Audio-damage Ronin Manual do Utilizador

1 Ronin User’s Guide Audio Damage, Inc. Release 1.5

10 2. Filters – two resonant multi-mode filters, with morphing between low pass, band pass, high pass, and notch frequency response modes. 3. Satur

11 The audio routing matrix is the most dangerous part of Ronin. Because you may patch the audio inputs or outputs of any module to any other, you can

12 older counterparts. On the other hand, older digital delays usually had limited dynamic range and undesirable distortion. Ronin’s delays use 32-bit

13 you adjust the time slider, you will see that the delay time is show in metrical units. Delay times are expressed as fractions of a beat, with the

14 When the Loop switch is turned on, the feedback input is automatically turned off. This is to make it easier to switch back and forth between loopi

15  High pass: signals whose frequency is above the center frequency are passed unmodified, signals whose frequency is below the center frequency ar

16 distorting delayed signals to emulate the less-than-pristine characteristics of older hardware delays, and distorting signals to increase their har

17 Master Input and Output Controls The input and output sliders provide adjustable amplification and attenuation of the signals as they enter and lea

18 Routing Matrix The signal routing matrix, found on the right in the Routing Matrix section of Ronin’s window, is how you connect the audio processi

19 FILTER 1, FILTER 2: the inputs of the two multi-mode filters. SAT 1, SAT 2: the inputs of the two saturation modules. OUTPUT 1, OUTPUT 2: the outpu

2 The information in this document is subject to change without notice and does not represent a commitment on the part of Audio Damage, Inc. The soft

20 The Rate slider determines how fast the output of the LFO varies over time. If the sync button is not turned on, the LFO’s rate can be varied from

21 Note that the output of the LFO is bipolar, that is, it varies above and below zero. When you use an LFO to modulate a parameter, the parameter wi

22 regular notes, are shown with a T in the display. “1/16T” represents a duration equal to 2/3 that of a sixteenth note. If LFO 2’s Reset switch is t

23 MIDI Data from your MIDI keyboard or other MIDI controllers can be used as a modulator in several ways, enabling Ronin’s effects to respond dynamic

24 You can think of signals entering the routing matrix at the top and leaving on the right. The columns are labeled with the names of modulation sour

25 PAN 1, PAN 2: the stereo panning position of the two output signals. Modulation signals connected to these destinations are added to the current po

26 the loudness of the incoming signal. (Controlling a filter with an envelope follower in this manner is often called an “auto-wah” effect.) If you m

27 3. The blue square will disappear. Now Ronin’s control will move when you manipulate the MIDI controller. Ronin waits until it has received two c

28 Putting It All Together: Some Examples Here are detailed descriptions of four of Ronin’s presets, which you will find near the bottom of the preset

29 Stereo Delay with Cross Feedback and Filtering This preset demonstrates Ronin’s ability to set its delay times based on your VST host’s current tem

3 License Agreement BY INSTALLING THE SOFTWARE, YOU ARE CONSENTING TO BE BOUND BY THIS AGREEMENT. IF YOU DO NOT AGREE TO ALL OF THE TERMS OF THIS AGRE

30 Also notice that we’ve connected the output of delay 1 to the feedback input of delay 2, and vice versa. This means that signals emerging from one

31 Filtered Auto-Panning This preset doesn’t use Ronin’s delays or panning controls at all. Instead it uses filters modulated by the LFOs to create a

32 The connections in the modulation matrix are a little more complicated. LFOs 1 and 2 are connected so that they modulate the frequencies of the fil

33 Ducked Delays “Ducking” is the process of lowering the loudness of one signal in response to the loudness of another signal. For example, ducking i

34 The Wet and Dry level controls are set to the same value so that the delayed signals are as loud as the original signal. The Pan positions are set

35 Fun With Looping This preset will introduce you to some of the fun things you can do with Ronin’s looping delays. You’ll need a synthesizer, guitar

36 Delay 1 is set up for interactive looping. The Sync switch is on so that the length of the loop is determined by your sequencer’s tempo, which shou

37 And Finally… Thanks again for purchasing Ronin. We make every effort to ensure your satisfaction with our products, and want you to be happy with y

4 been subjected to abnormal physical or electrical stress, misuse, negligence, or accident, or (d) is used in ultrahazardous activities. DISCLAIMER.

5 Credits Software Design and Construction, Documentation Chris Randall Adam Schabtach Field Testing Wade Alin Carl Downing Mike Fisher Steve Hamann

6 Welcome Thank you for purchasing Ronin, Audio Damage’s modular multi-effects plug-in. While Ronin was built primarily for delay-based effects and lo

7 System Requirements To use Ronin, you'll need a Steinberg VST-compatible host application which conforms to the VST 2.0 specifications, and a c

8  Relocated Modulation Controls: The modulation depth controls now appear next to the Control Routing Matrix, making their use and position within

9 Overview Here is a picture of Ronin’s editor window, followed by brief descriptions of its modules and their controls: 1. Delays – two delay modul