Mobilohm Reference Manual

Mobilohm Manual v1.15 THIS MANUAL IS COPYRIGHT c OHM FORCE 2000-2005. ALL RIGHTS RESERVED. NO PART MAY BE REPRODUCED WITHOUT WRITTEN PERMISSION. VST TECHNOLOGY BY STEINBERG MEDIA TECHNOLOGIES AG. ALL TRADEMARKS ACKNOWLEDGED.

CHAPTER 1 Getting Started

Thank you for purchasing Mobilohm. Contents
1. 2. 3. Structure of this manual . . . . . Features and Requirements . . . Installing . . . . . . . . . . . . . . 3.1. Installing on Windows . . 3.2. Installing on MacOS X . . 3.3. Installing AudioUnit Presets First Use . . . . . . . . . . . . . . . 2 2 2 2 2 3 3

it requires MacOS 10.1 or higher, but MacOS 10.2 at least is strongly recommended. It is available on VST/DirectX for Windows, and VST/AU/RTAS for MacOS X. 3. Installing 3.1. Installing on Windows Run the installer, an .exe le whose exact name depends on the version you received. Follow the on-screen instructions carefully. Select the interface skin you would like to use; its possible to change the interface skin by installing again. You will be prompted to enter both your User Name and Key Code. They have been sent to you by e-mail or can be found within your printed manual if you bought a boxed version. Please enter the two codes carefully, preferably using copy/paste to avoid typos. Then you will be prompted to choose one or more installation path, depending on the plug-in version you are installing. 3.2. Installing on MacOS X Almost every internet browser will open the le automatically, presenting a disk image on your desktop. If not, please locate the .dmg le and double click it. The disk contains: This manual, The installer named Mobilohm Installer, A folder containing a collection of Presets in AudioUnit format for the AudioUnit installer only. To install Mobilohm, double click the installer icon. Before the installer can copy its le to your disc, it needs to have permission from your system to do it. The rst window appearing will ask for your admin password:

4.

1. Structure of this manual This manual is divided into 7 sections:

Getting Started - explains how to install

Mobilohm and get it working.

User Interface Features - rounds up the

user interface features and covers Automation and MIDI topics.

Using the Effect - shows you how to oper-

ate Mobilohm,
Settings File Reference - explains the syn-

tax and use of a Settings File.

Mobilohm Default MIDI Mapping - gives

you information about controlling Mobilohm using MIDI.

Version Notes - summarises the dierence between Mobilohm versions. FAQ - provides troubleshooting informa-

tion for your plug-in. 2. Features and Requirements Mobilohm is a multiple phaser eect. It is available with two interface styles, the Classic Skin and the Funky Skin. You will need at least 64 MBytes of RAM, 25 MBytes on your hard-drive, a Pentium IIcompatible PC or a G4-compatible CPU on Apple Macintosh. On PC, it requires Windows 98, 98 SE, ME, 2000 or XP. On Mac,
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3.3. Installing AudioUnit Presets You will nd a folder containing a collection of Presets in the AudioUnit format. Installing them depends upon the host you use. Please refer to your host manual and install them manually. 4. First Use Open your favourite audio host and put Mobilohm as an insert eect on an audio track. A good way of getting a feel for Mobilohm is to try the factory Presets. You will nd a frame with numbered buttons in it. Click on each button to audition a factory Preset. Turn the knobs by clicking on them and dragging the mouse vertically. If your mouse suddenly goes mad, dont call the cat, stay calm and locate the Setup button. Click on it to open the menu and deselect Enhanced Mouse Mode. This may happen with some mice, graphic tablets or trackball devices.

If you dont know the admin password please contact the system administrator, generally the owner of the computer, who should know. The next screen is the plug-in installer. Please follow the on-screen instructions carefully. You will have to choose between Classic Skin and Funky Skin (they cannot be both installed), and you will be prompted to enter your User Name and Key Code.

They have been sent to you by e-mail or can be found within your printed manual if you bought a boxed version. Please enter those two codes carefully, preferably using copy/paste to avoid typos.

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CHAPTER 2 User Interface Features

Each Ohm Force plug-in shares several common features. These are explained below. Contents
1. Preset Panel . . . . . . . . . . . . 1.1. Presets / Memorise . . . . 1.2. Transition time . . . . . . . 1.3. Load / Save Bank . . . . . Using Knobs and Faders . . . . . 2.1. Direct action . . . . . . . . 2.2. Side-clicks . . . . . . . . . 2.3. Linked Knobs . . . . . . . Parameter Information and Modulation . . . . . . . . . . . . . 3.1. Parameter . . . . . . . . . 3.2. Tempo Control . . . . . . . 3.3. LFO (Low Frequency Oscillator) . . . . . . . . . . . Automation . . . . . . . . . . . . 4.1. Support . . . . . . . . . . . 4.2. DirectX Limitations . . . . 4.3. VST and AU Limitations . . MIDI Support . . . . . . . . . . . . 5.1. Selecting MIDI Ports . . . 5.2. Binding Parameters to MIDI Controls . . . . . . . 5.3. Saving and Loading the MIDI Conguration . . . . 5.4. About Control Change (CC) Messages . . . . . . 5.5. Unbind . . . . . . . . . . . 5.6. Old erroneous NRPN behaviour . . . . . . . . . . . 4 4 4 4 5 5 5 5 5 5 6 6 7 7 7 7 8 8 8 9 9 9 9

1.1. Presets / Memorise To activate a Preset simply click on any of the eight Preset buttons. Having edited the on-screen parameters you may wish to memorise your new settings. To do so, click once on the Store (or M) button; it will light-up. Then click on the Preset button in which you wish to store your new settings to save your Preset. To return to Preset select mode, turn o the Store (M) button by clicking it once. 1.2. Transition time This knob 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 1 second. Set it to 0 if you want the Preset applied instantaneously without Morphing. The Melohman plug-ins will not morph between Presets when using the Presets buttons. The morphing between Presets is done using the Melohman octave instead.

2.

3.

4.

5.

1. Preset Panel

1.3. Load / Save Bank Use these two buttons to Save and Load your PresetBanks to and from the hard disk. A Preset-Bank contains eight Presets. Loading a Preset-Bank will not modify the current settings until you select a new Preset. There are many Presets bundled with your plug-ins. Use the Presets as the basis from which to create your desired sound.

There are eight Preset memory allocations. A group of eight Presets can be saved as a Preset-Bank to your hard disk. These Preset-Banks are multi-platform, thus enabling you to load Presets into any sequencer on any computer. You can also adjust the speed at which the knobs and sliders move between Preset selections using the Time function.
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2. Using Knobs and Faders All the knobs and the faders work the same way. There are two modes: direct action and side-clicks. 2.1. Direct action You can move a Knob by clicking on it (click on the slider part of a Fader) while keeping the button pressed and moving the mouse up or down. 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 Knobs have notches which lock to certain values. It is possible, however, to set the Knob position between two notches by moving the mouse in the perpendicular direction, as mentioned above. 2.2. Side-clicks The Knob is divided into two zones on which you can click to turn it 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 the dial. The Knobs will move slowly if you click and hold on these zones without moving the mouse. This enables you to make very small adjustments with ease. If you click on this zone, then move the mouse without releasing it, the Knob will move automatically and keep moving even after you have released it. The further you move the mouse, the faster the Knob will move. To stop the movement, just click on the Knob again. This is especially useful during live sessions, as you can have many parameters shifting at the same time with-

out having to use the Preset Morphing feature. 2.3. Linked Knobs Most Ohm Force plug-ins allow some Knobs to be linked as they control similar parameters. For instance the parameters of the two OhmBoyzs 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 Control key on Mac systems with a single-button mouse). The Knobs in both channels will now move in unison. If you hold the Shift 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 rst Knob is 10% and the original value of the second Knob is 50%, when you increase the value of the rst Knob to 30%, you will increase the value of the second knob up to 70% at the same time. You can undo the movement of the slave Knob(s) by performing a right mouse click while holding the Control key (the Command key on Macintosh). 3. Parameter Information and Modulation 3.1. Parameter This contextual display shows details of the selected parameter.
Name Name of the selected parameter. Value This is the parameter value ex-

pressed in the selected unit (BPM or Hz). You can edit this value by clicking on it. Press Return to validate your change or Escape to cancel it.
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3.2. Tempo Control Because many plugin applications are related to music and therefore rhythm, it is necessary to be able to synchronise with the tempo of the host application. Some host programs can automatically synchronise the plug-ins 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. When the host controls the tempo, you wont be able to set the plug-in tempo Tempo control is available on most Ohm Force plug-ins. Frohmage and Predatohm have no time-sensitive parameters therefore there is no requirement for this feature. 3.3. LFO (Low Frequency Oscillator)

Amplitude This is the amplitude of the

oscillations (the height of the wave). A 0% setting means that the LFO will not aect the sound.
Waveform This parameter denes the

shape of the oscillations. Seven of the shapes are classic, the three others are random oscillators.
Sine It is the default waveform.

LFO

sweeps smoothly back and forth.

Triangle LFO travels linearly between

two extreme points.

Square LFO stays for one half-period at

the maximum point, then for the other half-period at the minimum point.
Ramp up Travels from the minimum

point to the maximum one in a linear fashion.

Ramp down Like Ramp up, but in the

other direction.
Cos up A bit like Ramp up, but the LFO

goes and arrives more gently at the extreme points (a kind of shelf). Most of the Ohm Force plug-ins have a modulation unit: the LFO. 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 eects. Like the Parameter display, the LFO display is activated when a parameter that has an associated LFO is selected.
Period This is the time taken for one Cos down Like Cos up, but in the other

direction.
Random steps When a period starts, the

LFO generates random values which it keeps constant until the end of that period.
Brown noise LFO value changes ran-

domly, 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.
Red noise Somewhat like Brown Noise,

LFO oscillation (the length of the wave). LFOs are synchronised to the tempo value to keep them in time with the music.
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but fast variations are damped, generating even smoother random walks.

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4. Automation 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 hosts capabilities, you may be restricted to a xed number of parameters, or even have no automation capability at all. Check the hosts reference manual for details about parameter automation. Digital Performer and ProTools display the automated parameters on the plug-in interface itself. A green triangle on a Knob indicates that the automation is playing, and a red disc shows automation data being recorded. 4.2. DirectX Limitations The DirectX version does not support automation and DXi features yet, please use MIDI automation instead. 4.3. VST and AU Limitations Some host applications, such as earlier versions of Steinberg Cubase VST, have several limitations regarding 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. To alleviate this problem, we give you the option of changing the order in which the parameters are presented to the host. We should warn you that this section is rather technical. You have two ways to proceed: you can either use the provided conguration le or make your own from scratch. To load the provided conguration le, activate the Settings/Load item in the Setup menu. Locate the le easy vst automation.cfg.txt in your effects installation folder and open it. The

conguration le was developed so you can move the most important parameters to the top of the list so that they can be automated. You can change the provided conguration le or make your own: rst save the current plug-in conguration using Settings/Save (eg. my settings.cfg.txt). Then load it into a text editor, along with easy vst automation.cfg.txt so you have a reference to work with. You can see that a conguration le 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 scientic circles. Key name and content are separated by an equals sign (=), and complex key contents are enclosed by brackets. The provided conguration le will be a lot smaller than your own one. This is because it is a partial conguration, whereas yours is a complete one. Suppress some irrelevant subkeys (the MIDI section, for example) in order to make the two les look more alike. Yours will inevitably remain longer. Lets look at what else we can do with parameter reorder mapkey. Youll see several parameter names as the le you have just saved contains all the 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 conguration le, the plug-in will automatically nd the best mapping for the suppressed parameters. Once you have nished sorting the parameters, save your work and load your conguration le into the plug-in. Activate Settings/Autoload so that the settings le you just loaded is automatically loaded each time the plug-in is opened.
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If you created settings before applying the Mapping le, you should save them into an internal Preset, as described in the Preset section of this manual. You should not use the hosts Presets anymore because they will be completely reordered after the change. Instead, apply your saved internal Ohm Force Preset to restore your sound. Fortunately, new Presets you make after the change can be stored in hosts format and reloaded. 5. 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 transmit them. The eects are in Omnimode, 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 (NonRegistered 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. The factory MIDI settings use NRPN, but it is possible to change the mapping at any time. The default mapping for Mobilohm is listed in the Mobilohm default MIDI mapping chapter of this manual. 5.1. 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 plugin click on the Setup button, go to the
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MIDI/Input 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/Output device. The selected MIDI port will be ticked in the menu. You can only use one input and one output port at a time. Only one MIDI Input device is available for AudioUnit plug-ins. No MIDI output device is available for AudioUnit plug-ins. 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 hosts operating manual to see if it is possible to free up the port. 5.2. Binding Parameters to MIDI Controls The easiest way to Bind a parameter with a specic MIDI controller knob or fader (or any MIDI Control Change) is to use the Auto-bind feature. First, activate the Auto-bind mode by checking MIDI/Autobind in the Setup menu. If you have already selected a parameter its name will be displayed in brackets in the menu, like this: Auto-bind [target: Volume]

If not, click on the Knob you want to bind to a MIDI control message. 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

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another MIDI event. Do not forget to exit the Auto-bind mode, by un-checking the corresponding entry in the Setup menu, when you have nished. 5.3. Saving and Loading the MIDI Conguration If you have numerous parameters to Bind each time you want to use the plug-in, you can save the conguration for later use. Currently selected ports will also be saved. To do so, select Settings/Save in the Setup menu. You can restore the settings at any time by selecting Settings/Load.

Parameters 98, 99, 100 and 101, because they are used for RPN and NRPN coding. It is possible, but not advisable, to use the ne 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 ne 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 result in a host of unnecessary complications. 5.5. Unbind Select the parameter you want to unbind. Open the Setup menu. You can see that the Un-bind menu item shows which MIDI control the parameter is binded to. To unbind it, simply click on the Un-bind menu item. The Un-bind menu item is handy to know which MIDI control is currently binded to the selected parameter. 5.6. Old 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.

The MIDI conguration 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 le in a text editor and tweak the conguration from there. It is also possible to build partial congurations by only keeping a couple of the keys. The content syntax is covered in the Settings File Reference chapter of this manual.

5.4. About Control Change (CC) 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

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CHAPTER 3 Using the effect

into a signal creates a particular kind of lter called a comb, which contains equally spaced peaks and notches. If the delay is then varied constantly it moves the notch frequencies, creating a anging eect. Both eects result from ltering the signal with a notched, time shifting, lter. The reason they sound so dierent is that the notches are equally spaced in a anger, but not in a phaser. Furthermore, the phaser lter is generally smoother, and the anger uses a delay line while the phaser does not. 1.2. Architecture The Mobilohm is more than just a simple phaser. The eect consists of three main stages: First the signal is coloured with a lter, Then the signal is directed to four identical phasing cells, Finally, the coloured signal is mixed with the four phased signals from the cells. 1. Functionality 1.1. What is a Phaser ?
Cell #1

Contents
1. Functionality . . . . . . . . 1.1. What is a Phaser ? 1.2. Architecture . . . . 1.3. Cell Description . . Master Volume . . . . . . Tone . . . . . . . . . . . . . 3.1. Gain . . . . . . . . . 3.2. Tone X . . . . . . . 3.3. Tone Y . . . . . . . Cells Oscillator . . . . . . 4.1. Rate . . . . . . . . . 4.2. Hold . . . . . . . . . 4.3. Manual . . . . . . . 4.4. Depth . . . . . . . . Cells Feedback . . . . . . 5.1. Level . . . . . . . . 5.2. Color . . . . . . . . Cells Filter . . . . . . . . . 6.1. Frequency . . . . . 6.2. Q . . . . . . . . . . Cells Mix . . . . . . . . . . 7.1. Gain . . . . . . . . . 7.2. Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 10 10 10 11 11 11 11 11 11 11 11 11 12 12 12 12 12 12 12 12 12 12

2. 3.

4.

5.

6.

7.

Here is a diagram summarizing the Mobilohm eect:

Cell #2 Cell #3 Cell #4

A basic phaser is created by running a signal through an all-pass lter (a lter that does not change the frequency content of the signal, only the phase). Then the ltered signal is added to the original signal. This operation creates notches in the signal spectrum. The number and position of the notches depends on the all-pass lter design. A variable phaser, the kind typically used by musicians, is created by altering the all-pass lter parameters. This causes the notch frequencies to move continuously, generating that well known phasing sound. The phaser eect is close to, but somewhat dierent from, the anger eect. The latter is achieved by mixing a signal with a delayed version of itself. Adding a delay back
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Colour Filter

You can turn any of the cells o by setting its Gain Knob to dB. Its also possible to remove the direct output of the coloured signal from the nal mix in the same manner. 1.3. Cell Description Each cell applies a phasing eect 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 eect, making it fatter.

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Its also possible to stop the oscillations and to set the phase manually as on old analog phaser. The phased signal can then be ltered by a bandpass lter. You can control the cuto frequency and the bandwidth of the lter.
Feedback Colouring

3.2. Tone X This setting controls the colour intensity of the Tone sections lter. Is Tone X is set to 0%, the signal wont be coloured, whatever the value of Tone Y. 3.3. Tone Y

Phasing Filter

Band-Pass Filter Panoramic Processing

Distortion Phase Oscillator Manual Phase

Tone Y modies the frequency of the ltering bands managed by Tone X. In other words, it dictates the type of colour. The idea behind the Tone Y LFO is to provide an additional timbre oscillation. 4. Cells Oscillator This is the pure phasing section of the cell, which creates the sweeping eect.

2. Master Volume The Volume is the total eect output gain. Turning the Knob to dB will mute the output. The peak LED blinks every time the outputs jumps over 0 dB. 3. Tone This controls the colouring lter which feeds the four phaser cells. 3.1. Gain The gain knob controls the output of the Tone section to the nal mix. Thus, setting the level to dB will prevent you from hearing the coloured signal, although the cells will still process the signal.

4.1. Rate 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 eects can be achieved. Setting the rate to a short period modulates the signal so quickly that audible harmonics appear. 4.2. Hold Hold This Button allows you to freeze the modulation. You can then use the Manual Knob to adjust the phase or achieve a manual phasing eect. You can also use it when Hold is o, but the result is less noticeable since the phase is already oscillating constantly. 4.3. Manual Changes the phase of the oscillation. Best used with Hold on. Freezing the oscillations and applying a small amount of LFO to Manual can achieve an interesting effect. The oscillations will alter the timbre
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slightly now turn the Manual Knob to nd the timbre you want. 4.4. Depth This changes the complexity of the all-pass lter, aecting the number of notches created and, as a consequence, the fatness of the eect. 5. Cells Feedback Feedback is an important phaser feature. With it, you can dramatically change the colour of the phased sound. When no feedback is involved, you have to mix the phased signal with the pure coloured sound (see the Tone section) to hear changes. With enough feedback, there is no more need for the coloured sound, the phased signal having a texture of its own. 5.1. Level 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. 5.2. Color This setting alters the sound of the feedback. 6. Cells Filter This is a 2-pole bandpass lter, applied at the output of phasing stage. It limits the sound to a certain fre-

quency band in the spectrum. When several cells are mixed, sound becomes uid and the eect is a bit diminished. By selecting the bands carefully, so that they do not overlap, it is possible to achieve far more interesting eects. 6.1. Frequency Changes the center frequency of the band. 6.2. Q Sets the selectivity of the lter. With low Q settings, the lter has a wide band and allows a broad frequency range to pass. With high Q settings, the band is narrow and therefore very coloured. The leftmost Knob position disables the lter.

7. Cells Mix 7.1. Gain This parameter controls the output level of the cell. Turning it to dB will disable the cell. 7.2. Pan This denes the stereophonic position of the cell in the nal mix. The cell output is already stereo, so be careful when panning a sound completely to the right or the left.

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CHAPTER 4 Settings File Reference

2. Practical Use: Reordering Parameters
13 13

Contents
1. 2. Syntax . . . . . . . . . . . . . . . Practical Use: Reordering Parameters . . . . . . . . . . . . . .

You may want to reorder parameters so to be able to automate them within host that can only automate a limited numbers of parameters. Settings le for the parameter reorder map look likes: parameter_reorder_map = { 0_Stereo_Boost 1_Fdbk_Freq 2_Fdbk_Amnt 3_Tone_Freq 4_Tone_Shape 5_Master_Vol ... } You may reorder the parameters to change the way they are exposed to the host. Suppose that in the last example the host would only be able to automate 4 parameters. Then 4 Tone Shape and 5 Master Vol would not be automable. If you want to make them automable to the detriment of, lets say, 2 Fdbk Amnt and 3 Tone Freq, you would produce the following le: parameter_reorder_map = { 0_Stereo_Boost 4_Tone_Shape 5_Master_Vol 1_Fdbk_Freq 2_Fdbk_Amnt 3_Tone_Freq ... } Simply cutting and pasting the lines will permit you to reorder the parameters.

This chapter is very technical. For now, settings les only contains MIDI parameter mapping, if available. To create a settings le, select Save Settings from the Setup menu. Locate the le on your system and open it using a regular text editor, such as NotePad on Windows, or TextEdit on MacOS X. 1. Syntax Its modular structure allows you to suppress, add or move the keys making up the le. Each key represents a particular property of the plug-in. Just respect the syntax (key names are case sensitive) and the structure, and youll be ne. The keys work with a simple syntax: KeyName1 = key value KeyName2 = key value ... Or KeyName3 = { KeyName4 = key value // Some comment after the "//" KeyName5 = key value ... } The second example shows a hierarchy, where a key contains other keys. Thus, it is possible to load partial congurations and to merge it with the current one. Only the keys in the le will be taken into account. However, saving will store all the keys into the le.

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CHAPTER 5 Mobilohm Default MIDI Mapping

The following tables help to match parameters to NRPN numbers. 1. Generic parameters
NRPN 0 1 2 3 4 5 6 7 8 9 10 Parameter Tempo Master Volume Tone Volume Tone X . . . LFO Period . . . LFO Depth . . . LFO Waveform Tone Y . . . LFO Period . . . LFO Depth . . . LFO Waveform

2. Cell parameters
NRPN For Cell 1 2 3 4 11 39 67 95 12 40 68 96 13 41 69 97 14 42 70 98 15 43 71 99 16 44 72 100 17 45 73 101 18 46 74 102 19 47 75 103 20 48 76 104 21 49 77 105 22 50 78 106 23 51 79 107 24 52 80 108 25 53 81 109 Parameter Gain Pan . . . LFO Period . . . LFO Depth . . . LFO Waveform Oscillator Depth Oscillator Hold Oscillator Rate . . . LFO Period . . . LFO Depth . . . LFO Waveform Oscillator Manual Phase . . . LFO Period . . . LFO Depth . . . LFO Waveform NRPN For Cell 1 2 3 4 26 54 82 110 27 55 83 111 28 56 84 112 29 57 85 113 30 58 86 114 31 59 87 115 32 60 88 116 33 61 89 117 34 62 90 118 35 63 91 119 36 64 92 120 37 65 93 121 38 66 94 122 Parameter Feedback Level . . . LFO Period . . . LFO Depth . . . LFO Waveform Feedback Color . . . LFO Period . . . LFO Depth . . . LFO Waveform Filter Frequency . . . LFO Period . . . LFO Depth . . . LFO Waveform Filter Q

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CHAPTER 6 Version Notes

the setup menu. When linear automation is checked, old mode is on, otherwise new mode is on. Once the mode is changed you must restart the plug-in for the changes to work. (reloading your song will work too) You will be able to load an existing song with automation and play it in either mode (old mode will show the correct automation. New mode will show incorrect automation but it will not crash). Additionally you will be able to load a new song with automation and play it in either mode (new mode will show correct automation. Old mode will show incorrect automation but it will not crash) The upcoming version of Logic supports custom values in the controller view, the plug-ins are compliant with this. Plugins pass AUVal 1b15. v1.14 (2005.05.13) DP crashes correction AUValidation xes (mono to stereo problems) Automation to host x Wave shaper correction v1.13 (2004.10.04) A bug was introduced in x.x2 version of the plug-ins. Basically, to support a correct display in Logic controller view, non linear mapping is needed by most of our parameters, this was excluded in error. New versions correct this error but we keep the old build settings so that you can choose between old mode and new modes. This is needed when you have a project using automation which was created with version x.x2 of the plugins. The Mode switch is operated via Corrected bypass property reply, which corrected a bug in Live4 Corrected parameter name from value, which makes Live4 crash with our 2004/09/08 beta release. Tempo synchronization for host since PT6.1 v1.12 (2004.03.19) A double mouse click on a knob sets it to its center position. Mac installers now check the code at installation time. Discontinued support for MAS standard. Bug x: graphic glitches when using Steinberg Cubase and Propellerheads Reason via the ReWire protocol.
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Contents
v1.15 (2005.10.10) . v1.14 (2005.05.13) . v1.13 (2004.10.04) . v1.12 (2004.03.19) . v1.10 (2003.05.13) . v1.04 (2002.12.20) . v1.03 (2002.12.13) . v1.02 (2002.11.07) . v1.00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 15 15 15 16 16 16 16 16

v1.15 (2005.10.10) autobind is possible using NRPNs. un-bind is now possible. This is a new entry in the setup menu, which also displays the current cc binded to the selected parameter.

Correct AU version impl to be compliant with upcoming Logic plugin cache.

Mobilohm Manual v1.15

Bug x: AudioUnit automation has been xed, and works in latest Emagic Logic and MOTU Digital Performer. Bug x: AudioUnit plugin can be put in any AU folder supported by the host. Bug x: on Mac, when saving a Preset le, plugin will not prompt twice for overwriting any more.

Bug x : Macintosh versions could crash because of a conict in the preference les. Switches and discrete parameters are changed at the begining of preset morphings instead of continuously changing. v1.03 (2002.12.13) LFO waveform order xed on the Funky skin LFO waveform White Noise changed into Red Noise Exists as stand-alone version for MacOS and Windows v1.02 (2002.11.07)

v1.10 (2003.05.13) VST versions: Possibility to change the parameter order so user can automated the most important ones on hosts supporting only a small number of automated parameters. on Mac stand-alone versions. Automatic conguration startup (Setup menu) loading at

RTAS support for Mac Slight performance improvements

v1.04 (2002.12.20) Bug x : Stand-alone versions now work correctly on Windows 98. Bug x : MIDI working in Windows stand-alone versions.

Miscellaneous (potential) bugs xed Mac versions : installer xed v1.00 Initial release

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CHAPTER 7 FAQ
Contents
1. Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ive lost my password. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How can I update my plug-ins? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How can I register my plug-ins? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ive lost my plug-in registration key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Plug-in installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . When I try to install the plug-in, the installer tells me that my key is invalid. . . . . . The installer reports an error while installing. . . . . . . . . . . . . . . . . . . . . . . . . When I double click the installer .bin le, it opens Toast. . . . . . . . . . . . . . . . . . Product . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . My host does not let me automate some parameters. What can I do? . . . . . . . . My plug-in does not seem to receive MIDI. . . . . . . . . . . . . . . . . . . . . . . . . When I load a Preset from the Load button, the sound does not change. . . . . . . Whats the best way to save my Presets? . . . . . . . . . . . . . . . . . . . . . . . . . . Im nding that the VST-AU wrapped versions (using FXpansions VST-AU wrapper) of the plug-ins seem to change Presets when I save in Logic 7.1 and Logic 6.4.3 usually to some extreme setting that creates a horrible noise and endangers my speakers and ears! . . . . . . . . . . . . . . . . . . . . . . . . . Can I share my Presets with the other customers? . . . . . . . . . . . . . . . . . . . . How can I get the Muse Receptor version of the plug-ins? . . . . . . . . . . . . . . . Macintosh Specic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Will the plug-in work in MacOS X Tiger? . . . . . . . . . . . . . . . . . . . . . . . . . . . The plug-in does not pass AU validation. . . . . . . . . . . . . . . . . . . . . . . . . . . The plug-in crashes validation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The plug-in crashes my host. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I bought the Ohm Force Experience boxed version, and the AU plug-ins wont work. The plug-ins make Digital Performer crash while using them in mono to stereo mode. Hosts Related . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Under Tracktion, the plug-in settings change when I save my project! . . . . . . . . My plug-in installed ne, but Cubase SL3/SX3 does not recognise it (the plug-in is not in the plug-ins list). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I experience clicks in EnergyXT while morphing Presets. . . . . . . . . . . . . . . . . OhmBoyz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Can I synchronise one of the LFOs to my song? . . . . . . . . . . . . . . . . . . . . . . QuadFrohmage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I experience clicks in EnergyXT while morphing Presets. . . . . . . . . . . . . . . . . Ohmygod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The plug-in makes no sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melohman Synthesisers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The plug-in uses too much CPU when morphing using the Melohman octave. . . . 17 17 17 17 18 18 18 18 18 18 18 18 18 18

2.

3.

4.

5.

18 18 18 19 19 19 19 19 19 19 19 19 19 19 19 19 20 20 20 20 20 20

6. 7. 8. 9.

1. Website Ive lost my password. Click on the Login button at the top right of the web-site main page, leaving the name and password elds blank, and follow the instructions. Alternatively, click here.

How can I update my plug-ins? Open the plug-in you want to update, and select Update in the Setup menu. You will be directed to the update page, where the new versions will be highlighted. Alternatively, you can log on the site and go to the My Software section, Download Files.

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How can I register my plug-ins? Open the plug-in you wish to register, and select Register in the Setup menu of the plug-in. Ive lost my plug-in registration key. Log on the site, go to the My Software section, and click on the Mail Personal Key button. 2. Plug-in installation When I try to install the plug-in, the installer tells me that my key is invalid. Be sure to enter Username and Keycode as they were sent to you. If you received authorisation by e-mail, please copy/paste the two codes. If you are using a boxed version, check for letter O and number 0, as well as letter I and number 1. The installer reports an error while installing. Please nd the installer log for the plugin located in your /Library/Logs/ folder. Then send this log here. When I double click the installer .bin le, it opens Toast. Please dragndrop the installer .bin le on Stut Expander. 3. Product My host does not let me automate some parameters. What can I do? Some hosts limit the number of automatable parameters but you can reorder them so that the most important to you are shown. Please read the section about reordering parameters in the plug-in manual. Also the le easy vst automation.cfg.txt is an example of basic conguration (and most likely the one youll need). This le will work on VST, AU and RTAS. My plug-in does not seem to receive MIDI.
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In the plug-in Setup menu, check the MIDI input device. It should be set to VST (or AU) MIDI in if you want to receive MIDI from the host. You can choose any other MIDI device as long as its not used by another application (or the host). When I load a Preset from the Load button, the sound does not change. Our Preset les are in fact Presets Bank les. Use the 1-8 buttons to activate a particular Preset. Whats the best way to save my Presets? Using the Ohm Force system to save your Presets will allow you to: Save them by banks (so that you can then morph between related Presets) Use them on any other platform (be it AU, VST, DirectX, Mac, PC. . . ) Im nding that the VST-AU wrapped versions (using FXpansions VST-AU wrapper) of the plug-ins seem to change Presets when I save in Logic 7.1 and Logic 6.4.3 usually to some extreme setting that creates a horrible noise and endangers my speakers and ears! Use the native AU versions. Can I share my Presets with the other customers? Yes, simply write us a mail along with the Presets (under the Ohm Force format). Well add them to the Presets section of the site. How can I get the Muse Receptor version of the plug-ins? You can buy Receptor versions on the Plugorama web-site. In case you already own a Pack version of some plug-ins, or a bundle with multiple platform support, you can get those for free, also on the Plugorama web-site.

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Mobilohm Manual v1.15

4. Macintosh Specic Will the plug-in work in MacOS X Tiger? Please download the demos. That way you can easily check that everything will work correctly with your audio environment. The plug-in does not pass AU validation. Please download the latest version of the plug-in. If it still does not pass validation, please send us the validation report here. The plug-in crashes validation. Please download the latest version of the plug-in. If it still crashes validation, please send the validation report and the crash log here. The crash log can be found in your /Library/Logs/Crash Reporter/ folder. The le you need to send us contains a reference to auval in its name. The plug-in crashes my host. Please download the latest version of the plug-in. If it still crashes your host, please send us the crash log here. The crash log can be found in your /Library/Logs/Crash Reporter/ folder. The le you need to send us contains the host name in its name. I bought the Ohm Force Experience boxed version, and the AU plug-ins wont work. Please download the latest version of the plug-ins. You will have to create an account on our site (http://www.ohmforce.com), and then register your OFE on our site here. The plug-ins make Digital Performer crash while using them in mono to stereo mode. Please download the latest version of the plug-in which will resolve this issue.

5. Hosts Related Under Tracktion, the plug-in settings change when I save my project! This may happen when two Ohm Force plug-ins are following each others in a track. This is because Tracktion connects the two plug-ins via MIDI. When you save your project, the upstream plug-in sends MIDI controls to the downstream plug-in, changing its setting! So, what can you do? Disable the MIDI output of the plug-in by default. First select None as MIDI out device in the set-up menu, then save your conguration (Settings Save), and set this le to Auto-load. My plug-in installed ne, but Cubase SL3/SX3 does not recognise it (the plug-in is not in the plug-ins list). It seems that Cubase does not always properly scan the VST plug-in folder, and misses some plug-ins. Re-install the plugin in a new folder (for example tempVSTPlugin), and in Cubase register this directory as a VST plug-ins directory. This is done in the Device Plug-in information menu of Cubase. Then restart Cubase and check the plug-in is correctly listed. Otherwise, contact us. I experience clicks in EnergyXT while morphing Presets. Disable the plug-ins MIDI output in the plug-in Setup menu (select none instead of VST). This happens only with Quad Frohmage as far as we know. 6. OhmBoyz Can I synchronise one of the LFOs to my song? Yes, this is possible by sending a specic MIDI NRPN to the plug-in. Its also possible to change the MIDI mapping, and assign a Control Change message for this. Refer to the documentation for more information.
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7. QuadFrohmage I experience clicks in EnergyXT while morphing Presets. Disable the plug-in MIDI output in the QF Setup menu (select none instead of VST). 8. Ohmygod The plug-in makes no sound. Check the playing mode of the lter. If its set to MIDI poly, it will only output

something if you send it MIDI notes. Set it to Classic or MIDI mono to hear something without playing. 9. Melohman Synthesisers The plug-in uses too much CPU when morphing using the Melohman octave. Lower the Melohman density in the Setup menu of the plug-in.

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CHAPTER 8 Credits & Thanks

1. Credits
Product design: Laurent de Soras, Gregory Makles, Jrme Nol eo e GUI design: Raphal Ding, Gregory Makles e e Code: Laurent de Soras, Raphal Ding, Jrme Nol e e eo e Team managment: Franck Bacquet Support: Vincent Birebent and all the crew Web: Franck Bacquet, Vincent Birebent, Eric Cestari, Vincent Frison Web graphics: Gregory Makles Documentation: Laurent de Soras

2. Thanks Ohm Force would like to thank all the following people for their involvement in betatesting, advices, help and ideas, without any particular order: Nicolas Lacoumette Steve Duda Kasper T. Toepliz Ian Finney Dave Spiers Chris Macleod Eric Gougaud Hl`ne Zanni ee Frdrique Boeuf e e Bill Hamel Barry Wood Guillaume Calfati Cli Douse David Korn Flemming Bloch Hugo Mercier Joeri Vankeirsbilck Laurent Dailleau Luke Slater David Roberts Alan Branch Mike McGrath Mathias Standaert Michael Weeks Felix Petrescu Robert Mouyren Our lovely cats Rory Dow Renaud Brian Desmond James Kirby Nymo Fred Hahn Robert Monn

. . . and all those forgotten and everyone who knows us.

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