$Page Chiral by Fors
$TargetName Chiral

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*Chiral* by $Link *Fors*<https://fors.fm> 

Chiral is an MPE-enabled Max for Live device inspired by the culture and methodology pioneered by early electronic performance instruments and its scene.

What still resonates with us today is the search for newness, not replicating acoustic & familiar sounds or to conform to expectations of what a synthesizer should sound like.

Through atypical methods of sound-shaping and a vast routing matrix, Chiral embodies a similar unconforming, exploratory attitude and is built to encourage the same in you. At each point along the path, Chiral’s parameters have been tuned to bend beyond & navigate outside of typical synthesis boundaries.

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*Learn:*

-> $Link Phaseshaping Oscillator <GotoPage:Osc>
-> $Link Amplitude Modulator<GotoPage:AM>
-> $Link Dynamics & Slope<GotoPage:Voice>
-> $Link Jitter Modulation<GotoPage:Jitter>
-> $Link Matrix Routing <GotoPage:Matrix>
-> $Link Exploring Space <GotoPage:Space>
-> $Link Using MPE <GotoPage:MPE>
-> $Link Tuning <GotoPage:Tuning>
-> $Link Exporting Waves <GotoPage:Cycle>

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$Comment --------------------------------------------------------------------------------
$Page The Oscillator
$TargetName Osc

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*The Oscillator*

The core of Chiral operates through the unconventional contortion of a sine wave, known as phaseshaping. Through the built-in three-dimensional oscilloscope, the twisting of your waveform is displayed holographically, reminiscent of a Moebius strip. If you think about the sinewave shape as a diagonal line, what phaseshaping does is to disrupt that linear trajectory in various ways which introduce different timbres.

On the left-hand side of the device you will see an elliptical projection of the waveform with the timbral controls underneath. The waveform view will reflect any changes made to the oscillator itself using the timbral controls and serves as an abstract indicator of the core timbre.

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-> *Sync*

This parameter repeats the waveform shape inside of the length of a single cycle. Increasing this value will start repeating the same sinewave repeatedly within the same time period of one sinewave at the frequency of the note.

Typically, this will introduce some rough edges since the repeated waves could end on a non-zero value. To mitigate this, the Sync in Chiral is “Windowed”, so when Sync is increased, the oscillator has an amplitude envelope known as a Hanning Window applied to it. It essentially smooths out the edges of the waveform, using a cosine shape.

-> *Size*

The size of this cosine window can be changed, which results in different overtone patterns. A size of 2 will cause a pattern of odd overtones, resembling a square wave. Try combining different Window Sizes with different amounts of Sync.

-> *Bend*

Until now, everything has been pretty smooth, but Bend will compress the wave forwards, essentially shrinking its size, much like pulse width modulation but smoother. This results in a sharper, almost sawtooth-like, timbre.

-> *Fold*

Adding to harmonic complexity, the Fold parameter introduces symmetrical two-stage wavefolding. To achieve symmetry, the waveform is first mirrored onto itself, which at 50% will sound a lot like a hollow squarewave. After the mirroring, the wavefolding takes effect.

-> *Noise*

Going even further in extremes, the Noise parameter does what it says - it adds noise to the oscillator. It however does this musically, following the cyclical nature of the oscillator itself. While the spectrum of the noise is fully random (also known as “white noise”) the amplitude pattern is again using a single Hanning window that is synced to the oscillator.

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→ $Link Amplitude Modulator <GotoPage:AM>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Amplitude Modulator
$TargetName AM

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*Amplitude Modulator*

The Amplitude Modulator is a second oscillator that modulates the volume of the phaseshaping oscillator, typically in audiorate. This can be used to introduce motion in the sound or to introduce sidebands and overtones. AM is a simple but powerful effect that has a wide range of use.

p_am.png

-> *AM Depth*

This simply controls the depth of the AM effect.

-> *Frequency*

The AM frequency is relative to the frequency of the phaseshaping oscillator - meaning that the value is an offset rather than an absolute frequency and will follow the pitch. At a value of 0, it’s the same frequency as the main oscillator and anything above or below is deviating. Increments of 10 are typically more harmonic, and 30% equals a frequency ratio of 2, useful for introducing square-like timbres.

-> *Feedback*

The modulating oscillator can modulate itself, known as a feedback connection. By feeding back its own signal, the amplitude modulation will become sharper and more defined and is useful for more harmonically rich modulation.

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→ $Link Dynamics & Slope <GotoPage:Voice>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Dynamics & Slope
$TargetName Voice

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*Dynamics & Slope*

Chiral features two temporal modulation sources, the Amp Envelope and the Slope Generator. They are freely assignable, but the Amp Envelope will always control the dynamics of the synthesizer voice while the Slope Generator is available as a dynamic modulation source.

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*Amp Envelope*

Attack, Decay, Sustain, Release - this cornerstone of synthesis encompasses a wide range of different dynamic expressions, ranging from soft pads to sharp plucks.

-> *Attack* - controls the duration of the fade-in of the sound.

-> *Decay* - controls the duration of the time from maximum attack (loudest) to the sustain level.

-> *Sustain* - controls the level of the sustain stage, this will be active as long as there is a MIDI note still held.

-> *Release* - controls the duration of the fade-out of the sound, from the sustain level to absolute silence.

To learn more about how an ADSR envelope works, please see this $Link article <https://www.soundonsound.com/techniques/more-about-envelopes> or $Link video. <https://www.youtube.com/watch?v=A6pp6OMU5r8>

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*Tonal Controls*

-> *Tone*

Tied to the dynamics is the Tone control. This is essentially a filter that attenuates high frequency harmonics of the sound. It reacts to the Amp Envelope, behaving similarly to a Low Pass Gate. If you lower the value, the relation will be more noticeable and at very low values the sound will become much softer.

-> *Dirt*

At the end of the signal chain there is a saturation effect called Dirt. This introduces harmonic distortion and will affect the total output of the device, including the Space effect and all voices going through it. This can be used for subtle degradation of the sound, or complete destruction.

-> *Volume*

This controls the output volume of the synth voice and will affect how strongly it’s sent to the Space effect and subsequently Dirt saturation. Note that if you want to achieve maximum dirtiness, you need to set the Volume to max.

p_slope.png

*Slope Generator*

This modulation source is a bit more avantgarde than the trusty ADSR. The inspiration for the Slope Generator harkens back to old and, somewhat, affordable modular synth systems that would have a more generic envelope - known as slope - that can fit a wide range of use cases.

-> *Angle*

The Angle of the Slope changes the symmetry, with negative values making it more percussive and positive more of a fade-in. At 0, the Slope is perfectly symmetrical and will resemble a triangle wave.

-> *Lin/Exp*

Lin/Exp will select between if the shape should be Linear or Exponential, the former being more consistent and the latter more organic. Typically, Linear is good for LFO-duties, like adding vibrato or subtle cyclical drifts to a parameter. Exponential is usually preferred for percussive modulation, and when using the Slope as an envelope, as it sounds snappier.

-> *+/-*

This button will select between a Unipolar and Bipolar output of the Slope. Unipolar outputs 0 to 1 and Bipolar -1 to 1. What this means in practice is that Unipolar will only add to values up and down whereas Bipolar will both add and subtract, resulting in symmetric modulation. For something like vibrato you would choose Bipolar, and for an envelope you would go with Unipolar.

-> *Mode*

The Slope has several Modes which control how it’s triggered and played back:

*Free* will always keep the Slope running without interruption, looping indefinitely.
*Trig* will reset the phase of the Slope each time there is a MIDI Note sent to the device, resulting in more consistent modulation.
*One* will play the shape of the Slope once per MIDI Note and then stop, much like how an envelope behaves.

To make use of the Slope, you will need to route it in the Matrix.

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→ $Link Jitter Modulation <GotoPage:Jitter>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Jitter Modulation
$TargetName Jitter

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*Jitter Modulation*

Jitter is a modulation source that introduces random deviations to some of the oscillator parameters. By default, the modulation is a smooth random drift but it can also be changed to step mode for a more jarring behavior.

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Below each modulateable parameter there is a jitter-icon with an indicator next to it. To increase the amount of modulation received, simply click and drag until the indicator starts appearing brighter. The modulation received will be indicated by the brightness and is both polyphonic and independently random for each parameter.

To change the speed or mode of the Jitter, open the Matrix tab.

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→ $Link The Matrix <GotoPage:Matrix>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page The Matrix
$TargetName Matrix

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*Matrix Routing*

The Modulation Matrix lets you route the sources (top) to most of the parameters of the synth (left)
This flexible and configurable method of routing modulation lets you shape not only the sound but behaviors as well.
For example, it can be as simple as sending the Slope output to Pitch for a vibrato effect, or as complex as controlling things via MIDI in several layers.

p_matrix.png

To route any source to any destination, simply increase the value of the number box that lines up with that destination (left) and source (top)

By clicking the Osc/Voice box in the upper left corner of the Matrix, you select between the Voice destinations and the Oscillator destinations. Voice is corresponding to controls that relate to anything outside of the core oscillator functions and vice versa.

Each destination and source is polyphonic, meaning they will react and control per voice when interacted with - which comes into full play when used with an MPE controller.

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→ $Link The Space Effect <GotoPage:Space>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Space Effect
$TargetName Space

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*The Space effect*

Is space infinite? We don’t know. This effect, while not infinite, generates incredibly vast ambience.
This reverb replicates nothing. It creates a completely alien world where any input will resonate far and wide.

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-> *Space Depth*

This controls the balance between the Dry synth output and the Wet Space effect.

-> *Gravity*

This controls the vastness and density of the Space. At very low values it’s simply a softened layer of the original sound, but once expanded it spans all the way from orbit to leaving the solar system. At extreme settings, one can hear the granules being stretched as wide as they can, unless there is a long Trail effect.

-> *Trail*

This controls the elongated tail of the reverberation. At low values the space will cut off somewhat abruptly, but pushed to extremes it will go on and on. A higher Trail amount will also highlight the high-mid frequencies of the sound and blur the input until it’s merely a distant light in the sky.

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→ $Link Using MPE <GotoPage:MPE>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Using MPE
$TargetName MPE

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*Using MPE*

MPE stands for MIDI Polyphonic Expression and is a feature available in *Live 11.* 

This standard allows you to use a compatible controller to adjust the sound per note and is fully mappable inside the Modulation Matrix of Chiral. Instead of a MIDI message applied to a whole chunk of notes that occur at a similar time, MPE acts on each note individually and allows for complex movements and expressive playing, much like a physical instrument would.

-> *Pitch Bend*

This typically controls by the left and right movement of your finger on an MPE-controller. It allows for playing with vibrato by moving your finger sideways while playing a note, but can be mapped to anything.

-> *Slide*

This typically relates to the up and down movement of your fingers.

-> *Pressure*

This usually means aftertouch, or the depth of your finger- how hard you press.

Each of these expression controls are mappable inside for the Modulation Matrix and allows for complex and expressive control over Chiral. 

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→ $Link Tuning <GotoPage:Tuning>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Tuning
$TargetName Tuning

tuning.png

*Tuning*

It is possible to use different tunings than the default 12-TET in Chiral, as well as change the reference pitch from the standard concert pitch of 440Hz. The Tuning window is opened by pressing the Tuning Fork above the oscilloscope.

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-> *EDO steps*

$Link From the Xenharmonic Wiki: <https://en.xen.wiki/w/EDO> An equal division of the octave (EDO) is a tuning obtained by dividing the octave in a certain number of equal steps. This means that the interval between any two consecutive pitches is identical. A tuning with n equal divisions of the octave is usually called "n-edo" ("n-EDO"). For instance, the predominant tuning system in the world today is 12-EDO.

Using a different value than 12 allows for easy exploration of Micro- and Macrotonal tunings. Note that the Piano Roll or MIDI input does not change, only the internal note-to-frequency conversion.

-> "Reference Pitch"

This sets the frequency of the reference middle A. 440 Hz is the most commonly used pitch in equal temperament tuning.

-> "Octave Offset"

This transposes the tuning of Chiral up or down an octave in the amount of EDO steps chosen. This is useful for lower or higher step EDOs where the MIDI note range might be too high, low or insufficient.

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→ $Link Exporting Waveforms <GotoPage:Cycle>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Exporting Waveforms
$TargetName Cycle

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*Exporting Waveforms*

Chiral can export its oscillator shape to a single cycle waveform in a wave file. This is a type of sample used by many wavetable synthesizers and can be a way to use your sampler as more of a synthesizer. The idea is to loop one short waveform so that it essentially becomes an oscillator. This technique has been used across many kinds of instruments, from old classic tracker software (writing chiptunes) to modern wavetable synthesizers.

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To export the current oscillator shape as a waveform, click the arrow in the upper right of the waveform window. This will bring up the Export menu in which you can either select one of the preset configurations or enter whichever format you need.

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→ $Link Final Words <GotoPage:Extra>


↑ $Link Top <GotoPage:Chiral>


$Comment --------------------------------------------------------------------------------
$Page Final Words
$TargetName Extra

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Thank you for the support, always.
We hope you enjoy this instrument.

*Credits:*

Concept by Ess & Felisha Ledesma
Design & Development by Ess Mattisson
Copy by Angelo Harmsworth

If there are any questions, issues, or if you just want to say hello, please contact us via $Link hi@fors.fm <mailto:hi@fors.fm> 

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↑ $Link Top <GotoPage:Chiral>

