins used to

interpret RPN and NRPN controls erroneously. As a consequence, automation recorded using
old versions cannot be interpreted by the recent versions unless this option is checked. You are
advised to uncheck this option if you are a new Ohm Force user.

2.5 Stand-alone versions

Each plug-in also exists as a stand-alone application, capable of playing and looping a sound

file, or processing soundcard input.

2.5.1 Setup

The first time you run a stand-alone version of an effect, you

will be asked to setup your sound card. You can change it at any
time by clicking on M

ENU

/ A

UDIO SETUP

…. The dialog has several

fields.

•

UDIO

NGINE

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Here you can select the driver category used to produce and capture audio. Use ASIO only if

you have specific ASIO drivers installed on your computer. Windows user may prefer the
DirectX drivers over MME. Changing the audio engine will automatically stop the sound input
and output, even if you have not yet pressed the O

button.

•

NPUT

EVICE

, O

UTPUT

EVICE

Here you can select the devices for sound input and output. To make the program work at

all you will have to specify an output device.

•

AMPLE

ATE

Choose the sample rate. Default is 44.1 kHz, but you can set it higher if your soundcard

supports more.

•

UFFER

IZE

This is the buffer size, in samples. Buffer size affects latency, which is the unavoidable delay

between user/sound input, and what you actually hear. You will need a small buffer size to
achieve a low latency. However, small buffers tend to increase CPU load. Selecting 256
samples seems to be a good compromise in most cases.

2.5.2 Loading sound files

When no sound file is loaded, the effect processes the input of the sound card. To load a

sample, click on M

ENU

/ L

OAD

AMPLE

… and select a file from your disk. The sample will be

integrally loaded in RAM before processing, so be careful not to pick up a multi-gigabyte file!
On MacOS 9, if you encounter a problem as soon as you try to load a sample, there are
chances that you did not allocate enough memory for your application. Quit, select the effect
icon, press C

OMMAND

–I, choose the M

EMORY

item and specify a bigger amount.

You can change the sound file by repeating the operation described above, or return back to

input processing by choosing C

LOSE

AMPLE

in the M

ENU

2.5.3 Playback toolbar

This controls playback.

•

LAY

– S

TOP

Push this button, when you have a sample loaded, to start playback. The button icon turns

into a square. Press it again to stop playback.

•

EWIND

Restarts the sample without interrupting playback.

•

OOP

Activates or deactivates the loop mode for the sample playback.

•

ANIC

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Cuts out all sound. Useful when you've let things get a little out of hand and your resonant

filter is about to blast your speakers through the ceiling.

•

ENU

Click here to access the configuration menu.

•

EMPO

You can slave the plug-in tempo to the BPM (Beats Per Minute) value indicated in this box.

Use the arrow buttons to alter it, or enter the tempo manually by clicking on the box.

•

TRETCH

Stretch the sample playback to match the duration given by the tempo and the number of

beats.

•

EATS

This field is taken into account only when the S

TRETCH

function is activated. It tells the

program how many beats there are in the sample loop, as it cannot calculate this itself. Of
course, this value will vary depending on the sample you have loaded, so you will have to
adjust it for each new file.

2.5.4 Volume control

•

Controls the level of sample playback or audio input. The vu-meter indicates the

volume after amplification.

•

Controls the output volume of the plug-in. The vu-meter indicates the final volume

of the signal sent right to the output.

•

Sets the balance of effect input (“Dry”) and output (“Wet”) sent to the sound card.

Turn the knob to the left for input only and to the right for output only.

•

YPASS

When activated, the effect is bypassed, meaning that the output is directly routed to

the output. Input and output volumes are still effective.

Effect

Mix

Output

volume

Input

volume

Bypass

Dry

Wet

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3. OhmBoyz

3.1 Functionality

This section is somewhat technical, but it will help you to understand the OhmBoyz,

enabling you to get the results you want more rapidly. The OhmBoyz could be described as a
stereo delay, but that wouldn't do its capabilities justice. Essentially, it has two different
stages:

•

4 predelays, which can produce 4 one-hit repeats of the sound, shifted in time.

•

2 delay lines, each generating a decaying echo of the signal from the predelays.

Various effect parameters are connected to LFOs. These enable parameters to oscillate

around a central value. This feature can be used to create an “organic” sound that shifts
constantly.

Multi-tap
predelay

Delay line 1

Delay line 2

Pan

Right

Left

OUT

Right

OUT

Left

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3.1.1 Predelays

This stage generates four one-hit delays. The time delay of each hit can be adjusted, as well

as the volume and stereo balance. When only one of the main delay lines is activated, the pan
knob has no effect. If you only want one tap, the 3 other tap volumes have to be set to 0.

Delay

time 3

Delay

time 4

Delay

time 2

Delay

time 1

Tap N

Pan

Tap N

Level

Sustained

loop

Pan

Left

Right

Delay 1

Delay 2

Pre-delay lines

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3.1.2 Delay lines

The most important part of the sound effect. The predelay stereo output, is sent to either

one or both of the delay lines, depending on the settings you have chosen. If you activate both
delay lines, the left output will go to the first one, and the right to the second.

Each one of these two delay lines has the basic parameters of a classic delay: delay time –

which defines the spacing of the echoes, and feedback amount – which defines the amount of
time it takes for the echoes to fade away.

We also added some other processing, such as filtering and distortion, as part of the delay

loop. Thus the signal is regularly reprocessed and the effect amplifies.

When using both lines of delay, it is possible to “cross” the feedback. In crossed mode, the

output signal of the first line is injected into the second line, and the output signal of the
second line is injected into the first line. Any degree between “straight” and “crossed” mode
can be obtained.

Finally, the output from the two lines can be balanced and mixed with the predelay output.

Feed-

back

Level /

Type

Feedback

separation

Cutoff /

Level

Type / Cutoff /

Reso / Q

Delay

time

Sustained

Loop

Predelay

Other delay

line

Filter

Disto

High

shelf

Pan

Mix

Delay line

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3.2 User interface

The user interface is divided into

several distinct parts :

•

Presets

•

Tempo setting

•

Predelays

•

The two delay lines

•

Central panel

Presets, tempo setting and central

panel are described in the Common
Feature chapter. We will discuss here
only the predelays and the delay lines.

3.2.1 Predelays

This panel allows you to control the predelay parameters. Each of the four groups of buttons

corresponds to a “tap”.

3.2.1.1

Tap description

•

ELAY

This is the delay time of each sound replica.

•

EVEL

This controls the volume of the tap. 0 dB is the volume of the original sound.

•

BAL

This is a panoramic potentiometer controlling:

•

The mix from the predelay outputs. It works like a standard stereo balance.

•

The input to the delay lines. When the two delay lines are activated, a pan set to the
left will direct the sound to the first line, and a pan set to the right will direct it to the
second line.

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3.2.1.2

Other controls

•

REDELAY LEVEL

This only controls the mix of the taps in the final output signal. You can

control their volume separately. The normal volume is 0 dB.

•

USTAINED LOOP

When you click on this magic button, you will generate a sustain loop (infinite echo). A

sustain loop has the following characteristics:

•

Sound input is muted

•

Feedback of the two delay lines is set to 100%

Your settings are not lost, they are just bypassed. Click again to get the original sound

back.

3.2.2 Delay lines

Depending on the mode you have chosen, one or two delay lines will be displayed. They

have the same functions and each one can be divided as follows:

•

The delay and its mix

•

Resonant filter

•

Distortion

•

High-shelf filter

3.2.2.1

Delay and mix

This is the fundamental section of each line, where the actual delay process is controlled.

•

ELAY

This parameter defines the time between echoes. It gets shorter as

you turn the knob counter-clockwise or slide the cursor to the left (funky
skin).

•

EEDBACK

This controls the regeneration rate of the delay: the ratio between the volume of an echo

and the volume of the one that follows it. When this ratio is 50 %, each echo will be half the
volume of the one before. When it is 100 %, a sustained echo is created such that the sound
level will not decrease.

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•

EVEL

This is the final output volume for the Delay line.

•

This defines the stereophonic position of the line in the final output.

3.2.2.2

Resonant filter

The filter is the first effect applied to the delay line. It controls the

damping of the sound and can accentuate certain frequency bands.

•

YPE

You can select one of these four filters:

Peak

Increases (wah-wah effect) or decreases (notch style) a particular
frequency range without altering the others. The bandwidth is defined by
Q, and the peak height by resonance. When the resonance is set to 0 dB,
the sound will not be modified. Positive resonance settings give a wha-
wha type effect whereas negative ones act like a notch filter and create
phasing sounds.

LPF Low-pass A filter that cuts all frequencies above a cutoff point. Thus, it allows only

frequencies beneath the cutoff to pass. When resonance is increased over
–3 dB, a peak is generated at the cut-off frequency, intensifying it.

HPF High-pass Similar to the low-pass filter, except that it rejects frequencies below the

cutoff point.

BPF Band-pass Passes all frequencies within a selected frequency band and rejects all

other frequencies. As with the peak filter, the bandwidth is given by Q.
However, in this case, Resonance only defines volume.

•

UTOFF

Controls the filter cut-off frequency.

•

ESONANCE

Resonance defines the gain of the signal at the cut-off frequency. It is an exact value for the

peak and the band-pass filters, but it is a bit less accurate for low-pass and high-pass filters.

The resonance level has to be manipulated very carefully: if it is too high, the delay line will

develop an auto-oscillation effect that could be undesirable. To prevent this, the resonance
level and the feedback level combined should be no greater than 0 dB. For instance, if the
feedback level is 50 % (–6dB), the resonance level should not exceed 6 dB.

•

This parameter is used by the peak and the band-pass filters. It defines the bandwidth.

When Q is low, the band is wide, and the filter is less selective than when Q is high. When the

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band is narrow its sound volume is reduced, so it might be necessary to increase the
resonance level.

3.2.2.3

Distortion

Distortion occurs directly after the sound is filtered. It can degrade or

boost the sound, as you wish.

•

AIN

Controls the amount of distortion. When it is set to 0, the sound is unaltered.

•

OLOR

This fader defines the curve of the distortion. The effect changes depending on the curve

you choose.

•

Overdrive saturates the sound, giving it sharper overtones.

•

Puncher makes the sound more powerful, adding new tones in quite a different manner.
Using a high gain, and an input sound with sharp overtones, it is possible to obtain a
white noise effect.

3.2.2.4

High-shelf filter

This filter slightly attenuates the sharp tones (first order low-pass

filter); this is often useful when distortion is used.

•

REQUENCY

The frequency above which the sound is attenuated.

•

EVEL

This sets the shelf level. In other words, the amount by which the volume of the high

frequencies is to be reduced. At 0 dB, the high-shelf does not modify the sound.

3.2.2.5

Miscellaneous

These buttons are located between the two delay lines.

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•

ECOND DELAY

Click on this button to activate or cancel the second delay line.

•

ROSS

FEEDBACK

This fader is irrelevant unless the second delay line is activated. It regulates the separation

of the feedback from the two channels. When it is at the far left, the two lines feedback
independently, whereas when it is at the far right, they cross over.

3.3 MIDI factory settings

3.3.1 Generic parameters

NRPN Parameter

Remark

Flags

This command can adjust many parameters at one time.
One can group functions to be activated by adding the
following values:

•

+32: Time unit in BPM

•

+16: Second delay line

•

+08: Sustained Loop Mode

•

+04: Delay 1 flush

•

+02: Delay 2 flush

Tempo

Has an effect only if the host application does not directly
control the tempo.

Predelay level

Feedback cross-fader

. . . LFO Period

. . . LFO Depth

. . . LFO Waveform

3.3.2 Predelays

NRPN for Tap...

Parameter

19 31 43 Time

20 32 44 . . . LFO Period

21 33 45 . . . LFO Depth

22 34 46 . . . LFO Waveform

23 35 47 Level

24 36 48 . . . LFO Period

25 37 49 . . . LFO Depth

26 38 50 . . . LFO Waveform

27 39 51 Pan

28 40 52 . . . LFO Period

29 41 53 . . . LFO Depth

30 42 54 . . . LFO Waveform

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3.3.3 Delay lines

NRPN for delay

line...

Parameter

Level

Pan

. . . LFO Period

. . . LFO Depth

. . . LFO Waveform

Time

. . . LFO Period

. . . LFO Depth

. . . LFO Waveform

Feedback

. . . LFO Period

. . . LFO Depth

100

. . . LFO Waveform

101

Filter type

102

Filter cutoff

103

. . . LFO Period

104

. . . LFO Depth

105

. . . LFO Waveform

106

Filter resonance

107

. . . LFO Period

108

. . . LFO Depth

109

. . . LFO Waveform

110

Filter Q

111

. . . LFO Period

112

. . . LFO Depth

113

. . . LFO Waveform

114

Distortion type

115

Distortion amount

116

. . . LFO Period

117

. . . LFO Depth

118

. . . LFO Waveform

119

High-shelf cutoff

120

High-shelf level

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3.3.4 LFO phases

One can also control LFO phase with the following NRPN.

NRPN LFO

121

Feedback cross-fader

122

Tap 1 Time

123

Tap 1 Level

124

Tap 1 Pan

125

Tap 2 Time

126

Tap 2 Level

127

Tap 2 Pan

128

Tap 3 Time

129

Tap 3 Level

130

Tap 3 Pan

131

Tap 4 Time

132

Tap 4 Level

133

Tap 4 Pan

134

Delay 1 Pan

135

Delay 1 Time

136

Delay 1 Feedback

137

Delay 1 Filter Cutoff

138

Delay 1 Filter Resonance

139

Delay 1 Filter Q

140

Delay 1 Distortion amount

141

Delay 2 Pan

142

Delay 2 Time

143

Delay 2 Feedback

144

Delay 2 Filter Cutoff

145

Delay 2 Filter Resonance

146

Delay 2 Filter Q

147

Delay 2 Distortion amount

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4. Predatohm

4.1 Functionality

This technical section explains how the guts of the Predatohm work. The Predatohm is a

multi-band distortion and dynamics processor. The process it uses can be divided into 5 steps:

•

First the input is merged with the feedback from “older” output.

•

The input is then split into up to 4 separate bands which the user can define by altering
the cutoff frequencies.

•

Dynamic setting and distortion effects are applied to each band; each band has its own
parameters.

•

The 4 bands are then mixed together before being injected into the tone unit.

•

Finally, there is optional stereo processing to widen the output.

Digital distortion sometimes introduces strange artifacts, mostly in the high frequencies,

known as aliasing. These are often inaudible, but in some cases can be a problem. If this
occurs, it is possible to get rid of them by oversampling the signal. Predatohm has an option
do this at a ratio of 4. Please note that the drawback of this feature is a higher CPU load.

Here is a diagram summarizing the Predatohm effect:

4.2 Bands

4.2.1 Splitting

Audio input can be split into separate bands, each defined by two frequencies, the lower and

upper limits. Compression and distortion can then be applied to each of these bands. The
Predatohm supports up to 4 distinct bands. Only 3 splitting frequencies are needed to define
these, as the highest and the lowest extremes are fixed at the limits of human hearing.

Feedback

processing

Band

split

Band

processing

Stereo

processing

Tone

settings

Out

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Users can set the three splitting frequencies by using the three dedicated knobs/faders. The

fader positions are constrained to ensure that Freq 1 = Freq 2 = Freq 3. The consequence of
this is that tweaking one knob may “push” the other ones in order to avoid boundary markers
crossing over. When the Predatohm is started, only band 1 is active because all the
frequencies are set at maximum. To make more bands appear, lower the splitting frequencies.

4.2.2 Band processing

The band processing is divided into 2 steps:

•

Dynamics

•

Distortion

All the following settings can be tuned separately for each band. On the

Funky skin, the same controls are present on each finger of the Predatohm
hand.

4.2.2.1

Dynamics

This stage is intended to alter the sound volume, enhancing or reducing transients. It is a

complex process but can be tuned using only two parameters.

•

NTENSITY

The intensity parameter determines how much the character setting alters the sound.

•

HARACTER

This determines the nature of the effect:

•

In the “Phat” zone, to the left, sound is compressed: dynamics are reduced, but the
sound appears to be louder and sustains for longer.

•

In the “Sharp” zone, to the right, sound is expanded: dynamics are increased and
attacks are emphasized, producing highly percussive sounds.

•

In the neutral position, the center, the sound is unmodified.

Frequency

Band 1

Band 2

Band 3

Band 4

Freq 1

Freq 2

Freq 3

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4.2.2.2

Distortion

•

YPE

The distortion effect is then applied. The controls are located at the bottom of each band.

Predatohm supports 13 distortion types, which can be selected using the Type button – the red
dotty control on the Funky Skin.

•

MOUNT

The intensity of the distortion can be set by adjusting the input gain, which ranges from –20

dB to +40 dB. The higher the gain, the more distorted the sound. With almost every distortion
algorithm, if the gain is set to a low value, below 0 dB, the distortion will be unnoticeable. This
is useful if the distortion effect needs to be bypassed. You can compensate for the volume loss
by boosting the signal in the Mix section.

4.2.2.3

Mix

•

LEVEL

The volume can be tuned individually on each band. It can be set from –

∞

dB to +20 dB and

monitored on the vu-meter. You can also set the overall volume for all bands with the Master
volume knob (or fader for the Funky skin).

•

OLO

Activate this button if you want to cut out the other bands and listen to just the one

selected. It is possible to solo more than one band simultaneously. A right click inverts all the
solo settings.

4.3 End of the chain

4.3.1 Tone

After band processing the signals are mixed together, and the tone

setting is applied in order to attenuate hyper-bright frequencies.

•

ONE SHAPE

This determines the “color” of the filter. Turned to the far left, it does nothing. In the mid

position, it is a simple 48 dB/octave low pass filter. Pushed to the right, this knob introduces a
little resonance.

•

ONE FREQUENCY

The tone frequency, ranging from 2 kHz to 8 kHz, determines the cutoff frequency of the

filter. Tweaking this can have a vast impact on final sound.

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4.3.2 Feedback

The input stream is merged with the previously generated output

stream. This process can be tuned with 2 knobs:

•

REQUENCY

This can be set from 16 Hz to 1024 Hz. In a real acoustic environment, the frequency

corresponds to the distance separating the microphone from the loudspeaker. The sound
leaves the speaker, travels, is recorded by the microphone and amplified back through the
speaker. A low pitch would imply that the two are far apart.

•

MOUNT

The other parameter for feedback processing is the feedback amount (%), also controlled

by a knob. This parameter determines the simulated microphone sensitivity.

ARNING

: Be careful with the feedback. Large values will make it uncontrollable,

particularly if one of the bands has its dynamic processing set to “Phat” mode.

4.3.3 Stereo

If the host accepts stereo output from the plug-in, then you can

activate the stereo processing option. This adds an artificial stereo
effect by inverting and delaying the two output channels.

We recommend you use this option with care because, if the output channels are post-

mixed back to mono, the sound, or part of it, may disappear. The nature of the effect may also
vary with loudspeaker placement.

•

TEREO

Click on this button to activate or deactivate the stereo processing.

•

HASE

This sets the time differential between the left and right channels, ranging from 0 to 10 ms.

MPORTANT

: In all cases, Predatohm processing is done in mono. If the input is stereo, it

is converted to mono first. The stereo output just adds an artifical stereo feeling.

ARNING

: Sounds processed with 0 ms stereo-phase are not mono-compatible.

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4.3.4 Master section

•

IGH

UALITY

Press this button to activate oversampling. This is an optional Predatohm

feature: it allows you to reduce the unwanted aliasing effect produced by the
distortion process. Be aware, however, that this option increases CPU load! We
suggest you use it only for final mixdowns, or when aliasing is very noticeable.

•

ASTER

This knob sets the master volume. The LED indicates when the signal exceeds

the 0 dB peak. Should this happen, the signal is not altered, as most plug-in
standards supports floating point data and are not sensitive to clipping before
final output.

4.4 MIDI factory settings

4.4.1 Generic parameters

NRPN Parameter

Remark

Stereo Boost Switch

High Quality Switch

Tone Frequency

Tone Color

0 = Tone disabled

Stereo Amount

Feedback Amount

0 = Feedback disabled

Feedback Frequency

Master Volume

Band 1-2 Split Frequency

Max = disables bands 2, 3 and 4

Band 2-3 Split Frequency

Max = disables bands 3 and 4

Band 3-4 Split Frequency

Max = disables band 4

4.4.2 Band parameters

NRPN for Band...

Parameter

19 26 33 Character

20 27 34 Intensity

21 28 35 Distortion Amount

22 29 36 Distortion Type

23 30 37 Level

24 31 38 Switch for band solo

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5. Hematohm

5.1 Functionality

5.1.1 Architecture

This plug-in is a frequency shifter, augmented with an LFO, an envelope follower and a

delay. The process can be divided into 3 steps:

•

The input volume is detected by the envelope follower.

•

The signal spectrum is shifted and delayed.

•

The input and the shifted sounds are combined

Here is a diagram that summarizes the Hematohm effect:

5.1.2 A frequency shifter?

First, this is not a pitch shifter! The two are often mixed up. A pitch shifter is an effect that

can change the tuning of a sound, by transforming a piano note tuned in C4 into an A3 note,
for example. It is achieved by multiplying all frequency components by a constant. Thus the
ratio between harmonics is preserved and the sound maintains its timbre.

Frequency

shifter

Envelope

follower

Crossfader

Dry / Wet

Out

Delay line

Delay

feedback

Dry / Wet

mix

Direct

routing

Delay

time

Shift

amount

Amount,

Attack,

Decay

LFO

Modulation

signal

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A frequency shifter is different. The frequencies are added according to a constant

frequency, rather than being multiplied. A ring modulator works in this manner, but it is
limited to building a mirror image in the lower part of the spectrum, and it doesn't support
negative shifting.

Here is a comparison of these various effects on the spectrum of a sound:

•

Unprocessed sound

•

Pitch shifting one octave up

•

Ring modulation

•

Frequency shifting

Freq

Ring frequency

Freq

Shift frequency

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5.1.3 Frequency shifter typical usage

A consequence of this frequency shifting is that the harmonics get out of tune. Their

relationships with the fundamental frequency are broken, with outlandish results: making an
acoustic guitar sound like a bell, for example.

However, with certain sounds, and the right frequencies, it is possible to maintain a good

relationship between harmonics. Thus the sound is changed but its pitch remains identifiable.
Small shifting frequencies keep the sound coherent and are useful to obtain slight variations in
the tone.

5.2 Effect

In this section you'll find instructions for the main buttons that control

the Hematohm.

•

MOUNT

The Amount is the main effect control. It is the shifting frequency, in Hz.

It can be positive or negative. When the amount is 0 Hz, the center
position, it has no effect.

•

The Mix button dictates how the input and processed sound are mixed together to form the

output signal. Turned to the left, the effect is completely bypassed, and the input is directly
connected to the output. At the far right, the output sound contains no trace of the
unprocessed input.

: You can obtain nice phaser effects by setting the Amount parameter to a value

below 10 Hz and then setting the Mix button to its center point.

5.3 Modulation

5.3.1 LFO

It is possible to make the shifting frequency - the

Effect/Amount parameter - change constantly using the LFO.
The Low Frequency Oscillator causes oscillations or random
changes. See the Common Features section for more
information about LFOs.

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5.3.2 Envelope follower

The envelope follower detects the input sound volume and

modifies the shifting frequency according to the envelope
shape. The louder the sound, the more the shifting frequency
is affected.

•

MOUNT

Indicates how the shifting frequency should be modified. At the center position of 0 Hz, the

envelope follower has no effect.

•

TTACK

The time it takes the envelope to respond to the attacks in the input sound (i.e. rises in

input volume).

•

ELEASE

The time it takes the envelope to respond to the decays in the input sound (i.e. Drops in the

input volume).

5.4 Delay

The unit also has a delay, which can be used with the

shifter in its feedback path. The delay effect repeats the
sound regularly. Sounds created can have an infinitely
increasing or decreasing pitch.

•

IME

The time between each repetition.

•

EEDBACK

The amount of delayed sound which is re-injected into the delay. 0 % means no re-

injection.

•

IRECT ROUTING

This switch selects where the effect occurs in the delay circuitry. In “Feedback” mode, the

effect is only applied to the feedback path, thus the shifting is heard only after one repetition.
In “Direct” mode, it is applied to the direct signal path before it is fed into the delay.

5.5 MIDI factory settings

NRPN Parameter

Remark

Tempo

Dry/Wet Mix

Effect Amount

LFO Period

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LFO Depth

LFO Waveform

Envelope Amount

Envelope Attack Time

Envelope Release Time

Delay Routing

0 = Direct

Delay Time

Delay Feedback

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6. Mobilohm

6.1 Functionality

6.1.1 What is a phaser ?

A basic phaser is created by running a signal through an all-pass filter (a filter that does not

change the frequency content of the signal, only the phase). Then the filtered signal is added
to the original one. This operation creates notches in the signal spectrum. The number and
position of the notches depends on the all-pass filter design.

A variable phaser, the kind typically used by musicians, is created by altering the all-pass

filter parameters. This causes the notch frequencies to move continuously, generating that well
known phasing sound.

The phaser effect is close to, but somewhat different from, the flanger effect. The latter is

achieved by mixing a signal with a delayed version of itself. Adding a delay back into a signal
creates a particular kind of filter called a “comb”, which contains equally spaced peaks and
notches. If the delay is then varied constantly it moves the notch frequencies, creating a
flanging effect.

Both effects result from filtering the signal with a notched, time shifting, filter. The reason

they sound so different is that the notches are equally spaced in a flanger, but not in a phaser.
Furthermore, the phaser filter is generally smoother, and the flanger uses a delay line while
the phaser does not.

6.1.2 Architecture

The Mobilohm is more than just a simple phaser. The effect consists of three main stages:

•

First the signal is colored with a filter.

•

Then the signal is directed to four identical phasing cells.

•

· Finally, the colored signal is mixed with the four phased signals from the cells.

Here is a diagram summarizing the Mobilohm effect:

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You can turn any of the cells off by setting its gain knob to –8 dB. It's also possible to

remove the direct output of the colored signal from the final mix in the same manner.

6.1.3 Cell description

Each cell applies a phasing effect and some other processing, allowing you to get extremely

creative results. For starters, each cell contains a feedback setting, which loops the processed
signal back to the input to be processed again; this reinforces the effect, making it fatter.

It's also possible to stop the oscillations and to set the phase manually as on old analog

phaser. The phased signal can then be filtered by a bandpass filter. You can control the cutoff
frequency and the bandwidth of the filter.

Color

filter

Cell 2

Cell 1

Cell 3

Cell 4

Out

Cell Input

Phasing

filter

Phase

oscillator

Manual

phase

Feedback

coloring

Band-pass

filter

Distortion

Panoramic
processing

Left cell

output

Right cell

output

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6.2 Using Mobilohm

6.2.1 Master volume

The Volume is the total effect output gain. Turning it to –8 dB will mute the

output. The peak LED blinks every time the outputs jumps over 0 dB.

6.2.2 Tone

This controls the coloring filter which feeds the four phaser cells.

•

AIN

The gain knob controls the output of the Tone section to the final mix. Thus,

setting the level to –8 dB will prevent you from hearing the colored signal,
although the cells will still process the signal.

•

ONE

This setting controls the color intensity of the Tone section’s filter. Is T

ONE

X is

set to 0 %, the signal won't be colored, whatever the value of T

ONE

•

ONE

Y modifies the frequency of the filtering bands managed by T

ONE

X. In other words, it

dictates the type of color. The idea behind the T

ONE

Y LFO is to provide an additional timbre

oscillation.

6.2.3 Cells

6.2.3.1

Oscillator

This is the pure phasing section of the cell, which creates the

sweeping effect.

•

ATE

The rate controls the frequency of the modulation. A slow setting will result in a slowly

shifting sound. The rate can be set relative to the tempo, so rhythmic effects can be achieved.
Setting the rate to a short period modulates the signal so quickly that audible harmonics
appear.

•

OLD

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This switch allows you to freeze the modulation. You can then use the M

ANUAL

knob to

adjust the phase or achieve a manual phasing effect. You can also use it when H

OLD

is off, but

the result is less noticeable since the phase is already oscillating constantly.

•

ANUAL

Changes the phase of the oscillation. Best used with H

OLD

on. Freezing the oscillations and

applying a small amount of LFO to M

ANUAL

can achieve an interesting effect. The oscillations

will alter the timbre slightly – now turn the M

ANUAL

knob to find the timbre you want.

•

EPTH

This changes the complexity of the all-pass filter, affecting the number of notches created,

and, as a consequence, the fatness of the effect.

6.2.3.2

Feedback

Feedback is an important phaser feature. With it, you can dramatically

change the color of the phased sound. When no feedback is involved, you
have to mix the phased signal with the pure colored sound (see the Tone
section) to hear changes. With enough feedback, there is no more need for
the colored sound, the phased signal having a texture of its own.

•

EVEL

This is the amount of sound from the output injected back into the phaser input. If it is

equal to 0 %, the feedback is disabled.

•

OLOR

This setting alters the sound of the feedback.

6.2.3.3

Filter

This is a 2-pole band-pass filter, applied at the output of phasing stage. It

limits the sound to a certain frequency band in the spectrum. When several
cells are mixed, sound becomes fluid and the effect is a bit diminished. By
selecting the bands carefully, so that they do not overlap, it is possible to
achieve far more interesting effects.

•

REQUENCY

Changes the center frequency of the band.

•

Sets the selectivity of the filter. With low Q settings, the filter has a wide band and allows a

broad frequency range to pass. With high Q settings, the band is narrow and therefore very
colored. The leftmost knob position disables the filter.

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6.2.3.4

Mix

•

AIN

This parameter controls the output level of the cell. Turning it to –8 dB will

disable the cell.

•

This Defines the stereophonic position of the cell in the final mix. The cell output

is already stereo, so be careful when panning a sound completely to the right or
the left.

6.3 MIDI factory settings

6.3.1 Generic parameters

NRPN Parameter

Tempo

Master Volume

Tone Volume

Tone X

. . . LFO period

. . . LFO depth

. . . LFO waveform

Tone Y

. . . LFO period

. . . LFO depth

. . . LFO waveform

6.3.2 Cell parameters

NRPN for Cell…

Parameter

11 39 67 95 Cell gain
12 40 68 96 Cell pan
13 41 69 97 . . . LFO period
14 42 70 98 . . . LFO depth
15 43 71 99 . . . LFO waveform
16 44 72 100 Cell oscillator depth
17 45 73 101 Cell oscillator hold
18 46 74 102 Cell oscillator rate
19 47 75 103 . . . LFO period
20 48 76 104 . . . LFO depth
21 49 77 105 . . . LFO waveform
22 50 78 106 Cell oscillator man phase
23 51 79 107 . . . LFO period
24 52 80 108 . . . LFO depth
25 53 81 109 . . . LFO waveform
26 54 82 110 Cell feedback level
27 55 83 111 . . . LFO period

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28 56 84 112 . . . LFO depth
29 57 85 113 . . . LFO waveform
30 58 86 114 Cell feedback color
31 59 87 115 . . . LFO period
32 60 88 116 . . . LFO depth
33 61 89 117 . . . LFO waveform
34 62 90 118 Cell filter frequency
35 63 91 119 . . . LFO period
36 64 92 120 . . . LFO depth
37 65 93 121 . . . LFO waveform
38 66 94 122 Cell filter Q

6.3.3 LFO phases

One can also control LFO phase with the following NRPN.

NRPN LFO

123

Tone X

124

Tone Y

125

Cell 1 pan

126

Cell 1 oscillator rate

127

Cell 1 man phase

128

Cell 1 feedback level

129

Cell 1 feedback color

130

Cell 1 filter frequency

131

Cell 2 pan

132

Cell 2 oscillator rate

133

Cell 2 man phase

134

Cell 2 feedback level

135

Cell 2 feedback color

136

Cell 2 filter frequency

137

Cell 3 pan

138

Cell 3 oscillator rate

139

Cell 3 man phase

140

Cell 3 feedback level

141

Cell 3 feedback color

142

Cell 3 filter frequency

143

Cell 4 pan

144

Cell 4 oscillator rate

145

Cell 4 man phase

146

Cell 4 feedback level

147

Cell 4 feedback color

148

Cell 4 filter frequency

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7. Frohmage

7.1 Functionality

This part is a bit technical, but it will help you understand structure of the Frohmage,

making it easier to get great results quickly. This plug-in is a multi-band resonant filter: it is
made of a resonant low-pass filter running in parallel with multiple band-pass filters. These are
then followed by a distortion stage.

The low-pass filter (LPF) passes only those frequencies below a certain threshold point,

known as the cutoff frequency. At the cutoff point there is a peak in the frequency response,
known as the resonance. This emphasizes a very small frequency range, coloring the sound.

Bandpass filters only allow small frequency ranges above the cutoff frequency to pass. All

the bands are equally frequency-spaced, which increase the sound coloration. It is also
possible to delay the sound of each band.

7.2 Controls

The user interface is divided into several distinct parts :

•

Presets / Setup. These are covered in the “Common feature” section.

•

Band control

•

Central panel

•

Distortion

The Frohmage has no LFO or Main Edit section. The parameter values are given below the

corresponding knobs.

7.2.1 Band control

•

UMBER OF BANDS

This parameter changes the number of bands, between 1 and 16. 1 means

only the LPF is active.

•

AND SPACING

Bands are regularly spaced; this parameter defines the size of gap between

adjacent bands.

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7.2.2 Central panel

•

UTOFF FREQUENCY

The main filter control. It modifies the filter cutoff frequency and

therefore its tonality.

•

ESONANCE

This knob controls the peak level at the cutoff frequency. The higher it

is, the more distinct the tone is.

•

VOLUTION

This Knob affects the delay times of all the bands. When it is at the

middle position, there is no delay. When the knob is turned to the left, the
lower bands are more delayed, and when the knob is turned to the right,
the higher bands are more delayed.

•

ONE

The filter output signal is divided into two parts: the LPF output and the

BPF output. With the tone parameter, you can change the balance between
the LPF and BPF sections. When the fader is set to the left, only the LPF
output can be heard. When it is set to the right, the balance is reversed
and only the BPF output can be heard.

7.2.3 Distortion

•

MOUNT

This parameter controls the distortion amount. Distortion is created by

softly clipping the signal.

•

OUTING

The distortion will process the whole signal if this button is set to the

left position, or the LPF output only if set to the right position.

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7.3 MIDI factory settings

NRPN Parameter

Filter Cutoff Frequency

Resonance

Number of bands

Distortion gain

Distortion routing

Band Spacing

Evolution

Tone

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8. Credits and thanks

The following people have worked or still work in the Ohm Force team:

Franck Bacquet

Yellow Force

Team management, programming

Vincent Birebent

Mauve Force

Web development, marketing and communication

Julien Bœuf

Blue Force

Programming

Eric Cestari

Grey Force

Web development

Raphaël Dingé

Fuchsia Force

Product design, Macintosh programming

Ian Finney

Gold Force

Communication

Vincent Frison

Orange Force

Web development

Eric Gougaud

Green Force

Team management

Thomas Legrand

Black Force

Accounting

Gregory Makles

Red Force

Product and web design, artwork

Jérôme Noël

Ivory Force

Product design, programming

Laurent de Soras

Plum Force

Product design, programming

Special thanks to Chris MacLeod, Dave Spiers and the whole GMedia team for their

invaluable support. Thank also to all the beta-testing program participants.

And in no particular order:

Angus Hewlett and Rhiannon Bankston-Thomas from Fxpansion, Frederique Bœuf, Hélène

Zanni, Jonathan Bidgood, Robert Robichon and the #musicdsp people on EFNet.

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