Low Pass -12dB

The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The LP2 is a 2- pole low-pass, which attenuates frequencies above the cutoff at a rate of -12 dB/octave.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Low Pass -24dB

The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The LP4 is a 4- pole low-pass, which attenuates frequencies above the cutoff at a rate of -24 dB/octave.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Low Pass Vintage

This is the same filter section that is provided by Native Instruments’ PRO-53 software synthesizer. It’s similar in nature to the 4-pole lowpass filter but has a different and more distinctive signature sound.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

High Pass -12dB

The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The HP2 is a 2- pole high-pass, which attenuates frequencies below the cutoff at a rate of -12 dB/octave.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

High Pass -24dB

The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The HP4 is a 4- pole high-pass, which attenuates frequencies below the cutoff at a rate of -24 dB/octave.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Band Pass -12dB

The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The BP4 is a 4- pole band-pass, which attenuates frequencies above and below the cutoff at a rate of -12 dB/octave.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Band Pass -24dB

The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The BP4 is a 4- pole band-pass, which attenuates frequencies above and below the cutoff at a rate of -24 dB/octave.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Notch

The State Variable (SV) filters have a clean characteristic that can be used for all kinds of audio signals. The Notch 4 is a 4-pole notch filter, which attenuates frequencies at the cutoff.

Cutoff: Adjusts the frequency above which signals will be attenuated.

Resonance: With a value greater than 0, this control will boost a small frequency range around the cutoff frequency.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Talk

This is a formant filter type. Formants are acoustic resonances. The term often applies to the phonetics of human speech, as such, the formant filters are designed to mimic the frequency response of the human vocal tract. These filters can be used to emulate the “talk box” effect.

Talk: Controls the frequency response of the filter. Can be used to morph between vowel-sounds.

Resonance: Increases and decreases the peaks and notches in the response respectively, analogous to the resonance control of the other filters.

Size: Controls the center of the frequency response, analogous to the cutoff control of the other filters.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Supercharger GT

The Supercharger GT offers high-end tube compression emulation, inspired by boutique hardware. It is a particularly musical compressor, with different flavors of saturation and spectral shaping that allow you to apply subtle harmonic and spatial enhancement as well as heavy and aggressive tube drive.

Input: Adjusts the input gain to the compressor in dB.

Saturation: Applies saturation to the signal. Turn the control right to apply more saturation to the signal.

Output: Sets the output level of the compressor in dB. You can use it as a make-up gain control that allows you to bring the output signal up to the same peak level as the input signal after compression.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Compressor

Compressors are dynamic tools which automatically reduce the level of loud passages in a signal, thereby affecting the signal’s dynamic range. The Solid Bus Comp is modeled after a classic analog bus compressor.

Threshold: Sets a level threshold above which the compressor starts working. Only levels that rise above this threshold will be reduced by the compression; signals that stay below it will be left unprocessed.

Ratio: Controls the amount of compression, expressed as a ratio of “input level change” against “output level change”. A Ratio of 1:1 means that no compression will be happening. For example, a Setting of 4 represents the ration 4:1, which means for every 4 decibel increase of amplitude above the threshold, the output will increase by only 1 decibel.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Transient Master

The Transient Master is an easy to use compressor designed to control the attack and sustain of a sound. Instead of following the amplitude of the sound like a traditional compressor, it follows the general envelope and is thus not as susceptible to changes of input gain. It is best used on sounds with fast attacks, like percussion, pianos or guitars. The Transient Master can also be quite extreme in some cases, so use it with caution.

Input: Controls the input gain to the effect.

Attack: Adjusts the scaling of the attack portion of the input signal’s volume envelope. Turning the knob right (0% to 100%) will add more punch, and turning the knob left (0% to -100%) will reduce sharp attacks.

Sustain: Controls the scaling of the sustain portion of the input signal’s volume envelope. Increasing this parameter will add more body to the sound and decreasing it will reduce the sound’s tail.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Limiter

Limiters are actually a special form of compressors with a ratio of one to infinity, a threshold just below the maximum level, and a very short attack time. They act as a “safety net” to keep short signal peaks from overloading the system, which would result in audio clipping. While compressors have a range of artistic applications, limiters are usually used for technical reasons — they can tame signals with peaks which would otherwise overload the output, without requiring you to turn the signal’s overall volume down.

Input: Sets the gain of the input signal. The Limiter is different from the Compressor in that it has a fixed threshold; to achieve a sensible peak reduction, use this control to adjust the input gain until you see the Attenuation meter responding only to occasional level peaks.

Release: Just like the Compressor’s control of the same name, this knob adjusts the time it takes the Limiter to return to an unprocessed signal after the input level falls below the threshold.

Output: Adjusts the module’s output level.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Tape Saturation

This module causes distortion by clipping or rounding off high sample values. It thereby simulates the behavior of overloaded tube circuits, adding artificial harmonics to a sound.

Gain: Controls the input gain of the effect. This will increase the amount of tape distortion and compression.

Warmth: Controls the low frequency boost/cut of the effect.

Output: Controls the output gain of the effect.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Tube Saturation

The Tape Saturator emulates the soft compression and distortion of recording to tape. It can be used lightly to add warmth and coloring to the sound, or heavily to add aggressive distortion.

Drive: Adjusts the amount of distortion.

Damping: Turning this knob clockwise attenuates high frequencies in the output signal, thereby counteracting the brightness caused by the artificial harmonics.

Output: Adjusts the module’s output level. Since distortion boosts the gain considerably, it’s often necessary to attenuate the signal at the output stage.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Black Distortion

Black Distortion simulates a guitar distortion pedal, ideal for blues and rock tones.

Distortion: Controls the amount of distortion applied.

Filter: For a darker sound, turn clockwise to enhance the low fre quency range; turn counter-clockwise for a brighter, sharper sound.

Volume: The master volume control for the effect.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Clean Amp

Clean Amp simulates the rich tube sound of classic guitar amps from decades ago. It’s ideal for screaming leads and crunchy rhythm guitar sounds, as well as clean sounds with personality.

Gain: Adjusts the input level, or gain. Turning Gain to the right adds saturation and distortion to the signal.

Bass & Treble: These controls adjust the respective levels of the signal’s high and low frequency components.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Bitcrusher

Bitcrusher adds various digital artifacts, like quantization noise or aliasing, to a clean signal. It’s great for roughing up sounds that would otherwise be too plain and featureless.

Bits: Re-quantizes the signal to an adjustable bit depth.

s. Rate (Sample Rate): Resamples the signal to an adjustable sample rate. The resampling is done without any kind of (usually mandatory) low-pass filtering, which causes all kinds of wonderful aliasing arti- facts.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Overdrive

Overdrive is an emulation of a classic guitar distortion effect pedal.

Drive: Adds dirt to the sound.

Tone: Turning this control clockwise accents the midrange while dropping the bass. Counterclockwise takes off the highs and boosts the bass for a warmer sound.

Output: Adjusts the module´s output level.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Tape Delay

The Tape Delay reproduces the sound of tape delay, modelled on the physical mechanisms that make up early tape machines.

Time: Adjust the delay time. You can toggle between setting the time in milliseconds or synced to your host tempo by clicking the clock/note symbol.

Feedback: Adjusts the amount of feedback. Turning Feedback to the right increases the amount of delay repetitions.

Mix: Adjusts the respective levels of the original and processed signals. In common scenarios, the delayed signal is mixed in at a lower level than the direct signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Diffuse Delay

Diffusion mode can produce a standard delay effect, but it is best used for its huge, diffusion-based reverb sound. This mode is ideal for ambient music and sound design.

Time: Adjust the delay time. You can toggle between setting the time in milliseconds or synced to your host tempo by clicking the clock/note symbol.

Feedback: Adjusts the amount of feedback. Turning Feedback to the right increases the amount of delay repetitions.

Mix: Adjusts the respective levels of the original and processed signals. In common scenarios, the delayed signal is mixed in at a lower level than the direct signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Analogue Delay

The Analogue Delay offers a Bucket Brigade delay model that replicates the character sound of BBD chips.

Time: Adjust the delay time. You can toggle between setting the time in milliseconds or synced to your host tempo by clicking the clock/note symbol.

Feedback: Adjusts the amount of feedback. Turning Feedback to the right increases the amount of delay repetitions.

Mix: Adjusts the respective levels of the original and processed signals. In common scenarios, the delayed signal is mixed in at a lower level than the direct signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Digital Delay

Clean Digital Delay without coloration.

Time: Adjust the delay time. You can toggle between setting the time in milliseconds or synced to your host tempo by clicking the clock/note symbol.

Feedback: Adjusts the amount of feedback. Turning Feedback to the right increases the amount of delay repetitions.

Mix: Adjusts the respective levels of the original and processed signals. In common scenarios, the delayed signal is mixed in at a lower level than the direct signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Psyche Delay

Psyche Delay is a stereo delay effect that produces a range of atmospheric ambient echoes and reverse effects reminiscent of the "backwards tape" sound of the 1960s.

Time: Adjust the delay time. You can toggle between setting the time in milliseconds or synced to your host tempo by clicking the clock/note symbol.

Feedback: Adjusts the amount of feedback. Turning Feedback to the right increases the amount of delay repetitions.

Detune: Fine-tunes the pitch of the echo repeats in the range of -50 to +50 cents.

Mix: Adjusts the respective levels of the original and processed signals. In common scenarios, the delayed signal is mixed in at a lower level than the direct signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Chorus

Choruses are used to enrich sounds by adding spatial movement and giving them an ensemble-like quality. They are based on short delays, with built-in modulation of the delay time. The delays produce copies of the original sound that vary in timing and, as a side-effect of the delay time modulation, pitch. This way a chorus adds space and body to the sound as if it was played from multiple sources at the same time. The results range from subtle shifts in timbre to extremely lively textures with a wide stereo image.

Rate: Adjusts the speed of modulation, from slow pitch changes to fast vibratos. This becomes more pronounced as the amount is increased.

Depth: Adjusts the range of modulated detuning. Higher values give a more pronounced chorusing effect.

Mix (Dry/Wet Knob): Adjusts the respective levels of the original and processed signals. Note that the typical chorus effect is created by the combination of both signals, so setting this knob to the midpoint results in the most pronounced effect.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Flanger

The Flanger splits the audio signal up and delays one version in relation to the original signal. By modulating the delay time, as well as feeding an adjustable amount of the output signal back into the input, the Flanger creates a characteristic “whooshing” sound.

Speed: Adjusts the LFO speed. To synchronize the speed to your host or Master Editor tempo, click the Sync Button.

Depth: The amount of LFO modulation. Higher values cause the flanging effect to sweep over a wider range.

Mix (Dry/Wet Knob): Adjusts the respective levels of the original and processed signals. Note that the typical chorus effect is created by the combination of both signals, so setting this knob to the midpoint results in the most pronounced effect.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Phaser

The Phaser effect continually changes the phase relationships in your signal with an all-pass filter. This results in a comb filtering effect, which attenuates some frequencies while boosting others.

Speed: The LFO modulation speed. To synchronize the speed to your host or Master Editor tempo, click the Sync Button.

Depth: The amount of LFO modulation. Higher values cause the Phaser effect to sweep over a wider frequency range.

Mix (Dry/Wet Knob): Adjusts the respective levels of the original and processed signals. Note that the typical chorus effect is created by the combination of both signals, so setting this knob to the midpoint results in the most pronounced effect.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Flutter

Flutter emulates the sound of analog tape machines, characterized by wow and flutter, saturation, noise, and a limited high-frequency response. You can use it to apply classic lo-fi effects, particularly when playing sustained notes, pads and melodies.

Scrape: Adjusts the amount of high-frequency scraping, which occurs when the tape vibrates as it passes over the playback head.

Wow: Adjusts the amount of wow, a slow fluctuation in pitch caused by sticky tape and worn-out tape transport.

FlutterAdjusts the amount of flutter, a fast fluctuation in pitch caused by a bent capstans and faulty motor parts.

Mix: Blends between the input signal and the effect signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Vibrato

Vibrato/Chorus models the sound of the vibrato and chorus effects found on a classic electric organ. The effects were originally produced by an innovative circuit that combined electronic and mechanical components, producing an incredibly rich sound.

Speed: Adjusts the frequency of the modulation.

Blend: Blends between the vibrato and the chorus effect.

Width: Adjusts the width of the stereo widening effect.

Mix: Blends between the input signal and the effect signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Plate Reverb

Plate reverb was developed as an early method of generating an artificial reverb effect. A vibrating sheet of metal is employed to simulate reflection patterns in acoustical spaces. Since the sheet of metal vibrates across a two- dimensional plane, the echo density is higher and more evenly distributed than in a three-dimensional space. It is a good choice if you want to brighten a sound source. Plate reverb has a smooth reverb tail, allowing you to lengthen a sound without pushing it back in the mix. For this reason plate reverbs are most commonly used on vocals and snare drums.

Pre Delay: Introduces a short amount of delay before the reverb takes effect.

Decay: Adjusts the duration of the reverb effect.

Mix Blends between the input signal and the effect signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Reverb

This is an algorithmic hall reverb.

Time: Adjusts the duration of the reverb effect.

Damping: Adjusts the amount of absorption in the room simulated by the reverb effect. Higher values result in more absorption.

Mix Blends between the input signal and the effect signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Raum

Raum is a reverb algorithm for airy halls.

Time: Adjusts the duration of the reverb effect.

Modulation: Adjusts the amount of movement added to the reverb sound by changing internal parameters of the reverb over time. Turning the control to the right changes the movement of the reverb from lush to strongly detuned sounds.

Damping: Adjusts the amount of absorption in the room simulated by the reverb effect. Higher values result in more absorption.

Mix Blends between the input signal and the effect signal.

(Note: Each slider can be linked to react to the mod wheel or the LFO in the Global FX Section see 4.3.4.)

Convolution

This Convolution Reverb comes with ten different impulse responses to choose from.

Predelay Introduces a short amount of delay before the reverb takes effect.

Mix Blends between the input signal and the effect signal.

Plate Reverb

Plate reverb was developed as an early method of generating an artificial reverb effect. A vibrating sheet of metal is employed to simulate reflection patterns in acoustical spaces. Since the sheet of metal vibrates across a two- dimensional plane, the echo density is higher and more evenly distributed than in a three-dimensional space. It is a good choice if you want to brighten a sound source. Plate reverb has a smooth reverb tail, allowing you to lengthen a sound without pushing it back in the mix. For this reason plate reverbs are most commonly used on vocals and snare drums.

Time: Adjusts the duration of the reverb effect.

Predelay: Introduces a short amount of delay before the reverb takes effect.

Mix Blends between the input signal and the effect signal.

Raum

Raum is a reverb algorithm for airy halls.

Time Adjusts the length of the decay time.

Predelay Introduces a short amount of delay before the reverb takes effect.

Decay Adjusts the duration of the reverb effect.

Hall

This is an algorithmic hall reverb.

Time Adjusts the length of the decay time.

Predelay Introduces a short amount of delay before the reverb takes effect.

Decay Adjusts the duration of the reverb effect.

With the menu located at the bottom left of the velocity steps you can set all of the steps to zero with the clear function to easily mute a slot in a keyswitch. Der Reset button sets all steps to the max velocity.

1. Click on the three dots to easily copy the entire slot or just the current bar to a different instrument or key switch.

2. The Note Order determains how the arpeggiater works with the incoming midi data.

• Custom: The dot matrix becomes active and you can programm a custom arpeggiation pattern. 0 represents the lowest pressed midi note. 1 represents the second pressed midi note aso.
• All (Chord): All pressed midi notes are played simultaneously according to the set steps and their velocity.
• Arp Pattern: These 12 arp pattern are the basic pattern found in many arpeggiators.
• Free: The Free Mode bypasses the arpeggiator and the instrument will only be played whenever a new midi input is send to this slot. This offers many possibilities in terms of orchestration.

3. The rate determains the smallest rhythmic unit that the arpeggiator uses. You can choose between rates from 1/4T to 1/32.

4. The Note Selection determains which notes will be passed on to this slot.

5. The depth of control is dependend on the other settings in the Arpeggiator.
Note Order = All (Chord) - only the Octave settings are available.
Octave: After playing a chord in the initial octave the chord will be played one octave higher. If set to +2 the chord will be played a third time again one octave higher aso. -1 will repeat the chord one octave lower etc.
Note Order = Up, Down aso. - three settings are available:
Octave: You can also choose to repeat the sequence through the octaves, as explained above.
Repeat: You can also choose to repeat each note more than once. Repeat = 1 will repeat each step one additional time.
Reset: Reset will restart the sequence after one or two bars.

• Off: No note selection is applied so all played notes will be used for the arpeggiation.
• Lowest: Only the lowest note will be used for the arpeggiation.
• Lowest 2: The two lowest notes will be used for the arpeggiation.
• Middle: In a three voiced chord only the middle note will be used for the arpeggiation. If you only play two voices at a time the middle note will use the lowest note for the arpeggiation in this case.
• Middle 2: In a four voiced chord the middle two notes will be used for the arpeggiation. If you play a three voiced chord the highest and middle note will be used for the arpeggiation.
• Top 3: The highest three notes will be used for the arpeggiation.
• Top 2: The highest two notes will be used for the arpeggiation.
• Top: The highest note will be used for the arpeggiation.
• Lowest + Highest: Only the lowest and highest note will be used for the arpeggiation.