Tyrell N6

User Guide
2025 beta

Heckmann Audio GmbH ● Berlin 1

 Thursday, 13. March 2025

Introduction 4
Installation 4
Online Resources 4

The User Interface 5

The Panels 6
Control Bar 6
u-he Badge 6
DETUNE 6
TRANSPOSE 6
Data display 6
Presets 6
Triangles 6
Save 6
OUTPUT 7
VCA 7
MODE (voice mode) 7
VOICES (unison count) 7
DRIFT 7
OSC MOD 8
VIBR (vibrato) 8
PW (pulse width) 8
PWSRC (pulse width source) 9
PITCHB. (pitch bend range) 9
SOFTSYNC 9
GLIDE / GLIDE OFST 9
OSCILLATORS 9
SHAPE 1 / SHAPE 2 9
TUNE 2 10
FINE 10
T-MOD 1 / T-MOD 2 10
MIXER 10
OSC1 / OSC2 11
SUB 11
NOISE 11
RING 11
FEEDB. 11
FILTER 11
CUT (cutoff) 11
RES (resonance) 11
MIXSPR (mix spread) 11
VCF MODE 12
VCF POLES 12
Local Modulation 12
MOD 1 / MOD 2 12
KEYFOLLOW 12

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MISC 12
NOISE 12
RING MOD, INPUT SRC 12
LFO1, LFO2 13
Waveform 13
SYNC 13
RATE 13
DELAY 13
PHASE 13
RESTART 13
RATE MOD 14
DEPTH MOD 14
MATRIX 14
DEPTH 14
VIA 14
DEST 14
MATRIX TARGET 15
Envelopes 16
Attack (A) 16
Decay (D) 16
Sustain (S) 16
Release (R) 16
VELO (velocity) 16
KEYTRK (key tracking) 16
FALL RISE 16
Trigger 17
Chorus 18
On/Off 18
Type 18
RATE / DEPTH / WET 18
Modulation Sources 18
MIDI Sources 18
Internal Sources 18
CONFIGURATION 19
Mouse Wheel Raster 20
Scroll Horizontal 20
Default Size 20
Default Skin 20
Gamma 20
Text Antialiasing 20
Auto Versioning 20
Save Presets To 20
Scan On Startup 20
Base Latency 20
Control A/B Default 21
MIDI Control Slew 21

3
 Introduction
Installation
Go to the TyrellN6 webpage, scroll down until you see the Mac/PC/Linux download links for the
latest version of the plugin (v3.0). Download the compressed file, unzip it, run the executable
installer file and follow the on-screen instructions.

The Story
In 2009 the German online magazine for musicians, Amazona, set out to develop the a 500 Euro
analogue synthesizer by discussing with its readers about which features they would like to see. A
collaboration with Behringer was moving too slowly, and Amazona moved to Plan B: Ask Urs (u-he)
to create a software version of what they had already sketched out. Thus TyrellN6 was born...
Read the entire story in German here: https://www.amazona.de/from-tyrell-n6-to-deepmind-12/

Online Resources
For downloads, news articles and support, go to the u-he website
For lively discussions about u-he products, go to the u-he forum at KVR
For friendship and informal news updates, go to the u-he facebook page
For u-he presets (commercial and free), go to u-he preset library
For video tutorials and more, go to the u-he youtube channel

To keep this user guide concise, the standard u-he preset browser is not covered here. However,
Tyrell's browser has the same functionality as the one in most other u-he software products.
Here's a direct link to the Hive 2 user guide—scroll down a page and click on Preset Browser:
https://uhe-dl.b-cdn.net/manuals/plugins/hive/Hive-user-guide.pdf. 13 pages of detailed info!

Team u-he
Urs Heckmann (concepts, code); Jayney Klimek (accounting, procuration); Howard Scarr (sound
design, user guides, grump); Sebastian Greger (UI design, 3D graphics); Jan Storm (framework,
hardware code); Alexandre Bique (Linux, CLAP); Oddvar Manlig (business development);
Viktor Weimer (customer support, sound design); Thomas Binek (QA, betas, customer support);
Henna Gramentz (office management, accounting, customer support); Frank Hoffmann
(framework, browser); Alf Klimek (studio, voiceovers); Sebastian Hübert (media creation)
David Schornsheim (framework, CLAP); Kay Knofe (hardware development); Tim Fröhlich (more
code); Sadjad Siddiq (DSP code); Petros Karagkounidis (web development); Udo Waechter (IT
administration); Simon Schrape (web development); Max Steimel (DSP code); Henry Lau
(accounting, customer support); Mine Hahn (DSP code)

Team Tyrell
Peter Grandl & Mic Irmer (concept); Ryo Ishido & Marcus Steinlechner (GUI design); Stephen Gries
(Tyrell hardware design); Bojan Milivojević & Tibor Devai (original user guide and proofreading)

4
 The User Interface
The window is divided into 4 main areas:

CONTROL BAR

GENERATORS

MODULATORS

CHORUS, CONFIGURATION

Knobs, Sliders, Selectors

All knobs and sliders react consistently to left-click & drag as well as to rolling the mouse wheel.
For fine adjustments, hold down SHIFT before moving the knob / slider.
A double-click on a knob or slider recalls the parameter's default value.
Left-clicking on a selector opens the options menu. Rolling your mouse wheel while hovering over
a selector scrolls through the options. Note that, while many of the selectors offer a list of values
or mode options, about half of them specify a modulation source.
Right-clicking opens a context menu containing the functions Lock, MidiLearn / MidiUnLearn:
Lock ensures that the value will not change while switching presets. Locked parameters appear
with a yellow padlock icon. Note: You are still free to adjust the the parameter value!
MidiLearn assigns hardware controls on your MIDI keyboard etc. to knobs, sliders or selectors in
Tyrell. MidiUnLearn removes assignments. Note that MIDI assignments are global: They are not
saved per preset, but are automatically loaded the next time you open an instance of Tyrell.

GUI Size, Text Antialiasing, Gamma

You can resize the window by right-clicking anywhere in the background and selecting an option
from the list. The sizes range from 600 x 300 pixels (50%) to 2400 x 1200 pixels (200%).
Text Antialiasing switches the smoothing of labels and values on/off. Normally left on—only in rare
cases will switching it off improve readability.
Gamma determines overall brightness.

5
 The Panels
Control Bar
The bar along the top of the Tyrell window hosts a range of global parameters plus a few utility
functions. From left to right these are...

u-he Badge
Clicking on [u-he] opens a popup menu containing links to Tyrell's documentation folder (which
includes this user guide), to the u-he homepage, to our user support forum as well as to our
presence on various social networks.

DETUNE
This knob fine-tunes the overall pitch of the current preset within a range of +/– 50 cent. If VOICES
is set to 2 or above, it detunes the unison voices against each other instead.

TRANSPOSE
Switches the overall pitch of the preset in semitones within a range of +/– 24.

Data display
The display has several functions, most of which have to do with presets...
It usually shows the name of the current preset. Clicking on the display itself lets you select a
preset from the current directory.
While you are editing a preset in Tyrell, the data display shows the parameter’s name and value.
After a few seconds of inactivity, it will show the name of the preset again.
To initialize a preset, right-click on the data display and select init.

Presets
The small button labelled presets to the right of the data display replaces the main panel with a
preset browser. The basic functions are self-explanatory–open a folder in the left panel, select a
preset in the centre panel. For those who wish to read everything there is to know about the u-he
standard preset browser: https://uhe-dl.b-cdn.net/manuals/plugins/hive/Hive-user-guide.pdf.

Triangles
The small left and right pointing triangles step through presets.

Save
Initiates the process of saving your preset: A dialog box lets you name your preset and add details
(author, description, usage) which will appear in the PRESET INFO panel (see Hive's user guide).

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OUTPUT
The main volume control. Set values above 100 to boost inherently quiet signals.

VCA
If you select Gate here, the volume of a note will jump instantaneously from zero to maximum upon
playing a key, then instantaneously back to zero upon releasing the key. If you choose ADSR1 the
volume will follow the shape of ENV 1.

MODE (voice mode)

The poly option is of course polyphonic, mono is monophonic with retrigger, legato is monophonic
without retrigger. In duo mode, oscillator 1 only responds to the lowest played note while oscillator
2 only responds to the highest played note. Both oscillators will play the same note if only one note
is being played. For more about envelope triggering see the Envelopes section.

VOICES (unison count)

This selector determines how many voices will play in unison when a single key is pressed. While
adjusting the number of unison voices, please bear in mind that Tyrell’s polyphony is fixed at 8
voices, and this cannot be changed. For example, if the Voices selector is set to 2, you will be able
to play 4 notes simultaneously before you run out of polyphony. The fewer voices used, the more
CPU power you will save.
If the Voices selector is set to 2 or more, the Detune knob changes its function: Instead of acting as
a fine tune knob for the entire preset, unison voices are detuned against each other in both positive
or negative directions.
Unison voices do not have stereo spread by default. However, there is a hidden parameter called
VCA1: Pan, which is a little tricky to use: Find a preset that has this parameter selected in one of
the Matrix target slots, e.g. Chemtrails. Now, lock that matrix target, initialize the preset and save it
as a template preset for future use. Unlock the matrix target again. Make sure that the number of
voices is 2 or more, select StackVoice as a modulation source for VCA1: Pan and dial in the desired
amount of stereo spread!

DRIFT
This option introduces subtle imperfections to the oscillator tuning: a slow wavering that mimics
the behavior of vintage analog synthesizers.

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OSC MOD
The oscillator modulation section:

VIBR (vibrato)
This slider sets the amount of vibrato (cyclic pitch modulation), for both oscillators as well as for
the sub-oscillator. It is 'hardwired' to LFO 1. Note: In the initialize preset you will only hear vibrato
when you push the modulation wheel (see the LFO 1 settings).

PW (pulse width)
Adjusts the pulse width for both oscillators (but not for the sub-oscillator, which is fixed at 50%).
Does not affect the sawtooth. At maximum this is a 50% duty cycle (ratio of upper pulse width to
pulse duration), at minimum almost 100%.

PW set to maximum (10) – 50% duty cycle PW set quite low (2) – about 90% duty cycle

8
PWSRC (pulse width source)
Selects a modulation source for pulse width(s). Note that all modulation targets in Tyrell offer the
same set of modulators:
None, Modulation Wheel, Pitch Wheel, Control A, Control B, Gate, Velocity, Pressure (aftertouch),
KeyFollow1/2, Alternate, Random, StackVoice, ADSR1/2, LFO1/2.

PITCHB. (pitch bend range)

Selects positive and negative pitchbend range in semitones, from 0 to 24 semitones in both
directions. On MIDI keyboards, pitchbend is usually controlled via a sprung wheel or stick.

SOFTSYNC
This feature synchronizes oscillator 2 (the 'follower') to oscillator 1 (the 'leader'). Whenever the
leader restarts its cycle, the follower's phase is reset, ensuring that both oscillators technically play
at the same frequency. However, the follower’s irregular cycle often creates complex timbres,
giving the impression of a harmonic note or two.
The sync effect is highly dependent upon the tuning of oscillator 2 (Tune 2).
Setting Soft Sync to maximum results in hard sync—the two oscillators are fully synchronized,
regardless of any phase difference or the tuning of the follower. Lower values can create
interesting "unstable" sounds.

GLIDE / GLIDE OFST

Glide, a.k.a. portamento smoothens pitch transitions between consecutive notes. The GLIDE knob
controls the time it takes for the pitch to glide from one note to the next, maintaining a constant
duration regardless of the interval between notes. GLIDE OFFST (offset) shifts the glide time of
oscillator 2, making it shorter or longer relative to oscillator 1.

OSCILLATORS
Waveforms, tuning and frequency modulation...

SHAPE 1 / SHAPE 2
SHAPE 1 for oscillator 1 offers a blend between sine at 1.00, triangle at 2.00, rising saw (aka ramp)
at 3.00, and pulse wave at 4.00. Note that the SUB oscillator (see MIXER below) is always a square.
Oscillator 2 offers a blend of two waveforms controlled by SHAPE 2 knob: rising saw and pulse.

9
TUNE 2
Offsets the tuning of the oscillator 2 relative to the pitch set by TRANSPOSE. The range is from 0 to
+24 semitones.

FINE
A fine tune control for oscillator 2 with a range of +/- 50 cents.

T-MOD 1 / T-MOD 2
These control pitch modulation depth for oscillator 1 (including the SUB) and for oscillator 2,
respectively. The modulation sources are specified by clicking on SOURCE 1 and SOURCE 2.
Tip: The T-MOD 1 knob can act as a tune parameter for oscillator 1 if its modulation source is set
to Stack Voice (assuming you don't set VOICES above 1).

MIXER
The Mixer controls the amount of each audio source fed into the filter.

As Tyrell was designed to mimic the behaviour of analog synths, these levels affect filter overdrive.
Although labelled 0 to 10, the range is actually -100 to +25 dB, with overdrive starting around 0.00
(8 on the vertical scale).
pure sawtooth at maximum level = plenty of distortion!

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OSC1 / OSC2
The levels of the two main oscillators.

SUB
The level of the sub-oscillator (a square wave pitched one octave below oscillator 1).

NOISE
Noise output level—see MISC a few pages down.

RING
Ring modulator output level of the—see MISC a few pages down.

FEEDB.
Feedback from the output of the filter, providing yet more distortion.

FILTER
Tyrell features a self-oscillating multimode filter with a unique mix spread parameter...

CUT (cutoff)
The cutoff frequency above and/or below which—depending on the filter’s mode—the signal is
attenuated. The range of the slider is 20 Hz (minimum) to 20 kHz (maximum).

RES (resonance)
Resonance is an internal feedback loop that emphasizes the cutoff frequency. Tyrell’s filter is also
capable of self-oscillation, like analogue hardware filters. Internal feedback causes the filter
circuitry to act like a sine oscillator. Self-oscillation with no input starts when RES is at about 80.

MIXSPR (mix spread)

This is probably the most unique feature of the entire synth. Its function depends on the settings of
the VCF MODE and VCF POLES selectors...

11
VCF MODE
LP/HP A lowpass and a highpass filter in parallel, with MIXSPR balancing the two. With
MIXSPR at minimum the filter output is 100% lowpass; in the centre it is 50%
lowpass plus 50% highpass, and at maximum it is 100% highpass.
BP The bandpass combines LP and HP in series, removing frequencies above and
below the cutoff point. If VCF POLES is 12 dB/Oct, the MIXSPRD slider is unused.
If VCF POLES is set to 24 dB/Oct, MIXSPRD shifts the frequency of a second
bandpass upwards. if VCF POLES is set to 36 dB/Oct a third bandpass appears,
and MIXSPRD shifts its frequency downward. Push RES up for vocal formants,
but try not to overdrive the filter, otherwise the vocal effect is reduced.

VCF POLES
Determines the steepness of attenuation: 12, 24 or 36 dB per octave. This setting fundamentally
affects how MIXSPRD works when BP (bandpass) is selected. See VCF MODE above for details.

Local Modulation
MOD 1 / MOD 2
MOD 1 and MOD 2 both adjust the amount of cutoff modulation from their respective SOURCE.
These knobs are bipolar i.e. you can set negative values.

KEYFOLLOW
KEYFOLLOW controls the amount of Cutoff modulation from MIDI note number. At 100% the cutoff
point will track the notes on your keyboard almost perfectly. Key Follow in the filter pivots around
MIDI note 72, an octave above middle C. All other notes modulate the cutoff up or down while the
pivot note remains fixed.

MISC
Miscellaneous settings...

NOISE
The knob blends between white (cold) and red (warm) noise. At the centre (2.00) is pink noise.

RING MOD, INPUT SRC

A ring modulator multiplies two signals, outputting the sum and difference of their frequencies.
Depending on the relationship between those frequencies, the result can be rather enharmonic i.e.
clangorous! The two selectors labelled RING MOD and INPUT SRC offer the following options:

Osc1 Osc1
Osc2 Osc2
SubOsc SubOsc
Osc1+2
Osc1+Sub
VCF

Tip: Especially the VCF option here can be used to create some very gnarly sounds!

12
LFO1, LFO2
Two identical Low Frequency Oscillators used as general-purpose modulation sources. Note that
LFO 1 is “hardwired” to the vibrato function (see VIBR).

Waveform
The unlabelled selector at the top left of each LFO panel offers sine, triangle, saw up, saw down,
sqr hi-lo (square wave starting high), sqr lo-hi (square wave starting low), rand hold (stepped
random wave) or rand glide (smooth random wave).

SYNC
The basic ‘speed mode’. SYNC offers non-synchronized times measured in seconds (0.1, 1s or 10s)
as well as a long list of values synchronized to song tempo, including dotted times (50% longer)
and triplets (3 in the space of 2).

RATE
Shifts the LFO speed relative to the selected SYNC. The range is from -5 to +5.

DELAY
Sets the rate at which the LFO is faded in. The range is from instantaneous to about 2 seconds.

PHASE
Sets the position (along the waveform) at which the LFO will be triggered each time a note is
played, with a range of 0° to 360°. The value is irrelevant if RESTART is set to random...

RESTART
Selects a rule for how the LFO's phase will be reset...
sync LFOs of all voices are synchronized to the host application, so they all adopt the
same phase. Unlike single mode (see below), the phases can still be modulated
apart by a polyphonic source such as Velocity, KeyFollow or Random.
single All voices share the same LFO, which is restarted at the next MIDI note after all
previous notes have been released.
gate Notes restart the LFO for each voice independently at the specified PHASE.
random Notes restart the LFO for each voice independently at a random phase, ignoring
the value of PHASE.
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RATE MOD
The speed of each LFO can be modulated locally by setting a SOURCE and turning the associated
RATE MOD knob up or down. Note: LFO 2 can only modulate LFO 1 rate via the Matrix.

DEPTH MOD
LFO amplitude modulation depth. Set this to minimum for unmodulated i.e. full output, or
maximum for complete control via the selected SOURCE.
If 'none' is selected as SOURCE, turning DEPTH MOD up will lower the LFO's output as you are
effectively multiplying it by "a certain amount of zero". You may find this counterintuitive at first!
Example: If you want your modulation wheel to control vibrato depth, set the LFO1 source to
ModWhl and turn DEPTH MOD up to maximum. If you then turn MOD DEPTH down a little, a certain
amount of LFO will remain unmodulated, resulting in a constant, subtle vibrato.
Note: LFO 2 can only modulate LFO 1 depth via the Matrix...

MATRIX
The modulation matrix consists of two not so clearly defined sub-sections: XS – MOD OSC 1 and
below that, the actual modulation matrix.

XS – MOD OSC 1
Cross modulation: Similar to e.g. an LFO modulating pitch or pulse width, but at audio rate.

DEPTH
How strongly oscillator 1 modulates the DEST (destination) VIA a secondary modulation source...

VIA
Secondary modulation source for 'shaping' the amount of modulation. Try ModWhl or LFO2 first,
until how it works becomes clear.

DEST
The destination selects a target for cross modulation by oscillator 1.
Osc2 FM oscillator 2 frequency.
Osc2 PWM oscillator 2 pulse width
FilterFM filter cutoff
14
2 MATRIX SLOTS
MATRIX TARGET
The modulation matrix consists of two slots, each with a primary and secondary VIA source plus
binary depth control, and the TARGET. It is used to modulate almost any parameter (knob or slider)
in Tyrell, including cross modulation DEPTH and all knobs in the CHORUS section.
Quirk in the current version: the Chorus parameters do not appear in the menu—you will need to
make the connection via drag & drop (see below).

not assigned Glide Attack Phase Shape1

VoiceCircuit Glide2 Decay Delay TuneModDepth1

ADSR1 PortaRange Sustain DepthMod Dpt1 Shape2

ADSR2 Fall-Rise Rate Tune2

LFO1 Release FreqMod Dpt FineTune2

LFO2 Velocity TuneModDepth2

Tyrell KeyTrack PWDepth

Detune
Lock SoftSync
Vibrato
As an alternative to selecting a target from the menu you can click and drag a NoiseColour

crosshair onto the desired knob or sliders. OscVolume12

OscVolume2
Note: For ADSRs or LFOs to appear in the menu, these must already be SubVolume
selected as modulation sources elsewhere on the panel. NoiseVolume
RingModulator
Feedback
Cutoff
FreqModDepth1
FreqModDepth2
KeyFollow
Resonance
MixSpread
XModDepth

using drag & drop to select a target

15
Envelopes
The last two modulation sections on the Tyrell N6 panel are the envelope generators. Although they
appear to be typical 4-stage envelopes, there are a few extras...
Envelope 1 is labeled 'VCA' as it is hardwired to the virtual 'Voltage Controlled Amplifier', controlling
the volume contour of each note. However, ENV1 can be used to modulate any other parameters!

note on note off

positive
FALL RISE

negative
SUSTAIN FALL RISE

ATTACK DECAY RELEASE

The four sliders should be familiar from most other synthesizers:

Attack (A)
The time it takes for the envelope to rise from zero (or the Init value) to maximum

Decay (D)
The time it takes to drop from maximum to the Sustain level

Sustain (S)
The level after Decay. Normally remains at that position until the note is released

Release (R)
The time it takes to drop to zero after a note is released.

VELO (velocity)
For dynamic envelopes—keyboard velocity scales the envelope’s output level. If ENV1 is
modulating additional parameters, those will also be affected.

KEYTRK (key tracking)

Originally scaled all envelope times based on MIDI note number, but ever since version 2.0 was
released it actually scales them via velocity. This was never reported, so we left it as-is for now!

FALL RISE
This setting radically changes the behavior of the sustain—see the image above. If set to the 0.00,
the sustain stage remains flat. Negative FALL RISE values cause the sustain to fall to minimum,
whereby larger negative values mean a more rapid fall. Conversely, positive FALL RISE values
cause the sustain to rise to maximum, with larger values leading to a more rapid rise.

16
Trigger
The unlabelled selector next to the ENV label determines how the envelope is triggered. ENV 1
has four options, while ENV 2 has five.
Gate If the voice MODE (in the control bar) is set to poly, an envelope is triggered for
each note, and sustained until the note is released.
If the voice MODE is set to mono the envelope is triggered like in poly mode
except when Attack and Release times are non-zero AND notes overlap:
In such cases the envelope is triggered for each new note starting where the
envelope of the previous note left off. We call that a "singing envelope".
If the voice MODE is set to legato, the envelope will only be retriggered for the
first note in a run being played without any gaps (this is called 'legato' playing).
If the voice MODE is set to duo the triggering is like mono while single notes are
being played, but like legato while 2 notes are being played.
Single This option is only available for envelope 2.
If the voice MODE (in the control bar) is set to poly, the envelope will be triggered
for each note played non-legato, regardless of the release time (R). If the notes
are played legato, they will share the same envelope until all notes in that legato
run have been released.
If the voice MODE is set to mono, legato or duo the triggering behavior is the
same as Gate (see above) in legato MODE.
Loop The envelope will continuously run through its stages in a loop, for as long as a
key is pressed. NOTE: If the sustain (S) is at minimum or the FALL RISE knob has
a negative value, the release (R) stage will not be included in the loop. Similarly, if
the sustain is at maximum, the decay (D) stage will be skipped.
LFO1 / LFO2 The envelope is retriggered with each new LFO cycle. Tip: Interesting rhythmic
patterns can be achieved by modulating LFO PHASE.

17
Chorus
Like most chorus effects, the one in Tyrell is based on a short delays (20–50ms) modulated by a
dedicated LFO.

On/Off
The unlabelled button on the left activates/deactivates Chorus.

Type
Like in Diva and Hive, there are three flavours: Classic, Dramatic or Ensemble. The first two are
variations using the same algorithm, while Dramatic offers a stronger detuning effect. Ensemble
sounds similar to the circuitry found in old 'string machines'.

RATE / DEPTH / WET

LFO speed, modulation amount and dry/wet mix.

Modulation Sources
MIDI Sources
ModWhl Modulation wheel, MIDI CC #01
PitchW Pitch wheel (or stick)
Control A MIDI CC #02 (breath) by default, but can be changed in the configuration
Control B MIDI CC #11 (expression) by default, but can be changed in the configuration
Gate A simple organ-like envelope with almost instantaneous attack and release
Velocity MIDI velocity
Pressure Channel pressure or polyphonic aftertouch (whichever is being received)
KeyFollow Modulation per MIDI note plus any GLIDE; The pivot note is D3
KeyFollow 2 Modulation per MIDI note plus any GLIDE OFST; The pivot note is D3

Internal Sources
Alternate Flips between opposite extremes (e.g. 100 and -100) with each note
Random Each played note gets a new random value
StackVoice The index of unison VOICES; Use this source to split modulation depth between
individual unison voices, or as a constant when VOICES is set to 1
LFO 1 / 2 The low frequency oscillators
ADSR 1 / 2 The envelopes

18
CONFIGURATION
At the bottom right of of Tyrell's window you will see this panel:

Clicking on the cogwheel icon opens the configuration window:

To see these settings, roll your mouse wheel (any future versions will improve this feature):

19
CONTROLS
Mouse Wheel Raster
If your mouse wheel is rastered (you can feel it clicking slightly as you roll the wheel), set this
option to ‘on’ so that each little click increments the value in sensible steps.

Scroll Horizontal
The direction of scrolling within the presets panel.

APPEARANCE
Default Size
The GUI size for each new instance. You can temporarily change the GUI size without opening the
Preferences page by right-clicking anywhere in the background.

Default Skin
Sets the selected skin as the default. This will not appear if alternative skins are not available.

Gamma
Effectively the UI brightness. It can take a moment before the new setting takes effect.

Text Antialiasing
Smoothing of labels and values. Normally left on—only in certain special cases will switching this
off improve readability.

PRESETS
Auto Versioning
If switched on, an index is appended to the preset name and automatically incremented each time
you save it. For instance, saving ‘Space’ three times in a row would give you three files: ‘Space’,
‘Space 2’ and ‘Space 3’.

Save Presets To
The user folder option prevents Tyrell from saving presets into the Local folder. Instead, they will
land in the User folder (or a subfolder if selected).

Scan On Startup
Whether the preset library should be scanned and the database recreated when the first instance
of Tyrell is started, e.g. when you reopen a project.

OTHERS
Base Latency
If you are certain that your audio system – hardware as well as software – uses buffers that are a
multiple of 16 samples in size (please refer to the appropriate documentation), you can safely
disable base latency. Otherwise leave it set to the default 16 samples to prevent crackles.
A new Base Latency setting will only take effect when the host allows e.g. on playback or after
switching the sample rate. Reloading Tyrell also works.

20
 ABOUT THOSE BUFFERS
Internally, Tyrell processes audio in chunks of n x 16 samples. Such ‘block processing’
reduces the CPU load and memory usage of all our plug-ins. If the number of samples to be
processed is e.g. 41, Tyrell processes the first 32 and keeps the remaining 9 in a small buffer
(16 samples is enough). Those 9 samples are then processed at the start of the next call…
and so on. The extra buffer is only necessary if the host or audio driver processes ‘unusual’
buffer sizes. In the many host applications that process buffers of e.g. 64, 128, 256 or 512
samples (all multiples of 16), try switching it off so that Tyrell can process latency-free.

Control A/B Default

Apart from the modulation wheel, the list of modulation sources used to include two fixed MIDI
controls: Breath (CC#02) and Xpress (CC#11). While retaining backwards compatibility, we
replaced those with the user-definable Control A and Control B sources.

MIDI Control Slew

Determines the strength of parameter smoothing for the following performance controls: pitch
bend, modulation wheel, Control A, Control B and Pressure. With MIDI Control Slew set to off, Tyrell
is more responsive to modulation wheel data (for instance), but performance control can sound
rather grainy. The Fast setting is a good compromise between responsiveness and smoothness.
Note that the Slow option is adaptive: Whenever the incoming control data jumps suddenly
between values that are further apart, no slew is applied.

21