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Rob Papen Predator User Manual

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Summary of Contents for Rob Papen Predator

  • Page 1 User Guide Powered by RPCX...
  • Page 2 All technical specifications of the products specified in this manual may be subject to change without notice. The documents may not be changed, especially copyright notices may not be removed or changed. Rob Papen is a trademark of Rob Papen Sound Design & Music. Predator is a trademark of Rob Papen ConcreteFX (RPCX).

  • Page 3: Welcome

    Welcome Thank you for purchasing the Rob Papen Predator. Predator is a killer synthesizer that combines inspiring presets and first-class features to make this your 'go-to' synth for contemporary music production. The user interface has been designed so that almost all controls are visible on screen, making it fun and incredibly easy-to-use.

  • Page 4: Table Of Contents

    ) ......47 ISTORT DISTORTION [ PRESET ]..........14 ..........47 [PRESET / BANK MANAGER ] ....17 ..........47 ........47 HAPER [ PREDATOR OSCILLATOR ] ....19 ........48 TEREO IDENER [ PITCH MODULATION ] ......22 ..........48 ........... 48 ATOR LFO ......22...

  • Page 5: Installation On Pc (Vst)

    When the installer runs, first select the language for the 'Quick manual' and then choose the directory to install. Make sure you choose the right directory, so your host software is able to find the Predator VSTi. Refer to your host software's manual if you are unsure about where the host software plug-in directory is located.

  • Page 6: Installation On Pc (Rtas)

    The instrument files 'Predator.dpm' and 'PredatorFX.dpm' together with their preset banks can be found in the 'Rob Papen' directory. The next time you start your host software Predator will be listed in the RTAS Instrument list and PredatorFX in your RTAS FX list.

  • Page 7: Inst.allation On Mac

    After this Predator should be licensed and usable in your host. So next time you start your host software, Predator and PredatorFX will be listed in the VST / AU / RTAS instrument list.
  • Page 8 Options: 1. Syncrosoft dongle If you own a Syncrosoft dongle you can transfer the Predator license onto it by using the License Transfer wizard in Syncrosoft's License Control Center software. Syncrosoft dongles can be also purchased at www.robpapen.com 2. Registration, updates and additional installation on a second computer For registration, updates or a second activation code to install for example on a second computer, please create an account on the www.robpapen.com website where you can obtain a 2nd activation code.

  • Page 9: Predator Features

    Predator Features VST2.4, AU and RTAS plug-in synthesizer for PC and Mac Oscillators section: 3 Oscillators with 128 waves included Analogue, Additive and Spectral type of waveforms plus pink & white noise generators. Oscillator waveform Symmetry control for each oscillator.
  • Page 10 Adjustable Analogness setting to simulate the instability of vintage analogue synthesizers. Global Tuning. Attack Shape. This changes the curvature of Predator's envelopes attack stage. From exponential to linear to logarithmic. Decay/Release Shape. This Changes the curvature of Predator's envelopes decay and release stages. From exponential to linear to logarithmic.

  • Page 11: Introduction Into Predator

    The block diagram below shows the audio signal flow within Predator and Predator FX. GUI design / user interface The GUI design of Predator can be divided into 9 main sections: Oscillator section, Pitch modulation section, Filter section, Amp section, Free modulation section, Arpeggiator section, Play modes section, Preset section and Advance section.

  • Page 12: Predator Controls

    Predator uses controller knobs and buttons to adjust its parameters. If you move your mouse over a control the controller name and its value is shown in Predator s read-out screen, which is located at the bottom right hand side.
  • Page 13 You can alter the current preset and banks using the computers keyboard. The functions can be turned off at the back panel of Predator. To access the back panel, click at the Predator logo. This setting is global. - Up arrow button...

  • Page 14: Preset

    It is recommended that you save your own Predator or PredatorFX banks inside their own folder/file. In the factory banks of Predator the last preset 110 up to 128 are left empty as morphing preset spots (read preset morphing section below).
  • Page 15 This allows you to load / save an external midi controller setup. Once set it is shared by all of the presets. You can latch one of Predator s controls to a midi controller by using the right button (or control-click on Mac) menu and selecting latch midi.
  • Page 16 This "Quick Browser" shows all the available banks and its presets. If you then click on a preset, that bank and preset will be loaded in. Recently Browsed This shows a list of all the recently used presets. Clicking on an entry loads in that preset again.

  • Page 17: [Preset / Bank Manager ]

    [Preset / Bank Manager ] The manager screen allows you to see all the presets & banks at one time. Also it allows you to alter presets and banks, and search for presets within all the banks. You enter the Manager screen by clicking on the Manager button in the Preset section or clicking on the Preset Manager entry in the file menu.
  • Page 18 Bank Commands Load Loads in a bank, if the current bank has been changed from its original state, then a back up of it as a ~fx file is created. Save Save current bank Copy Makes a copy of current bank Creates a new bank Delete Deletes the current bank (actually renames it as a ~fxb file so it's not shown)

  • Page 19: [ Predator Oscillator ]

    Here you can select the basic shape or harmonic content of the oscillator, this is known as its waveform. Predator has a total of 128 waveforms, ranging from classic analog style waveforms including saw & square to additive and spectral waveforms.
  • Page 20 The detuning disappears, and it now has the same pitch as Oscillator 1. However, Oscillator 2 will sound different because it is being reset by Oscillator 1, this will cause the sound to have different harmonic content. Listen to preset "Predator SyncLead" of the first bank for an example. Semi This controls the root pitch setting of the oscillator, with semitones you can alter the tuning from -48 semitones down (-4 octaves) to 48 semitones up (+4 octaves) from the base note.
  • Page 21 The sub-oscillator pitch is always connected to the oscillator pitch, so if you detune the oscillator, the sub- oscillator detunes along with it. Spread This is a special Predator function. If you open this control knob, a multiple oscillator sound is generated using one oscillator. The spread knob controls the level of detuning for these multiplied oscillators.

  • Page 22: [ Pitch Modulation ]

    Amount control Here you can select the controller (for instance Modulation Wheel) that controls the amount of Pitch LFO modulation. Listen to "Predator SyncLead" in the first bank. The control amount can be set to positive as well as negative.

  • Page 23: Main Filter

    Filter Envelope, Keyboard tracking, Modulation Wheel and LFO. Therefore there is a line on Predator front-end which shows that these controls alter the Cutoff frequency. The modulation doesn t move the Cutoff control knob from its initial position, but if you add any kind of modulation (change the silver colour control knobs) the Cutoff frequency is internally modulated.
  • Page 24 Filter mode - Bypass The filter is bypassed and the sound passes through unaffected. - 6dB LowPass Low frequencies pass through this filter and frequencies above the Cutoff frequency are reduced by 6dB per octave. For example: a frequency 2000Hz is 6dB softer in volume if the Cutoff frequency is set to 1000Hz. - 6dB HighPass High frequencies pass through this filter and those below the Cutoff frequency are reduced by 6dB per octave.

  • Page 25: Modulation Amounts Of Cutoff Frequency

    Velocity Adds a positive or negative Cutoff frequency modulation by the amount of velocity used. If Predator is in arpeggiator mode (Play mode) the arpeggiator velocity settings are active. Keytrack Adds a positive or negative Cutoff frequency modulation by the keyboard note position.

  • Page 26: Filter Envelope

    1 being panned left and Filter 2 being panned right. Filter Envelope The Filter Envelope is addressed to the main filter Cutoff Frequency of Predator and the amount is controlled by the Env amount in the Filter section. An envelope is a time based modulation inside a synthesizer. If you press a key it moves from 0% up to 100% and back to 0% when you release the key.

  • Page 27: Filter Lfo

    Finally when you release the key, the envelope goes to 0%, during the period that you just set. An extra feature inside Predator is Fade. Fade adds a second part to the sustain level, when it is positive the sustain level goes up to 100% over a set period, if it is negative then the sustain level goes down to 0% over a set period.
  • Page 28 Often used is the sine waveform, here the Filter Cutoff frequncy rises up and down. But also using other waveforms with the LFO can be used to produce interesting results. Predator has the option to "tempo base" the LFO, which makes it a great feature for changing sounds in a musical tempo based way.

  • Page 29: [ Amp ]

    Finally when you release the key, the envelope goes to 0%, during the period that you have set. An extra feature inside Predator is Fade. Fade adds a second part to the sustain, when it is positive the sustain level goes up to 100% over a set period, if it is negative the sustain level falls to 0% over a set period.
  • Page 30 Attack An envelope always rises from 0 to 100% and back down to 0% when the key is released. Attack controls how fast it rises to 100%. So if you open the Attack knob, it takes longer to go from 0 to 100%.

  • Page 31: Volume Envelope [ Free Modulation ]

    Finally when you release the key, the envelope lowers to 0%, during the period that you have set. An extra feature inside Predator is Fade. Fade adds a second part to the sustain, when it is positive the sustain level rises to 100% over a set period, if it is negative then the sustain level falls to 0% over a set...
  • Page 32 Attack An envelope always rises from 0 to 100% and back to 0% when the key is released. Attack controls how fast it rises to 100%. So if you open the Attack control knob, it takes longer to go from 0 to 100%.

  • Page 33: Lfo 1 And 2

    Used often is the sine waveform. But the other waveforms of the LFO can also be used and produce interesting results. Predator has the option to "tempo base" the LFO, which makes it a great feature for changing sounds in a musical tempo based way.
  • Page 34 Mode Poly, Free and Mono. This controls how the LFO responds when you hit one or more keys. Poly mode: Each note you play has its own Filter LFO and each LFO starts from the zero position. Poly mode is useful for complex sounding Filter LFO modulation. Free mode: The LFO is free running and all the notes share the same LFO.
  • Page 35 Free Mod 1 - 8 Predator has 8 slots to set your own modulation connection. Clicking on a modulation number label bypasses that modulation. There are 40 modulation sources that include midi sources and synth sources. These sources connect to 65 modulation destinations inside the Predators synth.

  • Page 36: [ Arpeggiator ]

    Next to classic arp modes Predator also offers a chord mode which triggers the played notes as a chord. The arpeggiator has a built in sequencer for making rhythmic patterns. Each step of the pattern sequencer offers on/off, Tie, Slide, Tune, Velocity settings and also, Free modulation settings.
  • Page 37 Also try preset "Arpoharp velocity arp" and look at the settings. Here the input of the keyboard has no influence. The velocity settings of the steps determine the way that Predator responds to velocity. Of course you can also mix between these two settings.

  • Page 38: Pattern/Sequencer Section

    If you use tie in a step, the velocity does not work at that step if the arpeggiator is in tie mode normal. Free Free control allows you to control other properties of Predator (i.e. panning etc) using the arpeggiator. This is because you can use the Free control in the Free modulation section to modulate other controls by selecting the source to be Arp Free.

  • Page 39: [ Play Mode ]

    [ Play mode ] In Play Mode you can control how Predator responds to notes played, either polyphonic or monophonic or by passing them into the arpeggiator. The portamento is set here as well as the chord memory. Play modes Poly Synthesizer is in polyphonic mode and has 16 voices.
  • Page 40 The advance panel can be reached by clicking at it in the preset section. Demo If you press this button a demo C3 note is generated. Great to test audio from Predator and also a good way of previewing sounds.

  • Page 41: [ Advanced Panel ]

    Tip: this is also a nice tool in case you are running out of CPU power. Set Predator to 1x as long as you work on your song. The moment you are ready with the Predator track, freeze or record it by using 16x oversampling.

  • Page 42: Audio Input (Predatorfx Only)

    > Filter The sound that s fed to PredatorFX goes into the Predator s filter and then into the fx s. Here you can use midi input into the FX to control the volume, filter & free envelopes of PredatorFX.

  • Page 43: [ Back Panel ]

    Scrolling the mouse wheel up and down scrolls through the presets. White text If the red text appearing inside Predator is hard to read, please do switch to "white text". This setting is global and will work for all Predator's active in your host.
  • Page 44 So that if you use Fx1 it goes into Fx2 and then into Fx3. A special feature of Predator is that you can control all Fx parameters by midi or use as a Predator modulation source. The quality of the Fx section is so good that we have created PredatorFX as a fx version of Predator.

  • Page 45: Mono Delay

    If it is used then it s shown in black if on, gray if bypassed. You can toggle between a Fx being bypassed or not by clicking on the Fx number. Bypass This bypasses all the 3 Fx units at once. So only the dry signal is heard. Mono Delay A mono tempo based delay, great for making rhythmic grooves.

  • Page 46: Chorus

    Chorus The chorus is a modulated delay signal which is useful for thickening up the sound and making it sound fatter . Length Length of the chorus. Width Maximum change or modulation to chorus length. Speed Speed that the chorus length changes. Spread Difference in speed between the left and right hand channels.

  • Page 47: Wah/Delay

    Wah/Delay This effect produces a wahwah type effect by running the sound through a lowpass-filter that s frequency is changed over time. There is a built in delay which adds delays to the sound. Low Range Lowest Frequency of the filter. Here you can adjust how deep the LP filter ranges. The more you move the dial to the left, the lower the filter goes.

  • Page 48: Stereo Widener

    "vocoder " effect. The base sound of a vocoder is the "carrier". This can be Predator s synth sound, but also the input itself. If you use the Predator synth as "carrier" you can produce a polyphonic vocoder sound. For instance you can take a drumloop and play this vocoder-wise in a polyphonic way, and the drum loops will alter Predator s output.
  • Page 49 How to use it: - Inside Predator: You can use the Vocoder inside Predator with a sample as a source or an audio input if the audio host allows you. The most common use has Predator s output as the "carrier" for example the preset "voco-drummer"...

  • Page 50: Fx Filter

    Overall volume of the vocoder, from -40db to 0db. In Volume The volume of the input into the vocoder (either from a sample or via direct input into Predator). Smpl Tune Tuning of the sample used by the vocoder, it ranges .from -12 semitones to +12 semitones.

  • Page 51: Ensemble

    Note: FX Mix sets how much of the Compressor FX is added. With the Compressor FX it is wise to fully open the Mix control knob (wet). Ensemble This effect uses 6 choruses, each having its own setting, to give the effect of several copies of the sound playing at once.

  • Page 52: Fx Modulation Matrix

    Below the FX section you can find two modulation matrix slots. Using these slots you can connect different midi or Predator synth parts to the FX parameters. There are 40 modulation sources and you can use any FX parameter as a destination. For instance you can increase the Reverb length by using the Mod.Wheel.

  • Page 53: Midi Implementation Chart

    MIDI Implementation Chart Product: Rob Papen PREDATOR Version 1.5.5 Date: 1 Feb 2009 Manufacturer Rob Papen / RPCX Function Transmitted Recognized Remarks Basic Channel Default Changed Mode Default Omni Changed Note Number True Voice Velocity Note On Note Off Aftertouch...

  • Page 54: Appendix A: Wave Types

    Appendix A: wave types Wave types1-128. Analogue types: Sine, Saw, Square, Triangle, Rez 1, Rez 2, Rez 3, HalfSine, SineSaw, SineSqr, SineRez, SawSqr, SawRez, SqrRez, White Noise, Pink Noise. Additive wave types: Harmonic 1, Harmonic 2, Harmonic 3, Harmonic 4, Saw 2, Saw 3, Saw 4, Saw 5, Sqr 2, Sqr 3, Sqr 4, Sqr 5, Triangle 2, Triangle 3, Glass, Hollow.

  • Page 55: Appendix D: Modulation Sources And Destinations

    Constant value to extend the range of controls. Bipolar. White Noise White noise Pink Noise Pink noise Input Audio input into Predator Osc 1 Output of oscillator 1 Osc 2 Output of oscillator 2 Osc 3 Output of oscillator 3...
  • Page 56 Breath Controller MIDI CC 2 (unipolar). Foot Controller MIDI CC 4 (unipolar). Expression Contr. MIDI CC 11 (unipolar). CC16 Controller MIDI CC 16 (bipolar). CC17 Controller MIDI CC 17 (bipolar). CC18 Controller MIDI CC 18 (bipolar). CC19 Controller MIDI CC 19 (bipolar). CC20 Controller MIDI CC 20 (bipolar).
  • Page 57 Envelope 2 sustain amount. Envelope2 Fade Envelope 2 fade time. Envelope2 Release. Envelope 2 release time LFO1 Amount LFO1 amount control. LFO1 Speed LFO1 speed control. LFO2 Amount LFO2 amount control. LFO2 Speed LFO2 speed control. Predator User Guide version 1.5.5a...

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