Ronin User’s Guide Audio Damage, Inc. Release 1.
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Credits Software Design and Construction, Documentation Chris Randall Adam Schabtach Field Testing Wade Alin Carl Downing Mike Fisher Steve Hamann Jeff Laity Made Possible By Tracie Lisa Fuzzy Logic Alex Chica Edwin Fatty Madeline Pablo Widget Zed 5
Welcome Thank you for purchasing Ronin, Audio Damage’s modular multi-effects plug-in. While Ronin was built primarily for delay-based effects and looping, its modular architecture and complement of filters and lowfrequency oscillators allows it to create a wide range of sounds. This manual provides a brief overview of Ronin, followed by detailed descriptions of all of its modules. You’re entirely welcome to plunge ahead, install Ronin, and flip through its presets without reading any further.
System Requirements To use Ronin, you'll need a Steinberg VST-compatible host application which conforms to the VST 2.0 specifications, and a computer capable of running it. For the Audio Unit version of Ronin, you’ll need an application capable of hosting AudioUnit plug-ins, and a computer capable of running it. The following specifications represent minimum requirements. We support the use of Ronin under Microsoft Windows XP or Vista and Apple OS X version 10.4 or newer.
Relocated Modulation Controls: The modulation depth controls now appear next to the Control Routing Matrix, making their use and position within Ronin’s signal flow more apparent. It’s an AU, Too: OS X users will find that Ronin now shows up in the plug-in list of their favorite Audio Unit-hosting applications. Ronin’s signal-processing internals have not changed, nor has its preset-data format. You can use the new version of Ronin in any existing DAW sessions without a hitch.
Overview Here is a picture of Ronin’s editor window, followed by brief descriptions of its modules and their controls: 1. Delays – two delay modules, each up to 12 seconds long, with coarse and fine time controls, looping, reverse playback, time sync to your VST host’s current tempo, and bypass switches.
2. Filters – two resonant multi-mode filters, with morphing between low pass, band pass, high pass, and notch frequency response modes. 3. Saturators – two saturation stages for creating tube-like distortion. 4. Output and Panning – two sets of output level and stereo panning controls. 5. Master Level Controls – gain controls for the input signal and the processed and unprocessed output signals, switches to mix the input signals to mono and to silence the input signal altogether. 6.
The audio routing matrix is the most dangerous part of Ronin. Because you may patch the audio inputs or outputs of any module to any other, you can create signal chains that would not be useful under normal circumstances, such as routing filters back in to themselves, a practice that will almost certainly result in banshee wails of feedback.
older counterparts. On the other hand, older digital delays usually had limited dynamic range and undesirable distortion. Ronin’s delays use 32-bit floating-point samples to create a full-bandwidth, noise-free delay. Each delay has a maximum delay time of 12 seconds. The delay times are freely adjustable across their entire range, and can be locked to the tempo of your VST host sequencer. The delays can be used as loop recorders, letting you record new audio over a repeating phrase.
you adjust the time slider, you will see that the delay time is show in metrical units. Delay times are expressed as fractions of a beat, with the assumption that a beat is one quarter of a measure, at the current tempo of your VST sequencer. Dotted times are represented with the addition of a period (.) in the display, and triplets are represented by a capital T. For example, a sixteenth-note triplet is shown as 1/16 T in the display.
When the Loop switch is turned on, the feedback input is automatically turned off. This is to make it easier to switch back and forth between looping and non-looping delay applications. If the feedback input were left on when the loop was turned on, the audio in the delay line would be added to itself over and over again, rapidly creating a thick, distorted mess. The Reverse switch causes the delay line to record and play back in the opposite direction.
High pass: signals whose frequency is above the center frequency are passed unmodified, signals whose frequency is below the center frequency are attenuated. Band pass: signals whose frequency is near the center frequency are passed unmodified, signals whose frequency is further away from the center frequency are attenuated. Band reject: signals whose frequency is near the center frequency are attenuated, signals whose frequency is further away from the center frequency are passed unmodified.
distorting delayed signals to emulate the less-than-pristine characteristics of older hardware delays, and distorting signals to increase their harmonic content making subsequent filtering more noticeable. The saturators each have a single control that adjusts how much they boost and distort the signal. If the slider is all the way at the left, the saturators have almost no effect on the signal passing through them. As you move the slider to the right, the output signal becomes louder and more distorted.
Master Input and Output Controls The input and output sliders provide adjustable amplification and attenuation of the signals as they enter and leave the plug-in. Each has a range of –80dB, which effectively silences all but the loudest signals, to +3dB, which provides a small amount of boost. Since Ronin is capable of creating effects with a wide dynamic range, the input and output controls are helpful for keeping signals within useful levels.
Routing Matrix The signal routing matrix, found on the right in the Routing Matrix section of Ronin’s window, is how you connect the audio processing modules to each other, and to the plug-in’s inputs and outputs. All of the inputs and outputs for each audio module are represented in the signal routing matrix. The audio signal from any module can be connected to the inputs of one or more other modules. Signals from several modules can be mixed together and connected to one or more other modules.
FILTER 1, FILTER 2: the inputs of the two multi-mode filters. SAT 1, SAT 2: the inputs of the two saturation modules. OUTPUT 1, OUTPUT 2: the outputs of the plug-in. Audio signals routed to these destinations are sent to your VST host, after passing through the output level and panning controls. You must connect something to these destinations in order to hear the audio processed by Ronin.
The Rate slider determines how fast the output of the LFO varies over time. If the sync button is not turned on, the LFO’s rate can be varied from one cycle every 100 seconds (that is 0.01 cycles per second, abbreviated 0.01 Hz) to ten cycles every second (10 Hz). The Shape slider and buttons work together to control how the LFO’s output varies over time. The buttons let you choose one of four waveforms, with triangular, rectangular, sinusoidal, and randomly determined shapes.
Note that the output of the LFO is bipolar, that is, it varies above and below zero. When you use an LFO to modulate a parameter, the parameter will change up and down relative to the value that you set with its slider. If the Sync button is turned on, the LFO’s rate is determined by the tempo of your music as reported by your VST host sequencer. A value of 1/1 represents a whole note, a value of 1/8 represents an eighth note, and so on.
regular notes, are shown with a T in the display. “1/16T” represents a duration equal to 2/3 that of a sixteenth note. If LFO 2’s Reset switch is turned on, the second LFO always resets to the beginning of its cycle when the first LFO starts its cycle. This switch has no effect if the Sync switch is turned on. Envelope Follower The envelope follower generates a modulation signal by measuring the amplitude (or loudness) of the signal arriving at the plug-in’s inputs.
MIDI Data from your MIDI keyboard or other MIDI controllers can be used as a modulator in several ways, enabling Ronin’s effects to respond dynamically as you play. One modulation signal is generated from MIDI note numbers received by Ronin. If you play middle C (MIDI note number 64) on your keyboard, a modulation value of zero is generated. As you play up the keyboard from middle C, the modulation value increases. If you play C one octave above middle C, the modulation value is +1.
You can think of signals entering the routing matrix at the top and leaving on the right. The columns are labeled with the names of modulation sources, and the rows are labeled with the names of modulation destinations. The sources are labeled across the top of the matrix as follows, in left to right order: ENV: the output of the envelope follower. LFO1, LFO2: the outputs of the two low-frequency oscillators. NOTE: the modulation signal generated from MIDI note numbers, in proportion to their pitch.
PAN 1, PAN 2: the stereo panning position of the two output signals. Modulation signals connected to these destinations are added to the current position of the Pan sliders in the Master Controls section. Use this destination to make Ronin’s output move around in the stereo field. OUTPUT 1 LEVEL, OUTPUT 2 LEVEL: the loudness level of the two output signals. Modulation signals connected to these destinations are added to the current position of the Output sliders in the Master section.
the loudness of the incoming signal. (Controlling a filter with an envelope follower in this manner is often called an “auto-wah” effect.) If you move the depth control below its center position, the filter frequency will decrease when the incoming signal becomes louder, because the modulation signal coming from the envelope follower is inverted before it is applied to the frequency parameter. Things become more complicated when using bipolar modulation sources, such as the LFOs.
3. The blue square will disappear. Now Ronin’s control will move when you manipulate the MIDI controller. Ronin waits until it has received two consecutive continuous controller messages with the same controller number before it makes an assignment. This filters out extraneous data sent by some MIDI controllers. If you are assigning a button or switch on a MIDI controller, you may have to press or move the switch twice before Ronin recognizes the controller and assigns it to the desired parameter.
Putting It All Together: Some Examples Here are detailed descriptions of four of Ronin’s presets, which you will find near the bottom of the preset list. These descriptions illustrate some of the techniques you will use to create your own effects with Ronin. Place Ronin as an insert effect on a channel in your VST host, then load the presets as you read about them here.
Stereo Delay with Cross Feedback and Filtering This preset demonstrates Ronin’s ability to set its delay times based on your VST host’s current tempo, and how to use the signal matrix for creating filtered delay and stereo delay effects. Look first at the Routing Matrix section. There are no connections in the modulation matrix, so the LFOs, envelope follower, and MIDI have no effect.
Also notice that we’ve connected the output of delay 1 to the feedback input of delay 2, and vice versa. This means that signals emerging from one channel’s delay will be sent to the input of the other channel’s delay, which will cause the delayed signals to bounce back and forth in the stereo field.
Filtered Auto-Panning This preset doesn’t use Ronin’s delays or panning controls at all. Instead it uses filters modulated by the LFOs to create a swirling effect. As you can see by looking at the signal matrix, the signal connections are simple: the left and right input channels are connected to filters 1 and 2, and the filters are connected to their corresponding output channels.
The connections in the modulation matrix are a little more complicated. LFOs 1 and 2 are connected so that they modulate the frequencies of the filters. Notice that the depth controls for both filters are moved to their far right position, so that the LFOs create large changes in the frequencies of the filters. The LFOs are also connected to the two Pan modulation destinations. The Pan controls are at their center positions, but their depth controls are also at the far right.
Ducked Delays “Ducking” is the process of lowering the loudness of one signal in response to the loudness of another signal. For example, ducking is used in radio broadcasts to lower the volume of the music while the DJ talks. In this preset, we use ducking to lower the volume of the output of delays so that the delay effect is not heard until after you stop playing.
The Wet and Dry level controls are set to the same value so that the delayed signals are as loud as the original signal. The Pan positions are set to the left and right to give the delayed signals balanced stereo placement without extreme panning. Here’s the tricky part: the output of the envelope follower is connected to both output Level modulation destinations. The depth controls for both of these destinations are at their lowermost positions.
Fun With Looping This preset will introduce you to some of the fun things you can do with Ronin’s looping delays. You’ll need a synthesizer, guitar, microphone, or some other way of getting audio into your VST host in real time to follow our explanation. Look at the signal matrix. The left input is connected to delay 1, but we’ve turned on the Mono switch in the Master section so both input channels are sent to delay 1.
Delay 1 is set up for interactive looping. The Sync switch is on so that the length of the loop is determined by your sequencer’s tempo, which should be set to some moderate value like 120bpm. The Loop switch is turned on so that audio recorded in the loop will play indefinitely. Delay 2 is set to a very short delay time. Outputs 1 and 2 are panned slightly left and right. This creates a stereo chorusing effect, since the left and right outputs of the plug-in are delayed slightly with respect to each other.
And Finally… Thanks again for purchasing Ronin. We make every effort to ensure your satisfaction with our products, and want you to be happy with your purchase. Please write info@audiodamage.com if you have any questions or comments.
