If you are using
VST plugins or
Audio Units and need an addition to your arsenal of plugins,
which has an analog retro sound, but nevertheless tons of features.
Then Fatsondo is the right choice for you.
Fatsondo (pronounced Fat- Sondo) is available as a VST plugin for Windows and Audio Unit for Mac OS X.
About Fatsondo
Fatsondo (a play with the English word Fat and the Japanese word for sound; Sondo) is one of very
few VST instruments (and Audio Units), which has been tailored made for the creation of thick and punchy
textures. And it has a built-in chorus, flanger, stereo delay, comes with 256 factory patches and a
PDF manual.
Scroll down and listen to the MP3 files
All our plugins are tested with a myriad of hosts, such as Cubase SX, Cubase VST, Muzys,
Orion Pro, Logic, Acid Pro, Magix Music Studio, Audio Mulch and SONAR using various adapters.
The synth should work with all VST compatible hosts on Windows and all Audio Unit compatible
hosts on Mac as long as they follow the spec. In addition this synth and some of our
other synths are available as VST plugins on Mac OS X.
Features
Fatsondo is, compared to other plugins, an unusual synth in the sense that it has a couple of features,
which are not always seen in the more traditional VST instruments and Audio Units. For example it has a chaos
oscillator, filter banks, a flanger with a random mode and performance keys.
The main features are a polyphonic unison mode, a unique processor module, which can switch between different functions, a warm and resonant lowpass/highpass filter, 3 oscillators per voice (which can be extended with the unison function) and built-in effects.
MP3 Samples
Here are a couple of samples of some of the factory patches.
Note that only Fatsondo and no other plugins have been used.
No other plugins and no effects, except Fatsondo's built-in, have been used. What you hear is what you get.
Note that the audio samples are from version 1.5. Version 2.0 has an improved audio engine.
Preset 54 - Perfm Keys 4 (501 KB)
Preset 5 - Big (345 KB)
Preset 256 - Phaze Bass (332 KB)
Preset 13 - Thick Bass (126 KB)
Preset 15 - Chaos Falls (157 KB)
Preset 1 - Super Analog (470 KB)
Preset 34 - Perfm Keys 1 (303 KB)
Preset 38 - Poly Pad (345 KB)
Preset 3 - Powerful Pad (970 KB)
Preset 53 - Full Filter Bank (157 KB)
Oscillators
Fatsondo has 3 oscillators per voice, which can be further multiplied using a unique polyphonic
unison mode. For example, you might create a patch, which is based around 3 oscillators.
Then the Unison section can be used to go one step further and multiply these settings,
creating even more multiples of these, say 6 or 9 oscillators per voice. Each group can further
on be detuned. Thus, the detune slider works as a detuning setting for each group of the three
oscillators. However, the synth is quite powerful even without this nice feature. Incredibly
thick and fat sounds can be created using just say 2 or 3 oscillators per voice in combination
with say the envelope controlled flanger, the chaos oscillator or some of the processor's filter banks.
Resonant Lowpass Filter
There's a traditional resonant lowpass/highpass filter, with an envelope, in Fatsondo. As in most synths, it has settings for cutoff and resonance etc, but in addition it also features an LFO of its own. It can be used to modulate the plugins cutoff frequency.
Multi mode Processor
Fatsondo contains a unique processor, which can switch between different functions such as formant filters, filter banks, a chaos oscillator, ring modulation and pitch shifting etc. The processor can be modulated using its dedicated envelope. For odd effects, the envelope can be inverted. The processor module can also be modulated using Fatsondo's Performance Keys.
Performance Keys
With the Performance Keys, the user can play the characteristics of the processor. For example, if the processor operates in filter bank mode, then the sound of the filter bank can be modulated by playing the keys on the lowest octave of the keyboard.
If you're capable of playing with both of your hands, then you can modulate the processor by pressing these keys with your left hand and performing a solo with your right hand. Or you can program the performance keys in your sequencer afterwards of course.
Built-in Effects
On top of all these features, this and all our other plugins have built-in effects,
which can be programmed for each patch.
The effects in this case are chorus, flanging and stereo delay. The flanger has its own LFO, but if the processor is switched to flanger mode, flanging can be controlled by the processor's envelope.
Evolution - algorithmic editing
Fatsondo makes it possible to create patches by using the Evolution section. Basically, you select a preset and then get instant access to 16 variations of it. By choosing which of the variations you like and generating a new generation of sounds (variations) based on these ones you can refine the patch step by step until you have found one, which you like.
Fatsondo - Online and Slightly Shortened Version of the Manual
NOTE: This is a slightly shortened version of the manual and it's for version 1.5.
Version 2.0 contains many more features, which are described in the 2.0 manual.
The PDF version of the 2.0 manual is included when you install the software.
Overview
Fatsondo is a VST Instrument (VSTi) for Windows and Audio Unit on Mac OS X. Thus,
it runs in hosts which accept VST plugins or rather VSTi plugins.
Compatible programs on Windows, such as Cubase DX,
Acid Pro, Logic and other programs, which can execute VST Virtual Instrument
plugins. Or it can be used with AU compatible programs on Mac OS X.
Main Features
Here are some of Fatsondos features:
Polyphonic Unison Mode
Fatsondo can be played in unison mode, layering many oscillators per voice, to create
extremely fat sounds. Old vintage synths used to become monophonic when
this feature was activated. With plugins such as Fatsondo, it'll will remain polyphonic.
Performance keys
The lowest octave on your keyboard can be used to .program. Fatsondos processor
section. For example, if the processor section uses a formant filter to change the
sound, then the lowest octave of your keyboard changes the sound of the formant
filter. So you can play notes with your right hand and at the same time change the
sound pressing the lowest keys with your left hand (or program it in a sequencer of
course).
Formant Filters
Fatsondos processor has a number of formant filters. These can be used to create
vocal sounds.
Filter banks
Fatsondo contains filter banks, which can be used to create vocoder style sounds.
without having to use a modulator as in traditional vocoders.
Chaos Oscillator
A chaos oscillator is available to create the most weird sounds.
Built-in Effects
Each Fatsondo patch has a flanger, chorus and stereo delay.
And Much More.
Evolution / Genetic editing
Each patch has 16 variations. You can mark which variations you like (with the +
button) and then ask for 16 more (with any of the up-arrow buttons). The new set of 16
patches inherit characteristics from the ones you marked as good.
Repeat this process until you have found a patch you like. Thus its possible to .grow.
patches in an artifical way.
Requirements
You will need a VST Instruments or Audio Unit (on Mac OS X) compatible host
software, such as Cubase VST, Cubase SX, Orion Pro, Muzys, Logic, Acid Pro or any
other compatible software, which can execute VST Instrument (or AU) plugins.
If you use a sequencer program, which doesn.t support VST (or AU) plugins, then you
can use an adapter. For example on Windows theres VST-DX or ToneWises DirectiXer,
to enable Fatsondo in such a program. SONAR 2.0 is an example.
Installation
Windows:
This and all our other VST plugins should always be installed in your personal VST plugins folder, that is the
folder, which your host software (e.g. Cubase VST) uses to store all its
plugins. When the installation procedure starts, you will be asked where
this folder is located. If you don.t know, then quit the installation program
immediately, read your host softwares manual and restart the installation
procedure.
Mac OS X:
Drag the component (the Fatsondo.component folder) to the place where
your Audio Units are kept. This is usually [HOME]/Library/Audio/Plug-
Ins/Components/.
Performance
The number of voices you'll get from the plugins voice scheme depends on the power of your CPU. In
addition it depends on how many applications you run in parallel of course. If you have
many background programs running, for example in the system tray, and if you replay
a number of hard disk tracks at the same time as the synth executes, then the CPU
will of course be under more pressure. In that case, a less number of voices will be
available for you.
The Different Sections
Fatsondo contains a number of logical sections, which process the sound in a certain
way. Lets go through them one by one.
The Oscillators
Each Fatsondo patch can have 3 oscillators per voice. This number can be further
multiplied using the Unison controls (see below).
Shape
The shape knob selects between sine wave, pulse wave, saw and a square wave.
Semi
Using the semi knob, the tuning for each oscillator can be adjusted between -12
semitones below- and +12 semitones above the played key.
Fine
The fine knob is used to make fine tunings for each oscillator. Beating effects can be
created by detuning the oscillators just slightly.
Volume
The volume of each oscillator is adjusted using the volume knob.
Filter
The Filter in Fatsondo is a 4th pole resonant lowpass filter. It has an LFO, which can
modulate the filter frequency.
Rate
The rate slider decides how fast the LFO should modulate the filter frequency.
Depth
The depth slider sets how deep the LFO should modulate the filter. A zero setting
results in no modulation and the maximum value modulates the filter between the
cutoff frequency (see below) and fully open.
Cutoff
The cutoff slider sets the frequency for the filter. Lower values results in more filtering
than higher values.
Resonance
Resonance adjusts the character of the filter. Typically, this slider can be used when
you want to create sweeping sounds. The effect is a sharp sound.
HP
When the hp button is selected, the filter works as a highpass filter as opposed to the
default lowpass filter. A highpass filter removes all the low frequencies as opposed to
a lowpass filter, which removes all the high frequencies. Thus, if you select the hp
button and move the cutoff slider to the top, the sound will disappear. If you had used
the filter in lowpass mode, all sound would be audible when the cutoff slider is pulled
to the top.
Vel
This knob determines how much velocity should affect the filter envelope. Higher
values on the vel knob, opens up the filter more the harder you strike a key.
Bypass
Bypass simply disconnects the filter. This can be useful if you use some of the formant
filters or filter banks in the processor. Then it might be unnecessary to use the lowpass
filter. Disconnecting it leaves you with more CPU because the filter is then completely
bypassed.
Mod
The two knobs in the mod sections provides pitch modulation.
Rate
The rate knob sets the rate of the pitch modulation.
Depth
The depth knob sets the depth of the pitch modulation, that is how much the pitch
should change.
Delay
This and most of our other plugins contains a stereo delay with 6 sliders and 2 buttons.
Left and Right Time
The left and right time sliders set the time of the delay. Pulling the sliders to the left
makes the echoes sound faster and pulling them to the right increases the delay time
and the echoes will then sound slower.
Left and Right Feedback
Feedback adjusts how many echoes you want. Pulling these sliders to the right
increases the number of echoes and pulling them to the left decreases the number of
echoes.
Left and Right Mix
These sliders determine the ratio of the dry signal and the delayed signal. For
example, if set them to say 5%, then the echoes will be barely audible but moving
them to the right to say 75% will make the echoes sound higher than the dry signal.
Left and Right Sync
Selecting these buttons synchronizes the delay with your sequencer, provided that it
supports synchronization using VstTimeInfo. When these knobs are selected, the time
sliders (see above) work as tempo dividers. For example, if you select these knobs
and pull the time sliders they might show say /2. This means that the delay will be half
of the tempo of your sequencer.
Amplitude Envelope
Fatsondo has an amplitude envelope, which can be used to change the volume of the
sound over a certain time period.
A - Attack
Attack determines how fast the sound should rise from zero volume to max volume
when a key is pressed.
D - Decay
Decay determines how fast the sound then should fall from the above max volume to
the sustain (see below).
S - Sustain
Sustain is the volume level, which is reached when the decay time has elapsed.
R - Release
Release is the time it will take for the sound to go from the sustain volume to zero,
when a key is released.
Vel
This knob determines how velocity sensitive the volume (amp) should be. Zero value
removes velocity sensitivity, for the volume (amp), while max volume has max velocity
sensitivity.
NOTE that you might have zero velocity sensitivity for the volume (vel knob in the Amp
Envelope section) but max or say medium velocity sensitivity for the filter (vel knob in
the filter section).
Filter Envelope
The filter envelope works similar as the Amplitude Envelope, but it affects the filters
cutoff frequency instead of the volume.
A - Attack
Attack determines how fast the filter should rise from zero frequency to the cutoff +
amount (see below) when a key is pressed. Thus you need to have an amount setting
which is bigger than zero to hear the filter attack.
D - Decay
Decay determines how fast the filter should fall from the above filter frequency to the
sustain (see below).
S - Sustain
Sustain is the filter frequency, which is reached when the decay time has elapsed. If
the amount is set to zero, the sustain knob will have no effect.
R - Release
Release is the time it will take for the filter to go from the sustain filter frequency down
to the cutoff frequency, when a key is released.
Amount
The amount knob decides how much the filter envelope should add to the filter cutoff
frequency.
Unison
The plugins unison section lets you stack up many oscillators per voice to create
a fat sound. This is a feature, which could be found even on old vintage gear, but in
those cases, the unison mode stacked all the available oscillators (e.g. 6 as on the
Korg Polysix) on one monophonic voice. The Unison mode in Fatsondo is polyphonic.
Detune
The detune slider determines how much the oscillators should be detuned.
Oscillators per Voice
This slider selects the maximum number of oscillators per voice.
Processor
Fatsondo has a processor equipped with a range of functions. These functions can be
used to process the sound with an envelope generator AND the lowest octave of your
keyboard (or sequencer).
So what goes through the processor?
Oscillator 1 and 2 are always sent through the processor, while oscillator 3 is not.
Oscillator 3 is always bypassed the processor and the reason for this is to allow for
blending of sounds. For example, you might process oscillator 1 and 2 by the
processors ring modulator and mix the result with oscillator 3 to create a hybrid type of
sound. Although, both oscillator 1 and 2 are sent through the processor, you don.t
have to use both of them. Some of them might have zero volume.
Function
The function slider selects which function the processor should have. It can function as
a formant filter, a filter bank, a flanger, waveshaper, a chaos oscillator etc. To be more
precise, these functions are available:
1. Flanging
You can use the processors flanger instead of the flanger which is located at
the bottom right of the plugins editor. When the processors flanger is chosen, the
global flanger is disconnected. However, you can use the feedback slider of
the global flanger to set the processor flangers feedback. When the
processors flanger is used, the envelope is used to sweep the flanger instead
of an LFO. In addition, the performance keys can be used to sweep the
flanger. This is perfect if you need to control exactly when the flanger should
start to sweep up and down. Experiment with the glide knob and the
performance keys to get an idea on how it works.
2. Pitch shifting hi
When this processor function is chosen, the oscillators are pitch modulated
using the processors envelope and the performance keys. Thus, the
performance keys allow you to introduce pitch sweeps only on certain
occasions and with different amounts.
3. Pitch shifting lo
This is the same function as above, but it has a lower range.
4. Ring Modulation
The Ring Modulator function ring modulates the sum of oscillator 2 and 3 with
a sine wave. The frequency of the sine wave is decided by the processor
envelope and the performance keys.
5. Vox A (Formant Filter A)
When this function is selected, oscillators 1 and 2 are processed by a formant
filter. The character/sound of the formant filter is affected by the processor
envelope and the performance keys. Adjust the glide knob to glide between
different formant filter sounds.
6. Vox B (Formant Filter B)
Same as above, but this filter has a different sound.
7. Vox C (Formant Filter C)
Same as above, but this filter has a different sound.
8. Bandpass Filter
When this processor function is selected, oscillators 1 and 2 are processed by
a bandpass filter. Sweep the filter with the envelope and performance keys.
9. Distorted Bandpass Filter
This is a bandpass filter, which distorts the sound. It can be used to create a
range of sounds, which have a raw and interesting character.
10. Modulated Bandpass Filter
The modulated bandpass filter is modulated by an LFO and its frequency gets
lower when the envelope gets a lower value. It means that it will change
speed the lower value the envelope gets or the lower performance keys you
play.
11. Noise
When this function is selected a noise source is mixed with oscillators 1 and
2. High values passes through the noise only. Mid values pass through the
noise mixed with osc 1 and 2 and low values mutes the noise and passes
through the oscillators only.
12. Vocoder Style Filter 1
This is a filter, which have a vocoder type of sound. Vocoder use one sound
source to modulate another, but these filters process oscillator 1 and 2 using
a fixed setting, which is common for many vocoders. In addition, the filter can
be swept using the processor envelope and the performance keys.
13. Vocoder Style Filter 2
Same as above, but a different sound.
14. Vocoder Style Filter 3
Same as above, but a different sound.
15. Vocoder Style Filter 4
Same as above, but a different sound.
16. Waveshaper 1
This function adds slight distortion to the sound for high values on the
envelope and performance keys. It can be used to add an interesting rawness
or tension to the sound.
17. Waveshaper 2
Same as above, but a different sound.
18. Chaos (4th Osc)
When this function is selected a fourth oscillator is mixed with the ordinary 3
oscillators. Its a chaos oscillator and the degree of chaos it will have is
affected by the processor envelope and the performance keys. High values
will produce something, which resembles noise, but not really. Lower values
will make it more stable.
19. Chaos (Osc 1)
In this mode, theres no 4th oscillator. Instead, oscillator number 1 is
modulated with chaos making it sound strange and almost distorted (but not
really) for higher values on the processor envelope and performance keys.
20. Chaos (All Osc)
Same as above, but oscillator 1 and 2 are affected.
21. Filter Bank 1
In this mode, the processor uses a filter bank to process oscillator 1 and 2.
The envelope and performance keys can be used to sweep the filter bank.
22. Filter Bank 2
Same as above, but a different sound.
23. Filter Bank 3
Same as above, but a different sound.
24. Filter Bank 4
Same as above, but a different sound.
25. Phaser 1
When the processor is used in this mode, a phaser processes oscillator 1 and
2. The procesor envelope and the performance keys can be used to sweep
the phaser.
26. Phaser 2
Same as above, but a different sound.
Thus, as you can see, the processor section of Fatsondo is quite flexible and can have
a number of different functions. All these functions can be swept using the
performance keys and the envelope generator (see below). Note that when you play
the performance keys the degree of glide between the keys is controlled by the glide
knob. Zero value produces abrupt changes and max value glides slowly between the
performance keys. values.
When processor function 1, flanging, is selected, the global flanger is not used.
Instead the plugins flanger is controlled by the processors envelope and the
performance keys.
The processors envelope has the following controls.
A - Attack
Attack determines how fast the filter (or ring modulator, pitch shifter etc) should rise
from zero frequency to the cutoff + amount (see below) when a key is pressed. Thus
you need to have an amount setting which is bigger than zero to hear the filter attack.
D - Decay
Decay determines how fast the filter should fall from the above filter frequency to the
sustain (see below).
S - Sustain
Sustain is the filter frequency, which is reached when the decay time has elapsed. If
the amount is set to zero, the sustain knob will have no effect.
R - Release
Release is the time it will take for the filter to go from the sustain filter frequency down
to the cutoff frequency, when a key is released.
Amount
The amount knob decides how much the filter envelope should add to the filter cutoff
frequency.
Invert
The button, which is marked with an arrow doing a 180 degrees turn, changes the
envelope .upside down.. Thus it will be inverted. For example, with this button
selected, the attack won.t go from zero to the level set by amount, but it will start with
the level set by the amount knob and then go to zero, followed by the decay phase,
which moves to an inverted value of the sustain parameter. Finally the release wont
move to zero. It will move from the inverted sustain to max (the level of the amount
knob). This might be a bit hard to understand, but try to adjust the envelope with the
invert button selected and you.ll see how it works.
Performance keys
In addition to the envelope, each function of the processor can programmed using the
Fatsondo Performance Keys. See the section "Using the Fatsondo Performance
Keys" later on in this manual for a full description.
Glide
The glide knob adjusts the glide between the performance keys. See the chapter
.Using the Fatsondo Performance Keys. later on in this manual for a full description.
Flanger
This, and a few of our other plugins, is equipped with a stereo flanger.
Rate
The rate slider sets the rate of the LFO, which is used to sweep the flanger.
Depth
The depth slider determines how deep the LFO should modulate the flanger. When
this slider is set to zero (bottom), then the LFO won.t sweep at all.
Frequency
Frequency determines at which frequency the sweep should start move. Frequency +
amount determines where it moves, so the LFO practically moves between the setting
of the frequency slider and the setting of this slider plus the setting of the amount
slider.
Feedback
The feedback slider changes the sound slightly. More feedback creates a sharper
sound.
Rnd
When this button is selected, the flanger will use random values instead of a sawtooth
LFO as its modulation source.
Amount
The amount knob determines how much flanging you get.
Chorus
The chorus in Fatsondo can be used to create a soft wide sound.
Amount
The amount slider sets the amount of chorus.
Rate
Pulling the rate slider to the left decreases the chorus rate while pulling it to the right
increases the chorus rate.
Depth
The pitch depth of the chorus effect can be adjusted using the depth slider. If you want
a more detuned chorus, then pull it to the right.
Evolution
Fatsondo 1.5 uses theories from the evolution, natural selection and genetic algorithm
fields.
The Evolution section can be used to grow patches similar to how scientists use
genetics to create plants or animals with certain characteristics. But in this case, you
create patches.
The patches get certain characteristics by choosing the survivors in each generation.
New generations are created where only the strong survive. Finally you.ll end up with
a generation of sounds that are superb according to your favourite characteristics.
Each of the 16 buttons represents a citizen (patch) in the population. The + button
provides the Evolution framework with information that the citizen is a good one, and
its sound should be used to generate the next population. The double arrowed button
generates a new population. The quadruple button does too, but with more mutations.
Heres a more comprehensive description.
Using evolution to create patches
The Evolution section contains 19 buttons.
There are 16 buttons, which are labelled 1-16. These are the patches (citizens) in the
current population. You can audition each of the 16 patches by clicking on the buttons
and playing the keyboard. If a patch is good then hit the + button.
The button marked with a + is used to mark any of the 16 patches (citizens) as good.
Thus by clicking on it, you tell the Evolution framework that its characteristics should
be used when the next population is generated.
The double arrow and 4 arrowed buttons are used to generate a new population. Its
done when you have chosen all your favourite patches. Do so by clicking on the
double arrow button or the button with 4 arrows. The latter one varies the citizens
(patches) more than the double arrowed button.
When you.ve clicked on one of the arrow buttons, then you have a new fresh set of 16
patches, which are based on the characteristics of the ones that you marked as good
and you can choose the ones that are good in this set and generate a new population
again and so on. You may continue until some of the patches sound the way you
want.
Heres a summary of the working flow:
1. Choose a preset to start with.
2. Listen to each of the 16 variations, by clicking on each of the numbered (1-16)
buttons and playing the keyboard.
3. For each of the 16 variations that sound .good., click on the + button. That
variation is remembered as a .good. one.
4. When you have selected those that you think are good (it might be only one, not
even one, or perhaps 7) then generate a new population by clicking on the double
arrow or the 4 arrowed button. A new population is generated based on the ones
that you marked as good.
5. Repeat until you have found a sound you like. Then you might save it, either using
Fatsondos built-in save interface or using the save bar, which most hosts add at
the top of the plugins window.
The double arrow will create a new generation of sounds (variations) which are only
slight variations on the ones that you marked as good. The 4 arrowed button will vary
even more. Thus the 4 arrow button creates much more dramatic changes in the
population than the double arrowed button.
Using the Fatsondo Performance keys
The processor was described in the previous chapter. It has a number of keys
associated with it. These keys are referred to as Performance Keys.
Playing the Filters
The basic idea with the performance keys is that you can actually .play. the filters and
other effects, in the processor, by pressing the keys on the lowest octave of your
keyboard.
The following performance keys are the default keys:
24 - 35 (C0 - B0)
This is usually the lowest octave on a 6 octave keyboard.
You might have to transpose your sequencer track in order to reach this octave from a
MIDI keyboard, because it depends on how many octaves your MIDI keyboard has
and which octaves it is programmed to send. If you edit the notes in a sequencer, the
default performance octave is located on the 3rd octave from below (C0).
However, if you press a key below MIDI key number 24, then that octave will be used
as the performance zone instead. For example, if you play E-1 (MIDI note number 16)
then the keys between C-1 and B-1 will be used as the performance keys. Or if you
play G-2 then the keys between C-2 and B-2 will be used.
When you play the performance keys, the sound is not heard, you just change the
setting of the processor.
What the Performance Keys do
The keys usually affect the cutoff frequency of the processor function, but for the
flanger, the flanger frequency will be changed and for the ring modulator, the
frequency of the ring modulated sine wave will be changed. The Chaos Oscillator will
change chaos factor when the keys are played and the noise function will change the
mix between the noise and the oscillators. Phaser 1 and 2 will change phaser
frequency.
For example, assume that we have used the processor function, which is called .Vox
A.. Pressing the C (MIDI note number 24) performance key will lower the formant filter
frequency to almost its lowest value. Playing the B performance key (MIDI note
number 35) will raise the formant filter frequency to more or less its maximum value.
Pressing a key between these, such as F (MIDI note number 29), will set the formant
filter frequency somewhere in its middle between the highest and lowest value.
Glide
So now you might ask .How does the filter frequency change when the keys are
played like this?.. That depends on the setting of the Glide knob. If its set to zero,
there will be abrupt changes between the filter frequencies. However, if you turn it up,
then the transition between different frequencies will be smooth. Thus, it will glide
between the values. This can create very nice effects on the formant filters and filter
banks and its very useful for the flanger and certainly the phasers.
In general, the performance keys allow you to change the sound in an extremely easy
and very flexible way, without having to use the mouse or messing with continous
controllers. It also allows for glide effects between the key values.
