Tascam GVI Owner's Manual
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Tascam GVI Owner's Manual

Tascam GVI Owner's Manual

Quickedit and gigapulse addendum
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Owner's Manual
QuickEdit and GigaPulse Addendum
100206

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Summary of Contents for Tascam GVI

  • Page 1 Owner's Manual QuickEdit and GigaPulse Addendum 100206...

  • Page 2: Table Of Contents

    PITCH ENVELOPE SECTION... 13 AMP ENVELOPE MODULATION SECTION ... 13 AMPLITUDE LFO SECTION ... 14 PITCH LFO SECTION... 15 GVI FILTER TAB ... 16 FILTER SECTION ... 16 FILTER ENVELOPE SECTION... 18 MIDI CONTROL SECTION... 19 FILTER ENVELOPE MODULATION SECTION ... 19 KEY RESPONSE SECTION ...

  • Page 3: Chapter 12: Quickedit View

    QuickEdit modifications are stored and recalled by saving either a preset or GSI file. The QuickEdit view can be opened using either the global EDIT button located on the GVI navigation toolbar or the green, channel specific EDIT buttons located on MIDI Mixer channel strips that contain loaded instruments.

  • Page 4: Edit Modes And Selections

    EDIT MODES AND SELECTIONS In a Giga instrument, every keyboard region has its own parameter settings for envelopes, LFOs, filters, and the like. The keyboard regions, each covering one or more keys, are displayed in the horizontal strip just above the virtual keyboard. You'll notice that one of the regions is always highlighted in bright yellow.

  • Page 5: Edit Mode

    KEYBOARD SELECT DROP-DOWN MENU We noted above that a GVI instrument can contain a large number of regions, each subdivided into many independent splits. Often you will want to apply an edit globally across an entire instrument. At other times, you may need to edit only a particular region or group of regions.

  • Page 6: Dimension Select Drop-Down Menu

    Individual splits: When viewing a stereo instrument, you'll notice an additional dimension strip labeled Stereo". Stereo GVI instruments have independent parameter settings for the left and right sides of every split. In practice, it's rare to find any parameter set differently for the two sides of the same split, so edits are normally applied to both sides simultaneously.

  • Page 7: Quickedit Articulation Tabs

    QUICKEDIT ARTICULATION TABS GVI GENERAL TAB Volume: The Volume knob simply attenuates a region’s playback level between 0 and 98 decibels. A Volume value of 0.0 indicates that the region will play back un-attenuated. Pan: This setting sets the pan position by a value from -64 (hard left) to +63 (hard right).

  • Page 8: Volume Modulation Section

    VOLUME MODULATION SECTION controller cross-fade layer. Both layers would be set to the same MIDI controller for attenuation but one would be inverted using this parameter. The result would be a cross-fade between both layers. Attenuation Controller Threshold: This parameter allows you to assign a minimum threshold to the external volume attenuation controller.
  • Page 9 Velocity Curve: There are three general response curves available: Linear, Non-Linear, and Special. See the diagrams below for a graphical representation of each curve class. Linear Curve: Non-Linear Curve:...
  • Page 10 Special Curve: Velocity Range: Use the velocity range slider to select one of five velocity response offsets for the specified velocity response curve (Linear, Non-Linear, Special). The velocity range is set from High to Low, High producing the largest dynamic range (softer) and Low producing the smallest dynamic range (louder).

  • Page 11: Instrument Global Section

    INSTRUMENT GLOBAL SECTION GVI using an instrument’s pedal down samples. This option is only needed for piano libraries that use actual pedal down samples. GVI AMPLITUDE/PITCH TAB Pitch Bend Range: Instrument Global settings apply to all regions and dimensions of the instrument currently being edited. You can set the Pitch Bend Range between 0 and 12 semitones (half-steps).

  • Page 12: Amplitude Envelope Section

    AMPLITUDE ENVELOPE SECTION Preattack: The Pre-attack level is adjusted with percentage numbers (0-100). It is the very first point of a sample’s ADSR envelope and sets the initial volume level of the attack. For example, a Preattack level of 50.00 sets the beginning of the attack envelope to half the potential volume of the sample.

  • Page 13: Pitch Envelope Section

    PITCH ENVELOPE SECTION Attack: The pitch Attack time is measured in seconds (0-60). This value determines the amount of time that it takes for a sustained note to be tuned from the specified pitch Depth value back to its original pitch. Depth: Pitch Envelope Depth is measured in cents and represents the Attack or Note On pitch of a sample.

  • Page 14: Amplitude Lfo Section

    AMPLITUDE LFO SECTION LFO Frequency: The Amplitude LFO Frequency value can be set between 0.1 and 10 Hz and controls the rate at which the Amplitude LFO oscillates. Control Source: The Control Source selects between Internal LFO, Mod Wheel, Breath Control, or a combination of either Internal LFO and Mod Wheel or Internal LFO and Breath Control.

  • Page 15: Pitch Lfo Section

    PITCH LFO SECTION LFO Frequency: The Pitch LFO Frequency value can be set between 0.1 and 10 Hz and controls the rate at which the Pitch LFO oscillates. Control Source: The Control Source selects between Internal LFO, Mod Wheel, Aftertouch, or a combination of either Internal LFO and Mod Wheel or Internal LFO and Aftertouch.

  • Page 16: Gvi Filter Tab

    GVI FILTER TAB FILTER SECTION Filter Type: This drop-down menu allows you to enable/disable filtering and select which type of filter will be used from the following list: None – Lowpass – Highpass – Bandpass – This option filters out frequencies above and below the Cutoff point Bandreject –...
  • Page 17 Note: This parameter is only available if the Cutoff Controller is set to “None”. Minimum (Min) Cutoff: This value places a limit on the lowest filter cutoff frequency when using a MIDI Cutoff Controller. The low range of the MIDI controller will start with this value. Resonance (Res): Resonance, also referred to as Q, creates a peak in amplitude at the specific Cutoff frequency and is used to generate classic analog synth textures.

  • Page 18: Filter Envelope Section

    FILTER ENVELOPE SECTION Preattack: The Filter Pre-attack value is adjusted with percentage numbers (0-100). Preattack offsets the initial Filter Cutoff value for the attack of the Filter Envelope. For example, a Preattack offset of 50.00 sets the envelope’s initial Filter Cutoff value to halfway between the lowest Cutoff value (0) and the user specified Cutoff Value.

  • Page 19: Midi Control Section

    MIDI CONTROL SECTION Invert: When enabled, this setting reverses the incoming MIDI controller data values. Resonance Controller: This parameter allows you to assign a MIDI controller to the Filter Resonance for real-time continuous control. This assignment overrides the Filter Resonance value, which will be disabled once you assign a MIDI controller here.

  • Page 20: Filter Lfo Section

    FILTER LFO SECTION combination of either Internal LFO and Mod Wheel or Internal LFO and Foot Control. Invert: When enabled, this setting reverses the incoming MIDI controller data values. Synch: This option provides a single, synchronized LFO rate across all regions. When Synch is enabled, the LFO will be constant no matter what note is played or when it is struck.

  • Page 21: Gvi Loop Tab

    GVI LOOP TAB SAMPLE START SECTION Sample Start: This option alters the sample attack to start after the beginning of the wave sample. The value is measured in samples and has maximum limit of 2000 samples. This is useful to soften the attack of a sample or to eliminate/create pops at the beginning of a sample.

  • Page 22: Quickedit Waveform View

    QUICKEDIT WAVEFORM VIEW The Waveform view provides valuable visual feedback when adjusting Envelope, LFO, and sample loop points. There are three basic sections to the waveform display including the zoom tools, a time display, and the actual waveform window. WAVEFORM VIEW ZOOM TOOLS Zoom Bar: The purple rectangle located just above the time display can be used to scroll through a sample as well as to zoom in and out.

  • Page 23: Waveform Display Window

    simply click and drag one of the handles. WAVEFORM DISPLAY WINDOW In addition to being a simple graphical display for the sample waveforms, the Waveform Display window can be used to make changes to Amplitude, Filter, and Pitch Envelopes as well as LFO’s.

  • Page 24: Chapter 13: Gigapulse View

    GigaPulse is a world class Convolution Modeling and Reverb Plug-in that has been integrated directly into GVI for automatic processing of instruments that are embedded with GigaPulse convolution presets. An embedded convolution preset is a GIG/Instrument file that is loaded or stacked into the MIDI Mixer just like other sampled instruments.

  • Page 25: Gigapulse In The Midi Mixer

    It is up to the library or soundware developer as to how these impulse responses appear to the end-user within GVI. For instance, in the case of GigaPiano II, a piano soundboard resonance IR was embedded directly into the GIG instrument that the actual piano sample data is stored in.

  • Page 26: Input Section

    INPUT SECTION Bypass: Use the Bypass Button to quickly enable or disable the GigaPulse effect. When Bypass is enabled, the button will be lit up green. Note: If you bypass convolution that is an integral part of the instrument’s sound, such as that used in GigaPiano-II, the instrument may essentially become unplayable sonically.

  • Page 27: Mic Group Section

    Acoustic Space Bank Menu: The Bank Menu brings up a drop-down list of all the available GIG Instrument Banks (GIB) that were encoded into the loaded GigaPulse instance by the instrument designer. Note that [ctrl]+clicking on the Bank Menu will toggle between the internal embedded preset name and the original bank file name that was used to create the GIB.
  • Page 28 Mid-Side Decode: MSDEC stands for Mid-Side Decoding, which is a common method of recording mono-compatible stereo sound. This technique also offers custom control of the stereo width and volume levels. This button will illuminate if the soundw are developer has employed this technique in the recording of their IRs. Mute: Silences the Master or the individual channels, but the processing is still occurring, using CPU resources.

  • Page 30: Mic Replacement Section

    MIC REPLACEMENT SECTION The Mic Replacement section is Mic Group specific, meaning that original and replacement Mic selections only affect the currently selected Mic Group. Different microphones have different sonic characteristics. Microphones come in different quality levels and they also have different directional characteristics (Omni directional, Cardioid, Wide Cardioid, Hyper Cardioid, Figure 8…), They may also give different responses according to the pitch or timbre of the source audio.
  • Page 31 Pattern: Most microphones have a choice of polarity patterns. Some have just one pattern while others have up to 5 patterns. Click on the Pattern Button dropdown to see what is available for each mic. The choice of pattern can dramatically affect the sonic character of a microphone.
  • Page 32 GVI PLACEMENT SECTION There are two types of buttons present in the Placement Section window, the source placement (where the performer is located on the sound stage) and the microphone placements. The source placement button is square by default and labeled numerically while the microphone placements are round and labeled according to which Mic Group they belong to (surround, wide, etc.).

  • Page 33: Mic To Fx Bus Routing Section

    MIC TO FX BUS ROUTING SECTION Simulated Stereo: Simulates a stereo signal from a mono source audio stream passing through GigaPulse. When simulated stereo is enabled, GigaPulse will disable all but one microphone placement. Because only one channel of convolution is used for Simulated Stereo, less CPU resources are used than with Stereo Banks.

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