"CLENCHED"
User Reference Manual
This document ©2006 NOVUZEIT - All Rights Reserved & Upheld.
This document is for private viewing purposes only by the purchaser of this NOVUZEIT product.
This document may not appear in part or in whole in any publicly available manner whatsoever,
without first obtaining expressed written permission from NOVUZEIT and its creator.
0 - CONTENTS
1 - DISCLAIMER AND END-USER AGREEMENT
2 - UNDERSTANDING THODC
3 - TIPS ON USING THODC EFFECTIVELY
4 - TROUBLESHOOTING THODC
5 - CREDITS AND GRATITUDE
1 - DISCLAIMER AND END USER AGREEMENT
Disclaimer:
By installing and running any NOVUZEIT product the user hereby releases NOVUZEIT and its creator from all liability concerning any possible personal and property damage thereof.
End-user agreement:
If the user does not agree with the disclaimer above, NOVUZEIT asks the user to delete all NOVUZEIT products from the user's storage media and to not install or run any NOVUZEIT product whatsoever.
2 - UNDERSTANDING THODC
TOOL-TIPS
All of THODC's controls have tool-tips enabled. What this means is that if you allow your mouse cursor to rest over a control (knob, slider, et. all), soon a pop-up description of what that control is/does will appear.
IMAGE REFERENCE
Due to the excessive amount of controls presented in THODC's GUI, you might initially feel overwhelmed. However, upon continued use you will realize that much of THODC's controls are redundant in nature. Below you will find a screenshot of THODC with sections and parameters labeled in neon green lettering. Please refer to this image as you read the THODC control descriptions below.
A - HANDS ON/OFF
The sound creation units within THODC are referred to as "Hands". The beginning of all sound from THODC starts with the Hands themselves. THODC consists of three layers of these Hands; Top, Middle, and Bottom. Each Hands layer can be turned ON and OFF individually depending on how complex the sound you want to create is (and to save CPU processing power). These Hands' output are based on mathematical algorithms for creating abstract tones. The algorithms available within the Hands themselves are named individually (see: B).
B - HANDS ALGORITHM SELECTION
By clicking on this box you can select the name of the Hands algorithm you wish to use for a Hands layer using the drop-down menu. Each algorithm sounds completely different than the other.
C - ROOT PITCH ON/OFF
Click this button to enable the root pitch knob ON or OFF.
D - ROOT PITCH
Use this knob to set the root pitch of the Hands output. This root pitch is NOT based on octave scale, it is based on true harmonic spectrum for greater variation. When the knob is facing 12'o'clock the pitch is at neutral (no effect), at 7'o'clock the pitch is at its lowest, at 5'o'clock the pitch is at its highest. The root pitch supercedes all other pitch input (including MIDI) and all further pitch manipulations of the Hands layer will be based upon the root pitch knob's setting when enabled ON.
E - LFO 1 ON/OFF
THODC uses various LFOs to control automation of various parameters. This button turns LFO 1 ON or OFF for its respective Hands layer.
G - LFO 1 WAVEFORM SELECTION
LFO 1 when enabled ON interacts with the Hands layer's harmonic tone width. This effect's technique is more pronounced with certain Hands' algorithms than others. G - By clicking on this drop-down menu you can choose the waveform LFO 1 uses for its harmonic tone width automation.
I - LFO 1 CYCLING SPEED
This slider controls the rate at which LFO 1 will cycle through its selected waveform's output, acting as a throttle for the tone width variation occurence. However, if LFO 1 is turned off (see: E) than this slider acts as a direct setting for the Hands' tone width itself.
F - LFO 2 ON/OFF
Turns LFO 2 ON or OFF for its respective Hands layer.
H - LFO 2 WAVEFORM SELECTION
LFO 2 when enabled ON interacts with the Hands layer's harmonic tone pitch. This effect's technique is more pronounced with certain Hands' algorithms than others. This harmonic tone pitch variation is based off the root pitch knob's setting when said knob is enabled ON - otherwise this variation is based off host/MIDI input. H - By clicking on this drop-down menu you can choose the waveform LFO 2 uses for its harmonic tone pitch automation.
J - LFO 2 CYCLING SPEED
This slider controls the rate at which LFO 2 will cycle through its selected waveform's output, acting as a throttle for the tone width pitch alterations. However, if LFO 2 is turned off (see: F) than this slider acts as an accompanying setting for the Hands' tone width along with LFO 1's slider.
K - BAD ON/OFF
When enabled this button will introduce "bad math" to the Hands algorithms by inverting certain values randomly. The significance of this effect is more pronounced in some algorithms more than others.
L - VILE CORRUPTION
This slider will introduce a distortion effect that "corrupts" the output of the Hands layer. The significance of this effect is more pronounced in some algorithms more than others.
M - VILE CORRUPTION LFO ON/OFF
When enabled ON this button will introduce an LFO to automate the "vile corruption" setting of the Hands layer. When the LFO is enabled, the "vile corruption" slider itself becomes a throttle for the LFO's cycling speed.
N - EVIL ON/OFF
When enabled, this button allows random mathematical elements to permeate the Hands layer's algorithms. In turn, if "evil" is turned ON, the "vile corruption" slider acts as a dry/wet setting for the "evil" effect itself.
O - ADSR
This is the Attack Decay Sustain Release section of the Hands layer. The ADSR controls the amplitude/attenuation envelope of the Hands layer's voltage controlled amplifier, effectively "shaping" the tonal output of the Hands layer itself.
P - ADSR LFOS
This section of the ADSR allows enabling LFOs to automate each ADSR setting independently. For example the *A button will introduce an LFO to control the setting of Attack, likewise the *D knob will control the setting of Decay, etc. When enabled, the LFO will use its main slider as a throttle. For example, if the *S button is enabled, the Sustain slider will now act as a throttle for the *S button's LFO, which in turn automates the Sustain of the ADSR envelope itself. Each *A *D *S *R LFO can be turned on or off individually, allowing for extremely expressive and constantly evolving drone tones.
Q - VELOCITY AMOUNT
This slider controls the overall amount of amplitude-velocity allowed from MIDI input. This effect mainly acts as a "softener" for keyboards with no velocity control. The user may or may not find this setting useful, and if not, simply leave the "velocity amount" setting at full.
R - EFFECT ON/OFF
This button will turn ON or OFF the respective effect (see effect name) it rests near. To save CPU processing, turn OFF any effects not being used in a particular Hands layer.
R - PITCHSHIFT SHIFT
This knob controls the actual pitch of the pitchshift effect. This pitch shift is NOT based on octave scale, it is based on true harmonic spectrum for greater variation. When the knob is facing 12'o'clock the pitch is at neutral (no effect), at 7'o'clock the pitch is at its lowest, at 5'o'clock the pitch is at its highest.
T - PITCHSHIFT BUFFER
This knob controls the audio buffer size of the pitchshift effect. By altering this knob different variations on the pitchshift sound will occur.
Y - GRANULIZE GRAIN SIZE
This knob controls the sample size of the granulize effect. By altering this knob different types of grains will be heard, from microsized pieces to recognizable chunks.
Z - GRANULIZE GRAIN RATE
This knob controls the speed at which grains are sampled and cycled by the granulize effect.
AA - BITCRUSH CRUSH
This knob controls the "crunchiness" of the bitcrush effect. The amount of severity this crush knob presents depends largely on the sample reduction knob's setting.
BB - BITCRUSH SAMPLE REDUCTION
This knob controls the sample size of the bitcrush effect. The crush knob will have different extremes based upon the setting of this sample reduction knob.
CC - DELAY MODULATION
This knob controls the delay offset of the delay effect by adjusting the modulation setting of the delay effects internal timing. The modulation knob can create both pitchshift effects and echo-speed-timing of the delay effect.
DD - DELAY FEEDBACK
This knob controls the delay feedback amount for the delay effect. A larger amount will increase the size and amplitude of the feedback in the delay; likewise a smaller amount has the opposite effect.
EE - EFFECT DRY/WET
This slider controls the dry/wet amount of the given effect above it in the Hands layer's audio signal output.
FF - EFFECT DRY/WET LFO
When enabled this button will introduce an LFO to automate the control of the effect dry/wet parameter. As such, when this LFO is enabled, the dry/wet slider itself becomes a throttle control for the LFO itself.
U - EFFECT LFO ON/OFF
When turned ON this button enables an LFO to control internal parameters of its respective FX unit via continuous automation.
V - EFFECT LFO SPEED
When a particular effect LFO is turned ON, this knob will control that LFO's waveform cycing speed.
X - EFFECT LFO WAVEFORM SELECTION
When a particular effect LFO is turned ON, this knob will control that LFO's waveform type. Experiment with this knob until you find a waveform type that best suits the type of parameter automation you wish to have for a given effect's parameters.
GG - STEREO PANNING
This slider will control the stereo output of its respective Hands layer. Leftmost of the slider is leftmost of the stereo channel, likewise rightmost of the slider is rightmost of the stereo channel.
HH - STEREO PANNING LFO ON/OFF
When enabled this button will introduce an LFO to automate the control of the stereo panning parameter. As such, when this LFO is enabled, the stereo panning slider itself becomes a throttle control for the LFO itself.
R - FILTER ON/OFF
This button when enabled introduces an analog styled audio filter into the output of the Hands layer itself.
II - FILTER CUTOFF
This knob controls the cutoff amount of the filter.
JJ - FILTER RESONANCE
This knob controls the resonance amount of the filter.
KK - FILTER DRY/WET
This slider controls the dry/wet amount of the filter effect in the Hands layer's audio signal output.
LL - HANDS LAYER VOLUME
This slider controls the overall volume of the Hands layer's audio signal output.
MM - HANDS LAYER VOLUME LFO ON/OFF
When enabled this button will introduce an LFO to automate the control of the Hands volume parameter. As such, when this LFO is enabled, the volume slider itself becomes a throttle control for the LFO itself.
NN - HANDS LAYER VOLUME MUTE ON/OFF
This button instantly mutes the overall volume of the Hands layer's audio signal output.
1 - REVERB TYPE SELECTION
By clicking on this drop-down menu, you can choose the type of reverb you want to use. CLASSIC = Normal traditional reverb effect. GATED = MIDI control voltage gating of the reverb effect. FROZEN = Continous reverberation without the decay envelope of the CLASSIC reverb type.
2 - REVERB SIZE
This slider controls how "large/deep" the reverb sounds.
2 - REVERB WIDTH
This slider controls the stereo width of the reverb output.
2 - REVERB DAMPENING
This slider controls attenuation of the reverb effect's higher frequencies.
2 - REVERB WET/DRY
This slider controls the wet/dry amount of the reverb effect in the Hands layer's audio signal output.
W - ALL HANDS LAYERS MAIN VOLUME
This slider controls the entire volume of each of the Hands layer's audio signal outputs.
OO - ALL HANDS LAYERS MAIN VOLUME MUTE ON/OFF
This button instantly mutes the entire volume of all of the Hands layer's audio signal outputs.
3 - TIPS ON USING THODC EFFECTIVELY
Tip 1: Go simply and slowly.
Don't turn all the Hands' layers on at once and try to program all three simultaneously. Instead start with one Hands' layer at a time. Once you're finished with the first layer, programming the next Hands' layer is much easier as you can design it to compliment the sound of the first Hands' layer, and so on, until all three Hands' layers are working together as one cohesive musical entity.
Tip 2: Leads are lonely wolves.
If you want to program a lead using THODC, it would be best to focus on using only one Hands' layer. Also try to keep the ADSR's decay and release at a low level.
Tip 3: LFOs are your friend.
Nearly every parameter in THODC supports automation via its own LFO. Remember to use these LFOs often to create "living" and "evolving" sound. The LFOs are provided as a way to keep your sounds from sounding stale, and they will do as such if utilized!
Tip 4: Spooky sounds grow from the root.
If you want to create a spooky pad, first start with the root pitch. Take it to a low low level, and add a touch of "vile corruption" and a pinch of "evil". Now you're well on your way to making a sinister patch.
Tip 5: Drone on.
To create evolving drones, try implementing the *LFOs for the ADSR parameters, and set the sliders to a very tiny level.
Tip 6: Comb that filter.
In the delay FX unit's banner, there are two buttons. One is the I/O button, the other is a "Type" button. The "Type" button when pressed the internal timing of the delay FX unit changes from a "dub" offset to a "micro" offset. By utilizing the "micro" offset and a very tiny "modulation" amount along with a high "feedback" threshold, you can create a comb-filter sound! Very useful for metallic leads.
Tip 7: Less is more.
When it comes to adding FX to the Hands' layer, don't just turn every FX on at once. Instead, turn one on at a time and see if it enhances the sound to suit your intention or not, and add more or less FX in this manner. Turning every single FX unit on and trying to "season the stew" all at once is a quick recipe for disaster.
Tip 8: Don't stay soaked.
THODC's control scheme offers many separate DRY/WET sliders for a reason. Often THODC's FX types will be much more useful in a musical context if their DRY/WET slider is used effectively. This fact combined with the ability to automate WET/DRY settings for almost all DRY/WET sliders makes THODC's DRY/WET abilities an effect all unto itself.
Tip 9: Indecisive? Randomize!
THODC offers so many parameters that randomizing them is a blast! As long as your VST host allows this feature, that is. Most recent VST hosts support an internal randomization ability for setting VST controls completely arbitrarily. If your host does so, try it, you might be surprised how well THODC takes to being randomized.
Tip 10: Presets are your friends.
THODC comes with a large amount of various presets patches. Try studying the intricate nuances of the presets you like the most; examine exactly how the controls for that patch are aligned. By scrutinizing these subtle variations you will learn THODC tricks sooner rather than later.
4 - TROUBLESHOOTING THODC
Below you will find the most common problems some users have experienced while running THODC,
with possible solutions to rectify said problems:
Problem: THODC uses too much CPU processing power.
Solution 1: THODC is a highly complex VST, more so than your average VST due to having 100 parameters with constantly changing internal values. Because of this, you may need to upgrade your computer's core processor. NOVUZEIT recommends at least a 1Ghz CPU to run THODC acceptably.
Solution 2: Don't run more than one instance of THODC. Instead, export individual audio segments from THODC and mix all of those segments together as audio samples.
Problem: THODC's Evil button locked the pitch after being turned off.
Solution 1: Simply stop your VST host's sequencer, and then restart it. That should fix the problem.
Problem: THODC's audio sounds crackly.
Solution 1: You may need a better soundcard. NOVUZEIT recommends using its VST only with soundcards which support the ASIO standard natively. ASIO supporting soundcards have come down significantly pricewise recently. NOVUZEIT suggests looking at Creative Labs Audigy series line of soundcards as an entry-level lowcost introduction to the world of ASIO.
Solution 2: You may need to increase your VST host's AUDIO BUFFER SIZE. See your VST host's help file for more information concerning how to do this.
Solution 3: Don't run more than one instance of THODC. Instead, export individual audio segments from THODC and mix all of those segments together as audio samples.
Solution 4: You may need to upgrade your computer's RAM size. NOVUZEIT recommends at least 128 megabytes of RAM to run THODC acceptably.
Solution 5: THODC is a highly complex VST, more so than your average VST due to having 100 parameters with constantly changing internal values. Because of this, you may need to upgrade your computer's core processor. NOVUZEIT recommends at least a 1Ghz CPU to run THODC acceptably.
Problem: THODC's GUI doesn't fit on the screen.
Solution 1: You need to increase your desktop's resolution to a higher setting. THODC should fit perfectly in resolutions of 1024x768 and above.
Solution 2: You need to upgrade your VST host to one which supports the VST 3 SDK standard, which allows for scrollable VST edit-housing windows.
5 - CREDITS & GRATITUDE
Credits:
All NOVUZEIT products are created by Jack Dark.
You can email Jack about NOVUZEIT products, or whatever else, here: JackDark@FastMail.FM
Additional NOVUZEIT products are available here.
Gratitude:
NOVUZEIT would like to thank the following wonderful people/companies,
for without their help and support,
NOVUZEIT VST may very well have never existed at all:
Jeff McClintock & Steve Calhoun
ACD Systems / Adobe / Altec Lansing / Analog-X / Autodesk / Creative Labs / ezeeboogie / Günter Hager / David Haupt / DELL / Gol / Yost Group / Image-Line Software / Eddie Jeckle / Vera Kinter / KVR Audio / Kool Keith / Lena / Liquid Clear / Logitech / Kelly Lynch / Etric Van Mayer / PayPal / Hermann Seib / Runagate - The Kitten King / Sirocco / DJ Squidnutz / Steinberg / Syntrillium Software / The Vurtinator / X-Technology Computer Systems
Divine Trinity
Extra special thanks to JB Dunckel for creating the wonderul Darkel album,
which I listened to incessantly while completing THODC.
I recommend everyone to buy Darkel from the Astralwerks label.
It's fantastic. :)
THE HANDS OF DARKNESS V1.5
"CLENCHED"
©2006 NOVUZEIT
ALL RIGHTS RESERVED