phasex 0.14.97-2build1 / usr / share / phasex / help / parameters.help

[General]

:bpm:BPM:
Beats Per Minute.  The BPM serves as a basis for all tempo based LFO
and oscillator rates, as well as Delay Time.
.

:patch_tune:Patch Tune:
The master tuning parameter for patches.  Tuning step size is 1/120th
of a halfstep, or e^(ln(2)/1440).  PHASEX is tuned to A4 at 440 Hz by
default.  For 432 Hz tuning, use a value of -38, or change the global
A4 tuning frequency setting in the preferences.
.

:keymode:KeyMode:
KeyMode determines the behavior of voice allocation, envelope
triggering, oscillator phase triggering, lfo phase triggering, and
oscillator and lfo frequency assignments.  There are four KeyModes:
Mono Smooth, Mono ReTrig, Mono MultiKey, and Poly.

Mono Smooth: One active voice, always assigned to the newest MIDI note
currently in play.  Envelopes are not retriggered when playing legato.

Mono ReTrig: One active voice, always assigned to the newest MIDI note
currently in play.  Envelopes are retriggered for every new note.

Mono MultiKey: One active voice.  MIDI keys in play are dynamically
assigned to the MIDI Key based oscillators and LFOs in a round-robin
fashion.  Portamento, if set, operates on a per oscillator basis.
Envelopes and Tempo+Trig oscillators and LFOs are not retriggered when
playing legato.

Poly: Pure polyphonic mode.  Polyphony (max number of voices per part)
can be set in the preferences.  If the number of MIDI notes held in play
exceeds the number of available voices, the corresponding to the oldest
(earliest played) note will be stolen and reassigned to the newest key.
Tempo based oscillators are retriggered for the first note put into play
due to the voices not being free running.  LFOs are free running,
causing Tempo based LFOs to not be retriggered for every new note.  (If
you want this, use Tempo+Trig instead.)  .

:keyfollow_vol:Volume Key Follow:
The key relative volume curve.  At 0, relative volumes of keys are
equal.  Negative values progressively add volume to the lower keys,
while positive values progressively add volume to the higher keys.
.

:transpose:Master Transpose:
Transposes all MIDI key based oscillator frequencies and filter
keyfollow frequency by the specified number of half steps.
.

:portamento:Portamento:
Portamento sets the duration of a portamento slide while playing
legato in Mono Smooth or Mono MultiKey mode.  The duration curve is
the same duration curve used by the envelopes.
.


[Input]

:input_follow:Input Envelope Follower:
Generates an envelope based on input levels and applies it to the
signal chain between voice mixing and effects.
.

:input_boost:Input Boost:
The amount of above unity gain to apply to inputs.
.


[Amplifier]

:volume:Patch Volume:
Volume in 1/2 dB [e^(ln(10)/40)] increments with 0dB at 120.
.

:pan:Pan:
Stereo panning control, mixed on a parabolic curve.
.

:stereo_width:Stereo Width:
Width of the stereo field of voice outputs prior to effects, ranging
from pure mono at 0 to pure stereo at 127.
.

:amp_velocity:Amplifier Velocity Sensitivity:
Amplifier sensitivity to velocity and aftertouch changes.  Velocity
is centered at 100 (ie, a note-on velocity of 100 produces no change
in amplitude).  Amp Velocity follows both channel aftertouch and key
aftertouch.
.

:amp_attack:Amplifier Attack:
Duration of the attack portion of the amplifier envelope.
.

:amp_decay:Amplifier Decay:
Duration of the decay portion of the amplifier envelope.
.

:amp_sustain:Amplifier Sustain:
Volume of the sustain portion of the amplifier envelope.  The
amp envelope follows a logarithmic curve and provides a dynamic
range of over 120dB.
.

:amp_release:Amplifier Release:
Duration of the release portion of the amplifier envelope.
.


[Chorus]

:chorus_mix:Chorus Mix:
The dry/wet mix ratio, ranging from all dry at 0 to equal wet and dry
at 64, and nearly all wet at 127.
.

:chorus_amount:Chorus Depth:
The depth of LFO modulation when reading from the delay line.
.

:chorus_time:Chorus Delay Time:
The length of the chorus delay line.
.

:chorus_feed:Chorus Feedback:
The delay line input/output mix ratio used at delay line input,
ranging from all input at 0 to equal input and output at 64, and
nearly all output at 127.
.

:chorus_crossover:Chorus Crossover:
Chorus Crossover.  Swaps the left and right outputs of the chorus
delay line.
.

:chorus_lfo_wave:Chorus LFO Wave:
Waveform to use for the dedicated Chorus LFO.
.

:chorus_lfo_rate:Chorus LFO Rate:
Tempo based rate of the dedicated Chorus LFO.
.


[Chorus Phaser]

:chorus_phase_rate:Chorus Phase Rate:
Tempo based rate of the Chorus Phaser LFO.
.

:chorus_phase_amount:Chorus Phase Balance:
The mix ratio of the two 180 degree split / 90 degree offset groups in
the Chorus Phaser.
.


[Delay]

:delay_mix:Delay Mix:
The wet/dry mix ratio, ranging from all dry at 0 to equal wet and dry
at 64, and nearly all wet at 127.
.

:delay_feed:Delay Feedback:
The delay line input/output mix ratio used at delay line input,
ranging from all input at 0 to equal input and output at 64, and
nearly all output at 127.
.

:delay_time:Delay Time:
Tempo based delay time, ranging from 1/128 of a bar (1/32 of a beat)
to 1 bars (4 beats).
.

:delay_crossover:Delay Crossover:
Swaps the delay line output for both main and feedback mixing.
.

:delay_lfo:Delay LFO:
The LFO to use to modulate the Delay Time.
.


[Filter]

:filter_cutoff:Filter Cutoff:
Filter cutoff frequency corresponding to MIDI note number at current
Master Tune.  In Filter KeyFollow modes, a value of 64 (center) sets
the filter cutoff frequency to that of the followed key, with 76 an
octave above and 52 an octave below, etc.
.

:filter_resonance:Filter Resonance:
Amount of extra resonance around the filter cutoff frequency, ranging
from zero resonance to just under self-oscillation.
.

:filter_smoothing:Filter Smoothing:
Length of the decayed averager for filter cutoff controller movements,
in 160 sample increments.
.

:filter_keyfollow:Filter Keyfollow:
In Filter KeyFollow modes, a value of 64 (center) sets the filter
cutoff frequency to that of the followed key, with 76 an octave above
and 52 an octave below, etc.  In Newest, Highest, and Lowest modes,
the followed key for all voices will be the newest, highest, or lowest
key currently in play, respectively.  In KeyTrig mode, the followed
key for each voice is the key mapped to that voice.
.

:filter_mode:Filter Mode:
Tap or combination of taps to use from filter output.  All taps are
from the same filter, and thus share the same cutoff frequency and
resonance.

LowPass:  Keep all frequencies below the cutoff frequency.

HighPass:  Keep all frequencies above the cutoff frequency.

BandPass:  Keep frequencies centered around the cutoff frequency.

BandStop:  (Notch) Reject frequencies centered around the cutoff.

LP+BP:  LowPass + BandPass

HP+BP:  HighPass + BandPass

LP+HP:  LowPass + BandPass

BS+BP:  BandStop + BandPass
.

:filter_type:Filter Type:
Filter algorithm type.  Choices are:

Dist:  Oversampled Chamberlin filter with distortion applied to the
lowpass tap to add saturation and control resonance.  This distortion
softens the sound and keeps the filter from squelching and ringing at
high resonance.

Retro:  Oversampled Chamberlin filter with no distortion for the
classic, cleaner filter sound complete with any ringing or squelching
qualities produced at high resonance.

Moog Dist:  Oversampled Stilson/Smith style 24dB/octave Moog filter with
some slight distortion to smooth out the ringing/squelching in the
filter resonance.  Saturation is applied at the filter input gain stage.
For self oscillation at maximum resonance, a low gain and high patch
volume may be needed.

Moog Clean: Same as above without input gain saturation or harmonic
series waveshaper.

3Pole Dist: Experimental filter design consisting of the MoogDist
filter with one of the poles chopped out.  In essence, this becomes an
18dB/octave filter with a frequency offset between the poles, and works
best as a sort of diffuser.

3Pole Raw: Same as above without input gain saturation or harmonic
series waveshaper.
.

:filter_lfo:Filter LFO:
LFO to use for modulating filter cutoff frequency.  To follow key
velocity and aftertouch, use the 'Velo' setting.  To turn off filter
modulation completely, use the 'Velo' setting and set Filter LFO Cutoff
and Filter LFO Resonance to zero.  Filter velocity also follows MIDI
aftertouch (key pressure) messages.
.

:filter_lfo_cutoff:Filter LFO Cutoff:
Depth of modulation, in halfsteps, of filter cutoff frequency.
.

:filter_lfo_resonance:Filter LFO Resonance:
Depth of modulation of filter resonance.
.

:filter_gain:Filter Gain:
Filter input gain in 1/2 dB [e^(ln(10)/40)] increments with 0dB at
120.
.


[Filter Envelope]

:filter_env_amount:Filter Envelope Amount:
Range in halfsteps used by the filter envelope to modulate the filter
cutoff frequency.
.

:filter_env_sign:Filter Envelope Sign:
Direction in which the filter envelope modulates filter cutoff
frequency.
.

:filter_attack:Filter Attack:
Duration of the attack portion of the filter envelope.
.

:filter_decay:Filter Decay:
Duration of the decay portion of the filter envelope.
.

:filter_sustain:Filter Sustain:
Volume of the sustain portion of the filter envelope.  The filter
envelope uses a linear curve, and is linear with respect to the
musical scale.
.

:filter_release:Filter Release:
Duration of the release portion of the filter envelope.
.


[Oscillator]

:osc#_modulation:Oscillator Mix Modulation:
Modulation to use when mixing this oscillator to produce the
pre-filter voice output.  Choices are:

Off:  Do not calculate this oscillator, and set its output to zero.

Mix:  Add this oscillator to the signal path.

AM:  Amplitude modulate the voice by this oscillator.

Mod:  Calculate output of this oscillator, but do not mix.
.

:osc#_polarity:Oscillator Polarity:
Peak to peak polarization of this oscillator.  Choices are bipolar
(with range of [-1.0,1.0]) and Unipolar (with range of [0.0,1.0]).
.

:osc#_source:Oscillator Source:
Signal source for this oscillator:

MIDI Key:  Wavetable based with MIDI key based frequency.

Input 1:  Input 1 is sent to both oscillator outputs.

Input 2:  Input 2 is sent to both oscillator outputs.

Input 1&2:  Inputs 1&2 are sent to oscillator outs as stereo pair.

Amp Env:  Logarithmic amplifier envelope is sent to oscillator outs.

Filter Env:  Linear filter envelope is sent to oscillator outs.

Velocity:  Note on velocity and key/channel aftertouch set output in
  the range of [0.0,1.0), useful for modulating other oscillators.

Tempo:  Wavetable based with Tempo based frequency.

Tempo+Trig:  Wavetable based with Tempo based frequency and KeyMode
  dependent init phase triggering for note-on events.
.

:osc#_wave:Oscillator Wave:
Waveform for wavetable based oscillator sources:

Sine, Triangle, Saw, RevSaw, Square, and Stair are generated from the
pure mathematical formulas with no bandlimiting or smoothing.

BL Saw, BL RevSaw, BL Square, and BL Stair are bandlimited at 4
octaves above the principal.

Juno Osc, Juno Saw, Juno Square, and Juno Poly are sampled from a
Juno-106 in unison mode (all 6 voices in a stacked mono mode).

The Analog Square waveform comes from an analog square wave synth hand
built by Jared "Flak" Scott.

The Vox 1 and Vox 2 waveforms are sampled from the voice of the
principal author of PHASEX.

Identity and Null are utility oscillators and not audible.  Identity
sets output to 1.0.  Null centers output to 0.0 when Oscillator
Polarity is Bipolar, and to 0.5 when Oscillator Polarity is Unipolar.
.

:osc#_rate:Oscillator Rate:
Tempo based rate, in bars, to use as oscillator frequency when
Oscillator Source is Tempo or Tempo+Trig.
.

:osc#_init_phase:Oscillator Init Phase:
Initial phase offset in 2.8125 degree (1/128 unit circle) increments
used when Oscillator Source is MIDI Key or Tempo+Trig.
.

:osc#_transpose:Oscillator Transpose:
Oscillator tuning in halfsteps.  Tempo based oscillators may be
transposed as well as MIDI key based oscillators.
.

:osc#_fine_tune:Oscillator Fine Tune:
Oscillator fine-tuning in 1/120th half-steps.
.

:osc#_pitchbend:Oscillator Pitchbend:
Per-oscillator range of the MIDI pitchbender in halfsteps.  Negative
values reverse the direction of pitchbending.
.


[Oscillator Modulators]

:osc#_fm_mod:Oscillator FM Modulator:
The oscillator or LFO to use as a modulator for frequency modulation.
The current oscillator serves as the carrier.  Stereo modulators are
mixed down to mono before modulation.  Only MIDI Key and Tempo sources
(the sources which utilize the wavetable) may be frequency modulated.
When modulators are selected in latch mode, this oscillator's phase is
hard-latched to the Init Phase of the modulator. Note on velocity and
key/channel aftertouch are mapped linearly to the range of [0,1] when
used as FM modulators.
.

:osc#_fm_mod_amount:Oscillator FM Amount:
Depth and direction of frequency modulation, in halfsteps.
.

:osc#_fm_mod_fine:Oscillator FM Fine Tune:
Depth and direction of frequency modulation, in 1/120th halfsteps.
.

:osc#_am_mod:Oscillator AM Modulator:
The oscillator or LFO to use as a modulator for amplitude modulation.
For AM, the carrier (this oscillator) is multiplied by the modulator.
Note on velocity and key/channel aftertouch are linear mapped to the
range of [0,1] when used as AM modulators.
.

:osc#_am_mod_amount:Oscillator AM Amount:
Depth of amplitude modulation.  Negative values reverse the phase.
.

:osc#_pm_mod:Oscillator PM Modulator:
The oscillator or LFO to use to modulate phase separation between
right and left channels for this oscillator.  Note on velocity and
key/channel aftertouch are linear mapped to the range of [-192,189]
degrees when used as PM modulators.
.

:osc#_pm_mod_amount:Oscillator PM Amount:
Depth of modulation of phase offset between right and left channels
for this oscillator, in 3 degree steps.
.

:osc#_wave_lfo:Oscillator Wave Select LFO:
The LFO to use for wave select modulation.
.

:osc#_wave_lfo_amount:Oscillator Wave Select Modulation Amount:
Range of waveforms to use in wave select modulation.  The wavetable
becomes a circular list for wave select modulation to support ranges
greater than the number of available waveforms.
.


[LFO]

:lfo#_polarity:LFO Polarity:
Peak to peak polarization of this LFO.  Choices are bipolar (with
range of [-1.0,1.0]) and Unipolar (with range of [0.0,1.0]).
.

:lfo#_source:LFO Source:
Signal source for this LFO:

MIDI Key:  Wavetable based with MIDI key based frequency.

Input 1:  Input 1 is sent to LFO output.

Input 2:  Input 2 is sent to LFO output.

Input 1&2:  Inputs 1&2 are mono mixed and sent to LFO output.

Amp Env:  Logarithmic amplifier envelope is sent to LFO output.

Filter Env:  Linear filter envelope is sent to LFO output.

Velocity:  Key velocity and channel aftertouch set output in the
  range of [0.0,1.0), useful for modulating other oscillators.

Tempo:  Wavetable based with Tempo based frequency.

Tempo+Trig:  Wavetable based with Tempo based frequency and KeyMode
  dependent init phase triggering for note-on events.
.

:lfo#_wave:LFO Wave:
Waveform for wavetable based LFO sources:

Sine, Triangle, Saw, RevSaw, Square, and Stair are generated from the
pure mathematical formulas with no bandlimiting or smoothing.

BL Saw, BL RevSaw, BL Square, and BL Stair are bandlimited at 4
octaves above the principal.

Juno Osc, Juno Saw, Juno Square, and Juno Poly are sampled from a
Juno-106 in unison mode (all 6 voices in a stacked mono mode).

The Analog Square waveform comes from an analog square wave synth hand
built by Jared "Flak" Scott.

The Vox 1 and Vox 2 waveforms are sampled from the voice of the
principal author of PHASEX.

Identity and Null are utility oscillators and can be used to produce
static offsets.  Identity sets output to 1.0.  Null centers output to
0.0 when Oscillator Polarity is Bipolar, and to 0.5 when Oscillator
Polarity is Unipolar.
.

:lfo#_rate:LFO Rate:
Tempo based rate, in bars, to use as LFO frequency when LFO Source is
Tempo or Tempo+Trig.
.

:lfo#_init_phase:LFO Init Phase:
Initial phase offset in 2.8125 degree (1/128 unit circle) increments
used when LFO Source is MIDI Key or Tempo+Trig.
.

:lfo#_transpose:LFO Transpose:
LFO tuning in halfsteps.  Tempo based LFOs may be transposed as well
as MIDI key based LFOs.
.

:lfo#_pitchbend:LFO Pitchbend:
Per-LFO range of the MIDI pitchbender in halfsteps.  Negative
values reverse the direction of pitchbending.
.

:lfo#_voice_am:LFO Voice AM:
Depth of Amplitude Modulation of the voice using this LFO as the
modulator.  Unlike AM within the oscillator modulations, this
modulation is performed post-filter.
.

:lfo#_lfo1_fm:LFO-1 Rate:
Depth of frequency modulation, with LFO-1 as carrier and this LFO as
modulator.  Rate (frequency) change is measured in half-steps (for
example, -12 is a halving of frequency, and +24 is a quadrupling).
.

:lfo#_cutoff:LFO Cutoff:
Depth of modulation of filter cutoff frequency, in half-steps.
.

:lfo#_lfo3_fm:LFO-3 Rate:
Depth of frequency modulation, with LFO-3 as carrier and this LFO as
modulator.  Rate (frequency) change is measured in half-steps (for
example, -12 is a halving of frequency, and +24 is a quadrupling).
.


[Patch]

:session_number:Session Number:
In addition to the per-part patch bank, PHASEX also utilizes a session
bank for easily keeping track of sessions.  Session patches are always
loaded into the first program slot for each respective part.
.

:session_name:Session Name:
The name of the current session, which is also used as the session
directory name.  Sessions are stored in the user session directory
~/.phasex/sessions/ by default, but may be stored anywhere.  To load a
session from the same containing directory as the current session or
from the default session directory, enter the session name and click
Load Session.  To save a session into the default session directory,
enter the new session name and click Save Session.
.

:part_number:Part Number:
Currently visible synth part (in the multitimbral sense).
.

:program_number:Program Number:
Currently used slot in the patchbank, with a total of 1024 patches.
The program number (and thus the current patch) can be changed via
the GUI or via MIDI Program Change messages.
.

:patch_name:Patch Name:
The name of the current patch.  Patches are saved by name, with a .phx
file extension added automatically.  To load a patch from the same
directory as the current patch, from the sys-patches directory, or
from the user-patches directory, enter the patch name and click Load.
To save a patch, enter the new name and click Save.  If for any reason
the patch cannot be saved to the current directory, it will be saved
to the user-patches directory.
.

:midi_channel:MIDI Channel:
The MIDI channel that PHASEX listens to on all subscribed MIDI ports.
In Omni mode, PHASEX listens for events on all MIDI channels.
.


[Main]

:using_phasex:Using PHASEX:

Welcome to the <b>P</b>hase <b>H</b>armonic <b>A</b>dvanced
<b>S</b>ynthesis <b>EX</b>periment.  PHASEX is a low latency, realtime
synthesis application with MIDI control for Linux systems equipped
with a realtime kernel and ALSA and/or JACK.

<b>Requirements:</b>

<tt>
* 1.6 GHz or better CPU.  Multi-core preferred.
* 512 MB RAM (more for multi-timbral builds).
* Relatively modern (within past ~4 years) Linux distribution.
* ALSA and/or JACK.
* Hardware and/or software MIDI controllers (sequencers, keyboards,
  knob-boxes, arpeggiators, etc.)
* Realtime Linux kernel (-rt patches).
* Proper configuration of permissions and resource limits for
  memory locking, rt scheduling, and audio device access.
</tt>

<b>Parameter Help System:</b>

For detailed information about any parameter, middle-click on the
parameter's name to open its help window (and to close any other
currently visible help window).  Middle-clicking again on the name of
a parameter whose help window is already visible will result in the
help window being closed.

<b>Parameter Control:</b>

Control of every parameter is available through the main graphical
interface and through MIDI.  All integer based parameters will display
the MIDI controller value either directly or offset by 64 (for zero
centered parameters).  All parameters use knobs along with an
alternate input and visual feedback control.  Knobs offer three types
of movement:

<i>Absolute:</i>  Left-click-and-drag events respond to absolute
movement, where the knob indicator always follows the movement of the
pointer.

<i>Linear:</i>  Right-click-and-drag events respond to linear movement,
where values are incremented through movements to the right and up,
and decremented through movements to the left and down.

<i>Incremental:</i>  Right-click events will decrement a parameter
value by its page increment size.  Left-click events will increment by
the page size.  Middle-click events will center the knob.

Of special note, scroll events on a parameter's knob or alternate
control will increment and decrement its value by a single step at a
time.  For the value labels connected to detent knobs, left-, middle-,
and right-click events correspond to the value being decremented,
centered, or incremented respectively.

<b>Mapping MIDI Controllers:</b>

Every parameter is mappable to a MIDI controller.  For instant
mapping, ctrl-middle-click on the name of a parameter to open its MIDI
controller update window (and to close any other currently visible
update window).  Select the desired MIDI controller number either
through the spinbutton control or by sending a MIDI controller
message.  Up to 15 parameters may be mapped to a single MIDI
controller.  Parameters may be locked as well, blocking all changes
from patch loads and program changes.  Clicking on the name of a
parameter whose update window is already visible will result in the
update window being closed.  MIDI controller maps may be opened and
saved through the MIDI menu.  The last opened or saved MIDI map
becomes the default MIDI map.

<b>Session Management:</b>

The native session manager in PHASEX behaves much like the patch
manager.  Sessions can selected from the session bank with the Session
# spinbutton, loaded or saved from the filesystem using the Session
Name entry and the Session Load and Save buttons.  By default, new
sessions are saved to ~/.phasex/sessions but can be saved anywhere.
When using LASH or JACK Session for session management, sessions
include full state information and are saved to a location of the
session manager's choosing.

<b>Preferences:</b>

In the spirit of vintage hardware synth designs, all immediately
applicable settings changes are effective immediately.  No waiting.
No wondering about whether or not applying changes is required before
selecting tabs.  Changes that affect the MIDI, audio, or synth engine
are only saved after the necessary subsystems are restarted.  Changes
for drivers not currently selected are applied immediately, but not
effective until selecting the appropriate driver.  All other changes
are effective immediately.

In the event of catastrophic failure, and PHASEX fails to start, edit
~/.phasex/phasex.cfg and look for the last settings change, or simply
remove phasex.cfg (but not any directories) and PHASEX will start with
the default config and auto-detect your setup all over again.

<i>MIDI Driver:</i>  Switch between MIDI drivers instantly.  JACK
MIDI is only supported in conjunction with JACK audio output since
JACK MIDI is handled during the same process callback that handles
JACK audio.

<i>ALSA Sequencer MIDI Port:</i>  ALSA sequencer port designation for
ALSA hardware or software MIDI devices.  The ALSA sequencer is the
defacto standard for Linux MIDI apps.  Until JACK MIDI is supported by
more projects, the ALSA sequencer will be needed to connect to PHASEX
from most sequencers.  To connect from multiple ports, use a comma
separated list of port designations.

<i>ALSA Raw MIDI Device:</i>  ALSA hardware designation for reading
raw MIDI from ALSA supported hardware.  Using ALSA Raw MIDI bypasses
the ALSA sequencer interface and in theory will provide the best
latency and timing performance.

<i>Generic Raw MIDI Device:</i>  Path to generic raw MIDI device file,
usually /dev/midiN or /dev/midiNN.  Generic Raw MIDI should only be
needed for more obscure MIDI hardware with standalone (non-ALSA)
drivers that provide a device file interface, though reading MIDI from
named pipes, sockets, of FIFOs is alsa theoretically possible.

<i>MIDI Clock - Audio Wakeup Phase Lock:</i>  Phase within the MIDI
period of the expected wakeup time for audio buffer processing.  This
setting affects the synchronization between the MIDI, audio, and synth
engine threads.  Lower values yield lower MIDI latencies, and come 
with the trade-off of allowing less time for the engine threads to
complete their work.  For this reason, lower values may only work when
Buffer Latency is set to 2 or 3 (allowing the engine threads an extra
period or two to do their work).  Higher values yield higher latencies
with the added benefit of giving the engine threads longer to run.
The default phase lock is 0.9375, empirically tuned to allow a bit of
jitter in audio processing wakeup timing without constantly relatching
the clock, while giving the engine threads over 90% of the period time
to do their work.  In many situations, this can allow Buffer Latency
to be set to the minimum value of 1, giving a total MIDI latency of:
(hw_latency + driver_latency + (1.9375 * period_size)).  

<i>Ignore MIDI Program Change:</i>  Ignore all Program Change messages
received via MIDI.  This is helpful when dealing with both hardware
and software sequencers that insist on sending Program Change messages
at sequence start.

<i>Audio Driver:</i>  Switch between audio drivers instantly.
Currently supported are ALSA (with write and poll, direct write, and
mmap variants) and JACK (with multi- and stereo- output variants).

<i>Buffer Latency:</i>  The number of periods of latency between when
audio buffers are generated by the synth engine threads, and when they
are used by the selected audio driver.  Please note that this setting
is independent of the number of buffer periods used by the underlying
audio driver.

<i>Playback Sample Rate:</i>  Switch between sample rates for ALSA
audio instantly.

<i>Buffer Period Size:</i>  Switch between ALSA audio buffer period
sizes instantly.  Please note that this is the size of a single audio
buffer period, and that the total audio latency is determined by both
the Buffer Period Size, and the Buffer Latency (under the Audio tab).

<i>Force 16bit Audio Samples:</i>  Force ALSA to use 16bit signed
integer PCM samples for the selected hardware, regardless of the
card's native sample format or any 24 or 32 bit capabilities
advertised by the driver.  This can be helpful with old hardware or
drivers with broken 32bit sample implementations.

<i>ALSA PCM Device:</i>  ALSA audio device designation for audio input
and output.  Usually plughw:X,Y or simply hw:X,Y will be used here,
but almost any audio device defined in the user or system asoundrc
will work.

<i>JACK Connect Mode:</i>  In Autoconnect mode, PHASEX will connect
to the first pair of JACK hardware ports it finds, for both input and
output.  In Manual mode, no JACK audio connections will be made unless
specified on the command line with the -i or -o flags, or manually
with a JACK aware patchbay or DAW.

<i>JACK Transport Mode:</i>  Optionally enable JACK Transport sync,
which syncs either the tempo, or both the tempo and LFO phase
positions to the JACK transport timebase.

<i>A4 Tuning Frequency:</i>  The base tuning frequency for A4, in Hz.
The default is 440, and should work for most modern music.  Acceptable
values cover the 2 octave range from 220Hz to 880Hz.

<i>Polyphony:</i>  Maximum number of voices in play at once.  To reduce
CPU usage, reduce polyphony.

<i>Sample Rate Mode:</i>  In Normal mode, PHASEX uses an internal
sample rate matching the current JACK sample rate.  In Undersample
mode, the internal rate is half the JACK rate.  In Oversample mode,
the internal rate is double the JACK rate.  Both Undersample and
Oversample modes use linear interpolation to adjust from internal to
output sample rates.

<i>Bank Memory Mode:</i>  This option determines the behavior of how
patches are loaded and stored in the patch bank:

  <i>Autosave:</i>  Insane Mode.  The current patch is automatically
  saved periodically (about every 2 to 20 seconds), and before loading
  or selecting new patches.  Old files will be overwritten without
  warning, so use carefully.  This option is intended for sound design
  and patch bank maintenance sessions and probably isn't suitable for
  daily usage.

  <i>Warn:</i>  Super-safe mode.  Warnings will be issued on any
  attempt to overwrite a patch file or any time a new patch is loaded
  and current modifications to the patch will be lost.  Use this
  option to ensure that neither existing patches nor their modified in
  memory copies are accidentally lost.

  <i>Protect:</i>  Sane mode.  Old patches will never be overwritten
  without warning, thus providing complete safety for the save button.
  When new patches are loaded, any existing modifications will be
  quietly discarded.  Use this mode to keep popup dialogs to a minimum
  while ensuring that existing patches are never overwritten.

<i>MIDI Priority:</i>  Realtime priority for the MIDI thread.  This
value should be above all JACK and audio processing (but not audio IRQ)
priorities.

<i>Engine Priority:</i>  Realtime priority for the synth engine thread.
This value should be set to match Audio Priority (or slightly higher).

<i>Audio Priority:</i>  Realtime priority for the audio thread.  For
both ALSA and JACK, this setting should match the priority at which
JACK runs all client threads.

<i>Realtime Scheduling Policy:</i>  Scheduling policy to use for the
realtime MIDI and synth engine threads.  On most systems, this can be
left at SCHED_FIFO.  Change to SCHED_RR if your realtime audio system
requires it.

<i>Fullscreen:</i>  Use the entire display, removing window borders and
decorations.  The behavior of Fullscreen mode is somewhat dependent on
the window manager, and should work well on most systems.

<i>Window Layout:</i>  In Notebook mode, the parameters are broken up
into two notebook pages -- one for the oscillators, and one for
everything else.  Notebook mode is the default, and should work quite
well for small displays.  In One Page mode, all parameters fit
inside the main window.  One Page mode requires a screen resolution
of 1200x900 or larger with the default font.  To fit one of the layout
modes into a smaller screen, use Fullscreen mode and/or select smaller
fonts and button sizes.  Widescreen mode is mostly suited for
widescreen displays.

<i>Knob Size:</i>  Choose knob size to help fit phasex into any size
desktop.  Choices range from 16x16 (probably only necessary on tiny
netbook displays) to 52x52 (probably only useful in Widescreen mode).

<i>Refresh Interval:</i>  Interval at which a timer wakes up to refresh
the on-screen parameter values which have changed due to patch loads
and MIDI events.

<i>GTK Theme:</i>  Select between the included Light or Dark themes,
use the System default GTK theme, or select a Custom theme below.

<i>Custom GTK Theme:</i>  Select a custom gtkrc file for PHASEX to use
as its theme.

<i>Knob Directory:</i>  Directory in which to find rendered knob images
for standard numeric parameters.  Files in this directory are expected
to be named knob-WWxHH.png, where WWxHH is the resolution of the image.

<i>Knob Directory:</i>  Directory in which to find rendered detent knob
(aka chickenhead knob) images for parameters with non-integer values
(like rates, oscillators, modulations, filter types, etc.).  Files are
named detent-knob-WWxHH.png, where WWxHH is the resolution of the
image.

<i>Font:</i>  Select a font to use for the main GUI.  For extra small
fonts, try these:  anorexia, aqui, cure, drift, edges, lime, gelly,
glisp, gothic, goth_p, mintsmild, mintsstrong, nu, qub, snap, and sys.

<i>Title Font:</i>  Select the font to use for frame labels, notebook
tab labels, and menus.

<i>Numeric Font:</i>  Select a font to use for spinbuttons and other
parameter values, patch name display, and session name display.


<b>Command Line Parameters:</b>

<i>usage:</i>  phasex [options] [&lt;patch-name&gt;|&lt;program-number&gt;|&lt;patch-file&gt; &lt;...&gt;]
<tt>


PHASEX Options:

 -c, --config-file=     Alternate config (takes precedence over default

				default config file and command line options.

 -A, --audio-driver=    Audio driver:  alsa or jack.

 -a, --audio-device=    ALSA device name (hw:x,y format).

 -r, --sample-rate=     Audio sample rate (ALSA only).

 -p, --latency-periods= Number of buffer latency periods (ALSA only).

 -s, --period-size=     Buffer period size (power of 2, ALSA only).

 -M, --midi-driver=     MIDI driver:  jack, alsa-seq, alsa-raw, generic.

 -m, --midi-port=       MIDI input port or device name	(driver specific).

 -f, --fullscreen       Start in fullscreen mode.

 -x, --maximize         Start with main window maximized.

 -b, --bpm=             Override BPM in patch bank and lock BPM parameter.

 -t, --tuning=          Base tuning frequency for A4 (default 440 Hz).

 -i, --input=           Comma separated pair of JACK input port matches.

 -o, --output=          Comma separated pair of JACK output port matches.

 -O, --oversample       Use double the sample rate for internal math.

 -U, --undersample      Use half the sample rate for internal math.

 -G, --no-gui           Run PHASEX without starting the GUI.

 -D, --session-dir=     Set directory for loading initial session.

 -u, --uuid=            Set UUID for JACK Session handling.

 -d, --debug=           Debug class (Can be repeated. See debug.c).

 -l, --list             Scan and list audio and MIDI devices.

 -v, --version          Display version and exit.

 -h, --help             Display this help message and probe ALSA hardware.


LASH Options:

 -P, --lash-project=    LASH project name.

 -S, --lash-server=     LASH server address.

 -I, --lash-id=         LASH client ID.

 -L, --disable-lash     Disable LASH completely for the current session.
</tt>


Please note that unless an alternate config file is used, all command
line options take precedence over settings saved in the config file.

If using phasex with JACK, make sure jackd is running (and configured
for your system) before running phasex.  If jackd is not running,
PHASEX will fall back to using the ALSA drivers.  If you use software
like qjackctl to handle your audio and MIDI patchbay, then the command
line port connection options aren't necessary.  The -i and -o options
accept comma separated substring pairs to match on JACK audio port
names.  The -m option takes a comma separated list of MIDI ports (X:Y
for ALSA Seq, hw:X,Y for ALSA Raw, or device file for generic raw
MIDI).  For example:

    phasex -A jack -i _1,_2 -o _1,_2 -M alsa-seq -m 16:0,20:0

will match JACK ports alsa_pcm:capture_1 and alsa_pcm:capture_2 for
input, alsa_pcm:playback_1 and alsa_pcm:playback_2 for output, and the
first two ALSA sequencer hardware MIDI input ports with relatively
recent versions of JACK and ALSA.  (Jack2/jackdmp uses 'system' instead
of 'alsa_pcm'.  ALSA port designations vary from system to system.)

.