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Instruction Manual

Sonic Academy ANA V2 Manual


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Table of Contents

1. Introduction����������������������������������������������������3 Wshaper������������������������������������������������������������������������� 26
2. Installation�����������������������������������������������������3 Cshaper�������������������������������������������������������������������������� 27
A Note Regarding the Slate Digital Bundle��������������������������� 3 Bitcrusher������������������������������������������������������������������������ 28
Microsoft Windows Installation������������������������������������������� 3 Tubedrive������������������������������������������������������������������������ 29
Apple Mac Installation�������������������������������������������������������� 3 Hi-Gain���������������������������������������������������������������������������� 30
3. Interface���������������������������������������������������������4 Clipper���������������������������������������������������������������������������� 31
4. Presets�����������������������������������������������������������5 Tape V1��������������������������������������������������������������������������� 32
Selecting Presets��������������������������������������������������������������� 5 Chorus���������������������������������������������������������������������������� 33
Preset Browser������������������������������������������������������������������� 5 Phaser���������������������������������������������������������������������������� 34
Saving Presets������������������������������������������������������������������� 5 Ensemble������������������������������������������������������������������������ 35
5. Top Bar�����������������������������������������������������������6 Compressor��������������������������������������������������������������������� 36
6. OSCs 1-3 Wavetable���������������������������������������7 Dim Exp�������������������������������������������������������������������������� 37
Overview��������������������������������������������������������������������������� 7 Limiter����������������������������������������������������������������������������� 38
Waveform Browser������������������������������������������������������������� 7 Multi-Limiter�������������������������������������������������������������������� 39
Waveform Browser Tree Mode��������������������������������������������� 8 Multi-Compressor������������������������������������������������������������ 39
OSC 1-3 Controls��������������������������������������������������������������� 8 Sidekick��������������������������������������������������������������������������� 40
OSC Selection������������������������������������������������������������������� 8 Ring Modulator���������������������������������������������������������������� 41
OSC Top Display����������������������������������������������������������������� 8 Brassify��������������������������������������������������������������������������� 42
Unison Controls����������������������������������������������������������������� 9 Samoflange��������������������������������������������������������������������� 43
SUB and MIX Controls�������������������������������������������������������� 9 12. ARP������������������������������������������������������������44
2D Waveform Controls����������������������������������������������������� 10 Overview������������������������������������������������������������������������� 44
3D Waveform Controls����������������������������������������������������� 10 Topbar����������������������������������������������������������������������������� 44
FM - Frequency modulation���������������������������������������������� 10 Pattern Area Concept������������������������������������������������������� 45
7. OSCs 4-6 Sampler����������������������������������������11 Arp Common Controls������������������������������������������������������ 46
Overview������������������������������������������������������������������������� 11 13. CMD�����������������������������������������������������������48
Sample Browser��������������������������������������������������������������� 11 Overview������������������������������������������������������������������������� 48
Sample Browser Tree Mode���������������������������������������������� 12 CMD Controls������������������������������������������������������������������ 48
Sampler 4-6 Controls������������������������������������������������������� 12 CMD Front Panel Quick Controls��������������������������������������� 50
Sampler Selection����������������������������������������������������������� 12 14. EQ��������������������������������������������������������������51
Sampler Controls������������������������������������������������������������� 13 Overview������������������������������������������������������������������������� 51
8. Filters�����������������������������������������������������������14 EQ Controls��������������������������������������������������������������������� 51
Filters Overview��������������������������������������������������������������� 14 EQ Front Panel Quick Controls������������������������������������������ 52
Filters Categories������������������������������������������������������������� 14 14. OSC MIXER�������������������������������������������������52
Filters Routing����������������������������������������������������������������� 15 Overview������������������������������������������������������������������������� 52
Filters Controls����������������������������������������������������������������� 15 OSC Mixer Controls���������������������������������������������������������� 52
9. Envelopes�����������������������������������������������������16 15. MACRO AND MOD MATRIX����������������������������53
Envelopes Overview��������������������������������������������������������� 16 Overview������������������������������������������������������������������������� 53
Envelopes Controls���������������������������������������������������������� 16 Macros Matrix Controls����������������������������������������������������� 53
Filter & Amp Envelope������������������������������������������������������ 17 Mod Matrix Controls��������������������������������������������������������� 54
MOD Envelope����������������������������������������������������������������� 17 Right Click Mod Assign����������������������������������������������������� 54
10. G-ENV��������������������������������������������������������18 16. SETTING TAB������������������������������������������������55
G-ENV Overview��������������������������������������������������������������� 18 Settings controls�������������������������������������������������������������� 55
G-ENV Control Front Panel������������������������������������������������ 18 16. LFO's����������������������������������������������������������56
G-ENV Controls Big Screen����������������������������������������������� 19 Overview������������������������������������������������������������������������� 56
11. EFFECTS�����������������������������������������������������20 LFO Controls�������������������������������������������������������������������� 56
Effects Overview�������������������������������������������������������������� 20 17. KEYBOARD��������������������������������������������������57
Common controls������������������������������������������������������������ 20 Keyboard Controls������������������������������������������������������������ 57
Reverb - Hall�������������������������������������������������������������������� 21
Reverb - Plate������������������������������������������������������������������ 22
Delay������������������������������������������������������������������������������ 23
Ping-Pong Dleay�������������������������������������������������������������� 24
Verbatron������������������������������������������������������������������������ 25

Sonic Academy ANA V2 Manual


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1. Introduction
Hi, Thanks for buying or trying out ANA 2. ANA 2 is a hybrid virtual analog and sample based synthesiser plugin.
We have an all new state of the art wavetable synth engine, modelled analog filters and all new effects modules.
We are super passionate about synthesis and try hard to deliver a wide range of useful high quality sounds.

2. Installation
Prior to installation, you first need to download the ANA 2 license key from the My Account page - https://www.
sonicacademy.com/my_account/downloads/plugins. Place the license key on your desktop and select it when
asked by the plugin. Once complete the license can be removed from your computer. Should you need to
reinstall ANA 2 at any time, you can download the license key from your account page.

A Note Regarding the Slate Digital Bundle


The ANA 2 version via the Slate Digital Installers, like other Slate Digital products, is compliant with the iLok
licensing scheme. So if there is a Slate license found in your iLok location (USB dongle or iLok cloud) following
Slate Digital's instructions then ANA 2 can run on your computer

Microsoft Windows Installation


Run the full version installer that comes with the download to install ANA 2 on your hard drive. During the
installation process you will see an option screen asking you to select which version of ANA 2 you want to install
- VST or AAX. Once installation is complete you can then select ANA 2 from within your DAW. You will be asked for
your license key - simply point it to the file you downloaded previously.

Apple Mac Installation


Run the full version installer that comes with the download to install ANA 2 on your hard drive. Once installation
is complete you can then select ANA 2 from within your DAW. You will be asked for your license key - simply point
it to the file you downloaded previously

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3. Interface

1. Control Info, Menu & Settings Presets and 7. Macro Controls


Meters, 8. EQ Quick Controls
2. Virtual Analog & Wavetable Oscillators 9. Main Display
3. Sampler 10. Low Frequency Oscillators
4. Filters 11. Keyboard Controls
5. Envelopes 12. Keyboard
6. Graphical Envelope 13. Chord Memory quick controls

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4. Presets
Selecting Presets
Presets can be selected either using the left and right arrow buttons or by clicking the Down arrow to select the
quick browser or by clicking on the preset name and opening the Preset Browser.

Preset Browser
The preset browser enables you to filter the preset list on the right by clicking on items in the Category, Sub
Category, Genre or User Tags columns. This will then show a filtered list based on your selections. You can also
click on the each columns title to select different column options.
You can sort the preset list either alphabetically by clicking on the Preset column title or sort by category by
clicking on the Category column title.
You can use the Search Box on the bottom right to search for specific presets based on a string of text.

Saving Presets
Presets can be saved either using the save or save as buttons.

Save - Overwrites the current preset

Save As - Saves the preset to a new user defined location

Presets in the factory bank should not be overwritten and should be saved to a new location.
The User Bank is where you save your own modified or custom presets.
DLC bank is where preset packs bought from the Sonic Sounds Store will be stored.

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5. Top Bar

Voice Count - Shows the number of voices currently being used. This can give you an idea of how much CPU
processing is being used.

Control Info - Shows the currently activated control and its parameter value.

Setting Cog - Opens the Setting window.

INIT - Loads the default preset.

Meter and Volume - Displays the volume level and Volume control.

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6. OSCs 1-3 Wavetable

Overview
OSC 1-3 are wavetable oscillators with 2 types of waveform you can select. 2D wavetables are fixed single cycle
waveforms much like an analogue synth. 3D Wavetables have multiple frames that can be scrolled through
using the Morph Control giving you the potential for more complex evolving sounds.

Waveform Browser
You can access the wave browser by clicking on the current waveform name just above the waveshape display.
This opens up the wave browser panel. You can select which OSC or Sampler to load a wave into by selecting the
OSC 1 to 3 buttons or Sampler 4 to 6 buttons.

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Waveform Browser Tree Mode
You can toggle between the standard column mode or tree mode by click the buttons
located in the centre of the wave browser panel. Tree mode enables you to add custom
folders to your folder lists.

OSC 1-3 Controls


ANA 2 has many controls for modifying and shaping the sound from the oscillators.

OSC Selection
There are 3 main oscillators in ANA 2, you can switch between them using the OSC Select buttons.

OSC Top Display


In this section we have OCTAVE, SEMI and FINE for controlling the pitch of the sound. VEL defines the amount
Keyboard velocity impacts the Volume. MVEL defines how much keyboard velocity impacts the 3D Morph control.
KEY controls how much keyboard pitch tracking there is from none at 0 to full tracking at 100.

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ANA 2 has 9 voice unison per OSC with phase management. The phase management ensures that you get less
phase overlaps that can cause thinner or more unstable sounds.

Unison Controls
Voices - Controls the number of unison voices.

Detune - Controls how much pitch detuning is happening between voices.

Width - Sets the amount of stereo spread between each voice.

Shape - Changes the pitch spread relationships from Linear to logarithmic.

SUB and MIX Controls


Sub - Controls the Volume of the Sub oscillator.

Pan - Controls the position in the stereo field from the Left to Right channel.

Filter Mix 1/2 - Sets the amount of signal sent to Filter 1 (left) Both (middle) or Filter 2 (right)

Volume - Changes the oscillators volume.

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2D Waveform Controls
Phase - Changes the phase of the waveform.

Pulse Width - Squashes the waveform to the left to create a pulse width effect.

Sync - The Sync in ANA 2 is self synchronized. The pitch of the wave is increased while keeping the same
waveform window size.

3D Waveform Controls
When the selected waveform is a 3D Wavetable the PHASE control is swapped for a MORPH control. The morph
control steps through the different frames in the 3D wavetable.

FM - Frequency modulation
FM synthesis is when one waveform modulates the frequency of another waveform to create a more complex
sound. In ANA 2 you can modulate the frequency of each oscillator using various sources as follows:

OSC 1 - Can use OSC 2 or OSC 3 as the modulator.

OSC 2 - Can use OSC 3 or the SUB as the modulator.

OSC 3 - Can only use the SUB as the modulator

You can select which sources is being used as the modulator by clicking on its name in the source selector
panel in the FM section. You can also select from 4 modulator Filter options in the OSCs Settings drop
down. This can help clean up the FM sound.

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7. OSCs 4-6 Sampler

Overview
OSC 4-6 are sample players. You can load samples from the included library or set up custom locations for your
own samples or simply drag and drop files from your computers file system. The sampler has Loop (with Cross
fade) and Reverse.

Sample Browser
You can access the sample browser by clicking on the current waveform name just above the sample waveform
display. This opens up the wave browser panel. You can select which OSC or Sampler to load a wave in to by
selecting the OSC 1 to 3 buttons or Sampler 4 to 6 buttons.

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Sample Browser Tree Mode
You can toggle between the standard column mode or tree mode by clicking the
buttons located in the centre of the sample browser panel. Tree mode enables you to
add custom folders to your folder lists. Simply click on the +ADD FOLDER text button at
the bottom of the first column

Sampler 4-6 Controls


ANA 2 has various controls to help control the play back of the samples

Sampler Selection
There are 3 samplers in ANA 2, you can switch between them using the sampler select buttons.

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Sampler Controls
In this section we have all the various sampler controls for managing sampler play back and pitch etc.

Waveform - Displays the currently selected sample... Clicking the waveform names open the sample browser.

Clear - Clears the current sample.

Retrig - Toggles between the sample starting at the start point or starting from a random location in the sample.

Loop - Toggles loop mode on and off.

Reverse - Reverses playback of the sample

OCTAVE, SEMI FINE - Controls the pitch of the sound.

VEL - Defines the amount Keyboard velocity impacts the Volume.

KEY - Controls how much keyboard pitch tracking there is from none at 0 to full tracking at 100.

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8. Filters

Filters Overview
ANA 2 Features 2 Filters with 46 filter types. These can be arranged in Series and parallel mode and have and
analog overdrive section.

Filters Categories
ANA 2 Features 3 Filter Categories: Analog, Vowel, Other.

Analog - This section contains analog modelled filters based on various popular filter types from classic synths.

Vowel - This section contains the vocal or vowel filters.

Other - This section contains all the filters from ANA1 and a few other interesting Phase based filter types

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Filters Routing
Parallel:

Series:

Filters Controls
Cutoff - Controls the frequency at which harmonics are removed from the waveform.

Res (Resonance) - Boosts or cuts part of the signal that surround the frequency as defined by the cutoff.

Env - Controls the amount of signal that will be sent to the filter envelope section.

Key - Controls the amount of filter applied across the keyboard.

Vel - Modulates the filter cutoff from the note velocity

Cutoff 1 /2 - Is linked to both filter 1 and 2, controls both cutoff parameters simultaneously

RES - Is again linked to both filter 1 and 2’s resonances controls. Will controls the resonance parameters
simultaneously.

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9. Envelopes

Envelopes Overview
ANA 2 has three envelopes types which are abbreviated to FILT ENV, AMP ENV and MOD ENV on the interface.
Envelopes enable you to control a certain function over time using Attack Time, Decay Time, Sustain Level, and
Release Time

Envelopes Controls
All the envelopes share the same controls:

Attack - Controls the time taken for a signal go from zero amplitude to a predetermined amplitude.

Decay - Controls the time taken for a signal to fall to the sustain level following the initial attack time.

Sustain - Controls the desired signal level of the held note.

Release - Controls the time taken for the signal to fall from the sustain period to zero amplitude.

Velo - Controls the velocity sensitivity of the Filt env and how it will react with incoming signals.

Curve - Here you can select if the envelope acts in a linear or exponential way.

Envelope Type - ANA 2 has 2 main envelope types ANA 1 and ANA 2, both with analog variants. ANA 1 replicates
the envelope shape from ANA 1.5 and is great for fast plucks and replicating ANA 1 presets. The ANA 2 shape is
modelled on a string pluck and has a more natural sound. The analog variants have slower attacks and other
non-linearities which replicate some features from an analog synths envelopes.

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Filter & Amp Envelope
The Filter Envelope is hard wired to control the filter cutoff from both filters. You can control the amount the
envelope effects each filter with the filter env control in the filter section. The Amp Envelope is hard wired to
control the volume amplitude..

MOD Envelope
The MOD envelope is a freely assignable envelope. You can assign it by either right clicking the control you
would like to assign or by opening the MOD matrix and choosing a source and one of the mod envs as a
destination. There are 4 separate mod envs so you can control multiple parameters individually.

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10. G-ENV

G-ENV Overview
ANA 2 has three graphical envelopes each with virtually unlimited nodes to create your own envelope shapes,
which in turn can be assigned to all of ANA 2's modulation targets. The G-Env has many possible functions from
creating simple custom filter and amp envelope shapes, pitch sweeps for creating kicks, controlling and creating
pan effects, to adding subtle oscillator pitch movements to create analog style drifting. You can even use the
G-Env to create the ubiquitous dubstep 'wub' sound.

G-ENV Control Front Panel

Full Screen - Opens the G-Env into the large screen work area.

G-Env Select - Selects whether you are editing G-Env 1, 2 or 3.

Target Select - Drop down menu of G-Env modulation targets.

Beats - Determines the length of the envelope expressed in beats.

Loop - Turns on continuous looping, creating a custom LFO.

Sync - Synchronises the G-Env to the host tempo.

Retrig - When retrig is on (highlighted) each key press triggers the G-Env from the first node. When it is off it
triggers from where it currently is in its cycle.

Snap - Snaps the nodes to the nearest 'V' and 'H' points on the G-Env grid.

Depth - Controls the amount of modulation being sent to the target parameter.

Rate - Controls the rate or speed of the G-Env.

Phase - Controls the starting position of the G-Env with in the cycle.

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G-ENV Controls Big Screen

G-Env Select - Select whether you are editing G-Env 1, 2 or 3

Save As - Save currently active G-Env into the user presets folder for use in another preset.

Preset Box - Open factory, DLC, and user presets from the drop down menu.

Mod Destination - Select from the drop down the target of the G-Env.

Depth - Controls the amount of modulation being sent to the target parameter.

Rate - Controls the rate or speed of the G-Env.

Phase - Controls the starting position of the G-Env with in the cycle.

Loop - Turns on continuous looping creating a custom LFO.

Retrig - When retrig is on (highlighted) each key press triggers the G-Env from the first node. When it is off it
triggers from where it currently is in its cycle.

Sync - Synchronises the G-Env to the host tempo.

Step - Creates node points to the nearest left and right grid positions, creating a step sequence in your G-Env.

Snap - Snaps the nodes to the nearest V and H points on the G-Env grid.

Clear - Creates a blank G-Env.

Beats - Determines the amount of vertical and horizontal grid divisions within the G-Env for a greater, more
precise control.

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11. EFFECTS

Effects Overview
ANA 2 comes with 24 built in world class effects that can be used in 5 insert slots, or in the two unique send
and return slots. The 5 insert slots can be re-ordered by simply grabbing and moving the tabs whilst the send FX
slots can be used to bus a single insert to an effect or a complete chain. You can combine any one of the factory
effects or even have several instances of the same effect to create some truly incredible effect chains. With full
control over input, output and dry/wet - every effect parameter is also available as a modulation destination, or
can be macro’d together to get some insane effects going with the turn of one knob. You are only limited by your
imagination.

Common controls

Input - Sets the input level going into the effect.

Dry/Wet - Controls the amount of dry or wet signal that is heard.

Output - Defines the output of the effected signal.

Send 1 - Amount - Sets the amount of signal being sent to send 1.

Send 2 - Amount - Sets the amount of signal being sent to send 2.

Pre/Post FX - With post FX engaged (Highlighted) the insert will be placed after all other effects including the
sends in the signal path. This is useful for setting up a limiter or compressor over the output bus.

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Reverb - Hall
ANA 2's reverb effect allows the user to simulate acoustic spaces. This reverb is based on a hall reverb algorithm.

Size - Controls the size of the simulated acoustic space.

Decay - Controls the time taken for the signal to reach RT -60db.

Diffusion - Controls whether early reflections are closer together and therefore diffused, or by reducing,  creates
more discrete echoes.

Mod - Adds an LFO modulator to the reverb.

High Pass - Controls the Hi-Pass filter frequency on the reverb.

Low Pass - Controls the low-pass filter frequency on the reverb.

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Reverb - Plate
ANA 2's reverb effect allows the user to simulate acoustic spaces. This reverb is based on a plate reverb.

Size - Controls the size of the simulated acoustic space.

Decay - Controls the time taken for the signal to reach RT -60db.

Diffusion - Controls whether early reflections are closer together and therefore diffused, or by reducing,  creates
more discrete echoes.

Mod - Adds an LFO modulator to the reverb.

High Pass - Controls the Hi-Pass filter frequency on the reverb.

Low Pass - Controls the low-pass filter frequency on the reverb.

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Delay
ANA 2's Delay effect allows incoming signals to be delayed and repeated a short time later, defined as the delay
time, with the resulting multiple repeats creating the effect.

Delay Time - Controls the time of the repeated signal - can be sync to the host tempo or expressed in
milliseconds.

Feedback - Controls the amount of delayed signal that is routed back to the input. The greater the feedback the
more delays are reproduced.

Offset - Offsets the repeated signals by small amounts to create subtle offsets or ‘swings' in the taps. Above 50%
reduces the left signal delay time whilst increasing the right hand signal delay time and below 50% increases
the left signal delay time whilst reducing the right hand signal delay time.

Width - Controls whether the repeated signals are centred or panned left and right.

High Pass - Controls the Hi-Pass filter frequency of the delays.

Low Pass - Controls the low-pass filter frequency of the delays.

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Ping-Pong Dleay
ANA 2's Ping Pong Delay effect is two mono delays, The dry signal is fed firstly to the left channel and the output
is then feeds into right channel. This gives the impression of the delays going from side to side with nothing in
the middle.

Delay Time - Controls the time of the repeated signal - can be sync to the host tempo or expressed in
milliseconds.

Feedback - Controls the amount of delayed signal that is routed back to the input. The greater the feedback the
more delays are reproduced.

Offset - Offsets the repeated signals by small amounts to create subtle offsets or ‘swings' in the taps. Above 50%
reduces the left signal delay time whilst increasing the right hand signal delay time and below 50% increases
the left signal delay time whilst reducing the right hand signal delay time.

Width - Controls whether the repeated signals are centred or panned left and right

High Pass - Controls the Hi-Pass filter frequency of the delays

Low Pass - Controls the low-pass filter frequency of the delays

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Verbatron
Verbatron is a static convolution reverb which uses an impulse response or 'IR' sample of an actual acoustic
space, capturing its reflections and characteristics.

Size - Controls the size of the simulated reverb.

Smear - Controls whether the reverb reflections are close together and defused, or by reducing,  creates more
discrete echoes.

Drive - Controls the amount of harmonic distortion being added to the sound.

Hi-Pass - Controls the Hi-Pass filter frequency of the reverb.

Width - Controls whether the resulting signal is centred or panned left and right.

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Wshaper
Wshaper or 'waveshaper' is a digital distortion effect that alters the shape of the waveform. It can transform
simple tones and shape them into harmonically rich tones.

Shape - Selects the pre-define shape to be applied to the output.

Drive - Controls the amount of harmonic distortion being added to the sound.

Tone - Selects the tone of the distortion.

Hi Pass - Controls the Hi-Pass filter frequency of the wshaper.

Feedback - Controls the amount of the signal that is routed back to the input.

Pitch - Controls the pitch of the feedback when feedback is engaged.

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Cshaper
Much like the Wshaper, the Cshaper is a digital distortion effect that alters the shape of the waveform. It can
transform simple tones and shape them into harmonically rich tones.

Shape - Selects the pre-define shape to be applied to the output.

Drive - Controls the amount of harmonic distortion being added to the sound.

Tone - Selects the tone of the distortion.

Hi Pass - Controls the Hi-Pass filter frequency of the cshaper.

Feedback - Controls the amount of the signal that is routed back to the input.

Pitch - Controls the pitch of the feedback when feedback is engaged.

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Bitcrusher
Bitcrusher is a digital distortion effect use to replicate the sounds of early digital signals. It works by reducing the
number of bits in the signal and also applying downsampling, where you can reduce the sample rate.

Rate - This allows the user to reduce the sample rate.

Drive - Sets the amount of gain applied to the input signal.

Tone - Selects the tone of the distortion.

Depth - Sets the bitrate, allowing the user to reduce the bit depth of the sound.

Feedback - Controls the amount of the signal that is routed back to the input.

Pitch - Controls the pitch of the feedback when feedback is engaged.

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Tubedrive
This distortion effect simulates the distortion type created when saturating old tube amps. This can create a
pleasing warm distortion and create harmonically rich sounds.

Tube Mode - This selects between the three different modelled tube algorithms.

Drive - Sets the amount of saturation applied to the signal

Tone - Selects the tone of the distortion.

HI-Pass - Set the frequency of the high cut filter. This can produce a softer tone.

Feedback - Controls the amount of the signal that is routed back to the input

Pitch - Controls the pitch of the feedback when feedback is engaged

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Hi-Gain
This distortion effect simulates the distortion type created when playing a signal through a highly over-driven
amplifier.

Level - This sets the amount of pre-gain going into the simulated amp.

Drive - Sets the amount of saturation applied to the signal.

Tone - Selects the tone of the distortion.

Hi-Pass - Sets the frequency of the high cut filter. This can produce a softer tone.

Feedback - Controls the amount of the signal that is routed back to the input.

Pitch - Controls the pitch of the feedback when feedback is engaged.

Cab Off/On - Controls whether the amp simulator effect is engaged or not.

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Clipper
This distortion effect simulates the distortion type created when signal becomes clipped. This removes or
'flattens' the peaks in the amplitude.

Level - This sets the amount of pre-gain going into the simulated effect.

Drive - Sets the amount of saturation applied to the signal

Tone - Selects the tone of the distortion.

HI-Pass - Sets the frequency of the high cut filter. This can produce a softer tone.

Feedback - Controls the amount of the signal that is routed back to the input

Pitch - Controls the pitch of the feedback when feedback is engaged

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Tape V1
This distortion effect simulates the distortion type created when playing a signal through a magnetic tape
machine.

Emphasis - This allows for precise control of the transients and tone.

Saturation - Sets the amount of saturation applied to the signal

Noise - Set the amount of simulated tape hiss applied to the signal

Low-Pass - Sets the frequency of the low cut filter. This can re-produce tape roll off.

Feedback - Controls the amount of the signal that is routed back to the input

Pitch - Controls the pitch of the feedback when feedback is engaged

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Chorus
The ANA 2 Chorus effect will add a richness or fullness your sound. It does this by multiplying and then delaying
the original sound source - called delay lines, and then adding subtle changes in timing and pitch through the
following parameters -:

Delay - Sets the delay time between the delay lines.

Hi-Pass - Sets the frequency of the low cut filter.

HP-Vol - Sets the volume of the low cut filter.

Feedback - Sets the amount of the effect signal that is routed back to the input.

Rate - Controls the modulation speed or LFO rate.

Depth - Controls the amount of modulation applied to the signal.

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Phaser
The ANA 2 Phaser effect will mix the original signal with a slightly out of phase copies of that signal, causing a
‘sweeping’ effect that will move through the frequency spectrum.

Poles - Sets the amount of all-pass filters the signal is passed through. From 2-18 poles

Freq - Sets the frequency to be affected by the LFO.

Phase - Controls the phase relationship between individual channel modulations and adds width to the signal.

Feedback - Sets the amount of the effect signal that is routed back to the input.

Rate - Controls the modulation speed.

Depth - Controls the amount of modulation applied to the signal

Sync - Selects whether the LFO is free running or (highlighted) synced to the host tempo.

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Ensemble
The ANA 2 Ensemble effect will add a richness and movement your sound. Useful in thickening pads, leads, by
adding a detuned quality to your sound..

Delay - Sets the delay time between the delay lines.

VAR1 - Adds subtle chorus and width variations to the effect.

VAR2 - Adds a secondary chorus variation with more width to the effect.

Feedback - Set the amount of the effect signal that is routed back to the input.

Rate - Controls the modulation speed.

Depth - Controls the amount of modulation applied to the signal.

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Compressor
ANA's Compressor effect will help bring sound sources with a high dynamic range under control. Can also be
used as a sound shaping tool.

Ratio - Controls the amount of reduction applied once the threshold is exceeded.

Release - Controls the time it takes for the compressor to stop gain reduction once the signal has fallen below
the threshold.

Auto - With Auto engaged (Highlighted) the compressor release time will dynamically adjust to the audio.

Attack - Controls the time it takes for the compressor to react to an incoming signal once it has passed the
threshold.

Makeup - Sets the amount of gain applied to the compressed signal.

Threshold Slider - Controls the level which incoming signals are to be compressed at.

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Dim Exp
Dimension Expander is a subtle stereo widening tool to help give your sounds more width in the stereo field.

Delay - Sets the delay time between the delay lines.

LFO Rate - Controls the modulation speed.

LFO Depth - Controls the amount of modulation applied

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Limiter
The limiter in ANA 2 reduces any peak signal above the set threshold to this threshold level to limit the signal to
the required user defined level.

Look Ahead - Controls how far ahead (milliseconds) the limiter analyses an incoming signal. This enables it to
react better to incoming peaks.

Threshold Slider - Controls the level which incoming signal is to be limited.

Soft - Applies soft clipping to the output.

Release - Controls the time it takes for the limiter to stop gain reduction once the signal has fallen below the
threshold.

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Multi-Limiter
Like the limiter, Multi Limiter reduces any peak signal above the set threshold to this threshold level to limit the
signal to the required user defined level. However it does this across three pre-defined frequency bands - Low,
Mid and High.

Threshold Slider - Controls the level which incoming signal is to be limited.

Gain Fader - Adjust the gain of the band.

Multi-Compressor
Like the Multi-limiter, the Multi-Compressor reduces any peak signal above the set threshold, however this time
with a pre-defined ratio, attack and release. It does this across three pre-defined frequency bands - Low, Mid and
High.

Threshold Slider - Controls the level which incoming signal is to be limited.

Gain Fader - Adjust the gain of the band.

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Sidekick
Sidekick applies a volume curve to your signal to simulate the ‘sidechaining’ effect. This will ‘duck’ the volume of
your sound to give drums more prominence and create a ‘pumping’ effect to your sound.

Phase - Changes the phase of the volume curve.

Rate - Determines the speed of the volume curve.

Host - Syncs the rate of the volume curve to the host tempo.

Retrig - Re-triggers the looping volume curve each time a note on is received.

1-Shot - Applies the volume curve once, until the next note is played.

Shapes - Selects one of three pre-design volume curves.

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Ring Modulator
ANA 2’s ring mod uses an LFO to modulate the amplitude of the signal. The internal Ring Mod LFO can function
at a higher rate than a normal LFO and produce metallic type tones to you sounds.

Rate- Determines the speed of the LFO.

Drive - Sets the amount of saturation applied to the signal.

Tone - Applies either a Low-pass (Right) or hi-pass (Left) filter to the signal. Centre means no filter is applied.

Shape - Determines the shape of the LFO.

Feedback - Controls the amount of the signal that is routed back to the input.

Pitch - Controls the pitch of the feedback when feedback is engaged.

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Brassify
The Brassify effect in ANA simulates the spectral enrichment that happens to a brass instrument when played at
fortissimo level, or very loudly!

Shape - Determines the shape of the wave applied.

Drive - Sets the amount of saturation applied to the signal.

Tone - Applies either a Low-pass (Right) or hi-pass (Left) filter to the signal. Centre means no filter is applied.

Amount - Controls the amounts of brassiness applied to the signal.

Feedback - Controls the amount of the signal that is routed back to the input.

Pitch - Controls the pitch of the feedback when feedback is engaged.

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Samoflange
Its so top secret we can never tell you what is does, but it's just a fancy all pass filter.

Depth - Controls the depth of the filter.

Tone - Sets the tone of the filter.

Feedback - Controls the amount of the signal that is routed back to the input.

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12. ARP
Overview
ANA 2’s 64 step polyphonic Arp helps you create amazing and inspiring arpeggios based on the notes or chords
from you DAW, or it can become a really powerful tool when used in conjunction with ANA 2’s CMD. With Arp
you can turn chords into a succession of notes to add rhythm and interest to your productions or programme in
a pattern of chord stabs - or have both! With an array of controls where you can invert the arp sequences, add
swing and gates or just open one of the factory presets to get started straight away. The 64 note step sequencer
not only controls velocity, but has two 'mod' sources that can be assign to any Modulation destination.

Topbar

Arp On - This switches the Arp on (highlighted) or off

Preset Lock - Switching preset lock on (highlighted) allows the user to lock the active arp whilst auditioning
different sound presets. If a sound preset has an arp associated with it, this will be ignored and the current arp
will play instead.

Work Areas - Opens either just the arp or both Arp + CMD work areas.

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Pattern Area Concept
Along the left hand side of the arp going upwards like a piano roll are the lanes ‘Note 1-6’. This determines which
note of the incoming MIDI data (note or chords) is played back by the arp. If for instance, we have a 3 note chord
and wish you to arpeggiate this, we need to place a note block on Note 1, Note 2 and Note 3 by clicking on the
steps 1,2 and 3. Nothing will play if we place a note block on Note 4, as there is only 3 notes of incoming MIDI
data from our 3 note chord. To use all 6 notes in the arp, you will need to have 6 different notes of incoming MIDI
data. If you insert notes on ‘Note 1, 2 and 3 and all on step one, the arp will play the chord of all three notes. You
can have a combination of single notes and chords in the arp.

You can further add notes either one octave up or down from he incoming MIDI data. Great for adding top lines
to your Arp, or deeply enhance chords making them fuller using the root note one octave down.

Note 1-6 - Here the user inserts either single note or chord note blocks into the note lane to determine which
note or notes of the incoming MIDI data is played. You can drag a note block left or right the extend or shorten
the note.

Steps 1-64 - Clicking on a step in the grid will play a note or notes at the respective grid position. You can only
view 16 steps at a time. Highlight one of the four step boxes to see and programme 16 steps at a time 1-16 (16)
17-32 (32) 33-48 (48) and 49-64 (64).

Copy and Paste/C and P - Clicking on ‘C’ copies the pattern contained within the currently selected 16 steps.
Clicking ‘P’ pastes the copied pattern into your selected 16 step area. Includes all programmed MOD and Velocity
data.

OCT 0 - Here the user programmes the arp or chords in the same octave as the incoming MIDI data.

OCT +1 - In this work area you can further programme arps notes or chords, but transposed 1 octave above the
incoming MIDI data.

OCT -1 - In this work area you can further programme arps notes or chords, but transposed 1 octave below the
incoming MIDI data.

MOD 1 - Selects the 64 note step sequencer work area for MOD 1. Click on a step and drag upwards to create
data points.

MOD 2 - Selects the 64 note step sequencer work area for MOD 2. Click on a step and drag upwards to create
data points.

Velocity - Selects the 64 note step sequencer work area for Velocity - you will need to have velocity sensitivity on
the oscillators or filters set to hear any results. Click on a step and drag upwards to create data points.

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Arp Common Controls

Preset - Selects a drop down menu with Factory, DLC (Download Content) or User saved presets.

Save - You can save your favourite arp presets here for use later with other created patches. The programmed arp
is also saved within your presets.

Steps - Determines the length of you arp sequence up-to 64 steps. You can set a sequence length from 1-64. The
white bar along the top of the pattern work area indicates the length of your sequence. Any notes outside the arp
sequence length will be greyed out to indicted that they wont be play.

Rate - Set the arpeggiator rate. Choose from: 1/2 to 1/128 (including triplet and dotted notes). Click and scroll up
or down to determine the value.

Note Order - Set the arpeggio direction.

Low to High - The arpeggio is played from the lowest note to the highest note.

High to Low - The arpeggio is played from the highest note to the lowest note.

Note Wrap - The arpeggio plays the first note unless another note is detected.

Oct Wrap - The arpeggio plays the first note, then same note one octave up.

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Hold - Allows the arp to run without holding the keys.

Retrig - Re-triggers to the start of the arp with every new note detected. With Retrig off the arp starts from the last
place in the sequence the MIDI note off was received.

Sync - With sync engaged (highlighted) the arp tempo is synced to the host tempo.

Clear - Clears currently select pattern area data.

Mod 1 - Target - Selects a drop down menu to select the modulation destination for modulator 1. You can also
scroll through destinations via the left and right arrows.

Mod 2 - Target - Selects a drop down menu to select the modulation destination for modulator 2. You can also
scroll through destinations via the left and right arrows.

Gate - Shortens the note length in the arp.

Swing - Adds swing the arp.

Tempo - Sets the tempo of the arp if the ‘sync’ button is disengaged, meaning the tempo of the arp is
independent of the host tempo.

Mod 1 - Select the amount of Modulator 1 is sent to the Modulation destinations.

Mod 2 - Select the amount of Modulator 2 is sent to the Modulation destinations.

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13. CMD
Overview
Chord Memory Device or CMD allows the user to assign chords to any keys and then play those chords back
using just one key. There are two modes in CMD - Single mode assigns one chord type and maps it across all
octaves, so for instance you can assign a 3 note (Triad) minor chord to a chord memory location, then using a
single key you can play back the memorised chord, transposing it up and down the keyboard. In Multi mode you
can assign any chord you want to any chord memory location. Once you have assigned a chord to a memory
location a dot will appear on that key location to denote a chord has been assign to it. Here you can build
complex chord sequences mapped to various location and then play those chords back using just one press of a
key.

CMD Controls
Upper Keyboard - Shows the resulting Chord output. Keys will light up white to show the chords being triggered. If
in multi mode and no chords have been assigned to the chord memory location (no dots on the lower keyboard
keys) then there will be no resulting output shown on the upper keyboard as the MIDI is just passed through.

Lower Keyboard - Shows the Chord Memory Location. If a key has a chord assign to it in multi mode this will be
displayed with a blue dot. When in multi mode a key does not have a blue dot it means that no chord has been
assigned to that key. Please note there are no blue key dots in single mode.

Arrows Up and Down - This allows for transposing of both the chord memory location and the resulting output.

Preset - Selects a drop down menu with Multi, Single, DLC (Downloaded Content) or user saved presets.

Save - Allows the user to save current chords stored in CMD.

Chord - Displays the resulting chord output from CMD.

Single - Selects single mode, where one chord is assigned across all keys.

Multi - Selects multi mode, where any chord can be assigned to any chord memory location.

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Learn - Enables CMD’s learn function. Use the prev and next buttons or a mouse to click on the chord memory
location (becomes highlighted) then play the chord you wish to assign to that location. A blue dot will appear on
the location key to denote a chord has been assigned.

Reset - Clears any assigned chords in CMD as well as chord memory locations.

Prev - Selects the previous chord memory location from the one highlighted.

Next - Selects the next chord memory location from the one highlighted.

Strum - Turn your assigned chords into a strum feature automatically assigned to your mod wheel.

Arrow down - Strums the notes downwards when you move the Mod wheel.

Arrow up - Strums the notes upward when you move the Mod wheel.

Arrow down then up - Strums the notes downwards then upwards when you move the Mod wheel.

Arrow up then down - Strums the notes upwards then downwards when you move the Mod wheel.

Velo - Adds velocity sensitivity to the strum function.

Mod Velo - Takes the speed you are moving the mod wheel, and applies it to the note velo.

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CMD Front Panel Quick Controls

CMD Preset - Displays the currently used preset name.

Chord Name - Displays the resulting output chord name.

CMD On - Switches on or off CMD.

Edit - Open or close the main work area from the front panel.

Single - Puts CMD into single mode where one chord is assigned across all keys.

Reset - Clears any assigned chords in CMD as well as chord memory locations.

Learn - Enables CMD’s learn function. Use the prev and next buttons or a mouse to click on the chord memory
location (becomes highlighted) then play the chord you wish to assign to that location. A blue dot will appear on
the location key to denote a chord has been assigned.

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14. EQ
Overview
ANA 2s EQ section contains four bands of fully parametric EQ. There are two bell filters and a high and low
shelving filter.

Each of the four bands has a frequency, gain and Q control. To active and change a bands parameters simple
click on the band number to highlight and active.

EQ Controls
Frequency - Controls the frequency positions in the audio spectrum where the gain controls will have an effect.

Gain - Sets the amount of EQ applied to the selected frequency bands.

Q-Factor - Sometimes called the ‘bell’ or resonance's, controls how wide the effected frequency band is.

EQ Nodes - You can also adjust the Gain, Frequency and Q using the EQ nodes Moving the node up and down
controls gain, left to right controls frequency and holding SHIFT while moving up, down, left or right adjusts the
Q-Factor.

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EQ Front Panel Quick Controls

EQ OFF - Allows you to quickly switch the EQ on and off.

EQ Edit - Opens the EQ edit window.

LOW MID, HIGH MID, HIGH - Quickly control the gain parameter across all four bands.

14. OSC MIXER


Overview
The Oscillator mixer or ‘OSC Mixer' allows the user to quickly balance the level of all 6 oscillators to achieve that
perfect sound.

OSC Mixer Controls


Volume Slider - Sets the volume of the chosen oscillator by pushing the slider up or down.

’S’ - Solo's the selected oscillator so you can hear it in isolation.

‘M’ - Mutes the selected oscillator so you can quickly remove it from the mix.

Pan Slider - Pan's the chosen oscillator left or right using the pan slider.

Meters - Visually see how loud an oscillator is outputting whilst also quickly checking to see which oscillators are
currently playing in the created preset.

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15. MACRO AND MOD MATRIX
Overview
ANA 2 comes with a huge amount of modulation sources and targets. Nearly every parameter on ANA 2 can
be used as a target using one or all of the sources like the 4 Modulation Envelope’s, the 3 G-Env's, the further
3 LFO’s, Arp modulators, filter or amp env’s - the list goes on and on. These can easily be assign using the mod
matrix or for even quicker work flow, we have ‘right’ click modulation. Here you can right click over a modulation
target and select the modulation source from the drop down menu.

The modulation in ANA 2 is comprehensive, and will become an extremely powerful tool when designing sounds.
It is further enhanced when use in combination with the macros. Here you can assign several modulation targets
to one knob, available on the front panel.

Macros Matrix Controls

Source column - This is where you assign which of the four macros are to be used to control the target.

Target column - Here the user assigns the macros target, click on the dotted line to get a drop menu of all target
destinations.

Amount Control - Controls the amount sent from the macro knobs to the target.

Invert Control - This will switch the macro send from a positive direction to a negative one.

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Mod Matrix Controls

Source column - This is where you assign which of the four macros are to be used to control the target.

Target column - Here the user assigns the macros target, click on the dotted line to get a drop menu of all target
destinations.

Amount Control - Controls the amount sent from the macro knobs to the target.

Invert Control - This will switch the macro send from a positive direction to a negative one.
Right Click Mod Assign

You can use right click on your mouse to quickly and easily assign modulation or assign a knob to a macro.
Simply hover over the parameter and right click to get a drop down menu of all the modulation source and
macros.

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16. SETTING TAB

Settings controls
Skin Select - Drop down menu allowing to select the different factory supplied skins or any downloaded skins

Skin Size - Select between different skin sizes

Quality - Switches ANA 2 waveforms. HD is on by default, but deselecting this option, ANA 2 will use SD
waveforms which will help reduce CPU load.

Poly Legato Retrigger - With this mode enabled ANA 2 re-triggers the envelopes rather than creating a new note.
This can save CPU for overlapping notes.

Key-track Centre - Sets the pivot point of the key tracking function. Default is 50, which will set the central pivot
point to C3. Key tracking amount on the oscillators and filters will determine the angle of the key tracking.

Envelope Variation - Will set the amount of timing randomisation within the envelopes. This will mimic the
behaviour of some older analogue synths.

Macros Names - Click in the macro text box to enter up to 2 lines of text for macro names. This will be reflect
under the front panel macro controls

MIDI Assignment - Use the drop down menu to assign a macro control to a MIDI CC or simply select the learn
function to assign the macro to a controller function.

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16. LFO's
Overview
There are 3 low frequency oscillators or LFO’s in ANA 2. They are used to modulate a wide range of different
signals, and can be routed to modulate a huge number of targets like frequency, filters, amplitude, panning,
morphing, effect parameters, the list is long. There are 100’s of different targets and two targets per LFO - 6 in
total giving you endless modulating possibilities.

LFO Controls
Shape - Controls the LFO waveform shape used to modulate the signal.

Delay - Delays the LFO start in ms.

Depth - Controls the modulation amount.

Rate - Controls the speed of the LFO, expressed as tempo synced bar divisions or in Hertz. This is governed by the
sync button.

Phase - Changes the phase of the selected LFO shape up-to 180°

Target 1 & 2 - Selects the target where the LFO will modulate, also includes an intensity pot controlling how
strongly the target is influenced by the LFO.

Target 1&2 Amount - Determines the amount of LFO sent to the target

Loop - With loop on (highlighted), the LFO will continually loop, with it off, it will only oscillate through one single
cycle of the LFO shape

Retrig - The LFO oscillators will run continuously through the cycle of the wave when retrig is de-selected (not
highlighted). When retrig is on (highlighted) it will always play from the very start of waveform cycle.

Sync - Controls whether the rate is synced to the song tempo and divisible by bar and beats (highlighted) or
whether the LFO is independent of the song tempo and set by a rate in hertz (Hz).

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17. KEYBOARD

Keyboard Controls
Mod - A graphical version of a modulation wheel found on keyboards and some controllers. Use this to apply any
modulation assigned to the mod wheel.

Pitch - A graphical version of a pitch bend wheel. Determines the amount of pitch bend applied to the sound
source. The is governed by the bend range

Bend - Controls the amount of the bend applied by the bend wheel up to 24 semi-tones

Poly - Controls the amount of polyphony available to the sound source. Note that higher polyphony will affect
the CPU load.

Porta - Short for Portamento and controls the time taken for the pitch of one note to bend to the pitch of another.

Mono - Means that only one note at a time can be played back. Mimics the behaviour of older monophonic
hardware synths.

Legato - With both mono and legato engaged, the note will only slide, as determined by the port time, to the new
note whilst holding the previous note.

Slide - With both mono and slide engaged, notes will always slide to the next pitch whether they overlap or not.

Copyright : Sonic Academy. All rights reserved.

Concept and Design: Phil Johnston, Bryan Spence and Chris Agnew
GUI Design: Phil Johnston and Bryan Spence
DSP Development : Charles Gondre, Ivan Cohen and Ali Barker
Manual : Phil Johnston and Chris Agnew
Sound Design: Phil Johnston, Chris Agnew, Bryan Spence, Bluffmunkey, Aiyn Zahev, AHEE, Dom Kane.

All technical specifications in the product described in this manual are subject to change without notice. The
document may not be changed, particularly copyright notices may not be removed or changed. VST is a registered
trademark of Steinberg Media Technologies GmbH.

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