Ohmicide Ref Man

Ohmicide Reference Manual

Ohmicide Manual v1.0.15870THIS MANUAL IS COPYRIGHT c© OHM FORCE 2000-2007. ALL RIGHTS RESERVED.

NO PART MAY BE REPRODUCED WITHOUT WRITTEN PERMISSION.

VST TECHNOLOGY BY STEINBERG MEDIA TECHNOLOGIES AG. ALL TRADEMARKS ACKNOWLEDGED.

CHAPTER 1 Introduction

Thank you for purchasing Ohmicide, yournew huge-sounding, feature-rich, audio-mangling tool!So, how does it work? Basically, the plug-in splits an input audio signal into user-defined frequency bands and processesthem individually through dynamic andthen distortion stages.

On the top of this, feedback sections andother deviously designed goodies are in-cluded for you to mess up your soundseven more, and a post-effect low-pass filtercan come in handy to tame any unwantedhigh frequencies induced by all this mad-ness.

All the processing is in stereo, and you’lldiscover that Ohmicide can create widesounds, through the use of the very stereoper-band feedbacks, pans, and optionalmid-side processing(see pages 17 and 19).

Ohmicide is designed to help you quicklyshape any sound according to your needs.It can be used in a subtle way to helpit fit better in the mix, in a more direct

way to give it more width and punch, orit can even be used to radically changethe color. It works very well with drums,voices, basses, guitars and synthesizers, infact anything you can throw at it!

As usual for Ohmforce products, we put agreat deal of effort into this one, and wehope you’ll enjoy using it as much as weenjoyed making it.

2Copyright c© 2000-2007 Ohm Force Ohmicide Manual v1.0.15870

CHAPTER 2 Getting Started

Contents1. Structure of this Manual . . . . . 32. Requirements . . . . . . . . . . . 33. Installation . . . . . . . . . . . . . 3

3.1. Installing on Windows . . 33.2. Installing on MacOS X . . 33.3. Installing AudioUnit Presets 4

4. First Use . . . . . . . . . . . . . . . 4

1. Structure of this Manual

This manual is divided into 8 chapters:

I Introduction briefly describes the designof the plug-in and it’s usage,

I Getting Started explains how to installOhmicide and get it working,

I User Interface Features rounds up the userinterface features of Ohmicide and cov-ers Automation and MIDI topics,

I Using Ohmicide, shows you how to oper-ate the effect

I Settings File Reference explains the syn-tax and use of a Settings File,

I Ohmicide Default MIDI Mapping gives theinformation necessary to control Ohmi-cide using MIDI,

I Version Notes summarize the differencefrom one version of Ohmicide to another,

I FAQ gives you some helpful informationon how to troubleshoot your plugin.

2. Requirements

The minimum requirements to run Ohmi-cide are:

I PC 64 Mbytes RAM, 25 Mbyteshard disk space, Pentium III compatibleCPU, and Windows 98.

I MAC - 64 Mbytes RAM, 25 Mbytes harddisk space, G5 compatible CPU, andOS 10.1, but OS 10.2 is strongly recom-mended.

It is available on VST for Windows, andVST/AU/RTAS for MacOS X.

3. Installation

3.1. Installing on Windows

Run the installer, an .exe file whose exactname depends on the version you received.Follow the on-screen instructions carefully.

You will be prompted to enter both yourUser Name and Key Code. They havebeen sent to you by e-mail or can be foundwithin your printed manual if you bought aboxed version. Please enter the two codescarefully, preferably using copy/paste toavoid typos. Then you will be promptedto choose one or more installation path,depending on the plug-in version you areinstalling.

3.2. Installing on MacOS X

Almost every internet browser will openthe file automatically, presenting a disk im-age on your desktop. If not, please locatethe .dmg file and double click it.

The disk image contains:

I This manual,

I The installer named Ohmicide Installer,

I A folder containing a collection of Pre-sets in AudioUnit format for the Au-dioUnit installer only.

To install Ohmicide, double click the in-staller icon. Before the installer can copyits file to your disc, it needs to have per-mission from your system to do it.

The first window will ask for your adminpassword:

Copyright c© 2000-2007 Ohm Force Ohmicide Manual v1.0.158703

If you don’t know the admin passwordplease contact the system administrator,generally the owner of the computer, whoshould know it.

The next screen is the plug-in installer.Please follow the on-screen instructionscarefully. You will have to choose betweenClassic Skin and Funky Skin (they can-not be both installed), and you will beprompted to enter your User Name andKey Code.

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

3.3. Installing AudioUnit Presets

You will find a folder containing a collec-tion of Presets in the AudioUnit format.Installing them depends upon the host youuse. Please refer to your host manual andinstall them manually.

4. First Use

Open your favorite audio host and putOhmicide as an insert effect on an audiotrack. A good way of getting a feel forOhmicide is to try the factory Presets. Youwill find a frame with buttons in it, eithernumbered or laid out like a keyboard oc-tave. Click on each button to audition afactory Preset.

Turn the knobs by clicking on them anddragging the mouse vertically.

If your mouse suddenly goes mad, don’tcall the cat, stay calm and locate the Setupbutton. Click on it to open the menuand deselect Enhanced Mouse Mode. Thisbehaviour may happen with some mice,graphic tablets or trackball devices.


CHAPTER 3 User Interface Features

Contents1. Preset and Melohman Panel . . 5

1.1. Presets / Memorise . . . . 51.2. Load / Save Metapatch . 51.3. Transition time . . . . . . . 5

2. Using Knobs and Faders . . . . . 62.1. Direct action . . . . . . . . 62.2. Side-clicks . . . . . . . . . 62.3. Linked Knobs . . . . . . . 6

3. Parameter Information andModulation . . . . . . . . . . . . . 63.1. Parameter . . . . . . . . . 63.2. Tempo Control . . . . . . . 7

4. Automation . . . . . . . . . . . . 74.1. Support . . . . . . . . . . . 74.2. VST and AU Limitations . . 7

5. MIDI Support . . . . . . . . . . . . 85.1. Selecting MIDI Ports . . . 85.2. Binding Parameters to

MIDI Controls . . . . . . . 85.3. Saving and Loading the

MIDI Configuration . . . . 95.4. About Control Change

(CC) Messages . . . . . . 95.5. Unbind . . . . . . . . . . . 95.6. Old erroneous NRPN be-

haviour . . . . . . . . . . . 9

1. Preset and Melohman Panel

There are eight Preset memory allocations.A group of twelve Presets can be savedas a Metapatch (a preset bank) to yourhard disk. These Metapatches are multi-platform, thus enabling you to load Presetsinto any sequencer on any computer.

1.1. Presets / Memorise

To activate a Preset simply click on any ofthe twelve Preset buttons. The Preset willbe applied immediately.

If you edit the on-screen parameters youmay wish to memorise your new settings.To do so, click once on the Store (or M)button; it will light-up. Then click on thePreset button in which you wish to storeyour new settings in the Metapatch. Toreturn to Preset select mode, turn off theStore (M) button by clicking it once.

The Metapatch in itself is NOTstored on the disk at this point.See next section.

1.2. Load / Save Metapatch

Use these two buttons to Save and Loadyour Metapatch to and from the harddisk. A Metapatch contains twelve Pre-sets. Loading a Metapatch will not modifythe current settings until you select a newPreset (or morph using the melohman, seepage 11). There are many Presets bun-dled with your plug-ins. Use the Presetsas the basis from which to create your de-sired sound.

1.3. Transition time

This knob enables you tovary the time the plug-inwill take to Morph between two Presets.The time, measured in seconds, is dis-played beside it. By default, the durationis set to 1 second. Set it to 0 if you want thePreset applied instantaneously — withoutMorphing.

The Ohmicide will not morphbetween Presets when using thePresets buttons. The morphingbetween Presets is done using theMelohman octave instead. Seepage 11.


2. Using Knobs and Faders

All the knobs and the faders work the sameway. There are two modes: direct actionand side-clicks.

2.1. Direct action

You can move aKnob by clicking onit (click on the sliderpart of a Fader)while keeping the button pressed and mov-ing the mouse up or down. Each buttonhas a preferred direction for the mousemovement: vertical for Knobs and, accord-ing to orientation, for the Faders. If youmove the mouse in the preferred direction,the Knob will turn quickly. However, ifyou move your mouse in the perpendiculardirection i.e. horizontally for Knobs, themovement will be slow and very accurate.Some Knobs have notches which lock tocertain values. It is possible, however, toset the Knob position between two notchesby moving the mouse in the perpendiculardirection, as mentioned above.

2.2. Side-clicks

The Knob is divided into twozones on which you can click toturn it to the right or to theleft. For Faders, the two zonesare on either side of the slider. For Knobs,they are positioned at 4:30 and 7:30 on thedial. The Knobs will move slowly if youclick and hold on these zones without mov-ing the mouse. This enables you to makevery small adjustments with ease.

If you click on this zone, then move themouse without releasing it, the Knob willmove automatically and keep moving evenafter you have released it. The further youmove the mouse, the faster the Knob willmove. To stop the movement, just click onthe Knob again. This is especially usefulduring live sessions, as you can have manyparameters shifting at the same time with-

out having to use the Preset Morphing fea-ture.

2.3. Linked Knobs

Most Ohm Force plug-ins allow someKnobs to be linked as they control similarparameters. For instance the parametersof the two OhmBoyz’s delay lines can belinked. This means that you can alter aparameter in both Line 1 and Line 2 at thesame time — with a single click.

To do so, you have to click on the pa-rameter with the right mouse-button (clickwhile holding the Control key on Mac sys-tems with a single-button mouse). TheKnobs in both channels will now move inunison.

If you hold the Shift key and click on theright mouse-button, both Knobs move atthe same time but keep their own originalgap. For instance, if the original value ofthe first Knob is 10% and the original valueof the second Knob is 50%, when you in-crease the value of the first Knob to 30%,you will increase the value of the secondknob up to 70% at the same time.

You can undo the movement of the slaveKnob(s) by performing a right mouseclick while holding the Control key (theCommand key on Macintosh).

3. Parameter Information and Modu-lation

3.1. Parameter

This contextual display shows details of theselected parameter.

I Name Name of the selected parameter.

I Value This is the parameter value ex-pressed in the selected unit (BPM orHz).

You can edit this value by clicking on it.Press Return to validate your change orEscape to cancel it.


3.2. Tempo Control

Because many plug-in applica-tions are related to music andtherefore rhythm, it is necessary to be ableto synchronise with the tempo of the hostapplication. Some host programs can au-tomatically synchronise the plug-in’s inter-nal tempo with their own tempo. Alterna-tively, you can change the tempo by click-ing on the buttons to the right of the nu-meric display. You can also type into thenumeric display itself.

When the host controls thetempo, you won’t be able to setthe plug-in tempo

Tempo control is available on most OhmForce plug-ins. Frohmage and Predatohmhave no time-sensitive parameters there-fore there is no requirement for this fea-ture.

4. Automation

4.1. Support

Every parameter is potentially automat-able on the RTAS, VST and AudioUnitplatforms. However depending on yourhost’s capabilities, you may be restricted toa fixed number of parameters, or even haveno automation capability at all. Check thehost’s reference manual for details aboutparameter automation.

ProTools display the automated parame-ters on the plug-in interface itself. A greentriangle on a Knob indicates that the au-tomation is playing, and a red disc showsautomation data being recorded.

4.2. VST and AU Limitations

Some host applications, such as earlier ver-sions of Steinberg Cubase VST, have sev-eral limitations regarding plug-in automa-tion. They can handle only a few param-eters, which is unfortunate as some OhmForce plug-ins have hundreds. As a conse-quence, some important parameters cannot

be automated. It is possible to get aroundthis by using MIDI commands.

To alleviate this problem, we give you theoption of changing the order in which theparameters are presented to the host. Weshould warn you that this section is rathertechnical.

You have two ways to proceed: you can ei-ther use the provided configuration file ormake your own from scratch.

To load the provided configurationfile, activate the Settings/Load itemin the Setup menu. Locate the fileeasy vst automation.cfg.txt in your ef-fect’s installation folder and open it. Theconfiguration file was developed so you canmove the most important parameters tothe top of the list so that they can beautomated.

You can change the provided configura-tion file or make your own: first savethe current plug-in configuration using Set-tings/Save (eg. my settings.cfg.txt).Then load it into a text editor, alongwith easy vst automation.cfg.txt soyou have a reference to work with. Youcan see that a configuration file is made ofkeys. They have a name and a content,which can be made of other keys, a recur-sive structure known as a tree in scientificcircles. Key name and content are sepa-rated by an equals sign (=), and complexkey contents are enclosed by brackets.

The provided configuration file will be a lotsmaller than your own one. This is becauseit is a partial configuration, whereas yoursis a complete one. Suppress some irrelevantsubkeys (the MIDI section, for example) inorder to make the two files look more alike.Yours will inevitably remain longer.

Let’s look at what else we can do withparameter reorder mapkey. You’ll seeseveral parameter names as the file youhave just saved contains all the potentialplug-in parameters. Move the parametersyou want to automate to the top of thelist. You can specify a particular order


for the other parameters if you want to,or you can simply suppress them. Thisdoes not mean that they will not appearany more, or become unavailable for au-tomation. When loading the configurationfile, the plug-in will automatically find thebest mapping for the suppressed parame-ters. Once you have finished sorting theparameters, save your work and load yourconfiguration file into the plug-in. Acti-vate Settings/Autoload so that the settingsfile you just loaded is automatically loadedeach time the plug-in is opened.

If you created settings beforeapplying the Mapping file, youshould save them into an internalPreset, as described in the Presetsection of this manual.

You should not use the host’s Presets any-more because they will be completely re-ordered after the change. Instead, applyyour saved internal Ohm Force Preset torestore your sound. Fortunately, new Pre-sets you make after the change can bestored in host’s format and reloaded.

5. MIDI Support

You can also use MIDI commands to con-trol the plug-in parameters. MIDI can evenreplace automation, because not only canthe plug-ins receive MIDI commands, theycan also transmit them. The effects arein “Omni”mode, meaning they can receiveMIDI commands from any channel. How-ever, all commands are sent via Channel 1.Commands can be regular CC (Continu-ous Controllers), or RPN and NRPN (Non-Registered Parameter Numbers). The de-cision as to whether to use CC or NRPNwill depend upon the capabilities of yourMIDI device. CC is commonly used byhardware devices, but NRPN has a higherresolution. The factory MIDI settings useNRPN, but it is possible to change the

mapping at any time. The default map-ping for Ohmicide is listed in the Ohmi-cide default MIDI mapping chapter of thismanual.

5.1. Selecting MIDI Ports

Depending on your host, your MIDI de-vices and your system settings, you mayhave more than one MIDI port availablefor MIDI input and output. It is possibleto select which ‘virtual’ port you wish touse for receiving and sending MIDI events.

To choose the input port — the one fromwhich MIDI data is received by the plug-in — click on the Setup button, go to theMIDI/Input device menu and select theone you want. Do the same thing to se-lect the output port, except, of course, youwill need to click MIDI/Output device. Theselected MIDI port will be ticked in themenu. You can only use one input and oneoutput port at a time.

Only one MIDI Input device isavailable for AudioUnit plug-ins.No MIDI output device is avail-able for AudioUnit plug-ins.

If the connection fails, it is usually becausethe port you selected is already in use byanother application — most likely the hostitself. In this case, check your host’s oper-ating manual to see if it is possible to freeup the port.

5.2. Binding Parameters to MIDI Con-trols

The easiest way to Bind a parameter witha specific MIDI controller knob or fader(or any MIDI Control Change) is to usethe Auto-bind feature. First, activate theAuto-bind mode by checking MIDI/Auto-bind in the Setup menu.

If you have already selected a parameterits name will be displayed in brackets inthe menu, like this:

Auto-bind [target: Volume]


If not, click on the Knob you want to bindto a MIDI control message. Only the lastone selected will be taken into account forBinding.

Once you have chosen the parameter, senda MIDI event to the plug-in (for example,turn a knob on your external MIDI con-troller). It can be a simple CC, an RPN oran NRPN command. As soon as the eventis received, the connection is created auto-matically, and the MIDI command will re-main associated with this parameter. Onlyone parameter can be bound to each MIDIcommand, and visa versa. If you want toBind more parameters, repeat the proce-dure: select another parameter, and sendanother MIDI event. Do not forget to exitthe Auto-bind mode, by un-checking thecorresponding entry in the Setup menu,when you have finished.

5.3. Saving and Loading the MIDIConfiguration

If you have numerous parameters to Bindeach time you want to use the plug-in, youcan save the configuration for later use.Currently selected ports will also be saved.

To do so, select Settings/Save in the Setupmenu. You can restore the settings at anytime by selecting Settings/Load.

The MIDI configuration is notstored in Presets, and thereforeis not saved with the host song.You will have to load the settingsmanually after having loaded asong on your host application.The true tech freaks among youwill notice one can open the savedfile in a text editor and tweak theconfiguration from there. It isalso possible to build partial con-figurations by only keeping a cou-ple of the ‘keys’. The content syn-tax is covered in the Settings FileReference chapter of this manual.

5.4. About Control Change (CC) Mes-sages

Although you can assign most of the CCnumbers to plug-in parameters, there arethings to consider:

I You cannot use certain CC numbers likeData Entry (6 and 38), Data Button In-crement (96), Data Button Decrement(97), nor you can use RPN and NRPNParameters 98, 99, 100 and 101, becausethey are used for RPN and NRPN cod-ing.

I It is possible, but not advisable, to usethe fine tuned section at the lower endof the controller range (32 to 63). Thiswill work, but if plug-in parameters areassigned to coarse parts of the low con-troller range (0 to 31), the plug-in willalso output the fine commands, resultingin possible interference. For example, ifyou assigned Knob A to CC 20 and KnobB to CC 52 (= 20 + 32), twisting Knob Bwould output CC 52 messages, whereastwisting Knob A would output both CC20 and 52! Trying to record automationin this manner could result in a host ofunnecessary complications.

5.5. Unbind

Select the parameter you want to unbind.Open the Setup menu. You can see thatthe Un-bind menu item shows which MIDIcontrol the parameter is binded to. To un-bind it, simply click on the Un-bind menuitem.

The Un-bind menu item is handyto know which MIDI control iscurrently binded to the selectedparameter.

5.6. Old erroneous NRPN behaviour

This option is checked by default, and ex-ists for historical reasons. Our plug-insused to interpret RPN and NRPN controlserroneously. As a consequence, automation


recorded using old versions cannot be in-terpreted by the recent versions unless thisoption is checked. You are advised to un-

check this option if you are a new OhmForce user.


CHAPTER 4 Melohman

Contents1. Overview . . . . . . . . . . . . . . 112. Using Melohman . . . . . . . . . 113. Parameters . . . . . . . . . . . . . 11

3.1. Melohman Mode . . . . . 113.2. Time . . . . . . . . . . . . . 113.3. Mapping . . . . . . . . . . 123.4. Sensitivity . . . . . . . . . . 123.5. Density . . . . . . . . . . . 123.6. MIDI Channel . . . . . . . 12

4. Modes . . . . . . . . . . . . . . . 124.1. Preset Morphing . . . . . . 124.2. Morphing Back & Forth . 134.3. Morphing triggered . . . . 134.4. Morphing sequence . . . 134.5. Mutation . . . . . . . . . . 14

1. Overview

This is probably the most innovative partof Ohmicide. With Melohman, you can as-sign an octave of your MIDI keyboard tocontrol the settings of the effect. There arefour modes available :

I Preset Morphing

I Preset Morphing back and forth

I Preset Morphing triggered

I Preset Morphing sequence

I Mutation

I Partial mutation

The Morphing modes will let you morphbetween the 12 presets of the bank (ormeta-patch). The mutation modes willmodify a reference preset and morph to-ward it.

2. Using Melohman

If you look at the Pre-set layout on the effect,you’ll see a remarkable simularity to a pi-ano keyboard. To morph from one Preset

to another, simply play the MIDI key thatcorresponds to the target Preset in the de-fined Melohman octave.

The time taken to morph from one Pre-set to another is determined by either theTime parameter (default), and also the ve-locity you play the MIDI key (optional).The lights on the Preset buttons indicatethe state of the morph; getting brighter onthe target Preset as the morph is closer tocompletion.

You can assign the Melohman octave toa particular MIDI channel, and can alsoset the octave to ’All Octaves’ so thatany key on the keyboard will activate theMelohman functions.

Note that you can still press the 12 Pre-sets buttons on the GUI to change Presets,but the sound will change abruptly, withno morphing.

3. Parameters

Below is an explanation of the Melohmancontrols.

On the GUI:

3.1. Melohman Mode

This big knob allows you to choose thecurrent Melohman Mode. We will explainlater the functionality of each Mode.

3.2. Time

This is the time parameter for theMelohman functions. Its effect may varyfrom one Mode to another, but generally itsets the maximum time it takes to morphbetween different settings.

When you click on a Preset but-ton, the sound changes immedi-ately.


In the Setup Menu:

3.3. Mapping

This parameter selects the Melohman oc-tave. Choose ’No MIDI control’ to deacti-vate control via the keyboard, and ’All oc-taves’ to make the Melohman octave loopall over the keyboard (so that, for exam-ple, playing any A key will always choosePreset #10)

3.4. Sensitivity

This parameter sets the sensitivity of theMelohman keys to note velocity. If set to’None’, the morphing time will be deter-mined by the Time parameter, whereas ifset to ’Full’, the morphing time is 0s atmaximum velocity. Between the two, themorphing time cannot reach 0s.

3.5. Density

This parameter sets the smoothness ofthe morph. A high value will result insmoother morphs but can be very CPU in-tensive, particularly if there are a lot of pa-rameters changing.

Be careful when you change aMelohman parameter while play-ing notes to control Melohman asoccasionally a note may becomestuck. If this happens, you’ll needto either send a MIDI reset mes-sage or play again the stuck keysto unstick them.

3.6. MIDI Channel

This parameter sets the MIDI channel forMelohman control.

4. Modes

4.1. Preset Morphing

When you play a key, the sound starts tomorph toward the Preset corresponding to

the key you press. If you then play a sec-ond key, the synthesiser morphs from itscurrent position to the newly selected Pre-set, but will morph back to the intitial oneif you release this second key while keepingthe first one pressed.For example, your current Preset is C (#1).You play E and the sound begins to morphto Preset #5. While keeping E pressed youthen play an A and the sound morphs toPreset #10. Releasing the A key will bringthe sound back to Preset #5, and releas-ing the E will stop the morph at its currentposition.Following the lights on the Preset buttonsgive you a visual clue as to the state of themorph.

With the Sensitivity setting off, the timetaken to complete a morph is controlled bythe TIME knob. However, when Sensitiv-ity is on, then the time taken is dependenton how hard you play the key. With a Sen-sitivity setting of 100%, maximum velocitywill result in an instant morph, much likechanging the Presets on the GUI.The minimum time to complete a morphincreases as Sensitivity decreases.

There are many ways to use Preset morph-ing. For example, you can:

I Press and hold a key to morph smoothlyto another Preset,

I Rapidly hit a key which will slow mor-phing down as the current settings ap-proach the destination Preset,

I Start a morph then interrupt it andmorph to another Preset, circulating be-tween Presets without actually reachingtheir full target parameter values.


Some parameters cannot be mor-phed (and also cannot be savedwith the Presets, although theyare saved with a song). They arethe band Solo and Mute buttons,the Trim, the main Dry/wet andthe main Gain knobs. If you wantto even out the overall gain be-tween the Presets, adjust the Mixvolume of the bands within eachPreset.

4.2. Morphing Back & Forth

This Mode is quite similar to the previousone, except that the effect will morph backto the state it was in before the first keywas pressed. This means you will not playthis Mode exactly the same way: releasingall the keys will result in a morph back tothe Preset’s original state.For example, if you click on Preset #12 onthe GUI and then play and hold the C key,the effect will morph to Preset #1. Releasethe key and the Preset will morph back toPreset #12.

Note that you can change the source Presetat any time on the GUI (while not playinga MIDI note), or by double hitting a MIDInote.As a consequence, if you press a key againwhile this morph is happening, the currentsettings will be memorised when you hitthe key again (a sort of double-hit), whichcould not be the original one.

4.3. Morphing triggered

This mode, as the previous ones, allows youto morph between the 12 presets. However,the notes off are ignored, meaning that themorph will continue after you release yourkey. To stop it, press again the same key.

This was originally designed to help drum-mers controlling the morph via MIDI pads,as they can’t send sustained notes. After

thorough tests, it also appears to be veryhandy for keyboardists!

4.4. Morphing sequence

This mode is all about morphing your pre-sets, but in a different way : holding aMelohman key plays a sequence of morphs,the duration between each morph beeingcontrolled by the Melohman Time Knobsetting.

The sequence for each key is listed belowwith the notes indicating the correspond-ing Preset slots:

I C:C, D

I C#:C, D,E

I D:C, D,E, F

I D#:C, D,E, F,G,A

I E:

C, C#, D, D#, E, F, F#, G

I F:

C, C#, D,D#, E, F, F#, G, G#, A,A#, B

I F#:

C, C,D, D, C, C,E,D,C, E

I G: Random (presets C and D only)

I G#: Random (all presets)

The three remaining keys are used tochange the sequence key. They do notchange the morphing time though.

I A: Slows down the sequence of a factor2

I A#: Resets mutation time (as indicatedon the Time display)

I B: Accelerates the sequence, factor 2


4.5. Mutation

Consider this Mode as a type of Preset ran-domisation that centres around the currentPreset. This means that newly generatedPresets are variations of the original one toa greater or lesser degree, depending on theMIDI key played.

Mutations are also intelligently managed.If a parameter is set to 0, its chances ofbeing mutated is smaller.

The mutation keys are as follows:

I C-G#: Mutates the Preset. The amountof mutation ranges from small changes(C key) to large changes (G# key). Ad-ditionally, more parameters will changeon higher range keys, whereas some pa-rameters may never be changed whenplaying lower range keys.

I A: Morphs to last saved mutation

I A#: Saves the current mutation

I B: Morphs to the original reference Pre-set

Note that, as with Preset Morphing:

I the time to mutate a Preset is governedby the TIME knob and Sensitivity set-tings,

I releasing a key will stop the mutationprocess in its current state,

I the GUI Preset buttons are still useableto activate and store presets.

Be careful when using large pa-rameter changes (higher rangekeys), as they may result in highfeedback levels which could resultin screeching and high output lev-els


CHAPTER 5 Using the effect

Contents1. The Main Display . . . . . . . . . 152. Input Signal Trim . . . . . . . . . . 153. Output stage . . . . . . . . . . . . 164. Pre-distortion . . . . . . . . . . . . 165. Stereo Link . . . . . . . . . . . . . 166. Per Band Processing . . . . . . . 16

6.1. Setting the FrequencyRanges of each Band . . 16

6.2. Mid/Side . . . . . . . . . . 176.3. Gate . . . . . . . . . . . . 176.4. Dynamics . . . . . . . . . 186.5. Distortion . . . . . . . . . . 186.6. Gain and stereo control . 19

7. Feedback . . . . . . . . . . . . . 208. Overall Tone Setting . . . . . . . 219. Miscellaneous . . . . . . . . . . . 21

9.1. Parameters and Presetmorphing . . . . . . . . . . 21

9.2. Oversampling . . . . . . . 21

1. The Main Display

The display shows you at a glance all youneed to know regarding the current presetparameter settings, as well as the audio sig-nal being shaped by Ohmicide.

You can see the audio signal representedby frequency across on the X axis and am-plitude on the Y axis. The line acrossthe middle represent the active bands, andtheir parameter settings. The currently ac-tive parameter name and its setting is dis-played at the top of the screen.

To see how to fully interpret the informa-tion in the display screen, please go to page22.

2. Input Signal Trim

As the distortion process is non-linear and its resulting behaviourunpredictable, we needed a way tohelp tame its wild nature, withoutyou having to make fine and fid-dly adjustments, on a multitude ofparamters, just to balance out the overalloutput.So we introduced input signal trimmingto attenuate the incoming signal, before itgets to the main stages of Ohmicide.

With a correctly trimmed input signal:

I you’ll be able to adjust the distortionwithout having to make drastic changesto the band gains, thus allowing you toshape your sound faster and in a moreintuitive way,

I the overall perceived volume, whenchanging parameters, will be closer tothe level of the input signal (unless youchange the main output gain),

I presets will sound more like their design-ers’ original intentions,

I morphs will be more consistent in theiroverall volume.

To calibrate your sound, adjust the Trimknob so that the left light is on constantly,the center light flickers, and the rightmostlight does not flicker at all.

The signal is now roughly calibrated, andthat may be all you need to do. However,you might want to run the following simpletest, to see whether you need to fine-tunethe Trim:

I While still playing the audio, right clicka Distortion Gain knob, and raise it to3 o’clock.

I If the overall volume remained constantas the gain increased, then you’re set togo!


I If the overall volume rose, then increasethe Trim.

I If the overall volume lessened, then de-crease the Trim.

That’s it! You’re now in the optimal oper-ation range for Ohmicide.

3. Output stage

As a result of the calibration pro-cess, the input and output signalsare now matched in volume. Youmight need to change the main out-put to suit your needs. You can alsoadjust the wet/dry here.

Double-clicking the Out knob willautomatically set it to 0db.

4. Pre-distortion

The Pre-distortion knob allowsyou to add some colour and dis-tortion to the audio signal, without affect-ing its original dynamic quality and priorto signal reaching the main effect stages.

5. Stereo Link

Some sections of Ohmicide aretriggered by the levels in the sig-nal and the Stereo Link button affects theway the signal levels are detected.

When active, the two stereo signals aremerged prior to level detection, so thatboth channels will behave the same dynam-ically.When inactive, the level detection is doneseparately on both channels. In both cases,the signal processing remains in stereo.

Stereo Link has an impact on the following:

I the dynamic section : you’ll have a morefaithful stereo image if active.

I the gate section : left and right channelsare gated synchronously if active.

I feedback is behaving the same on bothchannels if active.

6. Per Band Processing

One of the main features of Ohmicide isthat you can split up your audio into fre-quency bands and apply the main effectssections to each band separately. For ex-ample, assume you have a drum loop play-ing and you want to apply distortion toeverything except the kick drum.

By simply setting up two bands, you canget a drum loop that sounds like its justgone through an overdriven blender andyet still retain a clean and powerful kick!When you consider that each band also hasdynamic and feedback sections, you can seethat the possibilities are endless.

You can set a parameter on thefour bands at once by right-clicking instead of left-clicking onthe controls.

Let’s get into the details of what you cando with each band:

6.1. Setting the Frequency Ranges ofeach Band

You can have up to four active bands,which are stacked on top of each otherin such a way that the ceiling cutoff fre-quency of one band acts as the floor cut-off frequency of the next band (hence theneed for only three frequency cutoff knobs).

The floor of Band One is fixed at 20hz, andthe ceiling of Band Four at 20khz. Notethat if your sample rate is less than 42106Hz then your range will be smaller. Themaximum range in any case is 0.475 timesthe sample frequency.


Also, any band that has its floor set to anyvalue between 20000 and 20480 Hz (theupper limit of the operating range) is ef-fectively disabled, which means that if allknobs are set to 20khz (far right), then onlyBand One is active and processing audio.

Finally, to maintain the frequency band de-sign of Ohmicide, the frequency knobs maymove automatically. To see this in action,set all the band frequency knobs to 20khzand then move Band Four’s knob to theleft. You will see that all the bands willlower their knobs to keep the stacked rela-tionship.

For you DSP freaks: the filters,as with any filter, introduce fre-quency dependent phase shifts.These shifts are cancelled by thereconstructing filters post band.

The per-band processing is di-vided into six steps:

I Mid/Size

I Gate

I Dynamics

I Distortion

I Gain and Stereo Field

I Feedback

The controls are the same for each of Ohmi-cide’s bands.

6.2. Mid/Side

An unusual feature of Ohmicideis it’s ability to process a bandin Mid/side mode, which you activate byclicking the Side button in the band’sStereo Control section (see page 19).

This works as follows: instead of process-ing normal stereo left/right channels, thestereo image is split up into middle andside channels, with the mid signal sent tothe left channel for processing and the sidesignals sent to the right channel.

Switching to and from Mid/Sidemode will produce a click. Youmight want to take caution whenchanging this parameter inside ametapatch.

6.3. Gate

Mainly, Noise Gates are used to removeunwanted sound in an audio track, forexample removing any extraneous noiseon the silent sections of a vocal track.They work by only allowing audio to passthrough when it exceeds a user defineddecibel threshold.But a gate can also be used creatively, suchas when a guitarist uses a gate before a dis-tortion pedal to get sharp and well definedchords.Some more advanced gates have two in-puts, one to process the audio, and one totrigger the gate, known as a side-chain, bycomparing its signal to the threshold.Generally, the audio to be processed is alsothe side-chain, but you can come up withuseful results by using a different audio sig-nal to trigger the gate, such as a kick drumon a bass guitar track to tighten up bothinstruments.

So, what did we come up with in Ohmi-cide? Here, the side chain is the main,pre-split signal. Which means that eachband’s gate threshold comparison is madeusing the same signal, and if they all havethe same threshold value, then they’ll openand close at the same time.

[ JEROME: THIS DOESN’T SOUNDVERY EXCITING BY ITSELF. CAN WEADD AN EXAMPLE TO SHOW HOWCOOL THIS IS?

Steve, you mean a sample? ]

You control the gate by using the followingknobs :


I Threshold

I Attack Time

I Release Time

I Amount

The Threshold lets you define the decibellevel to open the gate. There’s a fixed hys-teresis on the gate, which means that theclose-gate threshold is lower than the open-gate threshold, so that the gate does notchatter while the signal level is around thethreshold setting.

The Attack and Decay times allow you tocontrol how fast the gate opens and closes.

The Amount lets you set how much thegate closes, so that it will totally close whenset to 100%, and barely close when setto 0%. With a negative setting, the gateshape is inverted, which means it will openbelow the threshold, and close above it.

The gate is nice to add a snap to a sound,such as making shorter drum hits. Addi-tionally, by inverting the gate on a bandyou can have, for example, one band’s gateopening while the others are closing.

The gate works best with soundshaving a lot of dynamic move-ment in them. A pad won’t gateso well, as it’s usually a soundwith very slow attack and decayenvelopes.

6.4. Dynamics

This stage changes the shapeof the attack transients andsustains of the input audio,though its effectiveness de-pends upon the dynamic energy in thesignal. It’s a complex process but onlyneeds two parameters to tune:

I Shape

I Body

The Shape parameter determines how theaudio dynamics will be changed, as follows:

I In the neutral position (center), the au-dio is unmodified.

I In the Phat zone (left), the audio is ’com-pressed’: dynamics are reduced, but theoverall sound is perceived to be louderand sustained longer. This is not a com-pressor in the traditional sense, as it willusually just increase low volume levels,leaving higher levels untouched.

I In the Sharp zone (right), the audiois ’expanded’: dynamics are increasedand attacks emphasized, producing per-cussive and generally faster decayingsounds.

Use the Body parameter to adjust theamount that Shape affects the audio. Inaddition, Body also progressively adds alimiter to the end of the band processing,which means that even if Shape is set to thecentral, neutral position, Body may stillhave an affect on the audio.

The vu-meter next to the dy-namic section gives you a visualfeedback of how much the sectionis affecting the audio gain. It alsolights up in red when the limiterkicks in.

6.5. Distortion

After the dynamic stage, theband signal can be option-ally distorted.The parameters for this stage are:

I Type

I Gain

I Bias

I Mode


Ohmicide provides three varia-tions, Standard, Xxx, and Odd, of28 distortion algorithms for a total of 84distortion types.For an explanation of the differing dis-tortions read the accompanying referencesheet, page 24.

To select a distortion you can either :

click on the arrows to change the dis-tortion type to the previous/next one.Click on the central circle and move yourmouse (just like you would do on a knob)to change the distortion without click-ing, or...

I

click in the Type display andchoose one from a pop-up menu.

I

The family controls on the top ofthe distortion selector can be used toquickly change the variation groups. Click-ing again on the family icon will set thedistortion to None.

The Gain knob is adjustable in a rangefrom −20 dB to +60 dB. The higher thegain, the more distortion applied to thesound. However, the overall perceivedvolume should not deviate by too much(though this is somewhat dependant onthe level you’re listening at), provided theTrim has been correctly set.

Refer to the Trim section for moreinformation on balancing the in-put level.

The following two controls, Bias and Mode,can be used to further colour the chosendistortion type, though bear in mind thatfor some algorithms the controls are irrele-vant and are grayed out.

The Bias slider emulates malfunctioninghardware circuitry and adds a DC offsetbefore the distortion is applied. The con-trol is very sensitive, so even very small

changes can make dramatic changes to thesound. To break up the sound completely,move slider all the way over.

The Alteration further changes the color ofthe distortion. This will depend greatly onthe Distortion type (see page 24).

The loudness of the post-distortion output is dependanton the nature of the originalaudio, the bias offset, and thetrim you applied to the inputaudio.

6.6. Gain and stereo control

The output volume of eachband can be set by movingthe respective faders belowthe bands and has a range of −∞ dB to+20 dB.The gain stage is before the limiter andyou see on the band’s dynamic vu-meterthat increasing the band’s volume faderwill activate the limiter.

Directly above the volume fader is thePan control, which can use in conjunctionwith the other bands’ pans to create widersounds.When the Mid/Side mode is active (seepage 17), the Pan control behaves differ-ently : turning the pan to the left will at-tenuate the side channel, and turning it tothe right will attenuate the mid channel.


As all Ohmicide processing isdone in stereo, if the original au-dio is mono, it will be convertedto stereo first.A consequence of that is thatyou won’t have interesting resultsusing Mid/Side processing on amono signal, as the ’side’ area ofthe signal contains, well, nothing.So, if you turn the Pan knob tothe right, you might end up withno output, particularly if no feed-back is being used.

The remaining controls are the Wet/Dryknob and the Mute and Solo buttons.The Solo control takes precedence over theMute control, which means that a soloedband will be heard regardless of its mutestate. The Solo state is ignored if the bandis turned off using the Band Split knobs.

7. Feedback

The Feedback section simulates a micro-phone recording the signal coming out ofloudspeakers and then amplified back intothe signal chain.For Ohmicide, turning on feedback willtake the wet signal, after the signal recon-struction, and loop it back, with a slightdelay, into the signal path before the Gatesection.

The feedback works on each band indepen-dently, so that you can use different config-urations of the parameters on any band.Note, however, that the feedback frequencycontent exceeds the boundaries of the cur-rent band, and will leak onto the otherbands!

Be careful with the feedback.Big Amount values can make itvery loud and present, particu-larly if the band has its dynamicprocessing set to a ‘Phat’ mode.Don’t forget to lower your speakeror headphone levels before exper-imenting!

The Feedback parameters are :

I Feedback Amount

I Feedback Frequency

I Feedback Spread

The Amount control determines the simu-lated microphone sensitivity.

Frequency sets the feedback frequency from16 Hz to 1024 Hz and simulates the dis-tance separating the microphone from theloudspeaker. The further away the micro-phone, the lower is the resultant pitch.The fact you can set this parameter perband goes beyond reality, and does not re-flect a real world phenomenon. It’s how-ever sonically interesting and that’s whatmatters!

The Spread control changes the stereo fieldof the feedback. At mid position, the feed-back is mono, while on the right, the feed-back is stereo. In the left position, the feed-back will cross channels (left channel feedsthe right channel and vice versa).


The feedback behaviour changeswhen the Stereo Link parame-ter is activated, as the signal de-tection used during the feedbackprocess will be mono. The feed-back will then tend to appearmuch more in the center of thestereo image and will be totallymono when the Spread control isin the mid position).Also, because, the feedback entersthe signal path before the gate,if you activate the gate the feed-back will be cut off when the gateis closed. However, it’s not re-injected in the gate side-chain sig-nal, which means it won’t triggerthe gate (see page page 17).

8. Overall Tone Setting

After the per-band processing,the signals are mixed togetherand a low pass filter can op-tionally be applied to attenuate any hyper-bright frequencies.

The control is located under the Melohmansection and has two parameters:

I PF Shape

I PF Frequency

The PF Shape knob determines the ‘color’of the filter. Turned to the far left, the fil-ter is disabled. Raising it to the mid posi-tion increases the slope, effectively makingit a 48 dB/octave low pass filter. Turningfurther right will add some resonance.

The PF Frequency knob is from 2 KHz to8 KHz and determines the cutoff frequencyof the filter.

9. Miscellaneous

9.1. Parameters and Preset morphing

Some parameters are not saved in the pre-sets. These are :

I Input Trim

I Main output level

I Band Solo and Mute

I Master Bypass

They are also not morphed when using theMelohman functions. However, they canbe automated using MIDI or, if supported,host automation.

9.2. Oversampling

Oversampling is an optional Ohmicide fea-ture which reduces unwanted aliasing ar-tifacts produced by the distortion process.You turn on Oversampling by selecting theHigh Quality mode in the setup menu.

Oversampling can add a hefty in-crease to the CPU load! Gen-erally, we recommend that youturn it on only on mixdowns, but,if the aliasing effect is too no-ticeable and irritating, then wesuggest that you turn it on andbounce (or freeze if your host sup-ports it) the track


CHAPTER 6 Tips

Contents1. Dissecting A Preset . . . . . . . . 222. Creating Portable Metapatches 23

1. Dissecting A Preset

With nearly all Ohmicide’s parameters be-ing shown visually in the large displayscreen, you can quite easily see at a glancewhat a preset is doing to your sound, with-out having to check each individual param-eter’s setting.In this section, we will go through a fac-tory preset to show you how to use thosevisual clues, so you can quickly narrow inon areas that may need tweaking to matchyour input audio.

To start with, load Ohmicide into an audiotrack in your host and add a frequency richdrum loop to the track. Then open the fac-tory preset called DrumOutOfPhase, pressthe C key on the Melohman to get the firstpreset of the bank, loop the drum loop, andpress play.

The display should now look something likethe one shown below.

of course the frequency spectrumwill be different, unless we hap-pen to be using the exact sameloop, which’d be pretty freaky!

Ok. Let’s get the trim adjusted first. Turnthe Trim first to the left and then to theright until you get the middle light flickingregularily. As you move the knob you willsee your audio frequency spectrum (FS)move up and down in the display.While we’re up here, turn the PF Shape

knob to the right. You’ll see the highfrequency cutoff slope of your audio getsharper as you raise the knob to 50%, anda peak form as resonance is added beyond50%. Leaving the Shape knob at 100%,turn the PF Cutoff knob to the left. You’llsee the resonance peak shift to the left inthe display as the cutoff frequency changes.

Now to move onto the bands.

Note that we will always be us-ing Band One here and that’s rep-resented by the leftmost centralline in the display, so please bearthat in mind when we talk aboutbands and lines.

Click on the Melohmnan C# then C to getback to the original preset settings, andthen move the Band’s volume fader up anddown. You’ll see the line in the displaymove up and down as well as the bass inthe FS. The Mute and Solo buttons willalso visually fade the corresponding bandlines and affect the FS in the display.The width of the line also shows you theband’s upper and lower boundaries.

Next open up the band’s Distortion Gainfully and note the line gets wider the moregain applied (there’s no difference in thesound as there’s no distortion type chosen).Turn Body full right and then Shape fullleft. The line gets both brighter and fat-ter. Turn Shape fully right and the linesplits into two. Back off the Body and thelines fades and merge into one again.

Now turn the band’s Gate Threshold to theright. The central line begins to break up,with fewer breaks the higher the thresholdsetting. The Attack and Release settingswill increase the distance of the breaks andthe Amount will invert the colours of thebreaks and non-breaks.

Finally, Raise the band’s Feedback Level(this should be quite safe within this fre-quency range, but raise it slowly just in


case to prevent possible damage to yourears). A ball will begin to glow in the line’sdisplay. Turn the pan to the far left and theline will turn into a triangle, the hi-side in-dicating the pan direction. Note also thatthe feedback ball moves to the correct pan-ning side of the line as well.

And that’s it! You should now be able toquickly determine what the other band’srough settings are, and to test yourself,choose some other presets and banks in-cluded with Ohmicide. Have fun!

2. Creating Portable Metapatches

So you’ve spent some time honing param-eters and saving several versions in presetsto create your ideal Metapatch. But thenyou load up the patch on a different trackand suddenly find all your carefully set pa-rameters and balances are all off for thenew audio! Ouch!

This section will provide you with someguidelines, which should help you designpresets and metapatches that you can portbetween different tracks and projects.

Firstly, setup the trim correctly (see page15), and set the main output level to 0.Now, start working (or load the metapatchyou want to work on).When bypassing/unbypassing the effect,the perceived volume should be roughly thesame. If not, change the bands volumes(and not the main volume) to compensate(Remember, shift right-clicking clicking on

one of the bands volume fader will let youmove the four fader relatively, which isequivalent to change the main output vol-ume).Then try and match the presets to roughlythe same levels across the whole metapatch(unless the effect you want is to have largedynamic differences between presets), us-ing, once again, the bands gain.

The operation would consist in :

I selecting a preset (via the GUI or yourMIDI keyboard,

I shift-right clicking on a band volume, ad-just all the bands at once,

I store the preset in its slot,

I compare with the other presets and thedry sound, and start the operationsagain if needed.

When morphing from one preset to an-other, bear in mind that the Mid/Sideand Distortion Type parameters changeabruptly at the start of the morphing pro-cess, which may result in clicks in extremecases or effects that you didn’t have inmind in less extreme cases.As a general practice, it is better to leavethese parameters at the same settingsacross the whole Metapatch, though byall means experiment, as the result may beexactly what you are looking for!


CHAPTER A Ohmicide Distortion reference

The following table will give you more information on the various base distortion algo-rithms.

Distortion Bias Alt. CommentPorridge • • It has a nice analog feel. The brightness of the distortion is

controllableSoft Clip • Waveshaper, symmetrical and soft.Harder • Waveshaper, symmetrical and harder.Stronger • Waveshaper, symmetrical and stronger.Crest • Waveshaper, symmetrical, and not bijective.Hollowed • Waveshaper asymmetrical.Lopsided • Waveshaper asymmetrical.Attractor • • Multiple states distortion.SmartE • • Varying waveshape. Use Alteration to change the wave-

shape. 0.8 is very bright.Sastrugi • Waveshape with ripples.Puncher • Cyclic waveshaper. High gain will produce ”tuned” noise.NoizE • Cyclic distortion. High gain will produce white noise.Antipole • • Crest mangler. Alteration to 50% will be similar to a hardclip.

More than 50% will reverse the crest.Rotten Luck • • Same as antipole, with an additional waveshaper on the

crests.Vacuum • Waveshaper that affects the low portion of the signal.Cubic • Waveshaper. Will ‘dry’ the signal.Rectifier • Will tend to produce a higher pitched sound.Squared • Waveshaped rectifier. Will tend to dry the signal much more

than Rectifier.Slew 1 • Slew rate limiter. This is an extreme version of a physical limita-

tion that exist on any amplifier. Alteration will change the slewrate limit, raising it will give more highs.

Slew 2 • • Waveshaped slew rate distortion.Random Walk • Random walkAngry Mouse • • Waveshaper followed by a resonator low pass filter. The higher

the distortion gain, the higher the resonnance. Alteration willchange the cutoff frequency.

Decimator • • This distortions emulate an analogue sample & hold. Alterationwill change the hold time.

Bitcrush • • Crushes the bit resolution of the signal. May oscillate whenused in the Xxx mode.

Jellyfish • • textFractal • • Use a chaotic feedback equation to to distort the sound. This

is the only distortion which sound depends on the sample rate.A bit experimental, pretty weird and analogue. Alteration willchange the recursivity depth, and raising it will take more CPU.Use some Bias to make it unstable.

Accumulator • A distortion that can add low frequencies! It behaves a bit likea modulator, but it’s not. Experimental, nice on drums particu-larly.

Freeze • • Freezes portions of the audio signal depending on the Bias,Alteration and Gain.


The following table will give you more information on the various distortion families.

Distortion Familly Bias Alt. Comment

Std family • ◦ The raw algorithms!Xxx family • ◦ This is a variation on the standard familly. The bias behave

”better” than on the normal distortions. Used with waveshaperdistortions, it will emulate amp guitars. It’s more experimentalwith other distortions. Nice for guitars.

Odd familly • ◦ Use the bias to tune the distortion harmonics. There is one ex-ception : the Odd Fractal distortion uses the Alteration param-eter to tune the harmonics, and the Bias to set a DC offset inthe base distortion.

◦ : same as the base distortion.


CHAPTER B Settings File Reference

Contents1. Syntax . . . . . . . . . . . . . . . 262. Practical Use: Reordering Pa-

rameters . . . . . . . . . . . . . . 26

This chapter is very technical. For now,settings files only contains MIDI parame-ter mapping, if available.

To create a settings file, select Save Set-tings from the Setup menu. Locate the fileon your system and open it using a regulartext editor, such as NotePad on Windows,or TextEdit on MacOS X.

1. Syntax

Its modular structure allows you to sup-press, add or move the ‘keys’ making upthe file. Each key represents a particularproperty of the plug-in. Just respect thesyntax (key names are case sensitive) andthe structure, and you’ll be fine. The keyswork with a simple syntax:

KeyName1 = key value


...

Or

KeyName3 =

{


// Some comment after the "//"


...

}

The second example shows a hierarchy,where a key contains other keys. Thus, it ispossible to load partial configurations andto merge it with the current one. Only thekeys in the file will be taken into account.However, saving will store all the keys intothe file.

2. Practical Use: Reordering Parame-ters

You may want to reorder parameters so tobe able to automate them within host thatcan only automate a limited numbers ofparameters.

Settings file for the parameter reorder maplook 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 changethe way they are exposed to the host. Sup-pose that in the last example the hostwould only be able to automate 4 parame-ters.

Then 4 Tone Shape and 5 Master Vol

would not be automable. If you want tomake them automable to the detriment of,let’s say, 2 Fdbk Amnt and 3 Tone Freq,you would produce the following file:

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 willpermit you to reorder the parameters. Butdo not change the numbers, as they areactually identifying the parameters (thename is just indicative), please keep eachwhole line intact.


CHAPTER C Ohmicide Default MIDI Mapping

Use following table to help you to match effect parameters to NRPN numbers.

1. Generic parameters

NRPN Parameter RemarkTempo 0 TempoBypass 1 Bypass Not morphable

Dry / wet 2 Dry / wet Not morphableMaster Volume 3 Master Volume Not morphable

Input trim 4 Input trim Not morphableStereo Link 5 Stereo Link Instant morph

Tone frequency 6 Tone frequencyTone color 7 Tone color 0 = Tone disabled

Pre-distortion gain 8 Pre-distortion gain 0 = disabled9 Reserved10 Reserved11 Reserved12 Reserved

Band 1-2 Split Frequency 13 Band 1-2 Split Frequency Max = disables bands 2, 3 and 4Band 2-3 Split Frequency 14 Band 2-3 Split Frequency Max = disables bands 3 and 4Band 3-4 Split Frequency 15 Band 3-4 Split Frequency Max = disables bands 4

2. Band parameters

NRPN For Band Parameter Remark1 2 3 4

Feedback Amount 16 37 58 79 Feedback Amount 0 = disabledFeedback Pitch 17 38 59 80 Feedback Pitch

Feedback Spread 18 39 60 81 Feedback SpreadReserved 19 40 61 82 Reserved

Shape 20 41 62 83 ShapeBody 21 42 63 84 Body 0 = dynamics disabled

Disto Amount 22 43 64 85 Disto AmountDisto Type 23 44 65 86 Disto TypeDisto Bias 24 45 66 87 Disto Bias

Disto Alteration 25 46 67 88 Disto AlterationGate Threshold 26 47 68 89 Gate Threshold −∞ = disabled

Gate Attack time 27 48 69 90 Gate Attack timeGate Release time 28 49 70 91 Gate Release time

Gate Invert 29 50 71 92 Gate InvertPan 30 51 72 93 Pan possibly mid/side instead of left/right

Volume 31 52 73 94 VolumeDry / Wet 32 53 74 95 Dry / WetMid / Side 33 54 75 96 Mid / Side

Solo 34 55 76 97 Solo Not morphableMute 35 56 77 98 Mute Not morphable

Reserved 36 57 78 99 Reserved


CHAPTER D Version Notes

Contentsv1.00 (2006.12.01) . . . . . . . . . . . . 28

v1.00 (2006.12.01)

I Initial release


CHAPTER E FAQ

Contents1. Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

I’ve lost my password. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29How can I update my plug-ins? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29How can I register my plug-ins? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29I’ve lost my plug-in registration key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

2. Plug-in installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30When I try to install the plug-in, the installer tells me that my key is invalid. . . . . . 30The installer reports an error while installing. . . . . . . . . . . . . . . . . . . . . . . . . 30When I double click the installer .bin file, it opens Toast. . . . . . . . . . . . . . . . . . 30

3. Product . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30My host does not let me automate some parameters. What can I do? . . . . . . . . 30My plug-in does not seem to receive MIDI. . . . . . . . . . . . . . . . . . . . . . . . . 30When I load a Preset from the Load button, the sound does not change. . . . . . . 30What’s the best way to save my Presets? . . . . . . . . . . . . . . . . . . . . . . . . . . 30I’m finding that the VST-AU wrapped versions (using FXpansion’s VST-AU wrapper)

of the plug-ins seem to change Presets when I save in Logic 7.1 and Logic6.4.3 — usually to some extreme setting that creates a horrible noise andendangers my speakers and ears! . . . . . . . . . . . . . . . . . . . . . . . . . 30

Can I share my Presets with the other customers? . . . . . . . . . . . . . . . . . . . . 30How can I get the Muse Receptor version of the plug-ins? . . . . . . . . . . . . . . . 30

4. Macintosh Specific . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Will the plug-in work in MacOS X Tiger? . . . . . . . . . . . . . . . . . . . . . . . . . . . 31The plug-in does not pass AU validation. . . . . . . . . . . . . . . . . . . . . . . . . . . 31The plug-in crashes validation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31The plug-in crashes my host. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31I bought the Ohm Force Experience boxed version, and the AU plug-ins won’t work. 31The plug-ins make Digital Performer crash while using them in mono to stereo mode. 31

5. Hosts Related . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Under Tracktion, the plug-in settings change when I save my project! . . . . . . . . 31My plug-in installed fine, but Cubase SL3/SX3 does not recognise it (the plug-in is

not in the plug-ins list). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31I experience clicks in EnergyXT while morphing Presets. . . . . . . . . . . . . . . . . 31

6. OhmBoyz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Can I synchronise one of the LFOs to my song? . . . . . . . . . . . . . . . . . . . . . . 31

7. QuadFrohmage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32I experience clicks in EnergyXT while morphing Presets. . . . . . . . . . . . . . . . . 32

8. Ohmygod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32The plug-in makes no sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

9. Melohman Synthesisers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32The plug-in uses too much CPU when morphing using the Melohman octave. . . . 32

1. Website

I’ve lost my password.

Click on the Login button at the top rightof the web-site main page, leaving thename and password fields blank, and fol-low the instructions. Alternatively, clickhere.

How can I update my plug-ins?

Open the plug-in you want to update, andselect Update in the Setup menu. You willbe directed to the update page, where thenew versions will be highlighted. Alterna-tively, you can log on the site and go to theMy Software section, Download Files.


http://www.ohmforce.com/ForgotPassword.do?action=ask

How can I register my plug-ins?

Open the plug-in you wish to register, andselect Register in the Setup menu of theplug-in.

I’ve lost my plug-in registration key.

Log on the site, go to the My Software sec-tion, and click on the Mail Personal Keybutton.

2. Plug-in installation

When I try to install the plug-in, the in-staller tells me that my key is invalid.

Be sure to enter Username and Keycodeas they were sent to you. If you receivedauthorisation by e-mail, please copy/pastethe two codes. If you are using a boxed ver-sion, check for letter ‘O’ and number ‘0’, aswell as letter ‘I’ and number ‘1’.

The installer reports an error while in-stalling.

Please find the installer log for the plug-in located in your ∼/Library/Logs/ folder.Then send this log here.

When I double click the installer .binfile, it opens Toast.

Please drag’n’drop the installer .bin file onStuffit Expander.

3. Product

My host does not let me automatesome parameters. What can I do?

Some hosts limit the number of automat-able parameters but you can reorder themso that the most important to you areshown. Please read the section about re-ordering parameters in the plug-in manual.Also the file easy vst automation.cfg.txt isan example of basic configuration (andmost likely the one you’ll need). This filewill work on VST, AU and RTAS.

My plug-in does not seem to receiveMIDI.

In the plug-in Setup menu, check the MIDIinput device. It should be set to VST (orAU) MIDI in if you want to receive MIDIfrom the host. You can choose any otherMIDI device as long as it’s not used by an-other application (or the host).

When I load a Preset from the Loadbutton, the sound does not change.

Our Preset files are in fact Presets Bankfiles. Use the 1-8 buttons to activate a par-ticular Preset.

What’s the best way to save my Pre-sets?

Using the Ohm Force system to save yourPresets will allow you to:

I Save them by banks (so that you canthen morph between related Presets)

I Use them on any other platform (be itAU, VST, DirectX, Mac, PC. . . )

I’m finding that the VST-AU wrappedversions (using FXpansion’s VST-AUwrapper) of the plug-ins seem tochange Presets when I save in Logic7.1 and Logic 6.4.3 — usually to someextreme setting that creates a horri-ble noise and endangers my speak-ers and ears!

Use the native AU versions.

Can I share my Presets with the othercustomers?

Yes, simply write us a mail along withthe Presets (under the Ohm Force format).We’ll add them to the Presets section of thesite.

How can I get the Muse Receptor ver-sion of the plug-ins?

You can buy Receptor versions on the Plu-gorama web-site. In case you already own a’Pack’ version of some plug-ins, or a bundlewith multiple platform support, you canget those for free, also on the Plugoramaweb-site.


mailto:[email protected]?subject=Installer%20failed%20with%20Ohmicide

http://www.plugorama.com/

http://www.plugorama.com/

4. Macintosh Specific

Will the plug-in work in MacOS XTiger?

Please download the demos. That way youcan easily check that everything will workcorrectly with your audio environment.

The plug-in does not pass AU valida-tion.

Please download the latest version of theplug-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 theplug-in. If it still crashes validation, pleasesend the validation report and the crashlog here. The crash log can be foundin your ∼/Library/Logs/Crash Reporter/folder. The file you need to send us con-tains a reference to “auval” in its name.

The plug-in crashes my host.

Please download the latest version ofthe plug-in. If it still crashes yourhost, please send us the crash log here.The crash log can be found in your∼/Library/Logs/Crash Reporter/ folder.The file you need to send us contains thehost name in its name.

I bought the Ohm Force Experienceboxed version, and the AU plug-inswon’t work.

Please download the latest versionof the plug-ins. You will haveto create an account on our site(http://www.ohmforce.com), and thenregister your OFE on our site here.

The plug-ins make Digital Performercrash while using them in mono tostereo mode.

Please download the latest version of theplug-in which will resolve this issue.

5. Hosts Related

Under Tracktion, the plug-in settingschange when I save my project!

This may happen when two Ohm Forceplug-ins are following each others in atrack. This is because Tracktion connectsthe two plug-ins via MIDI. When you saveyour project, the upstream plug-in sendsMIDI controls to the downstream plug-in,changing it’s setting! So, what can you do?Disable the MIDI output of the plug-in bydefault. First select None as MIDI out de-vice in the set-up menu, then save yourconfiguration (Settings → Save), and setthis file to Auto-load.

My plug-in installed fine, but CubaseSL3/SX3 does not recognise it (theplug-in is not in the plug-ins list).

It seems that Cubase does not alwaysproperly scan the VST plug-in folder, and‘misses’ some plug-ins. Re-install the plug-in in a new folder (for example ‘tempVST-Plugin’), and in Cubase register this direc-tory as a VST plug-ins directory. This isdone in the Device → Plug-in informationmenu of Cubase. Then restart Cubase andcheck the plug-in is correctly listed. Oth-erwise, contact us.

I experience clicks in EnergyXT whilemorphing Presets.

Disable the plug-in’s MIDI output in theplug-in Setup menu (select none insteadof VST). This happens only with QuadFrohmage as far as we know.

6. OhmBoyz

Can I synchronise one of the LFOs tomy song?

Yes, this is possible by sending a specificMIDI NRPN to the plug-in. It’s also pos-sible to change the MIDI mapping, and as-sign a Control Change message for this.Refer to the documentation for more in-formation.


mailto:[email protected]?subject=AU%20Validation%20failed%20with%20Ohmicide

mailto:[email protected]?subject=AU%20Validation%20crashed%20with%20Ohmicide

mailto:[email protected]?subject=Ohmicide%20crashes%20host

http://www.ohmforce.com

http://ohmforce.com/UseAsset.do?action=register

mailto:[email protected]?subject=Ohmicide%20problem%20SL3%20SX3

7. QuadFrohmage

I experience clicks in EnergyXT whilemorphing Presets.

Disable the plug-in MIDI output in the QFSetup menu (select none instead of VST).

8. Ohmygod

The plug-in makes no sound.

Check the playing mode of the filter. Ifit’s set to ‘MIDI poly’, it will only output

something if you send it MIDI notes. Set itto ‘Classic’ or ‘MIDI mono’ to hear some-thing without playing.

9. Melohman Synthesisers

The plug-in uses too much CPU whenmorphing using the Melohman oc-tave.

Lower the Melohman density in the Setupmenu of the plug-in.


CHAPTER F Credits & Thanks

1. Credits

I Product design: Laurent de Soras, Gregory Makles, Jerome Noel

I GUI design: Raphael Dinge, Gregory Makles

I Code: Laurent de Soras, Raphael Dinge, Jerome Noel

I Team managment: Franck Bacquet

I Support: Vincent Birebent and all the crew

I Web: Franck Bacquet, Vincent Birebent, Eric Cestari, Vincent Frison

I Web graphics: Gregory Makles

I Documentation: Jerome Noel, with the invaluable help of Steve Trigger

2. Thanks

Ohm Force would like to thank all the following people for their involvement in beta-testing, advices, help and ideas, without any particular order:

I Nicolas Lacoumette

I Steve Duda

I Kasper T. Toepliz

I Ian Finney

I Dave Spiers

I Chris Macleod

I Eric Gougaud

I Helene Zanni

I Frederique Boeuf

I Bill Hamel

I Barry Wood

I Guillaume Calfati

I Cliff Douse

I David Korn

I Flemming Bloch

I Hugo Mercier

I Joeri Vankeirsbilck

I Laurent Dailleau

I Luke Slater

I David Roberts

I Alan Branch

I Mike McGrath

I Mathias Standaert

I Michael Weeks

I Nymo

I Fred Hahn

I Robert Monn

I Rory Dow

I Renaud Bordes

I Brian Desmond

I James Kirby

I Felix Petrescu

I Robert Mouyren

I Remy Muller

I Vaino Ala-Harkonen

I Chris Farell

I Derick White

I Ian Ditchburn

I Allen Somerlot

I Niklas Silen

I Justin Kirton

I Our lovely cats

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


Documents

Ohmicide Ref Man