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SZCZ’s AUDIO ADVENTURES

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Licence and technical informationSawmill is a virtual instrument for Native Instruments Kontakt sampler, you need full version of Kontakt 5.8.1 or newer to run it.

Instrument interface is fairly large, it takes 1000x820 pixels inside Kontakt. If you want to be able to access the whole interface without scrolling, be sure to use screen resolution of at least 1280x1024.

You are licensed to use this device and samples which come with it, in the creation of a recorded or live sound performance, free or commercial, without paying any additional licence fees or providing source attribution.

Please DO NOT: include provided scripts and samples in any music library or sample library; sell, re-package or re-distribute the samples or sampler programs.

USE AT YOUR OWN RISK! This device is provided ‘as is’ and there is no warranty of any kind.

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SAWMILLThis instrument is inspired by supersaw waveform. By inspired, I mean It doesn’t include samples of supersaw and it doesn’t try to emulate classic supersaw. It takes the very idea of oscillator layering and creates an environment to explore it further. A supersaw is basically a stack of saw oscillators, where each one is detuned by different amount. While I don’t consider the effect particularly appealing, it is somewhat fascinating how it turns into something with a kind of evolving almost organic structure. But, how would it sound if we detuned other parameters? For example, put a chorus effect on each oscillator and change the speed for each partial, or put a filter on each oscillator and modulate cutoff by a LFOs with different frequencies... Sawmill makes it relatively easy to explore such ideas. It has seven oscillators and every parameter for modulators, effects or any other parameters can be tweaked for every oscillator separately. It’s like having a stack of seven synthesizers with controllers grouped by type.

The instrument is equipped with 4 LFOs, 5 envelopes, standard set of Kontakt’s effects (chorus, flanger, phaser, delay), full palette of Kontakt’s filters and different distortion types, all of which should by multiplied by 7, as each oscillator has a separate set. There’s also an advanced multi-arpeggiator, which can run several patterns simultaneously and rather unique step-sequenced modulator (a step sequencer, where you can define sweep curves between steps). In the end it can go well beyond a supersaw.

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Contents:Instrument

,s layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

OSCILLATORS

Oscillator waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Oscillator mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Oscillator phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Oscillator detuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Velocity curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Key tracking curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Monophonic glide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Release trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13Release trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

ENVELOPES

Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

MODULATORS

Low Frequency Oscillators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Sequenced modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Sequenced modulator and CPU usage . . . . . . . . . . . . . . . . . . . . . 18Sequenced modulator routing . . . . . . . . . . . . . . . . . . . . . . . . . . 19

MULTI-ARP

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Arpeggiator keyboard split . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21Selecting arps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21Arpeggiator oscillator mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Arpeggiator modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Arpeggiator repeat sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . 24Arpeggiator chord trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Arpeggiator timing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Arpeggiator dynamics and rhythm . . . . . . . . . . . . . . . . . . . . . . . 26Arpeggiator transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Random pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Combining arpeggiators / cycle mode . . . . . . . . . . . . . . . . . . . . . 30Latch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Sequence restart keyswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Solo / mute arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Function menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Edit all arps switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Glide and release trigger bypass . . . . . . . . . . . . . . . . . . . . . . . . . 37Multi-arp presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Loading preset from file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Keyswitch memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

EFFECTS

Effect chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41Effects: distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Effects: filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Effects: chorus, flanger, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . 44Effects: delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Effects: convolution reverbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47CPU and memory usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Using custom samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49End of file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

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Instrument ,s layout

As almost every controller is multiplied by 7, controllers had to distributed into numerous tabs grouped into five panels: multi-arp, oscillators, effects, envelopes and modulators.

Each controller type has a link button, when controllers are linked, any controller change applies to all linked controllers, which makes it easy to synchronize given parameter for all oscillators. Oscillators can also be grouped into pairs (2 and 3, 4 and 5, 6 and 7). Any controller change in a linked pair will apply to both oscillators. Note that enabling a link doesn’t automatically synchronize all parameters, it happens when you change value of a linked controller.

At the bottom of interface area there’s message space, anytime you manipulate a controllers it will give you detailed description of what is being changed and controller value (unless it’s a trivial or self-explaining controller, like on/off switch or filter type menu).

active oscillator

oscillator waveform

disabled oscillator

linked controllers

linked controllers

controller panels

message line

controller tabs

all page links on/off switch

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Oscillator waveformsKontakt is a sample player, so oscillators in Sawmill are sample based. Think of it as a PCM synthesizer. Samples are raw (more or less) oscillator output, mostly generated with modular analog system. The instrument has range of 84 semitones and with few exceptions, there is separate sample for each semitone. The samples are fairly long (ranging from 5 to 20 seconds each, depending on source), to capture the vibe of analog or vintage equipment, where many little imperfections can happen. Each sample is hand looped, I took time with loop points to make sure they are as transparent as possible without using any additional processing (like crossfading).

At the moment there are 32 oscillator waveforms to choose from. Mostly different flavors of saw and other spiky waveforms as those work best with layering. Oscillator waveforms are tagged by source:

Modern analog – generated with eurorack modular system, based on Intellijel Dixie and Doepfer A-110-4 oscillators, first being triangle core and second sine based (sine waveform is not a derived from other waveforms by waveshaping). There are several saw flavors processed by different filter types, where cutoff is modulated loosely by pitch CV. Besides regular shapes there are numerous exotic shapes, generated by mixing and processing regular waveforms, using ring modulators, rectifiers, logic modules etc., all in analog domain.

Vintage analog – generated with Sequential Circuits Six-Track synthesizer, which has a neat feature of mixing three basic waveforms. There are three basic waveforms: saw, pulse and triangle and two mixed waveforms: saw + triangle and saw + pulse. There are also two versions of saw processed with tuned Moog type low pass filter. Tuned means that I used oscilloscope to manually tune the cutoff for each semitone, so the waveform shape is consistent over the whole set. This synthesizer is also the source of noise oscillator.

Vintage string machine – that’s a single pulse waveform recorded from 1979’s Siel Orchestra, which had a solo mode being basically a single oscillator out. This set doesn’t cover the whole 84 semitones, lowest and highest octaves will be derived by pitching the samples in Kontakt.

Early mini clone – generated with eurorack oscillator, being the clone of early design of Minimoog model D using no integrated circuits. This set includes Mini’s trademark ‘sharktooth’ waveform and the only rectangle shape available (not exactly rectangle if you look at it).

Vintage digital – two extra waveforms, generated with Casio CZ-3000, a unique phase distortion synthesizer.

one of ‘modern’ oscillator setups

OSCILLATORS

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Oscillator waveformsOn the top of interface area there are oscillator on/off switches and waveform shape selectors, these controllers are available on every tab. Click on oscillator button to enable/disable the oscillator, hold control key to switch all oscillators on or off.

You can select oscillator waveform from a drop-dowm menu below on/off switch or use waveform browser tab. In waveform browser click on waveform name to select it and then use ‘load’ buttons to assign the waveform to oscillators. If ‘waveform link’ button is active selecting a new waveform will apply to all oscillators.

Note that switching oscillator state and waveform does not affect already playing notes.

waveform drop-down menu

waveform tabwaveform

preview and information

select a waveform

here

scroll the list using the

slider

oscillator on/off switch

waveform linkwaveform

load buttons

OSCILLATORS

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Oscillator mixerMixer tab is where you can adjust volume, panning and phase for the oscillators. Master gain controller can be used to boost overall instrument volume, there’s a limiter at the end of each oscillator output (just before the effect chain), master gain is applied to all oscillators before the limiter.

Panning controller is one of two which works in mirrored way when linked to a pair of oscillators. For example when you set one oscillator pan to 20% right, the other of linked pair will be set to 20% left.

Volume aftertouch amount defines how much channel pressure (mono aftertouch) will affect oscillator’s volume. Setting negative value will reverse modulation polarity. Setting one oscillator volume aftertouch fully clockwise and another fully counter-clockwise creates aftertouch controlled crossfade between the two.

You can use a tweak option to convert modwheel movement to aftertouch. Use the switch placed in multi-arp panel, presets tab. This way you can create modwheel controlled morph between different waveforms. This tweak blocks actual aftertouch midi messages.

oscillator volume controllers

oscillator panning controllers

aftertouch to volume

convert modwheel to aftertouch

phase shift controllers

random phase shift switch

OSCILLATORS

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Oscillator phaseIn an analog synthesizer an oscillator is generating signal continuously while playing a key acts as a gate. In effect, waveform phase is random. In Sawmill which runs on samples, this behavior is simulated by ‘random phase shift’ mode – for each note sample starts to play at random point. By default ‘random shift’ switch enabled.

Alternatively you can turn ‘random shift’ off and adjust waveform phase manually. Combined with ‘phase invert’ switch, this function can be used to create new waveforms by mixing two or more oscillators with tuned phase. If you mix different waveforms this way, some phasing effect will be audible, as the samples are not perfectly in tune and there’s some amount of pitch drift in analog oscillators. When using the same waveform, there will be no phasing as we are playing the very same sample, just adding a fixed offset.

If you enable two oscillators with fixed phase shift of the same value and invert phase for one of them, they will cancel each other out and no sound can be heard (tune down random detune controllers which are set by default, before trying it).

Since effects are applied separately for each oscillator, you can also achieve interesting effects by running a phase inverted copy to an effect with slightly different settings.

Example oscilloscope readout for different phase configurations:

single oscillator, MA SAW waveform

single oscillator, MA SAW waveformphase invert enabled

MA SAW waveformoscillator 1: 0° phaseoscillator 2: 90° phase

MA SAW waveformoscillator 1: 0° phaseoscillator 2: 90° phase + phase invert

MA SAW waveformoscillator 1: 0° phaseoscillator 2: 90° phase + phase invertoscillator 3: 180° phase

OSCILLATORS

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Oscillator detuningYou can use ‘detune amount’ controllers in detune tab to make oscillators play slightly off pitch. Detune amount defines detuning proportions between oscillators while ‘detune range’ knob sets detune strength for the whole set. In other words, detune range value equals 100% of detune amount. Detune range can be applied while playing. When linked, ‘detune amount’ controllers act as pan controllers, for example setting one oscillator to +10% applies -10% to the other oscillator.

‘Detune by ratio’ function can be used to quickly apply detuning to all oscillators according to defined proportion. Set a proportion ratio using drop-down menus and click ‘apply’.

oscillator 1oscillator 2 oscillator 3

oscillator 4 oscillator 5oscillator 6 oscillator 7

+50%+16,6% +100%-16,6%-50%-100%

Example: detune ratio of 1/2/3

no detune- detune range + detune range

1 2 3

100 / (1+2+3) *1 = 16,6666100 / (1+2+3) * (1+2) = 50100 / (1+2+3) * (1+2+3) = 100

‘Random detune’ controller defines the range for random value added to every new note played by given oscillator. It has bipolar effect, for example, when set to 10%, every new note will be tuned by a value from range of -10% to +10% of detune range. By default random detune is set to 1%, to give the instrument more lively feel.

‘Octave shift’ controller transposes the oscillator by -12 or +12 semitones. To avoid unnecessary sample pitching, this is achieved by transposing note number. Changing this controller value will not affect notes which are already playing.

‘Pitchbend range’ can be used to tweak strength of pitch wheel effect.

‘Detune aftertouch’ controllers can be used to add detune of a fixed range depending on channel pressure value. For example you could configure a saw which becomes a ‘super’ on aftertouch.

A note about samples tuning: the sample sources were mostly analog oscillators, so the pitch is never perfect and there’s some amount of pitch drift. In ‘modern analog’ samples, tuning can vary by +/- 0,2 cent and there’s not much drift. In ‘vintage analog’ tuning should be in range of +/- 0,5 cent and the drift can go as far as 1 cent over 20 seconds of sample duration. ‘Vintage digital’ samples have no drift, but tuning for some notes can be off be few cents, which is the quirk of CZ synthesizer.

OSCILLATORS

detune range

detune amount

press this button to apply detune ratio

set detune ratio with drop-down menus

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OSCILLATORS

Velocity curvesVelocity curve tells the instrument how to translate note velocity to sample playback volume. In Sawmill you can define separate velocity curve for each oscillator. This function can be used to create configuration where oscillator mix proportions vary depending on how hard/soft the keyboard is being played.

The curve can be programmed by selecting shape type and adjusting three knobs: floor, ceiling and shape. Use ‘select’ buttons to choose which oscillator to edit. If you don’t need separate curves, switch link button next to select buttons, to apply changes for all oscillators. You can also use copy/paste function to copy all curve parameters from one oscillator to another (or all at once if link is active).

Floor controller specifies volume change applied to note of lowest velocity (1), ceiling controllers specifies volume for note of highest velocity (127). Both controllers have range of 0 dB to -40dB. Setting floor to a higher value than ceiling will reverse velocity sensitivity – playing the keyboard softer will make the instrument play louder.

You can select one of three curve shapes: exponential, sinusoidal or logarithmic. You can adjust the curvature with shape controller. For exponential curve, adjusting shape will morph the curve from linear to cubic. Use invert switch to choose between fast and slow curve. Reverse button swaps ceiling with floor (horizontal mirror).

exponential curve with shape knob fully counter-clockwise (linear)

exponential curve with shape knob centered

exponential curve with invert switch on (slow curve)

sinusoidal curve

select oscillator to edit

curve preview

curve parameters

curve edit link

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Velocity curvesPeak/dip, curve edge and mute low-end controllers can be used to create configuration where some oscillators play only for low velocity and other only for high velocity notes.

Peak/dip mode makes the curve go up to ceiling level and then back to floor level. Adjusting curve edge slider, creates velocity range where volume remains at floor level.

peak mode + curve edge + reverse curve edge + exponential curve

Using curves similar to the above on different oscillators will make the instrument use different oscillators when played softly and different when played hard, with a kind of crossfade in between.

When note is at minimum floor level (-40 dB) it plays very quietly, but it’s audible. In the above scenario one would want to mute such notes entirely, which is what ‘mute low-end’ switch does. When it is active and velocity curve value is at minimum level (-40 dB), the corresponding notes will not be played at all. This feature probably shouldn’t be combined with monophonic glide, which will be discussed below.

Note that curve preview is just a preview, you can’t draw one by hand.

Key tracking curvesKey tracking curve is analogous to velocity curve, but instead of velocity, key position is used to assign a volume change. This function can be used to create keyboard splits or crossfades. Using crossfade curve set (typically it would be logarithmic curve on one oscillator and the same curve, but reversed, applied on another oscillator) can morph sound between any oscillator configuration, depending on key position.

Key tracking is using almost the same controller set as velocity curve (these are in fact the same controllers). Only instead of ‘edge’ controller, there are two keyboard trim sliders, which can be used to narrow down transition.

OSCILLATORS

use keyboard range sliders to narrow down the transition curve

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Monophonic glideTo enable mono glide mode, use ‘power’ switch in glide tab. In glide mode when you hold a key and press another key, instead of playing a chord, already played sound will be bent to match the pitch of the new note. The pitch will sweep according to glide speed and curve. Glide is one of few functions in Sawmill, which cannot be tweaked for separate oscillators.

Glide speed defines the duration of pitch sweep between two notes (absolute mode), or how fast the pitch can change (relative mode – speed is duration of one semitone pitch sweep). In absolute mode the pitch sweep between notes will always have the same duration. In relative mode pitch sweep will take longer if the notes are further away from each other. If pitch sweep is not completed by the time new note is received, new sweep will continue from current pitch. If you play new notes faster than glide speed, pitch will sweep continuously never reaching the destination.

Speed controller is tempo synchronized, it’s defined in fraction of note value. You can adjust speed with the knob or select specific note value from drop-down menu.

Glide curve shows how the pitch travels to new destination. Straight line indicates that it travels at fixed speed, a curve indicates that the speed varies depending on sweep position. Curve controllers are analogous to those used in volume and tracking curves: three curve types, invert switch (slow/fast curve) and curve shape knob.

When retrigger switch is enabled glide pitch position is being reset every time all notes are released and new note is playing. When playing single (not overlapping) notes with retrigger on, there will be no difference in sound weather glide is on or off. If retrigger is off, pitch sweep for first new note after all keys have been released will start from value matching last note played since glide mode is on.

Glide can be combined with arpeggiator.

OSCILLATORS

glide speed knob

glide speed menu

glide on/off switch

glide curve preview

OSCILLATORS

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Release triggerRelease trigger is a common feature is samplers, it plays a note when you release a key. Usual application is to play key and hammer noises in sampled pianos. Sawmill has a release trigger system which can be used creatively to construct more sophisticated release stage.

Release trigger will play a fixed duration note for defined oscillator when key is released. Release trigger activates the oscillator independently from oscillator on/off switch. Typically you would assign some oscillators for release trigger only, but an oscillator can be set to play both, regular note and release triggered note.

To enable release trigger, set ‘power’ for oscillator of choice on release trigger tab. Oscillator on/off switch will be colored blue to indicate that it has been assigned to release trigger. If oscillator is assigned to both, release trigger and regular note, the switch will be colored in darker shade of orange.

Use note duration knobs to set the duration of release trigger sound, alternatively you can define tempo synchronized duration with ‘time mode’ drop-down menu picking a note value from the list. When tempo synchronized mode is active, duration knob will be grayed out to indicate it has no function.

oscillator playing

regular note

oscillator assigned to release trigger and regular note

oscillators assigned to release trigger

define release trigger duration

with knobs

tempo synchronized release trigger duration menu

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Delayed release triggerRelease triggered note can be delayed. Delay function can be used to sequence two or more sounds in release stage or to create a delay effect.

Like release note duration, delay time can be set to fixed value with a knob, or a note value with drop-down menu.

In delay effect built with release trigger, you can use slightly different sounds for successive echoes, add more attack, or change effect parameters. Moreover, you can add different configurations of regular delay effect for each echo. The disadvantage is that there are only 6 echoes available (considering that only one oscillator is used for initial note).

Configuring a consistent set of delay times for several oscillators would be quite difficult when using knobs. In such scenario, you can use ‘time distribution’ controllers. There is multiplier knob and a set of link buttons.

Here’s configuration where oscillators 3-7 are linked to oscillator 2.

Now every time you tweak multiplier knob or oscillator 2 release trigger delay time, delay time in following oscillators will be set automatically. Delay time for oscillator 3 is calculated using following formula: oscillator 1 delay + oscillator 1 delay x multiplier, then oscillator 4 delay = oscillator 3 delay + oscillator 1 delay x multiplier, and so on. In effect when multiplier = 1, a steady delay sequence is created, each following echo is delayed by the same time from previous one. Multiplier values other than 1 can be used to create bouncing ball effect, following echoes will accelerate (for values smaller than 1) or decelerate (for values greater than 1).

Link buttons only work forward in a chain. Oscillators 4-7 can be linked to oscillator 3, oscillators 5-7 can be linked to oscillator 4 and so on.

When using time distribution function, delay time for following oscillators can be pushed out of knob controller range. When this happens, the knob is set to maximum, but the timing will still work properly. When you touch a maxed out controller, the timing for corresponding oscillator will be reset to controller maximum.

Time distribution works when linked oscillators are in absolute mode (not set to a note value), however the delay time they are linked to can be tempo synchronized. Just have in mind that delay times are not recalculated when tempo is changed, so they will work in a project with fixed tempo. If you change the tempo you will need to update delay times.

multiplier knob link buttons

source delay time linked delay times

OSCILLATORS

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ENVELOPES

EnvelopesThere is standard Kontakt AHDSR volume envelope with attack curve shape controller available in Sawmill. Of course each oscillator has separate envelope with separate set of controllers.

Optionally you can activate envelopes for pitch, filter cutoff, filter resonance and formant filter talk parameter. To activate the envelope select envelope type from drop-down menu. Select ‘disabled’ to bypass the envelope (lastly selected envelope type prevails).

You can choose between DBD (decay-break-decay) and AHD (attack-hold-decay) envelopes. Both envelope types use the same set of three knobs: decay/attack, break/hold and decay/decay, where functionality depends on envelope type. Additionally for AHD envelope you have attack curve shape controller. When DBD envelope is selected it is grayed out and has no function.

attack hold decay

AHD

decay 1 decay 2

break

DBD

envelope types

Use ‘amount’ controller to adjust envelope modulation range. When amount is set to zero, the envelope if effectively disabled. negative amount values reverse the envelope polarity.

Pitch envelope has additional controller for ‘amount’ range, which can be set to 1, 12, 24 or 36 semitones. It is mainly useful for AHD envelope. In DBD envelope ‘amount’ scales ‘break’ parameter, when using amount greater than 12 semitones it is quite easy to push the pitch out of audible range.

When using envelopes to modulate filter parameters, remember to activate corresponding filters on EFFECTS panel.

Setting break parameter to 100% (it’s default setting, so you can use control + click) effectively turns ‘decay 1’ into ‘hold’ for DBD envelope.

decay 1 decay 2

break = 100%

select envelope type

AHD envelope controller set

DBD envelope controller set

amount range for pitch envelope

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Low Frequency OscillatorsSawmill offers two modulator types: LFO (Low Frequency Oscillators) and step sequenced modulator, which is somewhat unique feature of the instrument.

LFOs are available for volume, panning, pitch and filter cutoff. All LFOs are in re-trigger mode, which means the waveform is synchronised with the beginning of the note and waveform phase will vary between notes which are not played simultaneously. It’s like a separate LFO runs for every note being played.

To activate LFO use ‘power’ switch and set modulation amount with the knob. Negative amount values (like anywhere else in this instrument) inverts LFO shape polarity. Pitch LFO has additional fine/coarse switch for modulation amount. In fine mode (diode switch is bright) the controller has range from 0 to 60 cents, in coarse mode the range is from 0 to 12 semitones. When LFO is unused it is recommended to bypass it, by turning the power button off (rather than set amount to zero).

There are five LFO shapes available: sine, triangle, saw, rectangle and pulse (which is asymmetric rectangle). Use drop-down menu to select LFO shape.

LFO frequency can be set to a fixed value (absolute mode) or can be tempo synchronized by picking a note value from time ‘mode’ drop-down menu. In tempo synchronized mode, frequency knob acts as a multiplier for selected note value. When you set LFO to synchronized mode it applies to all time related parameters of the LFO (fade-in, frequency and modulation speed).

Fade-in parameter is analogous to attack, it specifies how fast will the LFO reach full amplitude specified by ‘amount’ parameter.

‘Random frequency’ slider defines the range of frequency randomization, when the controller is set to value other than zero a random value from the range is added to oscillator frequency for each new note being played.

MODULATORS

Each LFO has a frequency modulator. Basically it is another LFO modulating the LFO frequency. Use modulation amount slider to activate variable frequency to the LFO. Modulation speed is frequency of LFO modulating the frequency. Modulation shape is the waveform for modulation oscillator. Frequency modulation can be used to create complicated LFO waveforms.

When using filter cutoff LFO, remember to activate filter on EFFECTS panel.

LFO on/off switch

LFO shape menu

frequency turns into multiplier in synchronized mode

time mode menu, set tempo synchronized or absolute mode

pitch LFO amount controllers

fine mode

coarse mode

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MODULATORS

Sequenced modulatorSequenced modulator is a crossover between step sequencer and low frequency oscillator. You can program a sequence of values and then define transition shape between steps.

Sequenced modulator controllers are split into two tabs: ‘sequence’ where you program the sequences of values and ‘sequence routing’ where you define how modulation is applied to different oscillators.

You can program up to six sequences, each sequence can be assigned to modulate one parameter. You can choose modulation target from following list: oscillator volume, oscillator pitch, oscillator detune (same as pitch but scaled down), panning, filter cutoff, filter resonance, formant filter talk, modulation amounts for all four LFOs (volume, pan, pitch and cutoff).

You can assign multiple sequences to the same target, the effect will be cumulative. Similarly you can modulate the same parameter with an envelope, an LFO and a sequence simultaneously.

Alternatively a sequence can be set to generate midi CC messages, which then can be patched to any automatable parameters in the instrument. Modulator is using CC numbers from 20 to 25 (sequence A generates CC #20, sequence B CC #21 and so on). You can use MIDI learn feature or simply drag and drop CC number from the list in automation tab in Kontakt onto controller you want to automate. You can assign single CC to many different controller. Note that CC automation is not being saved when using the snapshot system. To remember the setup created with midi CC patching, you will need to save the instrument patch or DAW project.

To program a sequence, first select one of six sequences using set of buttons named sequence A, sequence B and so on. Adjust sequence length using ‘steps’ knob – a sequence can have up to 16 steps. Set step duration using drop-down menu next to ‘steps’ controller. Sequenced modulator is always tempo synchronized, step duration is defined by a note value.

use this table to program the sequence

rise/odd step shape preview

fall/even step shape preview

final waveform preview

transition shape controllers

select sequence to edit

modulator engine on/off switch

select sequence modulation target

enable/disable selected sequence

restart all sequences

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MODULATORS

Sequenced modulatorYou can program sequence values using table controller above ‘steps’ knob. There are two transition curves, adjust curve shape using range and shape knobs and pick one of three curve types (exponential, sinusoidal, logarithmic) using set of buttons. Curve controllers are analogous to those used in velocity, tracking and glide curves. You can see curve preview above the controller set.

Curve range controller (red knob) defines how fast the value sweep is. It is defined as percentage of step duration. When range is set to zero the value change is instant (curve shape is rectangle) and the modulator works like regular step sequencer. Use shape controller (blue knob) to adjust shape curvature. Enable ‘invert’ switch to select slow curve, disable it to select a fast curve.

There are two curve distribution modes: rise/fall and odd/even. In rise/fall mode, left curve is applied to steps which have value greater from value of previous step and right curve to remaining steps. In odd/even mode, left curve applies to odd steps and right curve applies to even steps.

You can see a preview of final waveform below curve shape controllers. You can preview it in detail using zoom-in and slide knobs. Waveform preview is just a preview, you can’t draw a waveform there.

Next to ‘steps’ knob there is ‘semitone snap’ switch. When sequence target is set to pitch, it can be used to round values to a semitone. It only works when sequence target is set to pitch.

For each sequence you can set ‘loop’ and ‘retrigger’ options. When loop is on, the sequence waveform will be played in a loop, otherwise it will freeze at last step value until retriggered or until modulator is restarted.

When retrigger option is enabled, the sequence is restarted whenever all keys are released and you press a new key. This works differently than standard Kontakt retrigger, which applies to each note separately. To retrigger sequenced modulator, you need to release all keys and then play a new note. If retrigger is disabled the sequence runs continuously until modulator is restarted. It makes sense to keep retrigger on, if loop is off.

Sequenced modulator and CPU usageSequenced modulator renders a waveform table whenever you adjust sequence parameters. This way it only need to calculate the waveform when you program it, once it’s done it saves a lot of CPU playing back a ready made waveform. Waveform resolution is 1 midi tick, which in Kontakt is 1/960 of a quarter note. Maximum waveform length is 960 * 4 (whole note, which is maximum step duration) * 16 steps = 61440 steps. This is a significant number of steps to compute. You will notice that if you adjust sequence shape parameters while the instrument is playing, the waveform preview update will become sluggish. It is being slowed down on purpose to avoid audio clicks which may be caused by CPU load from recalculating the waveform.

Another optimization is, that the modulated values are only updated when there are active voices playing. If you are using midi CC as sequence target, you will notice that the controller automation stops when the instrument goes silent.

Sequenced modulator can generate a significant CPU load, especially when you modulate filter parameters (cutoff and resonance) on all seven oscillators. It is particularly noticeable when using Ladder and Daft filters. If the CPU load becomes a problem, you can tune down modulation frequency. Normally amount of modulation is being updated for all parameters every MIDI tick, that is 960 times per quarter note. You can tune it down using ‘clock’ menu. When you select 1/2 clock, the modulation is updated every other tick, so 480 times per quarter note. On 1/3 clock, it is updated 320 times per quarter note and so on. Changing the clock rate doesn’t affect sequence speed, only how often modulated parameter are updated. Use it to reduce CPU drain if needed.

19

MODULATORS

Sequenced modulator routingIndividual sequences can be turned on and off with ‘on/off’ switch. Additionally the whole sequenced engine can be turned on and off with ‘power’ switch. To save CPU it is recommended to turn off unused sequences rather than clear the sequence values to zero.

Sequences are restarted each time you turn off and on the sequencer engine. You can restart all sequences any time using ‘restart’ button, which can be automated. Also, you can use ‘transport sync’ option for sequences with disabled retrigger option. When ‘transport sync’ is activated and you press play/record button in DAW, the sequence playback position is being set as if it has been restarted at the beginning of the song. Because the timing unit is midi tick, it works independently of any tempo changes used in the project. ‘Transport sync’ is global option, it affects all (non-retriggered) sequences.

There are three sequence controllers which are available individually for each oscillator: modulation amount, sequence speed and sequence offset. They are grouped in ‘sequence routing’ tab. Those parameters have no function if sequence target is midi CC.

Modulation amount (green knobs) scales the sequence amplitude, when set to zero, corresponding oscillator is not affected by the sequence. Negative values reverse sequence polarity (do a vertical mirror to the sequence). So you can pick which oscillators are modulated by given sequence and/or how strong the modulation is for each one.

Also you can scale the speed of the sequence differently for different oscillators, using ‘sequence speed’ controllers (red knobs). These controllers act as speed dividers, sequence speed can be set to half speed (1/2), one third speed (1/3) and so on, down to 1/16 speed. Because sequence waveform is pre-rendered it doesn’t take much additional computing to change the speed on oscillator level. It works by reading value from the same position more than once, for half speed the modulator plays each step twice. On the other hand speed slowdown is achieved at the cost of waveform resolution. Therefore it would be recommended to use the speed slowdowns on sequences with relatively longer step duration. Stretching a 32nd note step 16 times, may result in a kind of low frequency bitcrush effect.

Sequence offset can be used to change the sequence start point for individual oscillators. Setting offset to 50% is equal to sliding the modulation waveform half way to the right (or to the left as it’s half way). Offset and speed parameters can be used to create complex modulations with just a single sequence.

Patching a sequence to oscillator can be a bit confusing as initially it requires three steps: turn on individual sequence, turn on modulation engine and set modulation amount for given oscillator.

It should be noted that volume sequence works differently from other sequence destinations. Normally modulation value is bipolar, zero equals no modulation, negative value means attenuating modulated parameter, positive value means boosting modulated parameter. Oscillator volume can only be attenuated, which is related to how Kontakt modulation works, therefore for volume sequence, maximum positive value means no modulation, maximum negative value means oscillator is muted.

modulation amount sequence speed sequence offset

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ArpeggiatorSawmill has an advanced arpeggiator tagged ‘multi-arp’. ‘Multi’ because it is capable of playing multiple arpeggio patterns originating from a single chord. For example play ‘up’ pattern at 16th note rate and at the same time play ‘down’ pattern at eighth note pattern transposed by +1 octave.

There are 8 (sub) arpeggiators which can be stacked (play simultaneously) or queued (play a number of steps one after another). Arpeggiator has keyboard split function, part of keyboard can be used to trigger arpeggios and at the same time you can play a melody using the other region of the keyboard. Arpeggiator region is colored green on virtual keyboard and non-arpeggiated region is colored blue. Notes generated by arpeggiator will be called ‘arp notes’ and notes originating from outside will be called ‘through notes’ (as they can only be heard if arpeggiator lets them pass through).

To enable arpeggiator, turn the arp engine ‘on’ using ‘arpeggiator’ button and activate at least one arp pattern, by selecting it (click on arp number on the list) and picking an arp mode (pattern). Single arp pattern can be deactivated by selecting ‘OFF’ as arp mode. Turning ‘arpeggiator’ button off will bypass entire arpeggiator engine without interfering with configuration of individual arps.

Normally when you press a key in arp region, only the arpeggio pattern can be heard. However you can play both, arpeggio and through notes, when you enable “through” switch. When it is active you will hear arpeggiator patterns and the chord being held. It can be useful option when you transpose arpeggios, or patch arps and through notes to different oscillators.

arpeggiator region

non-arpegiatted region (through)

MULTI-ARP

virtual keyboard color code

arpeggiator engine on/off switch

arp selector, bright diode indicates active arp

arp mode

enable through notes

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Arpeggiator keyboard splitArp keyboard range can be configured freely within the instrument range. Look for the KEYBOARD SPLIT section in ‘presets’ tab. Use “split point” slider to set border key between regions and “arp side” switch to flip sides – arp region can be set to lower or upper part of the keyboard. Turning off “color keyboard” switch disables different colors on virtual keyboard – whole instrument range will be colored blue.

keyboard split controllers

Selecting arpsTo select which arp to edit, click on arp number in upper-left corner of multi-arp panel. Next to arp numbers there are two diode columns, First column is activity monitor, the corresponding diode will blink each time given arp is playing a note. (It can be turned off in options panel – switch “hide arp flashlights“ button, if you find it distracting).

Second column is arp status indicator, dark green diode means that arp is off, bright green means that it’s on. Bright red color means that the arp is muted and bright yellow color means that it is cued in arp cycle, which will be discussed later.

arp activity monitor

arp status indicator

click a number to select arp for

editing

arp is on

arp is off

MULTI-ARP

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Arpeggiator modesArpeggiator in Sawmill is based on classic principle, it plays notes that are being held on keyboard (in arp region) using one of sequence algorithms. It means that arpeggiator pattern is always dependant on what is being played on the keyboard. It doesn’t simply play a predefined sequence of notes, but walks through notes being held.

For more complicated algorithms like twist or zigzag, you will need to hold four or more keys to be able to tell the difference.

OFF is considered a mode here, it means that given arp doesn’t do anything. Selecting any other mode turn the arp ON.

UP and DOWN and the most basic modes. UP mode plays following notes from lowest to highest, while DOWN goes from highest to lowest. Maybe the best way to describe different modes, will be a graphic presentation. Here’s how the note pattern would look like on a piano roll, assuming that six following notes are being held.

timeno

tes

UP DOWN

arpeggiator modes click to select

arpeggiator sub-modes

Arpeggiator oscillator maskNormally arp notes and through notes play using all active oscillators. However you can limit individual arps and through notes to selected oscillators only. This way you can assign different arpeggio patterns to different sounds. Under each oscillator on/off switch there is set of two diode buttons green and blue. Turning on a green diode assigns given oscillator to selected arp. Turning on a blue diode, assigns the oscillator to through notes.

When all switches in oscillator mask are off, the function is disabled. It has the same effect as if all switches were on.

When programming oscillator mask you can use keyboard modifiers. Hold ‘control’ key while clicking on oscillator mask switch to assign corresponding oscillator only (turn every other switche off). Hold ‘alt’ key to flip all mask switches (set all ‘on’ or set all ‘off’).

You can also use a drop down menu to clear the oscillator mask quickly.

Note that when you assign an oscillator to arp or through notes using the mask, the oscillator is not being automatically activated. If you configure the mask in a way that only disabled oscillators are assigned to an arp, it will generate no sound.

arp 1 is selected

oscillators 1 and 2 are assigned to arp 1

oscillators 3 and 4 are assigned to through notes

reset mask menu

MULTI-ARP

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Then there are UP and DOWN derivatives...

UP AND DOWN DOWN AND UP

...and more exotic patterns.

TWIST IN TWIST OUT

ZIGZAG UP ZIGZAG DOWN

ZIP IN ZIP OUT

CHORD plays all notes at once and RANDOM plays notes in random order.

CHORD RANDOM

Additionally you can select one of four sub-modes, which allows arp to play more than one note in one turn. Here’s how sub-modes work on the same example, coupled with UP mode.

UP / single UP / subtract chord

UP / double +1 UP / double +2

Finally there’s a special mode: CHORD / subtract chord, which logically should produce no notes. But as no notes are no fun, it produces something different:

CHORD / subtract chord

In arp mode controller block, there’s “random mode” button. It’s not an actual arp mode. Selecting this option will make the machine select a random mode each time it completes the velocity sequence.

MULTI-ARP

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Arpeggiator repeat sequenceIn addition to arp modes and sub-modes, there’s repeat sequence. It’s a sequenced version of “stroke” option known from Kontakt’s factory arpeggiator script. It tells the sequencer how many times to repeat each step. Following columns stand for following steps and “x” indicates a loop point. Pressing “?” button will generate a random repeat sequence.

repeat sequence “1” (default)

repeat sequence “3-1-2-1-1”

UP / “1”

And here’s how it looks when applied to our example UP mode pattern.

UP / “2”

UP / “3-1” UP / “2-1-1-4”

Arpeggiator chord trimChord trim function can restrict arp mode algorithm to only a portion of held chord. For example, following notes are being held: C-D-E-F-G and we only want given arp to go through E-F-G. To do that we set chord trim to 3R (three from the right), to restrict chord range to C-D-E, we set chord trim to 3L (three from the left). While it doesn’t make any sense with a single arp, it can be very useful when creating a multi-arp patch, being a way to combine different algorithms.

And here’s how it looks on 6-note UP pattern example.

UP / chord trim is OFF UP / chord trim = 3R

UP / chord trim = 4L UP / chord trim = 1R

chord trim controller

MULTI-ARP

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Arpeggiator timingArp rate defines interval between following notes in arp pattern. That is, how often following notes are played. Rate of sixteenth means that it takes sixteenth note for each pattern step. Available arp rates are: 32nd, sixteenth, eighth, quarter, half and whole note, plus modifiers: triplet and 3/4. A rate of 3/4 quarter, means that sequencer moves every three sixteenth notes. You can only select one modifier at a time, triplet or 3/4.

All arps are tempo synchronized and each can run at any rate.

There are also two random range modes: free random and quantum random, which are range based. You will notice that when random rate is selected you can select multiple rates. For example when sixteenth, eight and quarter are selected, it means that range for random step is from sixteenth to quarter note. In “free random” mode step duration will be picked freely from defined range, it can be any value quantized to midi tick (quarter note /960). “Quantum rand” mode will pick one of the range, so step duration can be sixteenth, or eight or quarter note. So, free mode will play erratic rhythm and quantum mode will stay with the basic grid.

There are three arp controllers which will affect arp timing: note duration, swing and sequence delay. Time related knobs are colored white.

“Note duration” controller is self explanatory, defines note duration for all notes generated by given arp.

“Step swing” changes timing of every other step to create a swing feel. Positive swing makes every odd note play too late, negative swing makes it play too early.

“Sequence delay”, as the name indicates, delays the entire arp pattern. It simply makes given arp start later than others, creating an offset. A simple, example application: set two arps to eighth note rate, set second arp delay to 50%. As result you get a sixteenth note rate pattern where every second note is played by the second arp. It’s one way to mix different arp modes.

Remember that sequence delay is applied at the beginning of the sequence, changing sequence delay setting while arps are playing does not produce any audible result. You need to restart the arp (release keys and press another chord) to notice the difference.

All three controllers are defined as a percentage of arp rate. So, for example, if arp rate is eighth note and you set note duration to 50% it will play a sixteenth notes in eighth note interval.

arp rate selection

arp random rate range selection

arp timing parameters

MULTI-ARP

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Arpeggiator dynamics and rhythmYou can see two sequence tables in arp controller area. Upper table it pitch sequence and lower table is velocity sequence. You can bring focus to one or the other table for easier editing.

Velocity sequence has two functions. It defines arp pulse, which sequence steps are louder and which quieter. It also defines arp rhythm. Setting a velocity step to zero, creates and empty step, pattern sequencer doesn’t play a note on an empty step, this way you can create a rhythm.

For example, a C-D-E chord in UP mode applied to above sequence will play like this:

C D E C D E

If you like, you can make the sequencer move through chord at zero velocity steps, making it skip steps. To do so switch “count zero” button.

With “count zero” enabled the same sequence will play like this:

C D E D E D

Velocity sequence size can be set to any value from 1 to 32 steps, using “velocity size” knob. You can also apply a random velocity to every note in arp pattern, using “random velocity” knob, which works bipolar. It means that controller is set to 5, a random value from range -5 to 5 will be added to note velocity. You can also adjust entire selected arp loudness with volume knob (similarly you can adjust volume for through notes only).

press to set focus on pitch sequence

press to set focus on velocity sequence

count zero button

velocity sequence size

random velocity range

sequence volume

through volume

MULTI-ARP

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Velocity of following steps can also depend on velocity of the corresponding notes in chords which triggered the arp pattern. Look at velocity balance slider in presets tab. It defines how much velocity value of given note in arp pattern depends on value of current step in velocity sequence and how much it depends on velocity value of the parent note. Setting the slider all the way to the right makes following notes velocity match the values from velocity sequence. When you set the slider all the way to the left, velocity sequence only defines the rhythm – no notes are played on zero velocity steps – and note velocity is copied from parent note.

MULTI-ARP

velocity balance slider

Arpeggiator transposeThe ability to transpose individual arps is what really makes the whole multi-arp idea useful. What’s good about having eight arp patterns when they are all shuffling the same three notes. In multi-arp, note value can be altered in different ways. First, each arp has a transpose controller. You can shift all notes generated by the arp by +/- 12 semitones. So for example if held chord is C-D-E, an arp with transpose +5, will play F-G-A sequence.

Then each arp has a dedicated pitch sequence, where you can transpose individual pattern steps. Pitch pattern and transpose have cumulative effect, so effectively you can transpose a note in +/- 24 semitone range. Pitch sequence size can be set independently from velocity sequence size, in range of 1-32 steps. You can set it with “pitch size” knob. Also pitch sequence can run slower than velocity sequence. It’s speed is relative to arp rate and can be set with “pitch speed” knob. For example, if set to “2”, pitch sequence cursor will move at every second pattern step. Common application would be to set “pitch speed” to the same value as “velocity size”, then you can play arp pattern through all velocity steps, change transpose value, replay transposed sequence and so on. To make programming more convenient, there’s a quick copy button, which will set pitch speed to value of velocity sequence size in one click. There’s similar button for pitch sequence size as well.

pitch sequence

pitch sequence

size

pitch sequence speed

arp transpose

copy pitch sequence size from velocity sequence size

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Another way of transposing arp patterns is to use modwheel transpose function. When it’s active, turning the modwheel will transpose all arps in range of 0 to +12 semitones. It can be used to create transpose sweeps while playing arp patterns. Modwheel transpose is cumulative with other transpose modifiers. This function can be turned on/off with “modwheel transpose” button in presets tab.

MULTI-ARP

Note that swing parameter does not apply to pitch sequence. Combined with varied pitch sequence speed it would introduce a lot of chaos. So if you are using swing with odd pitch speed value, some notes may slip to previous or following pitch sequence step. For example if you run an arp with pitch sequence speed = 1 and you use negative swing value, two following notes will be played while first pitch step, as the second note is played early. In this scenario every even pitch step will have no effect as there will be no notes played while it’s effective. To avoid confusion, make sure you use even pitch speed values when using swing.

It can happen that a note is transposed out of midi range. In such event it will not be played.

Arpeggiator transpose

modwheel transpose on/off switch

Random pitchYou can introduce a bit of randomness to sequence pitch using “random pitch” knob. It’s probability based function, you define how probable it is that a note value will be altered randomly. At 0% the function is disabled, there’s 0% chance a note will be randomized. At 100% value, all notes will be randomized. This function does not detune notes, but it changes their value, the same way as transpose does.

pitch randomization strength

Pre-programmed scale pattern bank includes common scales/modes and numerous exotic ones. By default ‘constrain to scale’ function only works on arpeggiator generated notes, not interfering with notes played by hand. If you’d like to experiment with scales you are not familiar to, you can enable adjusting ‘through notes’, look at extended tuning options in ‘presets’ tab. Push ‘tune through notes’ button to enable tuning for both types of notes.

Changing root key within a song or performance can done by automating root key buttons. However there are more convenient ways to do it. Changing root key can be automated using unassigned midi notes out of instrument’s range (keys without coloring on virtual keyboard). To enable this function, set “key by outer note” button in presets tab.

Root key can be also automatically set to match the lowest note in chord held in arpeggiator range (it works only in arpeggiated keyboard range, so you can play a melody without changing the key). To enable this option push ‘key by lowest note’ button.

Tuning mechanism has a little bonus, a pattern search function. It’s not a performance function (there’s no use for it while playing), but it lets you to explore included pattern bank. It will tell you which scales and root keys given chord belongs to. To use it, press a chord first (latch option can be used). Now while there are some keys being held, press ‘search patterns’ button, the program will automatically select next root key / scale combination that matches played chord. Press ‘search patterns’ again to find next combination. Press ‘rewind patterns’ button to automatically selects ‘Ionian C’, the first scale-key combination on the list. Use it if you don’t want to click through all of the exotic scales.

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TuningTransposing arp patterns by arbitrary values would lead to tonal chaos, without some form of tuning. Multi-arp has simple “constrain to scale” function. You can specify a scale and root key, you want to play in. Then each time arpeggiator plays a note, it will check if it fits selected scale and key. If not, it will be adjusted to nearest note that fits the scale, looking up higher notes first (if off-scale note is in the middle between in-scale notes, it will be adjusted up to higher value). Tuning is applied after all transpose functions, including “random pitch”, so the final pattern will be always fit to scale.

Tuning mechanism can be turned on/off with “tuning” button – bright read diode indicates that tuning is ON.

If keyboard coloring is enabled, you will notice that off-scale notes will be colored red on Kontakt’s virtual keyboard.

notes that do not belong to selected scale and key

MULTI-ARP

enable/disable tuning

select a scale select root key

enable tuning of notes played by

hand

scale search function – see which scales

match the chord being played

root key selecting options

tuning is off tuning is on

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Combining arpeggiators / cycle modeThe fun thing about multi-arp is that you can combine arpeggiator modes. For example, play two steps of up mode, then play two steps of down mode and so on. It can be done by preparing velocity sequences in such way that given arps do not play simultaneously. Here’s simple example:

arp 1 velocity sequence arp 2 velocity sequence

In this setup, if you set the same rate for both sequences, the machine will play one note of arp 1, then one note of arp 2 and so on, in a loop. You can set arp to different modes and/or transpose one of them to create a combined arpeggio.

However, this method is somewhat laborious, especially when you want to add another arp to previously programmed combination, or run arps at different rates. Instead, you can use the “cycle mode”. When cycle mode is enabled, arpeggio patterns will be played one after another in a queue, instead of being played simultaneously.

In cycle mode each arp is using additional parameter, “cycle size” (cycle size knob is inactive, when cycle mode if off). It defines how many steps of given arp should be played before switching to next arp. To reconstruct the above, velocity pattern based pattern in cycle mode, you just need to configure two arps and set both cycle size parameters to “1”. To add another arp to the queue, you simply set it up and pick a cycle size.

Also, if you like, you can exclude some arps from the queue, by setting the cycle size to “zero”. Excluded arp will play simultaneously with queued arps, just like when cycle mode if off. Queued arps have yellow colored diode next to arp number, excluded arps have green diode. When sequencer is running, bright yellow diode will indicate queued arp which is playing at the moment.

The sequencer always starts from first queued arp, so the order of queued arps matters. When you release all keys and press arpeggiated chord again, the sequence will restart form the beginning. You can see that for queued arps there is additional sequence table below velocity sequence. It is purely informative, if arp is active it shows cycle cursor position, when cursor reaches the end of table, the arp is being paused and next arp in queue is activated. When the cycle turns around and given arp is activated again, it starts right where it stopped, continuing from previous position of pitch and velocity sequences.

If you’d like to observe what is happening in following arps in the cycle as the sequencer is running, turn “follow” switch on. Then sequencer will automatically select new arp when cycling through queue.

MULTI-ARP

queued arps

arp excluded from queue

cycle mode switch

cycle size knob

cycle follow switch

arp which is playing now velocity sequence cursor

cycle cursor

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LatchLatch is a convenience function, it can keep the keys down for you. When latch is activated and you press a chord, the arpeggio pattern will keep running after you release the keys. You will notice that the keys will stay down on virtual keyboard. For as long as any key is being held in arpeggiated range, pressing another key will add it to latched chord. If you release all keys and play another chord, previous chord will be released and the machine will latch the new chord.

Note that latch only applies to arpeggiated notes, it has no effect on notes played in non-arpeggiated range, also it has no effect on through notes played in arp range (they will stop playing as you release the keys).

To activate/deactivate latch, push “latch” button placed above note “through” button. To stop the arpeggiator sequencer turn the latch switch off or use “latch release” keyswitch. Latch release key will be inverse colored on virtual keyboard (black on white keys or white on black keys). The keyswitch coloring will be only visible when latch switch is on, if latch switch is off, the key will resume normal functionality.

Latch release keyswitch can be assigned to any convenient note, you can set it up in options panel. It can be placed using a slider, you can type in a specific note number to value edit box or use MIDI learn function. The keyswitch can be turned on/off using “ON” button.

Sequence restart keyswitchMulti-arp can produce complex sequences which may unroll differently, depending on how they are played. A sequence can be restarted anytime, using a keyswitch. “Sequence restart” keyswitch can be configured in similar way as “latch release” keyswitch in options panel. Pressing restart key has the same effect as releasing all keys and pressing the same chord back again, but without stopping the sequencer.

Keyswitches controllers are located in presets tab of multi-arp panel.

sequence restart keyswitch position

latch release keyswitch

sequence restart keyswitch

MULTI-ARP

latch button

change keyswitch

position with the slider

or type note value here

or use MIDI learn

enable/ disable

keyswitch

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Solo / mute arpeggiatorWith many arps playing simultaneously, it can sometimes be hard to figure out which arp is playing what. To make examining arp program easier, you can use “arp solo” switch. When it’s on, the sequence will continue playing normally, but only currently selected arp will be audible.

A reverse approach is possible, using arp mute switches. Press a diode button, which color indicates arp status, to mute/un-mute it. Muted arp will play silently, that is all sequences will be running normally, but it will produce no notes. The status diode of a muted arp will be colored bright red.

Mute buttons can be automated by keyswitch block and can be used as performance function – you can mute/un-mute parts of the sequence as it plays. You can define mute keyswitch block with controllers in presets tab. Set the position of the first note in keyswitch block. Eight following notes will act as mute/un-mute switch, ninth note will act as “mute all” switch and tenth as “un-mute all”. Mute keyswitches will be colored according to status of following arps.

Mute and solo functions are independent, so it you solo a muted arp, the machine will be silent.

MUTE KEYSWITCH BLOCK

muted arp

active arp

unused arp

mute all

un-mute all

active arp

muted arp

click to mute /

un-mute

MULTI-ARP

solo switch

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Function menuMulti-arp comes with numerous edit functions, which can be useful in creating a program. Functions are available from a drop-down menu and are organized in groups:

FUNCTIONS (general arp management)

Move selected arp down / move selected arp up – in cycle mode arp order has impact on final sequence, so a function to easily re-order arps can be handy. Example: “move down” called when arp 2 is selected will swap arp 2 with arp 3.

Duplicate selected arp – creates a copy of selected arp, the copy will be placed into next unused arp slot (unused means that the arp is in OFF mode). If all arps are active, the function has no effect. It can be very handy in programming arp combinations.

Reset selected arp – sets all arp parameters to default values and turns it OFF.

Sort all arps – is a clean-up function. It resets all unused arps and puts active arps on top of the list. It is purely aesthetic function with no effect on how the program sounds.

RESET ALL arps – as reset selected arp, but it applies to all arps. It resets all parameters, so use it with caution, there is no undo for it.

Remaining functions only apply to arp sequences: pitch and velocity sequence. You can specify which sequence you would like to process, by setting “focus” switches. When focus is set on velocity sequence, function will apply only to velocity sequence. You can also set focus to both sequences (they will appear in equal size), in such case function will apply to both sequences. Since pitch sequence is bipolar and velocity sequence is unipolar, some functions can have a different effect depending on which sequence it is applied to.

function menu command list focus buttons

function menu

MULTI-ARP

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SEQUENCE MEMORY (copy/paste functions)

Copy sequence / paste sequence – you can copy a sequence to memory and then paste it to another arp. Sequence size is being copied along with sequence contents. There is separate clipboard memory for both sequence types – which means you can’t copy pitch sequence into velocity sequence.

Mix paste – instead of replacing the old sequence with sequence from clipboard, this function creates a mix of the two (calculates the average value). This function preserves size of target sequence and interpolates memorized one.

example:

sequence in memory mix paste to result

Difference paste – similar to mix paste, but calculates the difference of both values.

example:

sequence in memory difference paste to result

Restore sequence – undo function. Each time sequence transform function is called, current sequence is saved in undo memory. If you’re not happy with result of called function, you can restore given sequence to previous state. Calling undo function again, will cancel the undo restoring previous sequence state. This function only restores sequence program, it won’t help if you want to cancel resetting entire arp.

GENERATE SEQUENCE (replace current sequence with a predefined type)

Reset – sets all sequence steps to default value. Unlike other sequence transforms it also resets sequence rhythm.

Random – create a random sequence.

Linear fade-in – writes a fade-in from smallest to largest value within defined sequence size. Like all following sequence transform functions it will skip zero value velocity sequence steps which define sequence rhythm.

examples:

initial sequence linear fade-in

initial sequence linear fade-in

Square / cubic / sine fade-in – different fade-in curves. You can notice there are no fade-out functions. It’s a design choice to make menu list shorter, fade-out can be generated by reversing a fade-in.

examples:

square fade-in cubic fade-in sine fade-in

MULTI-ARP

35

Peak/dip – creates linear fade-in followed by fade-out, or the same in reversed order.

examples:

peak dip

TRANSFORM SEQUENCE (following functions will alter the initial sequence)

Randomize – change sequence step values a little

example:

initial sequence result

Push one step – slide whole sequence one step to the right.

example:initial sequence result

Pull one step – slide whole sequence one step to the left.

Push halfway – slide whole sequence half way the sequence size

example:initial sequence result

Clone – increases sequence size by 100% and duplicates initial sequence. Note that this function needs relatively small sequence size value, so it can be increased. Applying it to 32 step long sequence will have no affect as the sequence size is already at maximum.

example:initial sequence result

Mirror clone – same as clone, but reverse duplicated sequence.

example:initial sequence result

Reverse – orders the sequence backwards

example:initial sequence result

Invert – inverts sequence values. In some cases the result may be the same as reverse, but it’s different function.

example:

initial sequence result

MULTI-ARP

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Align to top – changes sequence values, so the highest value is at maximum, while preserving the sequence relative values between steps.

example:initial sequence result

Align to bottom – change sequence values, so the lowest value is at minimum, while preserving the sequence relative values between steps.

example:initial sequence result

Maximize – expands sequence value range so the highest value reaches the maximum.

example:initial sequence result

Compress – reduces all values proportionally.

example:

initial sequence result

GENERATE PATTERN (these functions will set some steps to zero value to generate a rhythm)

I-I- / I--- / etc. – are predefined patterns which can be applied to sequence

example:initial sequence I-I- pattern applied

Edit all arps switch“Edit all arps” switch lets you make mass edits, when it’s active any parameter change will apply to all active arps. Muted and disabled (OFF) arps will not be affected. “Edit all arps” is effective on all arp parameter knobs, arp mode (except when turning an arp off), rate and repeat pattern, oscillator mask, glide and release trigger bypass switches. It is not effective on sequence pattern edits. This is powerful function and it’s easy to forget it’s enabled and overwrite whole program, so use it cautiously.

MULTI-ARP

edit all arps switch

MULTI-ARP

Glide and release trigger bypassArpeggiator can be tweaked to ignore glide and/or release trigger function. Bypass can be set to each arp separately and to through notes. Arpeggiator will flag the notes in bypassed sections, which in turn will be ignored by glide or release trigger function in next script tab.

You can for example let one arp to drive the glide sweep, bypass glide for other arps and let them play regular arpeggios. Or bypass glide for all arps and play glide by non-arpeggiated keyboard part using keyboard split function in arpeggiator.

Release trigger function doesn’t always work well with fast arpeggios, therefore bypassing it for arpeggiators can be useful option.

37

bypass switches

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Multi-arp presetsMulti-arp has it’s own preset system, which can be used alongside Kontakt snapshots. Presets apply to arpeggiator settings only, that is sequences and settings of all arps, oscillator mask, scale and key for tuning. Presets can be loaded while playing without interrupting arpeggiator sequencer. You can for example create variations of arp program and switch them as a part of the song/performance.

There are three ways to access multi-arp presets. They can be saved internally using keyswitch memory, externally in ‘presets’ folder using preset browser or directly to file.

Preset browser is available in ‘presets’ tab, it contains numerous example presets and there’s a lot of empty slots to save user presets. The browser offers 300 memory slots which are being saved externally, so if you save a preset it will be available in any instance of the instrument.

Browser presets are stored in nka files in “presets” folder, which should be located in the same place as the instrument patch file (nki). If “presets” folder is missing, the browser won’t work.

Browser presets are loaded from nka files. Unlike loading a keyswitch preset, presets stored externally do not load “instantly”, however the delay should not be noticeable in practice. Browser preset can also be loaded when the arpeggiator sequencer is running.

You can scroll the preset list using the scroll slider or scroll buttons, whichever way you find more convenient.

Written browser slots will display preset name and “load” text label next to the name. Empty slots will be grayed out, named “empty” and have “save” text label. To load a written preset, simply click on it’s name or “load” label. To save a preset click on an empty slot or “save” label.

Saved preset will be named automatically as “preset x”, where x is the slot number. You can rename the preset anytime. To do so, press “rename” button above the preset list. For technical reasons, the sequencer has to be paused while renaming. When rename button is on, sequencer will stop playing and preset names will be colored white.

Now you can click on a name and edit it or type in a new one, when finished typing, press enter. When you turn rename button off, the sequencer will resume playing. Note that empty slots cannot be renamed.

Side note: rename button can be automated, so you may also use it as a sequencer pause function.

There are two interface related browser options.

“Show last name” button, when it is enabled, the name of last preset loaded using the browser will be displayed at the bottom line of muti-arp panel.

“Auto close panel” button: when enabled, active tab will be switched to ‘arpeggiator’ automatically after loading a preset .

preset browser

written preset slots

empty preset slots

rename button

scroll buttons

browser ui options

name of last loaded preset is displayed here

MULTI-ARP

39

There is a small “preset management” drop-down menu next to each preset slot.

Delete – deletes preset saved in given slot, so it is free to save a different preset. A note here: Kontakt script cannot actually delete a file (which is good), the preset system is organized by having separate nki files for each memory slot and a master index list, telling the browser which slots are available and how are they named. This way the instrument doesn’t have to scan 300 files to update preset list each time it loads. It just reads preset list and name table. File delete function just flags given slot as “empty”, leaving preset files as is. Which also makes it possible to undelete a preset...

Undelete – checks if there is preset file for given browser slot. If a file is found, it will be put back on the browser list.

Copy/cut/paste functions make it easier to organize presets, you can cut a preset and paste it into another slot, without having to load it first.

Loading preset from fileYou can save multi-arp preset directly to nka file.

Press “save to file” button then save the file anywhere, however “data” folder in instrument path would be probably most convenient location, as Kontakt will point there each time you want to load a preset.

To load a file press ”load from file” button and pick a file. Saving to nka files can be possibly useful if you want to trade presets. The file format is the same as one used by preset browser.

preset management

menu

file load/save buttons

MULTI-ARP

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Keyswitch memoryPresets can also be stored in internal memory. There are 12 memory slots stored within patch/DAW project (keyswitch memory is not stored in snapshots). Stored preset can be loaded by pressing a key on MIDI keyboard – you can load preset variations as a part of performance. Memory keyswitch block can be positioned anywhere in MIDI range. Keyswitch memory can be configured in “presets” tab.

Setting up memory keyswitch block is similar to defining other keyswitches. You position the first key in the block, using a slider, value box or MIDI learn. Memory keyswitches can be disabled if not needed, using “ON” button. Placing keyswitches within instrument range will override keys functionality, that is, given key will serve as preset load button and can’t be used to play a note. If you have a limited range MIDI controller and you don’t need 12 memory slots, you can limit memory block size and use fewer keyswitches.

Empty memory keyswitches will be colored yellow on virtual keyboard, written keyswitches will be colored orange. To save a preset to keyswitch, press “save to key” button in “presets” tab and then press keyswitch you want to save to. To load saved preset simply press the MIDI key assigned to it. You can also clear a memory slot, by pressing “clear key” button and then memory keyswitch you want to wipe.

Tuning scale and root key, as well as oscillator mask are stored within multi-arp preset, however you can choose to ignore these when loading a preset. If “read osc. mask” button if off, oscillator mask will not be read when loading presets. If “read tuning” button if off, scale and root key data will not be read. These options apply to all presets either loaded from keyswitch or with preset browser.

Note that each time you load a preset, the arpeggiator sequencer is being restarted. Loading the same preset repeatedly will have the same effect as using “sequence restart” keyswitch.

written memory slots

empty memory slots

MULTI-ARP

set memory block position on MIDI

keyboard

preset loading options

keyswitch save/clear buttons

define memory keyswitch block size

turn memory keyswitches on/off

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EFFECTS

Effect chainEffects section of Sawmill consists of set of distortion processors, filters, chorus, flanger, phaser, delay – all of which are applied to oscillators separately and can be tuned individually for each oscillator. There are also two convolution reverbs in send mode. Send levels can be tuned on oscillator level.

Effect chain scheme:

oscillator out

reverb A

reverb B

distortionformant

filterfilter chorus phaser flanger send delay

send (optional)

instrument out

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Effects: distortionDistortion effects are applied first in chain, as oscillators are processed separately, distortion set should be considered as waveshaping stage.

There are three distortion types available: bitcrusher, drive and distortion.

Bitcrusher controller is a single knob, it reduces the bit depth resolution of the samples being played. When the controller is fully counter-clockwise, the effect is OFF.

Drive simulates circuit overload, it can be turned on/off with ‘power’ button. There are two circuit models to choose from: tube and transistor.

Distortion unit is simulation of diode clipping distortion. It is loosely based on RAT pedals. It has on/off button and three controllers. Tone controller adjusts frequency range to boost. Edge controller adds low-end punch to signal. It is one of Kontakt guitar pedal simulations, it has been chosen, because it’s the only one which produces interesting results when applied before volume shaping stage.

Examples of waveshaping effects achieved with distortion efefcts:

initial waveform (triangle) – dry

bitcrusher tube drive distortion bitcrusher + drive

bitcrusher drive sectiondistortion section

EFFECTS

43

Effects: filtersYou can choose one filter from Kontakt palette fro each oscillator. The selection includes different types of hi-pass, low-pass and band-pass filters, as well as peak and notch filters and effect filters – vowel and phaser. Filter can be turned on and off using ‘power’ button, filter type can be selected from drop-down menu (note that changing filter type is not instant, there is a little delay when Kontakt is changing filters and occasional audio glitch can occur). All filter types share cutoff and resonance controllers, except for 1 pole state variable filters which do not use resonance parameter. For these filters resonance knob will be transparent, to indicate that it has no function.

You can activate formant filter alongside main filter (formant filter will be applied first). Formant filter is an effect filter, which can be used to create a talk-box effect. Formant size controller is analogous to filter cutoff. To create talk box effect automate ‘talk’ controller (you can use envelope and/or sequenced modulator). Flip formant type switch to select different filter flavor.

EFFECTS

main filter on/off switch

formant filter on/off switch

select main filter type

unused resonance knob

44

EFFECTS

Effects: chorus, flanger, phaserChorus, flanger and phaser are three ‘standard’ modulation effects in Kontakt. In Sawmill they are applied separately for each oscillator. Perhaps the most interesting combinations can be achieved by varying effect speed for different oscillators.

Each effect has an on/off switch and mix amount controller. Amount defines the mix proportion between unprocessed (dry) and processed (wet) signal. Setting mix amount controller fully counter-clockwise has the same effect as turning the effect off.

The three effects share a special link switch named ‘exclusive’. Usually it’s not very useful to apply more than one of the three to the same oscillator. ‘Exclusive’ switch limits the use of the effects to one for one oscillator – each time you switch the power button ‘on’ for chorus, flanger or phaser for given oscillator, the remaining two are being automatically switched off (as long as exclusive link is active). It can be useful for trying which effect works best on an oscillator.

Phase controller name, common for all three, may be a bit misleading. It sets the phase difference for LFOs driving left and right channels of the effect. Effectively ‘phase’ has impact on stereo width of the effect.

effect on/off switch

wet/dry mix proportion

‘exclusive’ link

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EFFECTS

Effects: delayThis is standard Kontakt delay, simple, lightweight and effective. As with modulation effects, there is power switch and mix amount controller. Delay time can be set to fixed time (absolute mode) or a tempo synchronized mode, defined by note value, which can be selected from a drop-down menu. In tempo synchronized mode, time knob acts as note value multiplier.

tempo synchronized delay time

absolute delay time

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EFFECTS

Effects: convolution reverbsSawmill has two convolution reverb processors. You can configure send levels for each oscillator. Combined with two different reverberation types the system can be used create hybrid spaces. To add more spice, send levels can be automated using MIDI CC and sequenced modulator.

The reverbs use Kontakt’s factory selection of impulse-response files. Files are sorted by category, use set of two drop-down menus to navigate the selection of reverb types. Alternatively, you can push the dice button to select a random reverb type.

There are three send points (modes) available in drop-down menus. In ‘before delay’ mode the signal is being sent to reverbs before applying delay effect, so delay and reverb spaces exist alongside. ‘After delay’, as the names states, is configuration where delay echoes are also processed by reverberators. In third ‘wet only’ mode, the signal is being send to reverbs but not to instrument output. It can be used to create setup where reverberated signal is slightly different from dry (for example pitch shifted or having different waveforms).

Each convolution processor has three controllers: IR size, low cut and return. Return is the output volume of the reverb, it can be used to boost or attenuate the reverb without changing the send levels for different oscillators. Low cut parameter is the cutoff of hi-pass filter to apply to reverb output, use it to tame excessive low end build-up which can happen in different circumstances. You can use IR size controller, to artificially scale the reverb size, by stretching IR file.

reverb on/off switchsend point menusend level controllers

pick reverb category and specific ir file

quickly select random ir file

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SnapshotsSawmill is using Kontakt’s snapshot format for presets. There are over 100 presets included with the instrument, however they need to be installed manually.

To install snapshots you need to locate the snapshot folder, usually similar to ...Documents\Native Instruments\User Content\Kontakt\ (depending on system), create folder named ‘Sawmill’ and copy contents of ‘snapshots’ folder from instrument package.

To make this process simpler, open Sawmill in Kontakt, go to edit mode (press wrench button), click on ‘Instrument Options’, select ‘Snapshots’ tab and click ‘Show’ button. You will see system message ‘There is no User snapshot saved yet. Do you want to create a path?’ Click ‘Yes’, the destination folder will be created for you and it will be opened in file manager. Now copy ‘snapshots’ folder contents into it, preserving folder structure.

Once the operation is completed successfully, snapshot list will appear in snapshot tab in the instrument.

snapshot menushow snapshot tab

(camera button)

use wrench button to access

edit mode

show Instrument

Options

Snapshot tab

show snapshot folder

click Yes to create and show snapshot folder

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CPU and memory usageMostly Sawmill does not consume a lot of processing power, but certain configurations can be very heavy on CPU. In particular, modulating filter cutoff and resonance by sequenced modulator may create significant CPU usage boost, especially when using ladder and daft filters. In such case you can reduce the strain by reducing modulator clock frequency (that is, update modulation parameters less often).

By default Sawmill is using about 800MB of memory. Large portion of the number is used to pre-load sample regions for ‘random phase’ function. This function is used to liven up static samples, by starting oscillator playback at random point in initial 2 seconds of the sample. To do this Kontakt needs to pre-load 2 seconds of each sample to memory.

There are two alternative instrument patches, pre-configured for lighter resource use, or higher sound quality. The patches are available in folders named ‘low resources patch’ and ‘HQ patch’, patch names are the same for all versions, so the same set of snapshots can be shared by all three.

Differences between patches:

default patch (in root folder): 128 max voices, standard quality for ladder filters, regular quality for interpolation, 2 seconds for random phase range, 1/2 clock speed for sequenced modulator

HQ patch: 256 max voices, high quality for ladder filters, high quality for interpolation, 2 seconds for random phase range, 1/1 clock speed for sequenced modulator

low resources patch: 64 max voices, standard quality for ladder filters, regular quality for interpolation, reduced random phase range (memory usage is down to 180MB), 1/4 clock speed for sequenced modulator

With exception for memory tweak, all those parameters can be easily edited by hand anytime, so different alternative patches can be created.

Interpolation quality only matters when you change sample pitch significantly (mostly noticeable with glide function). The setting is available in edit mode, in source section – HQI drop-down menu next to ‘Tune’ knob.

Using custom samplesSawmill has not been created with using custom samples in mind. To simplify the internal structure, it uses velocity layers to map different oscillators. Thanks to this architecture it has only 7 groups (instead of 32x7 = 224 groups).

If you want to use different samples with the instrument, it is possible, although you will loose waveform selection (browser) functionality. Also have in mind that the instrument does not support velocity layers.

To re-configure instrument go to edit mode, following groups are used by following oscillators. If you delete sample map within a group and paste or map a different sample set, it will act as the new oscillator waveform. Just note that changing the waveform for modified oscillator won’t work anymore. Do not delete groups, just delete sample maps within a group.

use wrench button to access

edit mode

it is possible to delete and

replace mapped samples

select oscillator

interpolation quality setting

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End of fileThis document ends here.

Sawmill has been created by Marcin Gruszczyński.

© 2018 SzcZ

www.fairlyconfusing.net

marcin@fairlyconfusing.net

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