Forum. Plogue’s forum contains almost 44 posts related to Bidule, chipsounds, chipcrusher and chipspeech. Thanks to more than registered members. Note: An online version of this user manual is available here. 2 Tutorial – Using MIDI Connectivity in a Modular Host (Plogue Bidule). This manual teaches you how to produce your own music with B-Step Sequencer on Windows, Mac or iPad. Plogue Bidule (since v) – Podium (since v).
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All numbers are written in the UK style. So if you see 10, that means ten thousand. If you see First lets check that everything is working and you can hear some audio. Open bidule in standalone mode and you will see the normal bidule canvas with some default devices. The first thing I do is to change the audio device for my soundcard, if you are using the default windows sound device then you can skip this bit.
You can either select it and hit delete, or use the context menu for the module. Hopefully you will know what your audio device is and can choose the right one. On windows direct sound is preferable to MME. You can add the device by double clicking the entry in the palette or you can drag it onto the canvas.
Next we wire it up to the mixer, it always wise to use a mixer before the sound card so you can adjust the volume easily. We want stereo output, so while dragging a line from the left mixer output to your audio device, hold down the control key and it will attach both cables. It should now look a bit like this. Now we can test that the audio is working. The basic oscillator has 4 audio rate inputs and 1 output.
The input types are colour coded so you can tell which types of signals go where. White for midi, blue for audio rate audio rate means that the signal is sampled at the audio rate, it doesnt have to be an audio signal. The two other types are Yellow and Orange for spectral frequencies and magnitudes.
Now connect the output of the oscillator to the mixer. There wont be any sound just yet though. Just to be safe make sure that your volume level isnt set too high or you might get a nasty suprise. It only has one output, the number we set. In there we have minimum and maximum values and a slider to set the value. Lets put minimum to 50 and maximum to Once those are set, leave the slider somewhere around Now connect the output of this block to the first oscillator input.
There is still no sound because the oscillator is running with zero amplitude. This is just a fixed number, theres no slider to change the value. Its in the same group in the palette as variable so add one to the canvas. nidule
Bidule Tutorial 1 : A Simple Synthesizer
Double click this to open its panel. Now connect this box to the second input of the oscillator. If you dont, first check the mixer panel double click it and see if the level meters on the right show some signal. If they dont check the wiring is correct. Once you are sure there is a signal in the mixer you will need to check that your volume is ok for your sound card and that you are bivule the right output module. Now would be a good time to label the variable box so you know what its for.
And to control the sound you will often find a couple of envelopes and an LFO. For our simple synth we will use an envelope and lfo for the filter, and one envelope for the amplitude control. There are a few types of filter available with bidule, each useful for different types of signal filtering. I wont go into details manuak, but you can read more about filter types in these great articles from Sound on Sound. Now you should see the filter block with 2 inputs and 1 output.
If you move your mouse over each input you can read what it is in the status bar.
Open the panel for the variable and change the high limit to 10, If you move your mouse over the cable connecting the oscillator to the mixer, it should highlight. Click on it to select it, then drag the handle which goes into the mixer to the first input of the filter. You should end up with something looking like this:.
Then connect the output of the filter to the mixer and you should again hear the signal. All the other wave types have harmonics which will be affected by the filter setting. Now, open the panel for the filter and set its type to One-Pole LP.
This is a low-pass filter which means that it will let through frequencies lower than the cutoff frequency i. Try playing around with the filter frequency variable and you should hear the sound change in brightness.
Now before we add the envelope we need to consider how we can control the start and stopping of the sound. Ideally we might want to play the synth via midi. Fortunately using bidule we dont even need a midi keyboard to do this, theres some handy MIDI contraptions included that we can put to use without worrying about if external hardware is working or configured correctly.
So lets start with a really simple sequencer, something that will just play a different note after some time passes.
Go into the palette and open up the MIDI section. The main MIDI section, not the MIDI section within Building Blocks…there are a lot of different pieces available in bidule and it will take some time to get used to what they are and where they live.
Add this to the canvas. The first thing you will notice is that it has a white coloured output. This means it outputs MIDI data, not just raw numbers like the blue connections.
So we cant just connect the output of this to the input of the oscillator, we will need something else to extract the information from the MIDI messages to give us the numbers we use to connect to the blue inputs.
So navigate your way there and add the Note Extractor to the canvas. The Note Extractor has 1 input and 4 outputs. The input as you can see is MIDI and the 4 outputs are number outputs. They are as follows:. The great thing about this extractor is that it converts midi note messages janual Hz frequencies, ready to control the oscillator, and it converts midi velocities into the amplitude range 0 — 1 that also can control the oscillator.
B-Step Sequencer Manual – Getting started VST / AU
They are either 0 or 1, nothing inbetween. The gate is 1 or high during a note, i. The trigger on the other hand just changes to 1 when the note on occurs, and then goes back to 0 as soon as possible i.
If you are already used to how synthesizers work then you will manal doubt realise that these two signals are perfect for controlling the envelopes mmanual will be using to shape the sound.
But first, lets get the sequencer wired up to the oscillator and listen to the results. Connect the sequencer output to the input of the note extractor. Now, we can either replace the current inputs to the oscillator with the outputs from the note extractor or we can combine them. Blue inputs can have multiple cables connected to them, and when that happens all the numbers coming in are added together. So if we keep the existing frequency control the variable we can use that as a base frequency to tune the oscillator.
Currently we are using a constant to control the amplitude of the oscillator, but we wont use this anymore so go ahead and delete it. Lets wire up the note extractor to the oscillator, we wont use the control key while wiring the note extractor because we dont want to wire up all 4 outputs to all 4 inputs.
So connect the first two outputs to the first 2 inputs. Try playing around with the oscillator frequency variable and the filter to see bdiule the sound changes. You can also open the panel for the 16 Steps Seq and play around in there. Although there are 18 sliders its quite simple. The first, BPM, just controls how fast the sequence plays. The second, called value, is the amplitude control and the rest control the janual frequencies of the sequence.
Now we can start to add our envelopes to get better control over the shape of the filter and the amplitude as each note plays. Again bidule comes pre-packed with a selection of useful envelope types. You might recognise some of them. The time it takes for the envelope to grow to a maximum value Decay: The time it takes for the envelope to go down to the sustain level Sustain: The level at which the envelope holds while it receives a gate signal.
The time it takes to go down from the sustain level to zero. The gate and trigger are logic inputs as we saw majual when looking at the note extractor. The output value is what we will use to shape the sound, bidue the activity gate is another logic signal which is 1 when the envelope is doing something, i.
Lets wire the note extractor to the envelope, using the third and fourth outputs of the extractor. This time we can hold down control when making the first connection because we want manuao connect both cables. Now we are going to use the envelope to control the filter cutoff of each note as it plays. This will require a little bit mwnual maths, but its nothing scary, just multiplication. What we will do is take the output of the envelope and multiply it with the output of our existing cutoff frequency variable.
So, if we multiply the two together we will get a range from 0 to the value of the frequency variable. Just to make things clearer, lets rename the cutoff frequency control so we dont get confused between this frequency and the other oscillator frequency control. This module provides all the common mathematical operations you will need for working with 2 inputs, multiplication, addition, subtraction etc.