Air Music Tech 1.0 Tubesynth User Guide

TUBESYNTH
User Guide

Manual Version 1.0

Introduction

Thank you for purchasing the AIR Tubesynth plugin instrument. The AIR Tubesynth plugin emulates the sound of classic vintage analog polysynths. Tubesynth is based on the highly acclaimed AIR Vacuum Pro desktop synth plugin and also includes 5  integrated AIR effects.
This user guide explains the features and functions of the plugin instrument. For more information on using this plugin with other software, please refer to your software’s documentation for adding and using plugin instruments.

System Requirements & Product Support

For complete system requirements and compatibility information, visit airmusictech.com.
For technical support, visit support.airmusictech.com.

Installation

1. Double-click the .exe (Windows) or .pug (macOS) file you downloaded. Follow the on-screen instructions to install the software.
2. Open the plugin application.
3. Click Sign In to sign into your in Music Brands Profile using your Internet browser. If you do not have an in Music Brands Profile yet, you will be prompted to create one.
4. Once you have signed in, click Activate in the plugin window to enter your serial key to unlock the plugin. You can unlock each plugin on up to three devices at a time.
5. If you do not have a serial key, you can click Try Unlicensed to explore the plugin with intermittent audio alerts.
   You can also click 10-Day Trial to initiate a free, fully featured trial of the plugin for 10 days.
   If you would like to purchase a serial key, click the link to purchase a license at profile.inmusicbrands.com.

Operation

Overview

Setup Section

1. Keyboard: Click this icon to enable or disable the virtual keyboard. When enabled, you can click these keys to input notes, or view notes being played on an external MIDI device.

2. Tempo: Displays the current plugin tempo. To change the tempo:
   • Click the number and use your keyboard to input a new value.
   • Click and drag the tempo value up or down using your cursor.
   • Click the Tap button at regular intervals.

3. Settings: Click this icon to open the Settings window, where you can set the following parameters:
   • Output: to select an audio hardware driver in your computer system. Click the Test button to play a test tone for checking your audio output settings. (Careful! You should lower the volume on your audio system beforehand.)
   • Sample Rate: Click this drop-down menu to select the desired sample rate for your project. This depends on the available sample rates of the type of MPC hardware you are using or of your audio interface (i.e., select 96000 Hz only if your interface allows  a 96 kHz sample rate).
   • Audio Buffer Size: Click this drop-down menu to set your audio system’s latency. Lower values result in a more immediate playing response but also more CPU consumption. If you are working with larger projects, this may cause audible clicks and pops.  Higher values are more CPU-friendly but can produce more delay between pressing a pad and hearing the corresponding sound. The ideal audio buffer size also depends on your computer’s CPU performance. Experiment with this to find the best setting for  your system.
   • Active MIDI Inputs: Displays available MIDI input devices. To enable a device, check the box next to its name.
   • Bluetooth MIDI: Click this icon to open your system’s Bluetooth settings menu, where you can select a Bluetooth-enabled MIDI device to control the plugin.

4. Info: Click this icon to display the plugin version information.

5. Preset: Click this drop-down menu to view the list of included plugin presets. You can also click the up and down arrows next to this field to move to the previous or next preset.

Global Controls

Retrigger, 2, 3, 4, 5, 6, 7, 8, 9, 10
Bend Range| Number of semitones up or down controlled by MIDI pitch bend messages.| 0–12 (semitones)
Glide All| Enables or disables pitch gliding for all triggered notes, not just legato notes.| Off, On
Glide Time| Amount of time to slide from the pitch of one note to the next note played.| 1.00 ms – 100 s

Synth Controls

Triangle, Saw, Square, Pulse
Octave| Coarse tuning of the oscillator by octaves. The Wide setting provides additional Fine tuning controls.| Wide, 32′, 16′, 8′, 4′, 2′
Fine| Fine tuning of the oscillator by semitones.
When Octave is set to Wide : -70.00 – 0.00 – +70.00
When Octave is set to 32′ – 2′ : -12.00 – 0.00 – +12.00
F-EnvyShape| Amount of Filter Envelope output subtracted from or added to the value defined by the Osco 1 Shape parameter.| -100 – 0 – +100%
Quad| Enables or disables four-voice emulation for the oscillator.| Off, On
Detune| Adjusts tuning of the additional Quad voices.| 0–100%
Oscillator 2| Sync| Enables or disables syncing of Oscillator 2 to Oscillator 1.| Off, On
Shape| Waveshape of Oscillator 2 (continuously variable).| Noise, Saw, Square, Pulse
Octave| Coarse tuning of the oscillator by octaves all the way down to LFO speed.| LFO, 32′, 16′, 8′, 4′, 2′
Fine| Fine tuning of the oscillator.
When Octave is set to LFO : 0.01 – 20.00 Hz
When Octave is set to 32′ – 2′ : -12.00 – 0.00 – +12.00 semitones
F-EnvyShape| Amount of Filter Envelope output subtracted from or added to the value defined by the Osco 2 Shape parameter.| -100 – 0 – +100%
Phase| Position of the waveshape when the sound is triggered.| 0–360 degrees
Micro Detune| Additional detuning of Oscillator 2.| 0–100%

– 0 – +48 dB
Frequency| Center frequency for the equalization band.| 25–10,000 Hz
Drive| Amount of drive added to the EQ signal.| 0–100%
Key track| Ties the EQ settings to the pitch being played| 0–100%
Doubling| | Enables or disables voice doubling.| Off, On
Detune| Amount of detuning applied. This setting is only applied when Doubling is enabled.| 0–100%
Mixer| Osco 1| Level of Oscillator 1.| 0–100%
Osco 2| Level of Oscillator 2.| 0–100%
Sub Osco| Level of the Sub Oscillator.| 0–100%
Ring Mod| Level of Ring Modulation effect.| 0–100%
Drive| Level of Drive effect.| 0–100%
LP Filter| Cutoff| Center frequency of the low-pass filter cutoff.| 0–100%
Redo| Amount of resonance of the low-pass filter.| 0–100%
Slope| Amount of attenuation applied above the cutoff frequency.| 0–24 dB/oct
Saturation| Amount of saturation applied to the low-pass filter.| 0–100%
Envy| Percentage of the envelope output subtracted from or added to the LP Filter Cutoff.| -100 – 0 – +100%
Key track| Ties the LP Filter Cutoff to the pitch being played.| 0–100%
Output| Width| Stereo width of the audio signal. Higher values give wider stereo separation.| 0–100%
Amp Shape| Amount of signal sent to a Tube Drive.| 0–100%
Amp Level| Overall output volume of the plugin.| -Info dB – +12.0 dB

Click the LFO, MOD, ENV3 and CTRL DEST buttons to view the respective controls.

Saw Up, Saw Down, Pump, S&H, Drift
Destination| Where the low-frequency oscillator is sent.| LFO1: Off, Pitch, Filter, Level, Pan
LFO2: Pitch, Osco 1/2 Shape, Osco
1/2 Pitch, LPF, Quad Detune, Osco EQ  Freq, Osco 2 EQ Gain, Ring Level
Rate| Speed of modulation.| When Sync is Off : 0.01 – 20.00 Hz
When Sync is On : 8/4 – 1/32
Sync| Sync the LFO Rate to the Global Tempo or turn  Off to adjust Rate by Hertz.| Off, On
Depth| Amount of modulation applied.| 0–100%
Fade| Apply a fade-in or fade-out of the LFO signal.| 0.00 – 20.00 s out, No fade, 0.00 – 20.00 s in

Amp Envy, Osc1, Osco 2
Depth| Amount of modulation applied.| -100 – 0 – 100%
Destination| Where the modulated signal is received.| Pitch, Osco 1/2 Shape, Osco 1/2 Pitch, LPF, Quad Detune, Osco EQ Freq, Osco 2 EQ Gain, Ring Level

LFO 1/2 Rate, Quad Detune, Osco 1/2 Shape, Osco 1/2 Level, Ring Level

Amp, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape
Depth| Amount of modulation applied.| 0–100%
MoD wheel| Send MoD wheel data to one of the following control destinations.| LFO 1 Depth, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape
Depth| Amount of modulation applied.| -100 – 0 – 100%
After touch| Send After touch data to one of the following control destinations.| LFO 1 Depth, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape
Depth| Amount of modulation applied.| -100 – 0 – 100%

mms – 100 s
Decay| Length of time for the filter to reach sustain level.| 1.00 mms – 100 s
Sustain| Level of the filter while the note is held.| 0–100%
Release| Length of time for the filter to dissipate when released.| 1.00 mms – 100 s
Amp Envy| Attack| Length of time for the note to reach full level.| 1.00 mms – 100 s
Decay| Length of time for the note to reach sustain level.| 1.00 mms – 100 s
Sustain| Level of the sound while the note is held.| 0–100%
Release| Length of time for the note to dissipate when released.| 1.00 mms – 100 s

FX Controls

Tri, Sine
Voices| Number of voices used in the chorus effect.| 3, 4, 6
Depth| Amount of pitch modulation of the effect.| 0.00 – 24.00 ms
Lo Cut| Center frequency for the chorus low-cut filter.| 20.0 Hz – 1.0 kHz
Width| Stereo width of the chorus effect. Higher values give wider stereo separation.| 0–100%
Delay| Length of time the wet signal is offset from the dry signal.| 0.00 – 24.00 mms
Mix| Wet/dry amount of the chorus effect.| 0–100%
Delay| Time| Length of time between the dry signal and the delayed signal.
When Sync is set to Free: 1 mms – 2.00 s When Sync is set to Sync: 1/32 – 8/4
Sync| Enable to sync the Delay Time to the Global Tempo , disable to set the Time in milliseconds.| Off, On
Ratio| Reduces the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.| L 50:100, R 100:50
HPF| Center frequency for delay signal high-pass filter.| 20.0 Hz – 1.0 kHz
Width| Stereo width of delay signal. Higher values give wider stereo separation.| 0–100%
Feedback| Amount of delay signal fed back into the delay line.| 0–100%
Damp| Center frequency of where the delayed signal will be dampened.| 1.00 – 20.0 kHz
Redo| Amount of resonance of the feedback signal.| 0–100%
Redo Freq| Center frequency for feedback resonance.| 100 Hz – 10.0 kHz
Mix| Wet/dry amount of the delay effect.| 0–100%

+30.0 dB
Knee| How gradually the compressor reacts as the threshold is reached.
Lower values apply a “soft” knee (compression is applied more slowly as signal approaches the threshold), and higher values apply a “hard” knee (compression is immediately applied when the threshold is reached).| 0–100%
Attack| Length of time to apply the compression.| 100 us – 300 ms
Release| Length of time for compressed signal to return to original level.| 10 ms – 4.00 s
Mix| Wet/dry mix of the compressor effect.| 0–100%
Hype| High| Dampens or maximizes high end frequencies.| -100 – 0 – +100%
Low| Dampens or maximizes low end frequencies.| -100 – 0 – +100%

Trademarks and Licenses

AIR Music Technology is a trademark of in Music Brands, Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc., registered in the U.S. and other countries.
Windows is a registered trademark of Microsoft Corporation in the United States and other countries. All other product or company names are trademarks or registered trademarks of their respective owners.

airmusictech.com

References

• AIR | German-engineered virtual instruments and effects
• Customer Login
• Support : AIR

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