Tone2 Warlock online-manual

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Synths
 
Tone2 Warlock manual (still under construction)

Warlock is a ground-breaking product in a market saturated with many similar sounding synthesizers. The architecture of Warlock will allow you to produce many unique and dynamic sounds. Warlock features an innovative synthesis method called Harmonic Content Morphing (HCM) which creates an unique sound which is impossible with conventional synthesizers. As a result your next production that uses Warlock will stand out from the crowd.
What is Harmonic Content Morphing?

Picture this: In a studio somewhere, a musician picks up an acoustic guitar and strums a note. As the string vibrates through the air and the sound reverberates through the guitar chamber, this seemingly simple act generates a very complex sequence of harmonic spectra which change over time. In other words, the essence of the guitar sound changes over time, which makes an acoustic guitar sound like an acoustic guitar. It is possible to make a sequence of snapshots of these spectra at given times, in essence to capture that change in basic sound over time. And this is where Warlock comes in…
Tone2 has analyzed the spectras of natural instruments and synthesizer sounds, to produce harmonic content snapshots of various sounds which have been included in the synthesizer as spectrum-tables. Each snapshot in a spectrum--table is equivalent to a traditional single oscillator waveform, and each spectrum-table has 256 snapshots! In Warlock, these spectrum-tables can be loaded exactly like traditional oscillators in substractive synths, but then you can:

  • Modify the spectrum-table by changing the harmonic structure of the sound - you can make the sound become warm for example, a sharp sound become silky, or you can stack the harmonics… and much more!
  • Control the playback of snapshots in each spectrum-table, over a chosen time period. In other words, you can alter the sound over time.

Warlock includes 84 spectrum-tables (spectra), each with 256 snapshots. That means a total of 14.000 spectra are contained in the synthesizer. Furthermore, each spectrum-table can be modified with 25 different algorithms to create even more possibilities. Welcome to the power of Warlock!
Product installation (PC)

  • Exit your host program (Cubase, Ableton, FL Studio, etc).
  • Run the full-version installer. Note: the demo-version cannot be unlocked.
  • Make sure that you install the 64-bit VST-plugin to the correct directory. It must be the same directoy for the plugins, which is referenced from within your host software (e.g. C:\Program Files\Steinberg\VstPlugins).
  • Open your host program.
  • Now you can insert Warlock as a VST3 or VST2.4(64 bit) plugin.
  • If your host does not show Warlock run a plugin-rescan. You can find info about this in the manual of your host-software.
Product installation (Mac)

  • Exit your host program (Cubase, Ableton, FL Studio, etc). Make sure that you exited it completely and not just minimized it!
  • Double-click on the .pkg to run the full-version installer. Note: the demo-version cannot be unlocked.
  • Open your host program.
  • Now you can insert Warlock as a VST3 plugin.
  • If your host does not show Warlock run a plugin-rescan. You can find info about this in the manual of your host-software.
Oscillator-section

The OSC1 and OSC2 sections provide the sound generation of Warlock. This is where you can get the basic timbre of the sound which can be spectrally modified and the playback of the harmonic content can be controlled. Warlock contains over 14.000 spectras in 84 spectrum-tables which can be altered with 25 different algorhythms. Each spectrum-table basically acts as an oscillator than can change harmonics over time.

Waveform / Spectrum-selector

A click on the waveform / spectrum selector (in the picture above Piano 1 is selected) opens a drop-down-menu. This is the equivalent of choosing a waveform in a traditional substractive synthesizer, but Warlock stores 256 waveforms (snapshots) for each spectrum-table which can be morphed using loopmode and loopspeed. The 'Wave' type of spectra are static waveforms, while all others change over time.

Spectrum-modifier

Each spectrum-table can be altered with 25 different modifier-algorithms (in the picture above 'Warm' is selected).
The modifier alters the harmonic structure of the sound. You can choose from the following modifiers:

  • Off: No spectral modification occurs
  • Mix Octave: Mix with one octave up
  • Mix X4: Mix with two octaves up
  • Mix Layer: Mix with a layer of octaves
  • Hollow: Sets all even harmonics to 0, to give a tone like a square waveform
  • Bell: Bell sound harmonics, similar to sounds that can be derived from FM synthesis
  • Warm: Makes sound warmer and more bassy
  • Shrink: Shrinks the spectrum and results in a warmer sound
  • Spread: Makes sound sharper with more treble
  • Shift up: Moves all harmonics up, resulting ion a brighter sound
  • Silky: Makes the waveform sound more silky, soft and noisy
  • Multi 1: Sounds like several waves are playing at once for a thicker sounds
  • Multi 2: Sounds like several waves are playing at once for a thicker sound
  • Multi Flange1: Adds a flange effect to the sound
  • Multi Flange2: Another flanger-like sound
  • Multi Hyper1: Sounds like several noisy waves are playing at once
  • Multi Hyper2: Sounds like several noisy waves are playing at once
  • Filter LP down: Low pass filter with falling cutoff
  • Noise: Adds noise
  • Time: +16 Rotate spectrum in time (+16 snapshots)
  • Time: +32 Rotate spectrum in time (+32 snapshots)
  • Time: +37 Rotate spectrum in time (+37 snapshots)
  • Time: +64 Rotate spectrum in time (+64 snapshots)
  • Time Chaos: Rotate spectrum in time with silky sound
  • Sync: Provides a sync-like sound, similar to the oscillator-sync function found in some substractive synthesizers

Loopmode

There are different ways how the spectrum-tables can be played back:

  • + forward
  • - backward
  • + - forward and then backward
  • ? go to a random position
  • stop the loop

The following loop-modes are available:

  • auto : automatically selects the default loop-mode for the spectrum-table
  • +-+-+- : forward, backward, forward, backward, ...
  • -+-+-+ : backward, forward, backward, ...
  • ?+-+-+- : start at a random position then forward, backward, forward, ...
  • + stop: play forward for a single time
  • - stop: play backward for a single time
  • +- stop : play forward and then backward
  • -+ stop : play backward and then forward
  • +50%-+-+ : play forward and then loop backward-forward with 50%
  • +25%-+-+ : play forward and then loop backward-forward with 25%
  • +75%-+-+ : play forward and then loop backward-forward with 75%
  • ++++ : forward, jump to start and play forward again
  • ---- : backward, jump to end and play backward again
  • ?++++ : start at a random position then forward, forward, ...
  • ?---- : start at a random position then backward, backward, ...
  • ????? : jump to random position then jump to random position then ...
  • ? : jump to a random position and keep the waveform
  • static : do not loop, just play back a static single waveform

Hint: Press INIT to initialize a new patch. Then load a piano oscillator (Piano 1) and play around with it, this helps to understand everything.

Loopspeed

This is how fast the morphing is performed. It defines the time it takes to cycle through the spectrum.

  • auto: Tries to automatically detect the best loopspeed
  • Hz: A fixed loopspeed, in Hertz.
  • BPM: Host synced loopspeed. BPM*2 Means the loopspeed will be twice the hosts BPM rate.
  • Key follow: The higher the note, the faster the cycling speed.

Partials

With this knob you can define how many partials are contained in the spectrum. If you set it to 1 only a sine wave will remain. Low values result in a warm and organ-like sound. High values give a bright sound.

Ring-modulation

Warlock comes with a special oscillator for ring-modulation. RING controls the tuning of this oscillator. RING MIX defines the volume of the ring-modulation. Ring-modulation shifts the frequency spectrum of the oscillator and generates additional harmonics.
Hint: Set PARTIALS to a low value or use 'Warm' as a spectrum-modifier if the ring-modulation sounds to sharp.
Tune

Adjusts the coarse-tuning of the oscillator.

Fine

Adjusts the fine-tuning of the oscillator (in cents).

Phase

Defines the start-phase of the oscillator when a key is pressed.
If you turn the knob to the left it is set to FREE. Here a random phase is used when a key is pressed. This mode is similar to analog synthesizers.
Hint: You can use PHASE together with a fast volume-envelope attack-time (ATT 0.0) to create very punchy sounds.

Hypersaw

Unlike conventional Hypersaw synthesizers, the Hypersaws in Warlock are phase-optimized. This means that the amount of beating is minimized statistically. As a result you get a sound which suffers from less gain peaks and has more bottom.
Warlock does also come with true stereo-oscillators, which results in a very wide sound. The stereo-oscillators have been optimized to be properly mono-compatible. As a result you do not have to care about the mono-compatibility of your mix.
The Hypersaw oscillators of conventional synthesizers use only sawtooths. In Warlock you can combine this mode with any kind of waveform or spectrum-table.
The SPREAD knob controls the amount of detuning.

The following hypersaw-modes are available:

  • 1x mono - Single oscillator. This is the classic mode which is used by conventional synthesizers.
  • 2x / 3x / 5x / 7x / 9x mono - Several detuned mono-oscillators are stacked.
  • 2x / 4x / 6x / 8x / 10x stereo - Several detuned stereo-oscillators are stacked.
  • 2:1 mono octave: Two detuned oscillators are stacked. The second oscillator plays one octave higher.
  • 2:1 stereo octave: Four detuned stereo oscillators are stacked. The second pair plays one octave higher.
  • 3:1 / 4:1 / 3:2 / 5:2 / 4:3 / 5:3 / 5:4 mono:  Two detuned oscillators are stacked to play a chord with 2 keys.
  • 3:1 / 4:1 / 3:2 / 5:2 / 4:3 / 5:3 / 5:4 stereo:  Four detuned oscillators are stacked to play a stereo-chord with 2 keys.
  • 1:2:3 / 1:2:4 / 1:2:3:4 / 1:2:4:8 mono: Several oscillators with different octaves are stacked.
  • 1:2:3 / 1:2:4 / 1:2:3:4 / 1:2:4:8 stereo: Several stereo-oscillators with different octaves are stacked.
  • Autochord 2x: Plays a chord with 2 keys. The second oscillator plays a minor or major third higher.
  • Autochord 3x: Plays a chord with 3 keys. The second oscillator plays a minor or major third higher. The third ocillator plays a fifth.

Sub Osc

Mixes an oscillator that plays one octave lower.

Breathy

Makes the sound noisy and can create a breathy, voice-like sound.

Volume

Adjusts the volume of the oscillators.
Filter-section

Warlock comes with an extensive range of 38 sonically different filter-types. The synthesizer includes digital types as well as analog ones with self-oscillation. A realtime-display shows the current frequency-response. The filter-section offers true stereo-architecture.

Filter-type

Click on the text in the realtime-display or the arrows to change the filter-type:

  • LP: A lowpass filter allows low frequencies to be heard, but blocks the higher frequencies. It is often used for isolating bass-sounds.
  • HP: A highpass filter allows high frequencies to be heard, but blocks the lower frequencies. It is frequently used to create hi-pitched whistle-sounds, and piercing synthesizer-leads.
  • BP: A bandpass filter allows the frequencies within a specific range to be heard, and blocks out all the other frequencies above and below it.
  • Notch: A notch filter is the opposite of a bandpass filter – it will block the frequencies within a set range, and allow all other frequencies above and below it to be heard.
  • Low Shelf: Boosts low frequencies.
  • High Shelf: Boosts high frequencies.
  • Phaser: Sounds like a phaser-effect-unit.
  • M-Shape: A combined low- and highpass.
  • Resampler: A lo-fi effect that sounds like a cheap digital device.
  • Aliaser: A lo-fi effect that mirrors frequencies and sounds disharmonic.
  • FM: Frequency-modulation with various waveforms. Cutoff controls the tuning, reso controls the modulation-depth.
  • Ringmod: Various ring-modulation modes.
  • Fractal: A noisy and chaotic filter.
  • EQ peak: These modes boost the frequencies around cutoff.
  • Resonator: A comb-filter useful for effect sounds.
  • Vocal: Several vocal-filters that sound like the human voice.

CUTOFF

Adjusts the cutoff of the filter. Cutoff is used to set the frequency at which the filter’s behavior changes, relative to the filter type. In a lowpass filter, the cutoff will set the frequency at which the filter begins to ‘close’ and allow less and less of the higher frequencies through. When the frequencies are high enough past the cutoff point, no more sound will be allowed through the filter. In a highpass filter, the opposite applies – the cutoff sets the frequency point at which the filter begins to reject sounds that are lower than the cutoff point. Sounds far enough below the cutoff point will not be let through the filter at all.

RESO

Adjusts the resonance. High resonance values will actually add a boost to the frequencies at the cutoff point, and are useful when you want to really focus on a very precise part of a sound, or generate intense, cutting tones. Low resonance values are better suited to subtle and less precise ‘smoothing’ and shaping of your sounds.

DRIVE

The Drive knob is used to adjust the amount of signal that is being fed into a distortion module in Warlock. The higher the value, the greater the effect of the distortion effect will be, from subtle to very overdriven and extreme sounds.

KEYTRACK

Adjusts the effect that notes playing will have on the cutoff of the filter. Positive “key” knob values will cause the cutoff to increase when higher keys are played, while negative knob values will cause the cutoff to decrease.


Filter envelope:

The filter envelope controls (ADSR) determine how the filter is affected by the envelope. Adjust these parameters to make the filter’s cutoff change over time:

ATT (Attack-time)
Controls the attack time of the filter envelope. If you want the filter cutoff to be immediate use a short filter attack time, or if you want the cutoff to fade in use a longer attack time.

DEC (Decay-time)
Controls the initial decay-time, ie the time it takes the filter cutoff to return to the set “cutoff” value.

SUS (Sustain-level)
Sets the value that the sound reaches after the decay phase.

REL (Release-time)
Sets the amount of time the sound takes to go from sustain to zero, after the decay phase.

VELOCITY (Velocity to filter envelope)
Positive values (+) will amplify the effect of the filter-envelope, while negative values (-) will invert the effect.

SEND
This defines how much the filter-cutoff is affected by the envelope.
VOLUME (volume-envelope)

The volume-envelope defines how the output-volume of a sound changes over time.

ATT (Attack time)
Controls the attack time of the envelope. It defines how quickly the volume raises.

DEC (Decay time)
Controls the decay-time. It defines how quickly it fades.

SUS (Sustain volume)
Sets the value that the envelope reaches after the decay-phase while a key is held down.

REL (Release time)
Defines how fast it fades out after a key is released.

VELOCITY (Velocity to volume-envelope)
Positive values (+) will amplify the effect of the envelope, while negative values (-) invert the effect.

VOLUME
The overall volume of the patch.
ENV (auxiliary-envelope)

The auxiliary envelope is an additional ADSR that can be routed to various parameters in Warlock.

ATT (Attack time)
Controls the attack time of the envelope. It defines how fast it ramps upward.

DEC (Decay time)
Controls the decay-time. It defines how fast it ramps down.

SUS (Sustain volume)
Sets the value that the envelope reaches after the decay phase while a key is held down.

REL (Release time)
Defines how fast it ramps down after a key is released.

VELOCITY (Velocity to auxiliary-envelope)
Positive values (+) will amplify the effect of the envelope, while negative values (-) invert the effect.

SEND
This defines how much the envelope affects the routing-target.

ROUTING
Selects that routing-target of the envelope.

Hint: Warlock does not come with a modulation-matrix. But it is possible to route velocity to a wide range of parameters. Use these settings:
ATT = 0, DEC = 0 , SUS = 100, REL = HOLD, VELOCITY = 100, SEND = 100, ROUTING = your desired target
LFO

The Low Frequency Oscillator (LFO) allows you to modulate various parameters of Warlock. An LFO is a rising and falling waveform, moving at a sub-audio rate (usually less than 20hz, or ‘cycles per second’). This waveform can be linked to various parameters, giving the effect of having the parameter ‘rise’ and ‘fall’ according to the waveform and rate of the LFO. It’s a simple yet powerful way to create a more interesting and dynamic sound.
You can adjust the following parameters when programming modulation into a patch:

TYPE
Here you can choose the shape of the LFO. A triangle waveform will rise and fall at a constant rate, while a rising saw will fall faster than it rises. This is an area where experimentation will help you find the sound you are after.

SPEED
Controls the speed of the LFO - choose from Hz (a fixed frequency) or BPM (tempo-synced to host) settings.

SEND
Controls how much the LFO will affect the destination parameter.

ROUTING
Here you can choose the destination-parameter which will be modulated by the LFO.
Effects

Warlock comes with a stereo-effect-section with two modular slots. You can select from 18 different effect types:

  • Off: Effect is bypassed
  • Reverb: A high-end quality reverb with variable decay-time. Big decay values will result in an infinite reverb-loop.
  • Reverb bright: A bright sounding reverb.
  • Delay: An echo-like delay which syncs to BPM.
  • Delay FB: A delay with feedback that syncs to BPM.
  • PingPong: A delay that pans left and right and syncs to BPM.
  • PingPong FB: A PingPong delay with feedback.
  • Chorus: A classic Chorus.
  • Phaser: A classic Phaser.
  • Flanger: A classic Flanger.
  • Rotary: A rotary-speaker effect known from Organs.
  • Reverb + Delay: A combined Reverb and Delay.
  • Reverb + PingPo: A combined Reverb and PingPong delay.
  • Ensemble + Rev: A mix of an ensemble effect  and a Reverb.
  • Rectify: A hard-knee distortion-effect.
  • Degrader: A lo-fi effect that sounds like cheap digital devices.
  • Reverb big: A large Reverb with dense reflections.
  • Reverb big dark: A large Reverb with a dark sound.
  • Multitap: A multi-tap delay with 19 different rhythmic patterns.
Arpeggiator

Warlock provides an arpeggiator so you can turn your incoming midi notes into a hi-energy melody for dance-music (or anywhere else you would like).

TYPE

Selects the arpeggiator-type. The following modes are available:

Up / Down  / Alternate:
The arpeggiator plays each of the keys being pressed in order, and with an increasing octave range.
Example: 'Up 2 octave' plays the currently pressed keys in an upward direction, while systemically increasing the note by 2 octaves from the original key. Larger octave values will cause the arpeggiator pattern to cover a larger ranges of notes.

Gate:
Rhythmically triggers a complete chord at once.

1 Finger:
These types automatically play a chord in the key chosen.


RHYTHM

Here you can choose from various predefined rhythmic patters:

  • A big dot means 'note on' in the pattern.
  • A line represents a held note in the pattern.
  • An underscore represents a released note in the pattern.
VOICES

NUMBER
Controls the number of notes that Warlock can play at once. Decrease the value to lower CPU-usage when using complex arrangements or playing chords with many notes.

GLIDE MODE
Controls the glide-mode (portamento) of Warlock. This allows you to slide between notes to create particular effects, like the TB303 acid sound; or the sound of a finger sliding along a violin string.
If you select 'off' no sliding will occur.
If you select 'glide' every note will be slided.
If you select 'legato' the first note will not be slided. As soon as you press a second key it will slide.

GLIDE TIME
Controls the glide (portamento time)  - the time it takes to glide between two particular notes.
MIDI

PITCHWHEEL

Controls how much the pitch wheel of a midi controller will affect the pitch of Warlock, in semitones. A depth of +-2 means that when the pitch wheel is pushed to its maximum the pitch is altered by 2 semitones.

MODWHEEL

Sets the destination parameter that is affected when you move the modwheel on a midi controller. The possible destinations are:

  • Vibrato fast
  • Vibrato slow
  • Cutoff + (affects the cutoff positively)
  • Cutoff - (affects the cutoff negatively)
  • Resonance + (affects the resonance positively)
  • Resonance - (affects the resonance negatively)
  • OSC crossfade (Crossfades between Osc1 and Osc2)
MENU

TONE2.COM

Opens the web-browser and visits the Tone2 website.

RANDOM

Clicking this button will randomize all the parameters of Warlock and may yield interesting and possibly otherwordly results! Click this for instant inspiration, and don’t forget to save random patches if they sound particularly good.
Warning: The random button results in unpredictable sounds. We recommend to insert a Brickwall Limiter after Warlock to ensure that you don’t do harm to your speakers or eardrums. Always remember to have your speakers, monitors or headphones set at lower levels when you are experimenting.

INIT

Initializes a default patch.

FILE

The file-menu stores and saves patches. A single patch is a fxp file. A sound-bank consists of 128 patches and is a t2b file.
All patches that come with warlock are built-in within the vst3/dll file. They are no separate files on your harddisc.

  • Loads a single patch (.fxp).
  • Loads a sound-bank with 128 patches (.t2b).
  • Saves a single patch (.fxp),
  • Saves a sound-bank with 128 patches (.t2b).
  • Copy the current patch
  • Paste a previously copied patch to the current slot  

Hint: If you want to assemble your own sound-bank you can load several single patches at once. When you hold down the shift key when the file-dialog for fxp loading is opened, you can also select several files. Warlock will now load all selected fxp files.

Hint: You can automatically load your own sound-bank to Warlock on startup. Place UserA.t2b to "Documents\Tone2\Warlock\" (on PC) or "/Library/Application Support/Tone2/Warlock/" (on Mac) . When you select UserA as a sound-bank in Warlock your own one will be loaded.

Hint: It is possible to rename a patch. First use 'Save patch (.fxp) to save it to your harddisc. Then rename the file with the explorer/finder. Finally import it with 'Load patch (.fxp)' again.

HELP

Opens the web-browser and shows this manual.

SIZE

Changes the size of the GUI. Please note that not all hosts support this and might show glitches. It may be necessary to reload the plugin.
To get the sharpest results select 100% or 200%. Warning! Do not select sizes that are larger than your screen-resolution. You might have problems to see the SIZE button and change it back.
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