Manuel d'utilisation / d'entretien du produit GVI du fabricant Tascam
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Owner's Manual QuickEdit and GigaPulse Addendum 100206.
2 CHAPTER 12: QUICKEDIT VIEW ........................................................................................................ 3 Instrument Select Drop-Down Menu ..................................................................................
CHAPTER 12: QUICKEDIT VIEW QuickEdit is a powerful tool that provides eas y access to instrument/d im ension specific synth parameters like attenuation, pan, tuning, envelopes, filters, LFO’s, and loop points. Edits m ade in QuickEdit are non-destructive, meaning they do not al ter the original GIG file s.
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 c overing one or more keys, are displayed in th e horizontal strip just above the vi rtual keyboard.
EDIT MODE This affects how changes are applied when m ore th an one region or split is selected for editing. Absolute : When you change a value in the QuickEdit, every selected (bright or dark yellow) region and split is set to exactly the value shown.
DIMENSION SELECT DROP-DOWN MENU This is similar to the Keyboard Select menu, but it governs the selection of sp lits within each keyboard region, as displayed in the dimens ion strip area just below the editing tabs. The options are: All splits: Edits will always be applied to every sp lit within a region.
QUICKEDIT ARTICU LATION TABS GVI GENERAL TAB Volume: The Volume knob simply attenuates a region’s playback le vel 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).
VOLUME MODULATION SECTION Controller Drop-Down: This m enu allows you to assign a MIDI continuous controller for real-tim e volume attenuation control.
Velocity Curve: There are three general response curves available: Linear , Non-Linear, and Special. See the diagrams below for a graphi cal representation of each curve class.
Special Curve: Velocity Range: Use the velocity range slider to select one of five velocity response offsets for the specified velocity response cu rve (Linear, Non-Linear, Special ). The velocity range is set from High to Low , High producing the largest dy namic range (softer) and Low producing the smallest dynamic range (louder).
INSTRUMENT GLOB AL SECTION Pitch Bend Range: Instrument Global settings a pply to all regions and dimensions of the instrument currently being edited. You can set the Pitch Bend Range between 0 a nd 12 semitones (half-steps). The Pitch Bend Range value represents both the upward and downward transposition boundaries.
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 in itial v olume level of the attack. For example, a Preattack level of 50.00 sets th e beginning of the attack envelope to half the potential volume of the sample.
PITCH ENVELOPE SECTION Attack: The pitch Attack time is measured in sec onds (0-60). This value determines the amount of time that it takes for a sustained note to be tu ned 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.
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 W heel, Breath Control, or a combination of either Internal LFO and Mod Wheel or Internal LFO and Breath Control.
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 In ternal LFO, Mod W heel, Aftertouch, or a combination of either Internal LF O and Mod Wheel or Internal LFO and Aftertouch.
GVI FILTER TAB FILTER SECTION Filter Type: This drop-down menu allows you to enable/disable filter ing and select which type of filter will be used from the following lis t: None – The Filter mode i.
Note: This parameter is only available if the Cutoff Controller is se t to “ None”. Minimum (Min) Cutoff: This value places a limit on the low est filter cutoff frequency when using a MIDI Cutoff Controller. The low range of th e MIDI controller will start with this value.
FILTER ENVELOPE SECTION Preattack: The Filter Pre-attack va lue is adjusted with percentage num bers (0-100). Preattack offsets the initial Filter Cutoff va lue for the attack of the Filte r Envelope.
19 MIDI CONTROL SECTION FILTER ENVELOPE MODULATION e Filter Envelope Modulation con trols I rs. nvert: When enabled, this setting reverses th e incoming MIDI controller data values. ttack, Decay, and Release depth: These sliders allow you to enable MIDI control of Filter r each.
FILTER LFO SECTION 20 he Frequency: The Filter LFO frequency value can be set between 0.1 and 10 Hz and controls the rate at which t LFO oscillates. Control Source: The Control Source selects between Internal LFO, Mod Wheel, Foot Control, or a combination of either Internal LFO and M od Wheel or Internal LFO and Foot Control.
GVI LOOP TAB SAMPLE START SECTION Sample Start: This option alters the sample attack to start after the begi nning of the wave sample. The value is measured in samples and has maximum lim it of 2000 sam ples. This is useful to soften the attack of a sample or to eliminate/create pops at the beginning of a sample.
QUICKEDIT WAVEFORM VIEW The Waveform view provides valu able visual feedback when adju sting Envelope, LFO, and sam ple loop points. There are three basic s ections to the waveform display including the zoom tools, a time display, and the actual waveform window.
simply click and drag one of the handles. WAVEFORM DISPLAY WINDOW In addition to being a simple graphical disp lay for the sam ple waveforms, the Waveform Display window can be used to make changes to Am plitude, Filter, and Pitch Envelopes as well as LFO’s.
CHAPTER 13: GIGAPULSE VIEW GigaPulse is a world class Convoluti on Modeling and Reverb Plug-in that has been integrated directly into GVI for automatic processing of instrument s that are em bedded with GigaPulse convolution presets.
GIGAPULSE IN THE MIDI MIXER GigaPulse Convolution can be used to model e nvironm ents, instrument bodies, signal paths, digital reverbs, and pretty much anything else you can send audio through. It is up to the library or soundware developer as to how these impulse responses appear to the end-user within GVI.
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 t hat is an integral part of the in strument’s sound, such as that used in GigaPiano-II, the instrument may essentially become unplayable sonically.
Acoustic Space Bank Menu: The Bank Menu brings up a drop-down list of all the available GIG Instrument Banks (GIB) that w ere encoded into the loaded GigaPulse instance b y the instrument designer.
28 if the soundw Mute: Silences the Master or the individual channels, but the processing is still On: The On button turns off the individual microphone placements, freeing up CPU ent Select Sum to Mo.
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MIC REPLACEMENT SECTION The Mic Replacement section is Mic Group specif ic, m eaning that original and replacement Mic selections only affect the currently selected Mic Group.
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 pa ttern can dramatically affect the sonic character of a microphone.
GVI PLACEMENT SECTION There are two types of buttons present in the Placem ent Section window, the source placement (where the perform er is located on th e sound stage) and the microphone placements.
MIC TO FX BUS ROUTING SECTION 33 The FX Bus Routing Matrix allows you to independently route each microphon e placement contained within an impulse set to e ither the left or right channel of the FX Bus. The routing section also allows you to create simulated stereo signal from a mono im pulse response.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Tascam GVI c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Tascam GVI - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Tascam GVI, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Tascam GVI va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Tascam GVI, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Tascam GVI.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Tascam GVI. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Tascam GVI ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
