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Index 1Modular Contents

Modular ReferenceMIDI

MVC A/B - MIDI Voice Control A/BKey SplitKey ZoneMIDI ClockClock DividerMIDI to TriggerMIDI Channel FilterMIDI Monitor

GateGate2SyncGate SwitcherCompare ABCompare AXRandom Gate Generator

OSCFrequency & PitchmodulationSyncMaster/SyncSlaveMulti OSC (SyncM/SyncS)Pulse OSC (SyncS)Saw down/up (SyncS)Sine OSCUknow OSC (SyncM/SyncS)Morphing PulseMorphing SawSpectral OSCFm OperatorTube ResonatorNoise GeneratorBPF NoiseSample OscillatorSample Pool

EnvelopesADSRADSR BAD (& Mod) VintageAHD (& Mod) VintageADSR (& Mod) VintageMultisegment EnvelopesEnvelope Follower

Mix & GainPolyOut 1 & 2Linear und Exponential VCASlope Mod VCA6dB/12dB GainVolume AttenuatorMicro MixerMix 2/4/8Static CrossfadeStatic PanCrossfade ModulatorPan ModulatorAmplitude ModulatorGranu GaterOn/Off Switch1x4 Switch (Gain)4x1 Switch (Gain)1x6 Switch (Gain)6x1 Switch (Gain)1x8 Switch (Gain)8x1 Switch (Gain)Add 2/3/4/5InverterPeak MeterDC Blocking Filter

Filter6dB Highpass6dB Lowpass12dB Multimode Filter18dB Lowpass24dB Lowpass Filter24dB Highpass Filter24dB Lowpass Filter V24dB Lowpass Filter R24dB Highpass Filter R24dB Bandpass Filter RMultimode Filter AMultimode Filter BUknow FilterCombfilter A/BVocal Filter12dB Lowshelf EQParametric EQ12dB Highshelf EQFree Filter Bank A/B

LFOSingle/Poly und LFOsMulti LFO AMulti LFO BMW LFOPulse LFOShape LFOBiphase LFOSaw Down LFOSaw Up LFOSinus LFOSquare LFOTriangle LFORandom Signal GeneratorSample & Hold

ModifiersPitch Modifier APitch Modifier BPitch Modifier CPitch Modifier DConstant ValueConstant Value bipolarConstant FreqConstant PartialPositive to BipolarCurve TableLinear ScaleFrequency DividerFrequency MultiplyPitch QuantizerXmod & Feedback Connector

DrumDrum SynthDrum OscillatorPercussion OscillatorDrum Voice ControlMute Adder 2Hihat SourceSampleDrum OscillatorMDS 8

EffectsCompressorLimiterExpanderNoise GateDelayTempo DelayModulation DelayChorusFlangerTempo FlangerPhaserTempo PhaserPitch ShifterPitch Shift DelayDistortionBit QuantizerDecimatorRingmodulatorMono/Stereo Insert

Sequencer ModulesGate SEQ1 / SEQ2Ctrl SEQ1 / SEQ2Ctrl SEQ B1 / SEQ B2Pitch SEQPattern SEQPS32GateOrStart/Stop

CommonSynths Page Main table of contents


MIDIThe modules in this group process MIDI data. Some modules process existing MIDIsignals, while others supply MIDI control signals to other synthesis modules.

MVC A/B - MIDI Voice ControlA/BThe MVC modules are the mostimportant in the MIDI group. They arerequired in every synth patch. They makethe connection between your MIDIkeyboard or sequencer and your synthpatch, interpreting MIDI information suchas note number, note velocity, pitch bendand aftertouch (with influence fromsettings on the MVC module itself) andtranslating this info into frequency, gate,velocity and other signals which can beused to control oscillators, filters,envelopes, and so on.

There are two versions: MVC A offersportamento, while MVC B does not andis therefore "less expensive" in terms ofDSP power.

PWRThe Pitch Wheel Range setting controlsthe deflection of the pitch by the incomingpitchwheel values. The range isadjustable from 0 to 24 semitones. Thepitchwheel has no effect, of course, ofthe value here is set to zero.

ControlsCoarse/FineTransposes the pitch of the incomingFreq Out/Sample F note data. Coarsetransposes the pitch in semitones, whileFine adjusts it in cents (hundredths of asemitone).


Porta/GlisWhen Portamento or Glissando isswitched on, the pitch will either glide(Portamento), or progress in a stepwisesequence (Glissando), from one note tothe next over a fixed time period(adjustable - see next section).

You can adjust this parameter to Off,Portamento (P), Glissando (G), fingeredPortamento (fP) or fingered Glissando(fG). Note that Portamento/Glissando isonly effective when playing in a legatostyle.

TimeUsed in conjunction with the Port/Glissoption, above. This sets the amount oftime to glide or gliss from one note to thenext.

CurvesOpens the Velocity/Aftertouch Curvedialog with additional parameters.

Velocity/Aftertouch CurveThe illustration shows the 128 possibleVelocity/Aftertouch values.

The associated parameters Curve,Sensitivity, and Offset all contribute to theway the MVC adapts the Velocity/After-touch values to produce the desiredresponse. The fundamental response isdetermined by the 7 Curves - linear(curve 1), fixed (curve 3), exponential(curve 4) or logarithmic (curve 6).Sensitivity adjusts the depth of the curve(i.e. the degree of response) and Offsetadds or subtracts a fixed amount fromthe response curve.

For more information, see the section‘Curve Table’, also in this chapter.


ConnectionsMIDI InConnect the MIDI signal from a MIDISource module, or another modularmodule that has a MIDI out port to thisinput.

Freq OutThis jack supplies frequency values foroscillators, pitch modifiers etc. You canalso connect an LFO’s Freq In input here.

Sample FreqThis output is used for frequency controlof the SampleOscillator.

Do not confuse this setting with thesample rate setting. A sample ratedesignates the bandwidth of a selectedsample. The Sample Freq connection isfor pitch information used for sampleplayback.

NoteSupplies the MIDI Note value. Use thisto connect to a Key Follow modulationinput or other modulation input (such asEnvelope Tmod).

VelProvides the MIDI velocity value afterhaving been ‘massaged’ by the velocitycurve. This output can be connected toseveral different inputs to providemodulation based on keyboarddynamics. It is commonly used toinfluence envelope timings and levels,and filter cutoff modulations.

ATProvides MIDI Aftertouch values afterhaving been processed by the aftertouchcurve. Attach any modulation input to thisoutput.

GateConnect envelope generators, LFOs, orother modules that require a gate signalto this output. Some envelope generatorsuse Envelope Synchronization (Esync,see next section) which must beconnected in conjunction with Gate inorder for the voice envelopes to functioncorrectly. You can connect severalenvelope generators in parallel to theGate output.

EsyncThis is an input used to receive Esync(Envelope Synchronization) messages.Esync signals are fed back from theenvelope generators and report thecurrent state of the envelope to the MVC.This is necessary for precise voicecontrol. Only if Esync and Gate are bothconnected to their appropriate ins andouts will the envelope generators operateerror-free. To use more than oneenvelope, you must also include theEsync Adder module.

Important: If you use the gate signalwith no envelope generator present inthe patch, you must first connect Gatewith Esync (i.e. bridge the connectionsin the MVC). Otherwise, no gate signalwill be sent.


Key SplitThis module takes the MIDI data and splits it according to note number into two keyboardzones defined by a split point. Only MIDI data falling within the low or high split zonesare transmitted through the respective Low/High MIDI outputs. Each zone has its ownTranspose parameter. Typically you would connect two MVCs to the outputs of theKey Split module to control two separate sounds.

ControlsLow KeyThis value sets the lowest note (as a notenumber) for the keyboard zone. Thehighest note for the zone is determinedby the Split value.

SplitThis note number separates the high andlow keyboard zones.

High KeyThe note number that defines the upperboundary of the high keyboard range. Thelower boundary is determined by the Splitvalue.

TransposeAllows for independent transpositionvalues for the Low and High keyboardranges, adjustable to +/-64 semitones.Note that the transposition will succeedonly if the result lies within both therespective low/high key range and thepermissible range of MIDI note numbers(0-127).

ConnectionsMIDI InInput for the MIDI signal.

MIDI LowOutputs the low split zone portion of theMIDI signal (after transposition).

MIDI HighOutputs the high split zone portion of theMIDI signal (after transposition).


Key ZoneThis module reads the incoming MIDI data and re-transmits only the portion that lieswithin an adjusted keyboard zone. A Transpose setting allows notes within the zone tobe transposed. Typically you would insert this module before an MVC to limit the inputof the MVC to a specific key range on a keyboard.

ControlsLow KeyThis specifies the low key of the rangeas a MIDI note number.

High KeySpecifies the upper limit of the zone as aMIDI note number.

ConnectionsMIDI InInput for the MIDI signal.

MIDI OutThe resulting MIDI output (limited to theKey Zone range defined by the settings).

TransposeYou can transpose the notes in a keyzone by up to +/- 64 semitones. Thetransposed notes must lie within the Low/High key range, and must remain withinthe allowable MIDI range of 0-127 or theywill not play.


MIDI ClockThis module converts internal or external MIDI clock messages into clock pulses foruse by the Step Sequencer, or to control LFO frequencies, etc. A MIDI Clock signalconsists of 24 pulses per beat. The Clock Signals and the resulting frequencies areoutput at a 1:1 ratio, i.e. 24 pulses per beat. Adjusting the clock frequency has someimplications with regard to the Clock Divider (see next module) and the FrequencyDivider (see the Modifier section). So that different devices within the SCOPE 5 canbe synchronized with a Modular patch, the MIDI Clock has a MIDI Out which can beconnected to the MIDI destination.

ControlsInternal/ExternalSwitches the MIDI Clock betweenInternal and External modes. When theindicator is lit, the module is in Internalmode.

BPMSets the clock tempo BPM (Beats PerMinute). The first field is the wholenumber value, and the second is thefractional value in 1/100ths of a beat perminute.

ConnectionsMIDI InInput to receive the MIDI signal from theModular MIDI Source. Of course, thisconnection is only required in Externalmode.

In order to use MIDI In to control the Clock,a MIDI signal containing MIDI Clockinformation must be connected to theModular’s MIDI In within the ProjectWindow.

ClockOutputs the Clock signal of either theinternal or external MIDI clock. Connectthis to the Clock inputs of the ClockDivider or Sequencer, or to the Gate Inof an envelope generator.

Start/StopSends MIDI Start and Stopsynchronization messages to the ClockDivider. Connect the Clock Divider’s inputof the same name to this output.

FreqSends the clock signal as a frequency.You can connect Freq directly to a Divider(see Modifiers) to provide a signal toconnect directly to an LFO’s Freq In.

MIDI OutProvides a MIDI signal with MIDI Clockinformation so you can synchronize otherSonic Core devices to the Modular’sclock.


Clock DividerThe Clock module always outputs 24 pulses per beat, but this is not always the numberrequired in your patch, or portion of a patch. Often you will want to divide (or multiply)this number to produce different note length values. In addition to the Clock input, theClock Divider provides two Clock outputs which supply subdivisions or multiples ofthe signal.

ControlsClock DivideEach of the two outputs has anassociated Textfader to adjust itsmultiplication or division factor.

Example: You have a MIDI Clock, aClock Divider, and two sequencermodules. The first sequencer is toproduce quarter notes, and the second,eighth-note triplets. Connect Out 1 tothe first sequencer, and set it to 24/24.Likewise, connect Out 2 to sequencer2, but adjust the ratio to 24/8. Out 1 willsend quarter notes (24/24 = 1 step perbeat) and Out 2 will transmit eight-notetriplets (24/8 = 3 steps per beat).

24/96 = 1/1 note

24/48 = 1/2 note

24/24 = 1/4 note

24/16 = 1/4 triplets

24/12 = 1/8 note

24/8 = 1/8 triplets

24/6 = 1/16 note


24/3 = 1/32 note

ConnectionsClockConnect the Clock output of a MIDI Clockor other module here.

Start/StopConnect this with the output of the samename on the MIDI Clock module. TheMIDI Clock uses this connection toenable synchronous control. When thissignal is received, Out 1 and Out 2 of theClock Divider are resynchronized.

Out 1Clock Divide output 1.

Out 2Clock Divide output 2.


MIDI to TriggerThis module converts detailed MIDI Note On events to a more generic trigger, orClock signal. MIDI to Trigger can be used, for example, to trigger a step sequencerwhenever you play a note on the keyboard. MIDI to Trigger distinguishes betweenSingle and Legato modes.

In Single mode, each new note on event produces a trigger signal.

In Legato mode, notes played before the previous note is released are ignored.Therefore, there must be a small space between two notes for the second to producea trigger.

ControlsSingleEnables Single mode. The button is litwhen enabled.

LegatoEnables Legato mode. The button is litwhen enabled.

ConnectionsMIDI InConnect this to a MIDI source.

If you want the module to respond only toa specific MIDI channel, connect a MIDIChannel Filter and set it to pass MIDI dataonly from the desired channel.

TrigOutputs the trigger/clock signal.


MIDI Channel FilterThe MIDI Channel Filter permits onlythose MIDI events which are on theselected channel to pass through. Thispermits you to divide the commonincoming MIDI stream according tochannel, so that specific portions of apatch respond only to messagesreceived on a specific channel. MultipleMIDI Channel Filters can be used withinone patch to apply different MIDIchannels within one patch.

ConnectionsInConnect, for example, the MIDI input ofthe patch here.

OutDelivers the filtered MIDI stream,containing only the messages on thespecified channel.

MIDI MonitorThe MIDI Monitor shows the incomingMIDI-messages and allows therefor tosee quickly, if a MIDI signal is presentand on which channel it’s coming in.Additionally you get information about thenote number and the velocity.

ConnectionsMIDI InConnect, for example, the MIDI input ofthe patch here.


GateThis group contains modules that process, change, and/or produce Gate signals. Some modules supply processed or refreshedgate signals, while others produce control signals for the Modular’s synthesis modules.

Gate2SyncThis simple module converts incomingGate signals into audio impluses whichcan be used for oscillator synchronizationand restarting.

Gate SwitcherThis module takes an incoming gate signal and routes it one of two ouputs dependingon the incoming Vel or Note signal from an MVC, and the range values adjusted foreach output. Therefore, a gate signal can be routed dependent on either the MIDInote, or the velocity.

Controlson/offSwitches gate to synchronization signalconversion on or off. When the button islit, Gate2Sync is switched on.

ConnectionsGateInput for the gate signal.

SyncOutput for the synchronization signal.

ControlsMin/Max1Sets the range within which the incominggate signal will be routed to the firstoutput.

Min/Max2Sets the range within which the incominggate signal will be routed to the secondoutput.

LinkEnable this option to make Max1 andMin2 adjustable simultaneously in paral-lel. This makes it easier to separate thetwo ranges accurately.

ConnectionsGateInput for the gate signal.

ValInput for the Note or Vel signal of an MVC.

Gate 1Gate ouput for the Min/Max1 range.

Gate 2Gate ouput for the Min/Max2 range.


Compare ABThis module compares the instantaneous levels of two incoming audio signals. Whenthe signal level at input A exceeds the level of the signal at input B, the module outputsa Gate signal (Gate open). The gate remains open until the level of the signal at inputA falls below the level of the signal at input B. A sensitivity control reduces the sensitivityof the circuit so that the gate output responds less frequently.

ControlsSensReduces the sensitivity of the circuit sothat the gate state changes lessfrequently.

ConnectionsGateGate signal output.

In AInput for the first audio signal.

In BInput for the second audio signal.

To compare for A<B it is only necessaryto exchange the input signals.


Random Gate GeneratorThis module generates random gatesignals. The rate at which the moduleproduces the signals is adjustable.

Compare AXThis module compares the instantaneous level of an audio signal with a fixed value(Threshold). When the signal level at input A exceeds the Threshold value, the moduleoutputs a Gate signal. The gate remains open until the level of the signal at input Afalls below the Threshold. A sensitivity control reduces the sensitivity of the circuit sothat the gate state changes less frequently. The Threshold can be switched to usebipolar values.

ControlsTresholdSets the value to compare to the level ofthe signal at input A.

SensReduces the sensitivity of the circuit sothat the gate state changes lessfrequently.

BipolarSwitches the Threshold control to use bi-polar values.

ConnectionsGateOutput for the gate signal.

In AInput for an audio signal.

ControlsRateControls how frequently the modulegenerates gate signals.

ConnectionsGateGate signal output.


OSCThe Modular provides you with manyvarieties of oscillator. In this section youwill find many typical and familiaroscillators, as well as several interestingimplementations of new concepts.

In general, the more functionality anoscillator offers, the more hungry it willbe for processing resources. Usingsmaller, more basic oscillators whenpossible will help optimize DSP usage.Always try to use smallest oscillatorpossible in any particular section of aModular patch.

Tip: Start with full featured oscillators,and then replace them later withsmaller versions that supply only thefunctionality you need.

This module group also includes aselection of noise generators.

Frequency &PitchmodulationWithout a frequency signal at theFrequency In connection, an oscillatorwill produce no sound, as it has noindication of what frequency to generate.One easy and common way to provide afrequency value is to connect Freq Outof the MVC to the Freq In connection ofan oscillator. This patch enables theoscillator ’s frequency to follow akeyboard.

For pitch modulation, use one of the PitchModifiers (see under ‘Modifiers’).Connect the modifier to the MVC (as youwould an oscillator) and then connect therespective oscillators to the Freq Out jackof the modifier. You can connect any ofseveral modulation sources to the pitchmodifier.

If you require only a fixed frequency, usethe Constant Pitch modifier in themodifier group.

SyncMaster/SyncSlaveSome oscillators are provided inSyncMaster or SyncSlave variants. Thefollowing applies to oscillatorsynchronization in general:

The SyncMaster supplies a signal thatadjusts the waveform of the SyncSlaveto restart with each new SyncMastercycle (see diagram). With pitchmodulation, only the tone quality, but notthe frequency of the slaves changes.

Normally you would connect the SyncOut of a SyncMaster to the Sync In ofthe slave(s). Then use a pitch modifier(see under Modifiers) to modulate thepitch of the slave(s) using any modulationsignal.


Multi OSC (SyncM/SyncS)The classic analog oscillator with 5 waveforms: Sine, Triangle, Saw up, Saw down,and Pulse. The pulse width is controllable either manually, or by a modulation input.This oscillator is available as either a SyncMaster or SyncSlave.

ControlsCoarse/FineControls the pitch of the oscillator. Coarseadjusts the pitch in semitones; Fineadjusts it in cents (1/100 of a semitone).

WaveformAllows you to choose from the followingwaveforms: Sine, Triangle, Saw up, Sawdown, and Pulse.

PWWhen the pulse waveform is selected,use PW to manually adjust the ‘duty cycle’of the wave. This adjusts the shape ofthe pulse rectangle.

PwmAAdjusts the degree to which the incomingsignal at the Pwm input influences thepulse width modulation.

ConnectionsFreq InInput for the frequency signal.

PwmConnect a modulation signal to controlthe pulse width here.

OutThe oscillator’s output signal.

Sync Out (Only in SyncMaster version)

Provides a synchronization signal for aSyncSlave oscillator. Connect this outputto the Sync In jack of the slave oscillator.

Sync In (Only in SyncSlave version)

Input for the synchronization signal of aSyncMaster oscillator. Connect the Syncout of a SyncMaster here.


Pulse OSC (SyncS)Oscillator to produce a pulse wave with variable pulse width. Available as SyncSlave.


PWControl to adjust the pulse widthmanually.


ConnectionsFreq InInput for the frequency signal


OutThe oscillator’s audio output.

Sync In (SyncSlave only)



Saw down/up (SyncS)This simple oscillator provides descending and ascending sawtooth waveforms.Available as SyncSlave.







Sine OSCThe Sine Oscillator is provided in three versions: normal, SyncSlave, and Partial. TheSyncSlave version is used for oscillator synchronization. The Partial version isspecifically designed for use in additive synthesis patches, since this oscillator can betuned to produce pitches in the harmonic series.

ControlsCoarse/FineControls the pitch of the oscillator.Coarse adjusts the pitch in semitones;Fine adjusts it in cents (1/100 of asemitone).

Partial (only in the SineOSC Partial)

This is the factor by which the basicfrequency at Freq In is multiplied. Byadjusting this value to integer (wholenumber) values, harmonics areproduced:A factor of 1.000x produces thebasic frequency, or first harmonic. Afactor of 2.000x produces the octaveabove the basic frequency, or the secondharmonic, etc.

Since using the rotary control to adjustthis value is a little clumsy, it is betterto simply enter the desired harmonicnumber in the text field directly. Forexample, enter <3> + <Enter> to adjustthe oscillator to the third harmonic.



Sync InInput for the synchronization signal of aSyncMaster oscillator. Connect the Syncout of a SyncMaster here.


Uknow OSC (SyncM/SyncS)This oscillator actually consists of three oscillators: a pulse oscillator with variablepulse width, a sawtooth oscillator, and a square wave sub-oscillator. The volume ofeach oscillator can be independently adjusted. The phases of the pulse and sawtoothoscillators can be adjusted manually, or controlled by a modulation signal. This oscillatoris provided in both SyncMaster and SyncSlave versions.

ControlsCoarse/FineControls the pitch of the oscillator. Coarseadjusts the pitch in semitones, Fineadjusts it in cents (1/100 of a semitone).



dulation (the External button is lit) the PPand SP controls adjust the intensity of thephase modulation of the pulse andsawtooth waves.

PPControls the phase of the pulse wave.It’s effect is either direct, when in manualmode, or indirect by controlling theintensity of the incoming modulationsignal in Modulation mode.

SPControls the phase of the sawtooth wave.It’s effect is either direct, when in manualmode, or indirect by controlling theintensity of the incoming modulationsignal in Modulation mode.

PVolume of the pulse wave.

SVolume of the sawtooth wave.

SubVolume of the sub-oscillator.

ExtSwitches between manual control andModulation control of the phase of thepulse and sawtooth waves. With manualcontrol (the button is not lit) the phasesof the pulse and sawtooth waves arecontrolled directly using the PP and SPcontrols respectively. When set to Mo-




PPmInput for a modulation signal to controlthe phase of the pulse wave. The signalat this input has an effect only when Man/Mod is set to Mod (button is lit).

SPmInput for a modulation signal to controlthe phase of the sawtooth wave. Thesignal at this input has an effect onlywhen Man/Mod is set to Mod (button islit).

OutAudio output of the oscillator.

Sync Out (SyncMaster only)

Provides a synchronization signal for aSyncSlave oscillator. Connect this outputto the Sync In jack of the slave oscillator.




Morphing PulseThis oscillator can produce a continues waveform change (morph) from sine to pulse.The morph factor and the pulse width can each be controlled manually, or by amodulation signal.




WFHere you set the morph factor whichcontrols the relationship of the sine waveto the pulse wave.

WfmAAdjusts the intensity of the modulationsignal connected to the Wfm input. Thissignal modulates the waveshape/morphfactor.



WfmInput for a modulation signal to controlthe waveshape/morph factor.



Morphing SawThis oscillator can produce a continues waveform change (morph) from sine to saw.The morph factor can be controlled manually, or by a modulation signal.


WFHere you set the morph factor whichcontrols the relationship of the sine waveto the pulse wave.






Spectral OSCLike the morphing oscillators, this oscillator produces a smooth transformation fromone waveform to another. However, it is a little different. Although both are‘waveshaping’, and produce dynamic spectra by increasing overtones for a brightertone, this oscillator can also switch between sawtooth and pulse waveforms.


Saw/PulseSwitches between the sawtooth andpulse waveforms.

WFHere you set the morph factor whichcontrols the relationship of the sine waveto the saw/pulse wave.






Fm OperatorUse this module to create patches using FM synthesis. The FM Operator can be usedeither as a modulator or a carrier. In an FM patch, modulators determine the tone, andthe carrier (the FM Operator at the end of the chain) determines the amplitude. Thecarrier waveform is a sine. There is a separate input for connecting envelope generators.

ControlsCoarse/FineIn an FM Operator, the Coarse/Finecontrols are used not only to determinethe pitch of the output, but also thespectrum (e.g. frequency modulation).Coarse changes the frequency in integersteps, resulting in simple spectra withrecognizable pitch. Changes to the Finesetting result in less recognizable pitch,and more complex spectra reminiscentof bells or ring modulation. In order to usethe Coarse/Fine controls, Fixed must notbe enabled, and the blue LED beside thecontrols must be lit.

DetuneAllows you to detune, or fine tune theoperator. Range is +/-20 cents.

FixedFixed permits you to adjust the operator’sfrequency to a fixed value. You can createsome particularly interesting effects usingFixed.

When you use a fixed frequency, theCoarse/Fine controls are disabled. Thisis indicated when the blue LED next toFixed is lit.

PhaseUse this control to adjust the start phaseof the carrier wave. Usually this resultsin small spectral changes, and will workonly if retrigger (Ret) is enabled.

RetThis switch determines whether thesignal will run continuously, or berestarted at its initial phase setting eachtime a new note is played. Retrigger isenabled when the button is lit.

FmA1/2Controls the depth of frequencymodulation from the respectivemodulation inputs.



Gate InInput for a Gate signal (possible from anMVC). Without a signal connected here,the Phase and Ret controls will have noeffect.

EGInput for an envelope signal. Controls theamplitude of the operator.

Fm 1Input for a modulator for frequencymodulation.

Fm 2Input for a modulator for frequencymodulation.

OutThe operator’s audio output. This can beconnected directly to a modulation inputto create a feedback loop.


Modulation Synthesis OSCUse this module to implement classic modulation synthesis. Well-known modulationsynthesis techniques include ring modulation, amplitude modulation, and frequencymodulation. This module has individual modulation inputs for ring and amplitudemodulation, and two inputs for frequency modulation. The carrier used for frequencymodulation is a sine wave.

ControlsCoarse/FineThe Coarse and Fine controls adjust thepitch, and in the case of frequencymodulation, also the sound spectrum.The Coarse control adjusts the basicfrequency in integral relationships so asto create simple spectra withrecognizable pitch. Use the Fine controlto produce spectra with less easilyrecognizable pitch and more complexspectra with bell-like qualities. To use theCoarse/Fine controls, Fixed must be setto null, and the blue LED between theCoarse and Fine controls must be lit.

DetuneControls the fine tuning or detuning of theoscillators within a range of +/- 20 cents.

FixedSets the pitch of the oscillator to a fixedfrequency. Using a fixed frequencyresults in particularly interesting effects.

When the oscillator is set to a fixedfrequency, the Coarse/Fine controlshave no effect (as indicated by the stateof the blue LED - on or off).

PhaseThis control sets the start phase of thecarrier wave. Usually this results only insmall changes to the spectrum, and thenonly when an appropriate signal isconnected to the Sync In input. Youcould, for example, use the Gate to Syncmodule to provide an appropriate signal.


RmA (Ringmodulation Amount)

Intensity of the ring modulation.

AmA (Amplitudemodulation Amount)

Intensity of the amplitude modulation.

The sound spectra produced by ringand amplitude modulation are quitesimilar. However, they differ as follows:In ring modulation the fundamentalpitch of the spectral waveformgradually disappears as the modulationintensity increases. In amplitudemodulation, the fundamental pitchremains in the spectrum.

FmA1/2 (Frequencymodulation Amount 1/2)

Controls the intensity of the frequencymodulation of the signals at therespective modulation inputs.

For these controls to have an audibleeffect, a signal must be present at thecontrol’s corresponding modulationinput.

OutAdjusts the volume of the audio signal atthe Out output.

Connections

Freq InInput for a frequency signal.

Sync InInput for a synchronization signal fromthe SyncMaster Oscillators or the Gateto Sync module. Connect the Sync Outsignal here.

RmRing modulation input for any arbitrarymodulator.

AmAmplitude modulation input for anyarbitrary modulator.

Fm 1Frequency modulation input for anyarbitrary modulator.

Fm 2A second modulation input for frequencymodulation.

OutThe oscillator’s audio output signal. Youcan connect this output directly to themodulation inputs of this module to createa modulation feedback loop.


Tube ResonatorThis module is actually based on a comb filter, but was conceived to perform as anoscillator. Comb filters are particularly effective when imitating sounds such as a flute(from which the module got its name, since a flute is little more than a ‘tube’). Toproduce a flute sound, you would start by sending some noise to the resonator. Thefrequency is controlled, as usual, by the signal at the Freq In input. Other modulationinputs provide signals to control the spectrum.

ControlsCoarse/FineControls the pitch of the resonator.Coarse adjusts the pitch in semitones;Fine adjusts it in cents (1/100 of asemitone).

ResControls the strength of the comb filtereffect. The higher the resonance, theclearer the pitch becomes.

ResModAdjusts the degree of influence ofmodulation on the resonance.

DampThe resonance of the filter is createdusing feedback. By adjusting the Dampparameter, you control the depth of thefeedback loop. This provides an additio-nal way to control the behavior of thecomb filter.

DampModControls the intensity of a modulationsignal over Damp. You can use this, forexample, to apply an envelope to theDamp parameter, controlling the amountof audible noise to imitate the blowingsound of a wind instrument.

ConnectionsInInput for an audio signal.

Freq InInput for a frequency signal.

RmodInput for a modulation signal(Resonance).

DmodInput for a modulation signal (Damp).

OutThe resonator’s audio output.


BPF NoiseProduces white noise that has beenfiltered through a bandpass filter withadjustable cutoff. The filtered andunfiltered signal is available at separateoutputs.

ControlsCutoffAdjusts the cutoff frequency of thebandpass filter.

ConnectionsWhiteOutput for the unfiltered white noise.

BPFOutput for signal after it has passedthrough the bandpass filter.

Noise GeneratorNoise has many applications in synthesis- as a tone color, a modulation signal, insample-and-hold circuits - to name justa few. This module simultaneouslydelivers both pink and white noise at therespective outputs.

ConnectionsWhiteWhite noise output.

PinkPink noise output.


Sample OscillatorThe Sample Oscillator lets you use any desired Akai (.s) or Wave (.wav) sample filesas a sound source in your patch. Samples are loaded via simple drag & drop from theFile Browser onto the sample-drop field. Once loaded, a sample can be played via thekeyboard with normal semitone transpose per note number or, via the Fixed option,with the same pitch on all keys. The latter option is especially useful with sound effectssamples. If other modules through which the sample is played, such as filters, areconnected in such a way as to be dependent upon note number, then it is possible tovary a parameter (such as filter cutoff) in response to keyboard position, even thoughsample pitch stays fixed.

ControlsCoarse/FineAdjusts the coarse and fine tuning of thesample oscillator in semitones and cents(1/100th of a semitone) respectively.

PModThe Sample Oscillator does not receivea frequency control signal in the samesense as a standard oscillator. Instead,it receives an offset based on the Coarseand Fine Tuning settings and the pitchchange introduced by Pitch Bendmessages. Thus, a separate pitchmodulation input is provided forconnection to an LFO or similarmodulation source.

LowSets the lowest note number at which thesample is triggered.

CenterSets the note number at which thesample plays at its original pitch.

HighSets the highest note number at whichthe sample is triggered.

Fixed TuneActivating this option causes samplepitch to be the same on all keys whichtrigger it. The Coarse and Fine Tunecontrols can still be used to dial in a pitchother than the original sample pitch.

Keep in mind that transposition of asample changes its playback speed –this is especially noticeable with soundeffects samples. Transposing a sampledownward slows it down, whiletransposing it upward speeds it up.

LoadClick on this button if you want to load asample. This button opens the standarddialog for loading files.

Sample Drop Field


ConnectionsGateTriggers the sample. Typically connectedto the Gate output of the MVC modulefor triggering from a MIDI keyboard orsequencer.

NotePresents note number information to theSample Oscillator. Typically connectedto the Note output of the MVC module.

Smpl FFor connection to the output of the samename on the MVC module. The SampleOscillator must be connected this MVCoutput instead of the Freq output normallyused with standard oscillators.

PModFor connection to a pitch modulationsource such as an LFO. Note thaat LFOsconnected to this input should not be runat speeds higher than approximately10Hz.

to EGConnect this output to the Gate input ofall envelopes involved with playback ofthe sample. This ensures that the sampleis started before the envelope receivesits gate signal.

OutAudio output from the SampleOscillator.

Using SamplesOnce you’ve loaded a sample and thensave a patch preset, the same samplewill later be reloaded whenever you recallthis preset. Keep in mind that theSampleOscillator does not store thesample itself within the preset, but merelyrecords its name and its location. If yousubsequently delete this sample, renameit or move it to a different location (or ifthe sample was loaded from a CD-ROMwhich is not inserted in the CD-ROMdrive), the SampleOscillator will not beable to find it and therefore not be ableto load it.

In particular, note that whentransferring a patch which usessamples to a different computer, it isalso necessary to transfer the samplesbeing used.

To get around this problem, read the nextsection, Sample Pool.


Sample PoolThe Sample Pool gives you the capability to integrate several samples into your patchin a simple manner. When you load a sample, it becomes a component ot the patch.Therefore, the storage requirements of the patch rise depending on the size of theintegrated samples. On the other hand, now you don’t have to pay attention to whereyour samples are stored on your hard disk - whether they are in the correct location ornot. Also, this design has the advantage of ensuring that the patch always contains thecorrect samples when it is transferred to another computer.

ControlsLoadPress this button to load a sample, thestandard dialog for loading a file appears.

Save PoolClicking on this button allows you to savethe Sample Pool, in its current state, asan independent module. Later you canintegrate this pool into another patch.

ExportClick on this button if you want to savethe currently selected sample to yourhard disk. This button opens the standarddialog for saving files.

RemoveBy clicking on this button, the currentlyselected sample is deleted from theSample Pool.

Remove AllWhen you click on this button all samplesin the pool, regardless of the selection,are deleted.

Samples in the Sample Pool that alsoreside on the hard drive will not bedeleted from the hard drive by Removeor Remove All.

If the samples are stored only in thepatch and you remove one or morefrom the pool, only the remainingsamples will be saved when the patchis saved. The removed sample are lostwhen the patch is overwritten with thechanges.


EnvelopesEnvelope generators are required toproduce the dynamic changes inamplitude and tone that help create theessential characteristics of an instrument.Essentially, an envelope instructs aparameter how to behave over time.Envelope generators, combined withfilters and amplifiers, are essentialdefining elements of an instrument patch.

Most of SCOPE 5’s envelopes aresuitable for any purpose - amplitude,filter, or pitch control. They feature‘Envelope Synchronization’ (Esync),which makes them particularly accurate.A few were designed specifically toprovide envelope control over filter orpitch only, and are named with thedesignation ‘Modulation Envelope’. The-se do not include the Esync capability,and are therefore very efficient.

An envelope is triggered by a Gate Onsignal. It starts, and proceeds throughseveral segments of varying pre-determined lengths. When it receives aGate Off signal, the envelope generatorjumps to the final ‘release’ segment.

Most of the envelopes have an adjustableSlope parameter to further define theenvelope shape. Depending on theenvelope generator, one of linear,logarithmic or exponential curves can beselected (see the figure beside).

In a patch you usually use the standardenvelopes that include the Esyncfeature. If you need an envelopegenerator only to control a single filter,or the pitch, then select one of the ‘Mo-dulation’ envelope generators, sinceEsync is not required in this case. Anamplifier, however, must always becontrolled using an Esync-capableenvelope generator.


ADSRA Standard, four segment, Attack, Decay, Sustain, Release envelope generator. Theslopes are adjustable, and the times and levels can be modulated simultaneously.

ControlsSlopeYou can adjust the curves for the attack,decay and release slopes. The curve iscontinuously adjustable from linear tologarithmic.

AThe attack time. When a gate signal isreceived, the attack segment starts, andcontinues for the maximum time durationat which point the maximum modulationlevel is reached.

DThe decay time. The envelope enters thedecay segment when the attack phasecompletes. At this point, the modulationfalls back to the sustain level. The timeneeded for this is the Decay time. A decaywill not be heard if the sustain level is setto maximum.

SThe sustain level. This is the level atwhich the modulation signal will be heldas long as the gate is open. When thegate closes, the release segmentimmediately follows.

RThe release time. When the envelopegenerator receives a gate-off signal, itjumps immediately from its current phaseto the release segment. When thechange from one segment to anothertakes place, the release time will beadjusted to account for the volume levelat that time.

Tmod1Adjusts the times of all segments of theenvelope. Both the intensity and directionof the modulation effect of the signal atTmod1 is set by this value. Negativevalues shorten times, and positive valueslengthen them.

Tmod2Adjusts the times of all segments of theenvelope. Both the intensity and directionof the modulation effect of the signal atTmod2 is set by this value. Negativevalues shorten times, and positive valueslengthen them.

LmodAdjusts the levels of all segments of theenvelope. The value here (0..max)controls the intensity of the modulationof the levels by the modulation signal.


ConnectionsGateConnect the gate signal from, forexample, an MVC or a sequencer here.

EsyncConnection for the Esync feedback to anMVC or sequencer module.

Tmod1Input for a modulation signal to controlenvelope times.


LmodInput for a modulation signal to controlenvelope levels.

OutOutput for the envelope signal.

ADSR BSimilar to the standard ADSR envelope,but lacks the Esync output, and istherefore slightly more economical interms of DSP power usage. Thisenvelope should always be used insituations where it is not important thatthe envelope output value returnscompletely to zero before the envelopeis restarted.

Additonal ConnectionsInvThis additional connection produces aninverted version of the envelope signal.

The Out and Inv ouputs can be usedsimultaneously.


AD (& Mod) VintageThis envelope generator provides only two segments - Attack and Decay. Once it hasstarted, it runs through both segments until it is finished according to the times setunder Attack and Decay. It features adjustable slope for both segments, and is suitablefor all kinds of modulation. There are two versions of this envelope generator. The onewith the ‘& Mod’ designation in its name includes time modulation inputs and controls.The other does not.

ControlsASlopeAdjusts the slope curve for the attackphase. The curve is continuouslyadjustable from linear to logarithmic .

DSlopeAdjusts the slope curve for the decayphase. The curve is continuouslyadjustable from a linear to a exponentialfade out.

AThe attack time. When a gate signal isreceived, the attack segment starts, andcontinues for the slope time at which pointthe maximum level is reached.

DThe decay time. The envelope enters thedecay segment when the attack phasecompletes, and lasts for the decay slopetime at which point the level reaches 0.

Tmod1Adjusts the times of the two segments ofthe envelope. Both the intensity anddirection of the modulation effect of thesignal at Tmod1 is set by this value. Ne-gative values shorten times, and positi-ve values lengthen them. This parameteris missing on the Vintage AD & Modversion.

Tmod2Adjusts the times of the two envelopesegments. Both the intensity anddirection of the modulation effect of thesignal at Tmod2 is set by this value. Ne-gative values shorten times, and positi-ve values lengthen them. This parameteris missing on the Vintage AD & Modversion.



Amod (Only on the AD & Mod version)

Adjusts the time of the attack segmentof the envelope. Both the intensity anddirection of the modulation effect of thesignal is set by this value. Negativevalues shorten times, and positive valueslengthen them.

Dmod (Only on the AD & Mod version)

Adjusts the time of the decay segment.Both the intensity and direction of themodulation effect of the signal is set bythis value. Negative values shortentimes, and positive values lengthen them.



Tmod1 (Not on the AD & Mod version)

Input for a modulation signal to controlenvelope times.

Tmod2 (Not on the AD & Mod version)



Amod (Not on the AD version)

Input for a modulation signal to controlattack time.

Dmod (Not on the AD version)

Input for a modulation signal to controldecay time.

OutThe envelope’s output signal.


AHD (& Mod) VintageThis three stage envelope generator provides Attack, Hold, and Decay times. Oncestarted, the envelope cycle progresses through all three stages according to the timesset for attack, hold and decay. It features adjustable slope parameters for attack anddecay, and is suitable for any kind of modulation. There are two versions of this envelopegenerator - one in which each segment time can be modulated individually, as denotedby including ‘& Mod’ in its name.

ControlsASlopeAdjusts the slope curve for the attackphase. The curve is continuouslyadjustable from linear to logarithmic .

DSlopeAdjusts the slope curve for the decayphase. The curve is continuouslyadjustable from a linear to a exponentialfade out.


HThe length of time to maintain themaximum level. After the attack phasehas completed, the maximum level isheld for the duration set here.

DThe decay time. The envelope enters thedecay segment when the hold phasecompletes, and lasts for the decay slopetime at which point the level reaches 0.

Tmod1 (Not on the AHD & Mod version)

Adjusts the times of the three segmentsof the envelope. Both the intensity anddirection of the modulation effect of thesignal at Tmod1 is set by this value. Ne-gative values shorten times, and positi-ve values lengthen them. This parameteris missing on the Vintage AHD & Modversion.


Adjusts the times of the three envelopesegments. Both the intensity anddirection of the modulation effect of thesignal at Tmod2 is set by this value. Ne-gative values shorten times, and positi-ve values lengthen them.



Amod (Only on the AHD & Mod version)


Dmod (Only on the AHD & Mod version)


Hmod (Only on the AHD & Mod version)









Amod (Not on the AHD version)


Hmod (Not on AHD version)

Input for a modulation signal to controlhold time.

Dmod (Not on the AHD version)




ADSR (& Mod) VintageA classic four-stage envelope generator with Attack, Decay, Sustain, and Releasesegments. It features separate slope parameters for Attack, and Decay/Release, andis suitable for any modulation purpose. This envelope generator is available in twoversions, one of which features independent individual time and sustain level modulation(designated by including ‘& Mod’ in its name).

ControlsASlopeAdjusts the slope curve for the attackphase. The curve is continuouslyadjustable from linear to logarithmic.

DSlopeAdjusts the slope curve for the decay/release phases. The curve iscontinuously adjustable from a linear toa exponential fade out.


DThe decay time. The envelope enters thedecay segment when the attack phase

completes, and the modulation falls backto the sustain level. The time needed forthis is the decay time. A decay will not beheard if the sustain level is set tomaximum.

SThe sustain level. This is the level atwhich the modulation signal will be heldas long as the gate is open. When thegate closes, the release segmentimmediately follows.

RThe release time. When the envelopegenerator receives a gate-off signal, it

jumps immediately from its current phaseto the release stage. When the changefrom one segment to another takes place,the release time will be adjusted toaccount for the volume level at that time.

Tmod1 (Not on the ADSR & Mod version)

Adjusts the times of all segments of theenvelope. Both the intensity and directionof the modulation effect of the signal atTmod1 is set by this value. Negativevalues shorten times, and positive valueslengthen them.


Adjusts the times of the three envelopesegments. Both the intensity anddirection of the modulation effect of thesignal at Tmod2 is set by this value. Ne-gative values shorten times, and positi-ve values lengthen them.



Amod (Only on the ADSR & Mod version)


Dmod (Only on the ADSR & Mod version)


Smod (Only on the ADSR & Mod version)

Adjusts the intensity of influence of themodulation signal over the sustain level.Depending on this value, the sustain levelwill be modulated from 0 to the amountadjusted.

Rmod (Only on the ADSR & Mod version)

Adjusts the time of the release segment.Both the intensity and direction of themodulation effect of the signal is set bythis value. Negative values shortentimes, and positive values lengthen them.








Amod (Not on the ADSR version)


Dmod (Not on the ADSR version)


Smod (Not on the ADSR version)

Input for a modulation signal to controlthe sustain level.

Rmod (Not on the ADSR version)

Input for a modulation signal to controlrelease time.



Multisegment EnvelopesThe Multisegment envelope generatorsoffer the greatest degree of freedomwhen working with envelopes. Twoversions are provided - one with Esync,and one without (which should only beused to control pitch or filters). Otherwisethe two are identical.

Up to 128 fully editable segments areavailable. Segments are separated bycolored nodes, whereby each nodemarks the end of the segment behind it.The colors represent different functions.The function of a segment is not pre-defined - any segment can be definedas a Time, Time/Note Off, or Sustainsegment.

Time segments always continue for theprescribed time duration, regardless ofwhether a Note Off message is received.These are terminated by a blue node.Time segments are used, for example,in the release phase, or to build ‘one-shot’envelopes.

Time/Note Off segments terminate andthe envelope proceeds to the nextsegment (if available) when a MIDI NoteOff message is received. Thesesegments are terminated by a red node.As you would use a Time segment forthe release phase of a traditional ADSRenvelope, use Time/Note Off segmentsin attack and decay phases.

The third type of segment is the Sustainsegment. When a sustain segment isreached, the envelope remains at thesustain level until a Note Off message isreceived, or until a gate signal closes.When either signal is received, theenvelope proceeds to the next segment,if present.

Two arbitrary points of a segment can beused to define a loop, as marked by twoarrows. The number of loop iterations canbe set from 1 to 256, or to Infinite. Theloop will repeat while the gate is openand/or until the number of loop iterationshas been reached.

The range of possibilities these envelopegenerators offer may appear intimidatingat first. However, when you becomefamiliar with their usage, you willappreciate the freedom they give you.

The times and levels of each envelopecan be modulated, and the version withEsync also includes a variable Slopeparameter.


ControlsInserting and Deleting SegmentsInsert a new segment by double clickingat the desired location in the envelopegraphic before which you want to inserta new segment. You can double clickanywhere in the envelope - at thebeginning, between two segments, or atthe end. A maximum of 128 segments areavailable. Delete a segment by doubleclicking on the node that identifies it.

Selecting a Node and Changing theModeTo select a segment node simply clickon it. The node and the segment line willshow as ‘selected’. You can now changethe mode of this segment by using theMode button. Repeated clicking on thebutton walks through the modes.Continue clicking until the desired modecolor shows.

Adjusting Times and LevelsChange the time or level value of asegment by clicking on its node anddragging it. Dragging along the y axisadjusts the time, and dragging along thex axis adjusts the level. Two text fields tothe left of the envelope graphic maintaina display of the current time and level ofthe selected envelope. You can also entertime and level values directly into the textfields.

Defining a LoopIn order to define a loop, at least twoenvelope segments must be present.Enable Loop Set mode by clicking on theSet button. Click on the location wherethe loop is to start and a small arrowpointing right will appear to mark thebeginning. Now click on the point wherethe loop is to end. Another small arrow,this one pointing left, will mark the end.Your loop is now defined. Delete a loopby deleting one of its markers (as above)or by using the Delete button.

LoopsSet the number of loop repeats here. Therange is from 1 to 256 repeats, or thevalue can be set to Infinite. A loop willrepeat as long as a gate signal is open,and the number of repeats has not beenexceeded. When the gate signal closes,the loop is exited and the envelopeimmediately proceeds to the nextsegment.

Tip: By using a segment of type Time,you can avoid having a MIDI Note Offmessage force an exit from the loop.


Slope(Not on the Modulation Multisegment Env)

You can adjust the curves for the attack,decay and release slopes. The curve iscontinuously adjustable from linear tologarithmic.

Tmod1Adjusts the modulation depth of the timesof all segments of the envelope. Both theintensity and direction of the modulationsignal at Tmod1 is set by this value. Ne-gative values shorten times, and positi-ve values lengthen them.

Tmod2Adjusts the modulation depth of the timesof all segments of the envelope. Both theintensity and direction of the modulationsignal at Tmod2 is set by this value. Ne-gative values shorten times, and positi-ve values lengthen them.



Esync(Not on the Modulation Multisegment Env)

Connection for the Esync feedback to anMVC or sequencer module.




OutOutput for the envelope signal.


Envelope FollowerAn envelope follower tracks a dynamically changing audio signal and derives anenvelope signal from it. The response time for rising levels is adjusted under Attack,and the time for falling signals under Decay. For increased control, both input andoutput gain are individually adjustable. A Hold function terminates analysis and freezesthe signal at its current level.

ControlsInput GainSome signal levels are too low or too highto be processed effectively. Adjust the In-put Gain value up or down to optimizethe signal level.

AttackControls the response time of theenvelope follower to rising levels of theaudio signal.

DecayControls the response time of theenvelope follower to falling levels of theaudio signal.

Output GainControls the output level of the generatedenvelope signal.

HoldClick on this button to terminate analysisand hold the envelope output at its currentlevel.

ConnectionsInInput for the audio signal to be processed.

OutOutput for the generated envelope signal.


ControlsGainControls the overall level of the patch. Ifdistortion occurs, reduce the level until itis eliminated.

Mix & GainThis section describes the various modules used for signal mixing, switching,amplification and attenuation. Also related, and described in this group, are the VCAsfor use with envelope generators and the PolyOut modules for use in polyphonicpatches.

ConnectionsInInput for the audio signal.

OutThe audio signal output.

PolyOut 1 & 2The PolyOut modules are extremelyimportant, as they are required in anypolyphonic patch. You can think of thePolyOut as a kind of ‘Master Volume’ forthe patch. Since a polyphonic patchconsists of multiple voices, somethingakin to a mixer is required to combinethem. This is exactly what the PolyOutmodules are for.

The Gain control of these modules canactually serve as a master volume controlfor the patch. PolyOut 1 has a single inputand a single output, and is suitable formonophonic patches. PolyOut 2 has twoins and outs, and is suitable for stereopatches. PolyOut modules are usuallyplaced after the synthesis modules andbefore the effects modules in a patch.


ControlsSlope (Exponential VCA only)

Controls how strongly the linearmodulation signal is given an exponentialcharacteristic. The curve can adjustedcontinuously from linear to exponential.

Linear und Exponential VCAVolume control processes, such as level control using envelopes, require a VCA(Voltage Controlled Amplifier). Any audio signal can be input to the VCA. The controlsignal at the modulation input then controls the level of the audio signal at the output.

The Modular has the equivalent of two VCAs - linear and exponential. In the linearVCA, the level of the output is influenced by the signal at the modulation input at aratio of 1:1. The exponential VCA takes the signal at the modulation input and processesit to produce an exponential response. A linear envelope signal becomes exponential,and the audio output level will change exponentially.


ModInput for the modulation signal.

OutAudio output.


Slope Mod VCABasically this module corresponds to an exponential VCA, but it adds the capability tomodulate the Slope setting. This is especially interesting when using arpeggio-likesequences: The slopes of the envelopes of the sounds used for the arpeggio can bevaried with the help of an LFO synchronized to the tempo, thereby varying the soundcharacter.

ControlsSlopeControls the slope curve characteristicof the incoming modulation signal. It canvary smoothly from linear to exponential.

Smod (Slope Modulation)

Controls the strenght of the modulationsignal over the slope.


ModInput for the VCA modulation signal.

SmodInput for the Slope modulation signal.

OutAudio signal output.


Volume AttenuatorThe Volume Attenuator can only reduce(attenuate) the signal level. To increasethe level, use one of the Gain modules.

6dB/12dB GainThe 6dB and 12dB Gain modules amplifya signal by up to 6dB or 12dBrespectively. Amplification can lead toclipping, or distortion, which can be usedas an effect if desired.

ControlsGainControls the amplification level of theaudio signal.


OutOutput for the amplified audio signal.

ControlsAttAdjusts the degree of signal attenuation(volume cut).


OutOutput for the attenuated audio signal.


Micro MixerThis mixer has four input channels with level and pan controls per channel and astereo output with master level control. Each input features an editable text field forlabelling purposes.

Note: The Micro Mixer is a monophonic module, as its green color indicates. Therefore,as with monophonic effects, it should be only used following the PolyOut module.

MasterControls output level (left and rightoutputs in tandem).

In NameA freely editable label field – typically,enter the name of the signal connectedto each channel here.

ControlsPan 1- 4Sets pan position for each of input signals1-4 in the stereo output.

Level 1- 4Sets the level for each of input signals 1-4 in the stereo output.

ConnectionsIn 1- 4Audio inputs.

Master OutStereo (mix) output.s.


Static CrossfadeMixes two input signals to a single output.The mix ratio of the two signals isadjustable.

ControlsX-Fade 1/2Controls the relative levels of signal 1 andsignal 2.

ConnectionsIn 1Input for audio signal 1.

In 2Input for audio signal 2.

OutThe audio output.

Mix 2/4/8These modules are simple mixers, with the number of inputs designated in their names.All inputs are mixed to a single output. All input and output levels are adjustable.

ControlsInThe number of input potentiometers willdepend on which mixer you are using.Each one controls its respective inputsignal level.

Internal distortion can occur in themixer. If this happens, pull back on thelevels a bit.

OutControls the mixer’s output level.

ConnectionsInDepending on the mixer, there will be 2,4, or 8 inputs for audio signals.

OutThe mixer’s audio output.


Static PanDistributes a single audio signal to twooutputs (L and R). The L/R balance isadjustable.

ControlsPan L/RAdjusts the apportioning of the inputsignal to the left and right outputs.

ConnectionsInInput for the audio signal to be panned.

Out LThe left audio output.

Out RThe right audio output.

ControlsX-Fade 1/2 (Crossfade)

Controls the relative levels of signal 1 andsignal 2.

ModControls the crossfade modulation depth.

Crossfade ModulatorThis module mixes two input signals to asingle audio output. The signal ratio canbe adjusted manually, or by using amodulation source.

ConnectionsIn 1Input for audio signal 1.

In 2Input for audio signal 2.


OutThe audio output.


ControlsPan L/R (Crossfade)

Adjusts the apportioning of the inputsignal to the left and right outputs.

ModControls the depth of Pan modulation

ConnectionsInInput for the audio signal to be panned.


Out LThe left audio output.

Out RThe right audio output.

Pan ModulatorDistributes a single audio signal to two outputs (L and R). The L/R balance is adjustableeither manually, or by using a modulation signal.


ControlsMod1Controls the modulation depth of thesignal at the first modulation input.

Mod2Controls the modulation depth of thesignal at the second modulation input.

OffsetAdds a constant value to the amplitudemodulation (affecting the resultingmodulation level).

If there is no signal at the Mod1/2 inputs,you must raise the offset in order to hearthe (unmodulated) signal.

Amplitude ModulatorUse the Amplitude Modulator on any audio signal. Slow modulation results in a tremoloeffect, while very fast modulation can result in spectral effects. An offset is available toadd a fixed amplitude component to the modulation.


Mod1Input for the first modulation signal.

Mod2Input for the second modulation signal.

OutAudio output.


Granu GaterThis module cycles through the signals connected to audio inputs 1-4 routing themsequentially through to the audio output. During each cycle of the integrated LFO,each of the input signals is sent once to the output. A Crossfade parameter lets youapply an adjustable crossfade from one input signal to the next. At the minimum cross-fade time the input signals are not mixed, but switched. You can modulate the cross-fade time to implement a simple form of granular synthesis. By leaving one or more ofthe inputs unconnected to a signal source, the module can also be used as a gater.

ControlsRateAdjusts the frequency of the integratedLFO. During a single cycle each of theinputs is routed once to the output. Thecrossfade control determines how quicklyone signal fades into the next. The rateparameter therefore determines theperiod of repetition at which each inputsignal is sent to the output.

ExtSwitches on the Freq input. The LFO nowoperates at the frequency governed bythe signal at the Freq input, and the Ratecontrol is disabled.

RModControls the intensity of the modulationof the rate (frequency) of the LFO.

KeyfControls the degree of influence the Notesignal of the MVC has over the LFO rate(frequency). The center keyboardposition for Keyfollow is fixed at MIDInote #64 (E3). At this position, Keyfollowdoes not modulate the rate - the original

LFO frequency applies. At 100%, theLFO frequency changes in proportion tothe note being played, following the pitch.A setting of 50% means that from E3 up,the LFO original (E3) frequency isreduced by 50% per octave, andincreased by 50% per octave below E3.A value of 0% indicates zero Keyfollowmodulation (keyboard position has noeffect on the LFO rate).

CFade (Crossfade )

Determines how quickly the signal fromone input fades into the next. A very fastspeed essentially corresponds toswitching directly from one input to thenext. This parameter does not affect therate at which the individual inputs appearrepeatedly at the output.


CFadeM (Crossfade Modulation )

Controls the intensity of the modulationof the crossfade parameter.

Modulating the crossfade time results inan effect resembling a change of the grainsize in granular synthesis.

ConnectionsFreqInput for a frequency signal. Externalmust be switched on to use this signal.

Input 1-4Inputs for the 4 audio signals.

RModInput for a modulation signal to controlthe LFO rate.

KeyfInput for the Note signal of the MVC.

CFmInput for a modulation signal to controlcrossfade time.

OutAudio output of the resulting signal.


On/Off SwitchThis provides a button in the patch withwhich you can interrupt (switch on andoff) a signal.

ControlsOn/OffThis switch either allows the signal topass through to the output or not,depending on its state. When the switchis lit, it is ‘on’, and the signal is routed tothe output. When it is not lit, it is ‘off’, andthe signal is not passed to the output.


OutAudio output.

ControlsSwitch 1 - 4The signal will be routed to the outputselected.

Gain 1 - 4 (1X4 Switch Gain only)

Controls the levels of the respectiveoutputs.

1x4 Switch (Gain)This switch accepts an audio signal and routes it through to one of four outputs. It isalso available in a version that includes a gain control for each of the outputs.

ConnectionsInInput for the audio signal

Out 1- 4Possible outputs to which the signal canbe routed.


ControlsSwitch 1 - 4Selects the input signal to be routed tothe output.

Gain 1 - 4 (4X1 Switch Gain only)

Controls the levels of the respectiveinputs.

4x1 Switch (Gain)This switch selects one of four audio inputs and routes it through to the output. It isalso available in a version that includes a gain control for each of the inputs.

ConnectionsIn 1- 4Inputs for up to four audio signals.

OutAudio output.


1x6 Switch (Gain)This switch routes the audio input signalto 1 of 6 outputs. It is also available in avariation that includes adjustable gain foreach output.

ControlsSwitch 1 - 6Selects the output to route the input signalto.

Gain 1 - 6 (1x6 Switch (Gain) only)

Controls the individual level of eachoutput.

ConnectionsInAudio signal input.

Out 1- 6Audio outputs to which the input signalmay be routed.

6x1 Switch (Gain)This switch routes one of 6 possibleinputs to the output. It is also available ina variation that includes adjustable gainfor each input.

ControlsSwitch 1 - 6Selects the input to be routed to theoutput.


Controls the gain for each individualinput.

ConnectionsIn 1- 6Inputs for 6 audio signals.

OutOutput for the currently connected inputsignal.


1x8 Switch (Gain)This switch routes the audio input signalto 1 of 8 outputs. It is also available in avariation that includes adjustable gain foreach output.

ControlsSwitch 1 - 8Selects the output to route the input signalto.


Controls the individual level of eachoutput.


Out 1- 8Audio outputs to which the input signalmay be routed.

8x1 Switch (Gain)This switch routes one of 8 possibleinputs to the output. It is also available ina variation that includes adjustable gainfor each input.

ControlsSwitch 1 - 8Selects the input to be routed to theoutput.


Controls the gain for each individualinput.

ConnectionsIn 1- 8Inputs for 8 audio signals.

OutOutput for the currently connected inputsignal.


Add 2/3/4/5These modules add synchronous signals together. Use them, for example, to mixseveral audio signals to a single output, or to combine several modulation signalstogether to send to a single modulation input. Before the signals are added, they arenormalized. This means that as long as the individual inputs of the adder are notoverloaded, the output will not be overdriven.

ConnectionsInInputs for audio or modulation signals.

OutCombined signal output.

InverterThis module alters the phase of an inputsignal by 180 degrees and outputs theresult. Changing the phase by 180degrees is equivalent to inverting thesignal.

ConnectionsInInput for an audio or modulation signal.

OutInverted signal output.


Peak MeterThis module allows you to easily measure an audio signal. It contains a signal levelLED, a peak LED, and a text display, with reset, of the last peak level.

ControlsSignal-LEDThis LED lights up when the audio signalreaches or exceeds -60dB.

Peak-LEDThis LED lights up when the signalreaches or exceeds 0dB.

Peak TextfeldDisplays the last peak level reached.

ResetThe reset button clears the peak level textdisplay so you can continue to monitorthe peak levels. You would use this, forexample, when the last peak reads 0dB,and you make adjustments to reduce thesignal to a safe level. Click on Reset toresume monitoring the peaks.

ConnectionsInInput for an audio signal to measure.


DC Blocking FilterRemoves the DC component of anincoming signal (if it contains one). Asignal containing a DC component is notsymmetrical around the zero line (y axis).When viewed, it is shifted either up ordown. The DC blocking filter corrects thisso that the waveform lies symmetricallyabove and below the zero line. After thiscorrection the signal requires someamplification to restore its amplitude. Useone of the amplifier modules for this.

ConnectionsInInput for the audio or modulation signalto be corrected.

OutOutput for the corrected signal.


FilterThe Modular includes a number of filtermodules to manipulate the frequencycharacteristics of audio signals. Mostfilters have, in addition to others, twoimportant parameters: cutoff andresonance. Since they are so important,we’ll discuss them first, along with someother important terms.

The filter cutoff frequency determines thefrequencies which the filter will process,and which it will leave alone. In otherwords, the cutoff frequency is the pointat which the filter begins to have an effect.Depending on the type of filter, theunaffected range can lie above or below(or both) the cutoff point. The range ofunaffected frequencies determineswhether the filter is referred to as a high-pass, band-pass, or low-pass filter. If youmodulate the cutoff with, for example, anLFO or an envelope generator, the tonequality changes in response.

Also in connection with filters you willencounter the term ‘Slope’, expressed indB per octave. The slope of a filterdetermines how strongly it will act on thefrequencies beyond the cutoff. A filterslope of -12dB/Octave means thatfrequencies at each octave above (and/or below) the cutoff are attenuated by anadditional 12dB. The higher the dB value,the steeper the slope, and the greater theattenuation.

After cutoff, resonance is the next mostimportant parameter to consider. Byfeeding back a portion of the filteredsignal, frequencies around the cutoff arereinforced. At high resonance values, thefilter will begin to oscillate at the cutofffrequency, as that is the frequency moststrongly reinforced. This is known asperiodic resonance. This effect has cometo be known as ‘chirping’, or, at really highlevels, ‘screeching’.

Along with the classic low/band/high-pass filter types, the Modular includessome additional filters, among them thecomb filter and the vocal filter (to bedescribed later in their own sections).

As with other modules, filters aresupplied in different versions. Somehave resonance, others only cutoff.Some can be controlled bymodulation signals, others only bymanual controls. As mentionedbefore, using more basic modulesmeans a savings in DSP resources.Use the smallest version of a filterthat fulfills your needs in a patch. Youwill be rewarded with more availablevoices.


6dB HighpassThis is a very small and economicalhighpass filter without resonance ormodulation capabilities.

ControlsCutoffAdjusts the cutoff frequency.


OutAudio output of the filter.

6dB LowpassThis is a very small and economicallowpass filter without resonance ormodulation capabilities.




12dB Multimode FilterThis filter has a 12dB slope, cutoff andresonance, and three parallel outputs,one for each of the basic filter types -high, band, and low pass. There is nomodulation input.


ResonanceControls the strength of the resonance.




ControlsCutoffAdjusts the cutoff relative to a range of0..127.

CFm1Controls the depth of the first cutofffrequency modulation signal.

CFm2Controls the depth of the second cutofffrequency modulation signal.

KeyfThis parameter allows the filter cutoff totrack the keyboard through the MVC. Thekeyfollow mid-point is fixed at MIDI note#64 (E3). At this note, the cutoff frequencywill always stand at its original value,regardless of the key follow setting.


KeyfInput to receive the Note signal from theMVC.

CFm1Input to receive a cutoff frequencymodulation signal.


OutThe filter’s audio output.

18dB LowpassThis lowpass filter has a slope of -18dB/octave, and modulation inputs. Resonance isnot implemented in this filter.

When keyfollow is set to 100%, the cut-off frequency will adjust to maintain itsfrequency relationship to the pitch acrossthe entire keyboard. At a setting of 50%,the cutoff frequency ratio will be loweredby 50% per octave above E3, and raised50% per octave below E3. A value of 0%means there is no keyfollow modulation,and the cutoff frequency remains fixed.


24dB Lowpass FilterThis low-pass filter with 24dB/octave slope behaves differently with respect toresonance. As the resonance setting is increased, the level of the original signal drops,ultimately to the point of vanishing altogether. The filter also has multiple cutoff-frequencymodulation inputs.

InInput for the audio signal.

ResMInput for the modulation signal to controlresonance.





ControlsCutoffAdjusts the cutoff frequency relative to arange of 0..127.

ResonanceAdjusts the resonance relative to a rangeof 0..127.

KeyfThis parameter allows the filter cutoff totrack the keyboard through the MVC. Thekeyfollow mid-point is fixed at MIDI note#64 (E3). At this note, the cutoff frequencywill always stand at its original value,regardless of the key follow setting.When keyfollow is set to 100%, the cut-off frequency will adjust to maintain itsfrequency relationship to the pitch acrossthe entire keyboard. At a setting of 50%,the cutoff frequency ratio will be loweredby 50% per octave above E3, and raised

50% per octave below E3. A value of 0%means there is no keyfollow modulation,and the cutoff frequency remains fixed.



Connections


24dB Highpass FilterThis high-pass filter with 24dB/octave slope behaves differently with respect toresonance. As the resonance setting is increased, the level of the original signal drops,ultimately to the point of vanishing altogether. The filter also has multiple cutoff-frequencymodulation inputs.









KeyfThis parameter allows the filter cutoff totrack the keyboard through the MVC. Thekeyfollow mid-point is fixed at MIDI note#64 (E3). At this note, the cutoff frequencywill always stand at its original value,regardless of the key follow setting.When keyfollow is set to 100%, the cut-off frequency will adjust to maintain itsfrequency relationship to the pitch acrossthe entire keyboard. At a setting of 50%,the cutoff frequency ratio will be lowered

by 50% per octave above E3, and raised50% per octave below E3. A value of 0%means there is no keyfollow modulation,and the cutoff frequency remains fixed.






ResMControls the depth of resonancemodulation.

KeyfThis parameter allows the filter cutoff totrack the keyboard through the MVC. Thekeyfollow mid-point is fixed at MIDI note#64 (E3). At this note, the cutoff frequencywill always stand at its original value,regardless of the key follow setting.When keyfollow is set to 100%, the cut-off frequency will adjust to maintain its

24dB Lowpass Filter VThe "V" in the name stands for "vintage". This is a "classical" 24dB/octave low-passfilter in which the level of the original signal remains largely unchanged, even at highresonance settings. The filter has cutoff, resonance and various modulation inputs.

frequency relationship to the pitch acrossthe entire keyboard. At a setting of 50%,the cutoff frequency ratio will be loweredby 50% per octave above E3, and raised50% per octave below E3. A value of 0%means there is no keyfollow modulation,and the cutoff frequency remains fixed.














24dB Lowpass Filter RThis low-pass filter emulates the characteristics of the filters typically found in large(and old) modular systems – hence the designation "R" (for "retro"). Its special propertyis that it can go into self-oscillation at high resonance settings, even in the absence ofan input signal. Several modulation inputs are provided.















24dB Highpass Filter RThis high-pass filter emulates the characteristics of the filters typically found in large(and old) modular systems – hence the designation "R" (for "retro"). Its special propertyis that it can go into self-oscillation at high resonance settings, even in the absence ofan input signal. Several modulation inputs are provided.















24dB Bandpass Filter RThis band-pass filter emulates the characteristics of the filters typically found in large(and old) modular systems – hence the designation "R" (for "retro"). Its special propertyis that it can go into self-oscillation at high resonance settings, even in the absence ofan input signal. Several modulation inputs are provided.















Multimode Filter AThis filter can perform with a slope of either 12 or 24 dB/octave. It is switchable tooperate as a highpass, bandpass, or lowpass filter. This filter includes cutoff andresonance parameters, as well as several modulation inputs.

frequency relationship to the pitchacross the entire keyboard. At a settingof 50%, the cutoff frequency ratio willbe lowered by 50% per octave aboveE3, and raised 50% per octave belowE3. A value of 0% means there is nokeyfollow modulation, and the cutofffrequency remains fixed.



ModeSwitches among highpass, bandpass,and lowpass modes. Both the knob andtext field respond to user input.

db/OctAlternates between a filter slope of 12dBand 24dB. When the button is lit, theslope is set to -24dB/Oct.


Multimode Filter BMultimode Filter B has a slope of 12dB/octave. It has three parallel outputs - one foreach of the three basic filter types - high, band, and low pass. This filter includes cutoffand resonance parameters, as well as modulation inputs.





KeyfThis parameter allows the filter cutoff totrack the keyboard through the MVC. Thekeyfollow mid-point is fixed at MIDI note

#64 (E3). At this note, the cutofffrequency will always stand at its origi-nal value, regardless of the key followsetting. When keyfollow is set to 100%,the cutoff frequency will adjust tomaintain its frequency relationship to thepitch across the entire keyboard. At asetting of 50%, the cutoff frequency ratiowill be lowered by 50% per octave aboveE3, and raised 50% per octave below E3.A value of 0% means there is nokeyfollow modulation, and the cutofffrequency remains fixed.







Uknow FilterThis is one of the most complex and at the same time one of the most flexible filter inthe Modular filter collection. It combines a 12dB/octave lowpass filter with a simplehighpass filter in a single module. The lowpass filter includes cutoff and resonance,and can be controlled with a modulation signal. The highpass filter has an adjustablecutoff frequency.








HPFAdjusts the cutoff frequency of thehighpass filter.








Combfilter A/BThe comb filter gets its name from the way it filters an audio signal. A comb filterattenuates frequencies at several regular frequency intervals. If you look at a signalthat has been processed by a comb filter in a spectrum analyzer, you will notice several‘notches’ where the signal has been cut. A graphic of the frequency response stronglyresembles a comb, hence the name.

The Modular provides two versions of thecomb filter. Comb Filter A cuts largeswaths into the frequency spectrum,allowing rather narrow frequency bandsto emerge after filtering. Comb Filter Bcuts steep notches into the spectrum,allowing more frequencies to passthrough. Even so, the two filters soundquite similar.

Important: To hear the effect of thecomb filter, you must use resonance.


ResonanceAdjusts the resonance level. Increasingthis value increases the filter effect.

RmAControls the depth of resonancemodulation.

DampThe resonance of the filter is createdusing feedback. By adjusting the Dampparameter, you control the depth of thefeedback loop. This provides an additio-nal way to control the behavior of thecomb filter.

DampModControls the depth of the modulationsignal for Damp modulation.


KeyfThis parameter allows the filter cutoff totrack the keyboard through the MVC. Thekeyfollow mid-point is fixed at MIDI note#64 (E3). At this note, the cutoff frequencywill always stand at its original value,regardless of the key follow setting.When keyfollow is set to 100%, the cut-off frequency will adjust to maintain itsfrequency relationship to the pitch acrossthe entire keyboard. At a setting of 50%,the cutoff frequency ratio will be loweredby 50% per octave above E3, and raised50% per octave below E3. A value of 0%means there is no keyfollow modulation,and the cutoff frequency remains fixed.









Vocal FilterThis module filters signals such that the formants for the vowels A, E, 0 - and manyothers - are applied. You can select from among 10 vowel sounds distributed over 5positions. By stepping through the positions (selected vowels), which can be done viamodulation, the filter begins to ‘speak’. The vocal filter also offers adjustable resonance,and a frequency offset for shifting the formants.

ControlsVocalThe most important settings, the fiveVocal Positions, are found on the lightblue field. Each of the five positions canbe adjusted to one of the 10 vowelsounds using the text fader. The rotarycontrol in the center sets which vowel iscurrent, and/or the starting position formodulation. The vowel the white line onthe control points to is produced byfiltering.

The following vowel sounds areavailable: A, E, I, O, U, Y, AA, AE, OE,and UE.

ResonanceResonance adds and strengthens theformant for the vowel sound.

VPKeyf (Vocal Position Keyfollow)

Controls the influence of the MVC notesignal on the Vocal Position. The centerkey is fixed at MIDI note number 64 (E3).At this note there is no keyfollowmodulation, and the vowel indicated bythe white line on the Vocal Position rotarycontrol will be heard. The intensity anddirection of the keyfollow modulation isadjustable from -200% to +200%.

To distribute the five possible vowels overthe entire MIDI note range (C-2 to G8),you must set the Vocal Position controlto vowel 3, and adjust VPKeyf to +100%.When VPKeyf is adjusted to +50%, onlythree vowels are distributed over the MIDIrange. At 0% there is no modulation, andthe vowel pointed to by the Vocal Positi-on control will apply to the entire noterange.

VPm1Adjusts the strength of the effect of themodulation signal over the Vocal Positi-on.

VPm2Adjusts the strength of the effect of a se-cond modulation signal over the VocalPosition.

It is important to differentiate betweenthe modulation signals coming fromenvelope generators, and those fromLFOs, which are connected to theVPm1/2 inputs.


Envelopes are unipolar modulationsignals. The modulation starts at thevowel adjusted with the Vocal Positioncontrol and proceeds to step throughthe vowels depending on the adjustedintensity.

LFOs deliver bipolar modulationsignals. When the wave is in the positi-ve range, the signal is processed likean envelope - it starts at the currentvowel position and proceeds throughfollowing vowels depending on themodulation intensity. When the waveenters the negative range, however, themodulation steps through the vowelsin reflected, or reverse, order.

Freq OffsetThe Frequency Offset shifts the formanthigher on the frequency scale. The resultis a sonic change from a dark to a brightersounding vowel.

FMControls the strength of the modulationsignals over the Frequency Offset.


VPKeyfInput for the Note signal from an MVC.

VPm1Input for a Vocal Position modulationsignal.

VPm2Input for a second Vocal Positionmodulation signal.

FMInput for a Frequency Offset modulationsignal.

OutOutput for the filtered signal.


12dB Lowshelf EQThis filter cuts or boosts frequenciesbelow the cutoff frequency. The slope isequivalent to 12dB, but the curveresembles a ‘cow’s tail’.

ControlsFreqAdjusts the cutoff frequency.

GainControls the amount of cut or boost ofthe frequencies around the cutofffrequency.

QIncreasing this value reduces the rangeof frequencies around the cutofffrequency to be filtered. Low valuescreate a gentle slope, but affect morefrequencies. Use a high ‘Q’ to ‘notch out’unwanted frequencies.

BypassSends the input signal directly to theoutput, bypassing the EQ.

Parametric EQWith the Parametric EQ you can boost or cut frequencies in a range surrounding thecutoff frequency. The slope is the equivalent of 12dB, and the curve is bell-shaped. AQ-factor controls the ‘quality’ of the filter - i.e. the frequency range over which the filterworks.




GainControls the degree of cut or boost of thefrequencies below the cutoff.





12dB Highshelf EQThis filter cuts or boosts frequencies above the cutoff frequency. The slope is equivalentto 12dB, but the curve resembles a ‘cow’s tail’.


GainControls the degree of cut or boost ofthe frequencies above the cutoff.





Free Filter Bank A/BThese permit individual frequency bands to be boosted or cut. The frequency of eachfilter can be freely set, hence the name. Version A has twelve bands, version B onlyfive. Both feature Q controls affecting all bands and output gain controls as well as aseparate built-in preset list.

ControlsFreq text fieldsEnter frequency values for each band viathese fields.

Freq GainsSets the boost or cut for each band.

Filter QAdjusts the Q (filter sharpness) of allbands in common.

GainAdjusts output level.

BypassSends the input signal directly to theoutput, bypassing the filters.


OutAudio signal output.


LFOAlong with envelope generators, LFOs(Low Frequency Oszillatoren) are themost important modules available tocontrol sound parameters in a patch.LFOs are special oscillators - theyoperate at very low frequencies. Theirsignals are used for periodic modulationof various parameters. The finalmodulation effect depends on thewaveform used. Sine and triangle wavesproduce smooth, flowing modulation. Onthe other hand, rectangle or sample &hold settings produce a ‘jumpy’ effect.

Most modulation techniques producecharacteristic effects such as tremolo(amplitude modulation), vibrato (pitchmodulation) and ‘wah-wah’ (filter cutoffmodulation). SCOPE 5’s LFOs can do allthese, but there’s more. Some of theLFOs use small, internal envelopegenerators to fade the modulation in orout - synchronously. And a key followfeature allows an LFO’s frequency totrack the keyboard. LFOs with anExternal In can be used to simulate anordinary, audio oscillator.

A Random Signal Generator and aSample & Hold are also included in thissection.

Single/Poly und LFOsWhen using LFOs it is particularly worthconsidering whether to use amonophonic or polyphonic module.When a polyphonic LFO is loaded, it isloaded into the DSPs once for eachvoice. Modulation settings are thusimplemented per voice. If the LFOs arenot synchronized to the keyboard, richmodulations can develop as the variousLFOs vary in phase.

If you are looking for a more traditional,simple modulation effect, load amonophonic LFO. This will load into theDSPs only once, and will serve tomodulate all targets simulatneously. Thisalso saves significant DSP overhead,leaving more room for additional voicesor modules.


Multi LFO AOf all SCOPE 5’s LFOs, this is the most complex. Available waveforms are sine,triangle, square, saw up, saw down, and sample & hold. The frequency can be furnishedeither internally or externally, and can be modulated. The waveform can be retriggered,and the modulation can be controlled by a simple internal envelope generator.

ControlsRateThe frequency/rate of the modulation.The frequency, in cycles per second, isdisplayed in an associated text field.

ExtSwitches on the Freq input. Thefrequency is now controlled by the signalat the Freq input, and the Rate control isno longer active.

WaveformSelects the desired waveform.

RetrigThis switch determines whether thesignal will run continuously, or berestarted at its initial phase setting eachtime a new note is played. Retrigger isactiv when the button is lit.

Init PhaseDetermines the position within thewaveform (phase) at which the signal willstart when a gate signal is received.Retrigger must be enabled for this to takeeffect.

DelayDelays the onset of the modulation. Agate signal must be connected. The rangeis from 0 to 20 seconds.

Fade InWhen a gate signal is received, themodulation will gradually build tomaximum at the time set here. A gatesignal must be connected. The range isfrom 0 to 20 seconds.

Between the fade in and the fade out,the modulation remains at maximum.

Fade OutWhen a gate off signal is received, themodulation will gradually fade to 0 at thetime set here. A gate signal must beconnected. The range is from 0 to 20seconds.

Rmod1Controls the modulation depth of the Rate(frequency) of the LFO.

Rmod2Controls the modulation depth of a se-cond signal providing Rate (frequency).


KeyfThis parameter allows the Rate(frequency) to track the keyboard throughthe MVC. The keyfollow mid-point is fixedat MIDI note #64 (E3). At this note, thecutoff frequency will always stand at itsoriginal value, regardless of the keyfollow setting. When keyfollow is set to100%, the LFO frequency adjusts tomaintain its relationship to the pitchacross the entire keyboard as it followsthe pitch. At a setting of 50%, thefrequency ratio will be lowered by 50%per octave above E3, and raised 50% peroctave below E3. A value of 0% meansthere is no keyfollow modulation, and theLFO rate remains fixed.

ConnectionsFreqInput for a frequency signal. Externalmode must be enabled to use this input.

GateConnect a gate signal for use withRetrigger, Delay, Fade In and Fade Out.

Rmod1Input for a modulation signal (Rate).

Rmod2Input for a second modulation signal(Rate).

KeyfInput for a Note signal from the MVC.

OutLFO signal output.


Multi LFO BThis LFO is similar to Multi LFO A. Like Multi LFO A, available waveforms are sine,triangle, square, saw up, saw down, and sample & hold. The frequency can be furnishedeither internally or externally. The waveform can be retriggered, and the modulationcan be controlled by a simple internal envelope generator. Because this LFO does nothave Rate Modulation, it is somewhat more economical to use than Multi LFO A.

ControlsRateThe frequency/rate of the modulation.The frequency, in Hz, is displayed in anassociated text field.

ExtSwitches on the Freq input. Thefrequency is now controlled by the signalat the Freq input, and the Rate control isno longer active.

WaveformSelects the desired waveform.

RetrigThis switch determines whether thesignal will run continuously, or berestarted at its initial phase setting eachtime a new note is played. Retrigger isenabled when the button is lit.


DelayDelays the onset of the modulation. Agate signal must be connected. Therange is from 0 to 20 seconds.

Fade InWhen a gate signal is received, themodulation will gradually build to

maximum at the time set here. A gatesignal must be connected. The range isfrom 0 to 20 seconds.

Between the fade in and the fade out,the modulation remains at maximum.

Fade OutWhen a gate off signal is received, themodulation will gradually fade to 0 at thetime set here. A gate signal must beconnected. The range is from 0 to 20seconds.


GateConnect a gate signal for use withRetrigger, Delay, Fade In and Fade Out.



ControlsRateThe frequency/rate of the modulation.The frequency, in cycles per second, isdisplayed in an associated text field..

RetrigThis switch determines whether thesignal will run continuously, or berestarted at its initial phase setting eachtime a new note is played. Retrigger isenabled when the button is lit.


DelayDelays the onset of the modulation. Agate signal must be connected. Therange is from 0 to 20 seconds.

Fade InWhen a gate signal is received, themodulation will gradually build tomaximum at the time set here. A gatesignal must be connected. The range isfrom 0 to 20 seconds.

MW LFOThis LFO produces very simple modulations. It uses only one waveform (triangle) andincludes retrigger, delay, and fade in capabilities. Since it conforms to modulationwheel standards, it is best used to provide vibrato to a synthesizer sound.

ConnectionsGateConnect a gate signal for use withRetrigger, Delay, and Fade in.



Pulse LFOThis is another rather complex LFO. It produces pulse wave modulation, so it is usefulfor trill and doubling effects. The pulse width can be set manually, or modulated. Thefrequency can be furnished either internally or externally, and can also be modulated.Retriggering by a gate signal is also implemented.

ControlsRateSets the rate (frequency) of the LFO. Thevalue in cycles per second is displayedin the associated text field.

ExtSwitches the Freq input on. Thefrequency is now taken form the signalconnected to the Freq input. The Ratecontrol is disabled when Ext is switchedon.

RetrigMakes synchronization and/or waveformrestarting with each keystroke possiblewhen enabled (button is lit).

Init PhaseDetermines the position within thewaveform (phase) at which the signal willstart when a gate signal is received.Retrigger must be enabled, and a gatesignal connected, for this to take effect.

PWidthControl to manually adjust the pulsewidth.

PwmAControls the modulation depth of thesignal connected to the Pwm input tomodulate the pulse width.

Rmod1Input for a modulation signal (Rate/frequency).

Rmod2Input for a second modulation signal(Rate/frequency).



GateConnect a gate signal for use withretrigger.

Rmod1Input for a modulation signal (Rate).

Rmod2Input for a second modulation signal(Rate).

KeyfInput for a Note signal from the MVC.


KeyfThis parameter allows the Rate(frequency) to track the keyboard throughthe MVC. The keyfollow mid-point is fixedat MIDI note #64 (E3). At this note, thecutoff frequency will always stand at itsoriginal value, regardless of the keyfollow setting. When keyfollow is set to100%, the LFO frequency adjusts tomaintain its relationship to the pitchacross the entire keyboard as it followsthe pitch. At a setting of 50%, thefrequency ratio will be lowered by 50%per octave above E3, and raised 50% peroctave below E3. A value of 0% meansthere is no keyfollow modulation, and theLFO rate remains fixed.


Shape LFOThis module provides two LFOs in one module. LFO1 provides the basic operatingfrequency for both LFOs. With the Ratio control, LFO2 can be adjusted to a multiple ofthe basic frequency. LFO2 also has an adjustable phase offset relative to LFO1. TheLFOs can be adjusted to produce a sine or triangle wave output. With the Shapeparameter you can „bend“ the selected waveform to produce variations of the classicsine and triangle wave shapes.

ControlsRateSets the basic frequency, or speed of theLFOs. A text field displays the value inHertz.

ExtSwitches on the Freq input. The LFOsnow operate at the basic frequencygoverned by the signal at the Freq input,and the Rate control is disabled.

WaveformFor both LFOs, selects the basicwaveform–sine or triangle–for output.

ShapeVaries the shape of the selectedwaveform. For both the sine and trianglewave shapes, the peaks becomenarrower and more pointed, and thetroughs are broadened, as the Shapevalue increases.

Ratio LFO2Sets LFO2 to produce output at multiplesof the basic frequency of LFO1. Therange is from 1X to 10X in integer steps.

Phase LFO2Sets a phase offset for LFO2 with respectto LFO1.

ConnectionsFreqInput for a frequency signal. Externalmust be switched on.

Out1LFO1 signal output.



Biphase LFOThis module provides two sine LFOs. LFO1 determines the basic operating frequencyfor both LFOs. With the Ratio control, LFO2 can be adjusted to a multiple of the basicfrequency, and also has an adjustable phase offset relative to LFO1. Outputs providefour simultaneous modulation signals: LFO1, LFO2, LFO1 + LFO2, LFO1 X LFO2.Adding and multiplying the LFO signals together results in some interesting variationson the usual sine wave.

ControlsRateSets the basic frequency, or speed of theLFOs. A text field displays the value inHertz.

ExtSwitches on the Freq input. The LFOsnow operate at the basic frequencygoverned by the signal at the Freq input,and the Rate control is disabled.

Ratio LFO2Sets LFO2 to produce output at multiplesof the basic frequency of LFO1. Therange is from 1X to 10X in integer steps.

ConnectionsFreqInput for a frequency signal. Externalmust be switched on.



Out1+2Combined LFO signal output.

Out2Multiplied LFO signal output.

Phase LFO2Sets a phase offset for LFO2 with respectto LFO1.


Saw Down LFOA descending sawtooth LFO in which onlythe rate can be adjusted.

ControlsRateAdjusts the rate (frequency) of the LFO.

ConnectionsOutLFO output.

Saw Up LFOAn ascending sawtooth LFO in whichonly the rate can be adjusted.


ConnectionsOutThe LFO output.

Sinus LFOA sine wave LFO in which only the ratecan be adjusted.




Square LFOA square wave LFO in which only the ratecan be adjusted.



Triangle LFOA triangle wave LFO in which only therate can be adjusted.




ControlsRateAdjusts the basic frequency from whichrandom values are derived.

ExtSwitches on the Freq input. Whenenabled, the basic frequency is controlledby the signal at Freq, and the Rate controlno longer has any effect.

LevelControls the amplitude of the Sine, Tri,or Step waves.

ConnectionsFreqInput for a frequency signal. Ext must beswitched on.

SineOutput for the sinusoid generated signal.

TriOutput for the triangle generated signal.

StepOutput for the ‘sample & hold’ generatedsignal.

Random Signal GeneratorThis signal generator produces three random signals. Sine is sinusoidal, Tri is triangular,and Step is a well-behaved ‘Sample & Hold’ signal. Each signal varies in amplitudeand frequency. The level of amplitude variation is adjustable. The basic frequencyused to produce the random values can be supplied internally or externally.


Sample & HoldThis module ‘probes’ (samples) the signal connected to the audio input to determinethe amplitude, and holds the value until the next sample. The master clock for samplingthe amplitude can be an LFO, or a gate, etc. If the source signal is noise, then thisbecomes a random number generator which generates a random level with each gateevent or LFO period.

ControlsGate/TriggerInput for the signal to be used as a masterclock.

ThresholdHere you can adjust a threshold level forthe signal at the Audio-Trig input. Whenthe signal exceeds the threshold, a clockpulse is generated to capture a newsample.

Tip: Use the threshold setting, forexample, to trigger a new sample froma certain level in the attack phase of anenvelope.

ConnectionsInInput for an audio signal from which theinstantaneous value of the amplitude willbe sampled, and held. You can use whitenoise for random effects, or for interestingpatterns use a sine or triangle wave (inconjunction with an LFO master clock).

GateConnect the gate signal from an MVC ora sequencer here to use it as a masterclock for sampling the input waveform.

Audio TrigConnect a modulation signal here to useit as a master clock. The sample probingwill be triggered depending on the natureof the signal and the threshold setting.

OutOutput for the Sample & Hold signal.


ModifiersThe modules in the Modifier group areused mainly with frequency andmodulation signals. For example, severalpitch modifiers are available which youcan insert between the MVC and anoscillator. You can then connect amodulation signal to the modifier tocontrol the intensity of the pitchmodulation.

If you want to modulate severaloscillators at the same time, simplyconnect them all to a single modifier (seethe figure beside).

If you need to provide an oscillator witha fixed frequency, or a frequency offset,use one of the ‘Constant Value’ modulesavailable for the different signal classes.These modules can also be used tochange patch values via MIDI-Ctrl.


ConnectionsFreq InInput for a frequency signal (as from anMVC).

PMod1Input for the first pitch modulation signal.

PMod2Input for the second pitch modulationsignal.

KeyfInput for the Note signal from an MVC.

Freq OutNot ‘freak out’. Output for the modifier’sfrequency signal.

Pitch Modifier AThis is the most versatile of the pitch modifiers. It features Coarse and Fine tuningcontrols, and three modulation inputs for pitch modulation.

ControlsCoarse/FineControls the pitch of the connectedfrequency signal. Coarse adjusts thepitch in semitones; Fine adjusts it in cents(1/100 of a semitone).

PMod1Controls the modulation depth of thesignal at the first pitch modulation input.The source could be an envelopegenerator, LFO etc.

PMod2Controls the modulation depth of thesignal at the second pitch modulationinput. The source could be an envelopegenerator, LFO etc.

KeyfControls the influence of the value of theNote signal from an MVC over thefrequency of the connected oscillator(s).The MIDI note number at which there isno modulation (i.e. the center value) isfixed at #64 (E3). If key follow is adjustedto 100%, then the oscillator frequency willcorrespond to the played note. Whenadjusted to 50%, the frequency of theoscillator will be reduced by 50% peroctave of the original frequency. For notesbelow E3, the frequency will be raisedby 50% per octave. If adjusted to 0% thepitch will be the same across the entirekeyboard.


ControlsPMod1Controls the modulation depth of thesignal at the first pitch modulation input.The source could be an envelopegenerator, LFO etc.

PMod2Controls the modulation depth of thesignal at the second pitch modulationinput. The source could be an envelopegenerator, LFO etc.

ConnectionsFreq InInput for a frequency signal (as from anMVC).

PMod1Input for the first pitch modulation signal.

PMod2Input for the second pitch modulationsignal.

Freq OutOutput for the modifier’s frequencysignal.

Pitch Modifier BThis modifier has only two modulation inputs, but is sufficient for most pitch modulationpurposes.


Pitch Modifier CThis modifier features two modulation inputs with special characteristics. One input islinear, and the other, exponential. The signal at the linear input adds modulation to thefrequency signal. The signal at the exponential input by its nature is limited to +/- 36semitones. You must limit the input signal to this fixed range.

ControlsLinMControls the modulation depth of the li-near pitch modulation signal. Possiblemodulation sources include envelopegenerators, LFOs, etc.

ExpMControls the modulation depth of theexponential modulation signal. Possiblesources include envelope generator’s,LFOs, etc. The text field displays themodulation amount in semitones, and islimited to a range of +/- 36 semitones.

ConnectionsFreq InInput for a frequency signal (e.g. from anMVC).

LinMInput for a modulation signal.

ExpMInput for a modulation signal.

Freq OutOutput for the modulated frequencysignal.

Example: The modulation alwaysinfluences the original frequency valueas a center frequency. A setting of 12,for example, implies that modulation of+/-12 semitones is in effect. This equals24 semitones. If you now set the valueto -12 (note that the sign has changed),the range is still 24 semitones, but thephase of the modulation has beenadjusted by 180 degrees.


Pitch Modifier DThis module provides four modulation inputs making complex pitch modulationtechniques possible.

ControlsPMod1Controls the depth of the pitchmodulation. Modulation sources can beenvelopes, LFOs, or other sources, andthis control adjusts the intensity of therespective source signal.

PMod2Controls the depth of the pitch modulationfrom a second source. Modulationsources can be envelopes, LFOs, orother sources, and this control adjusts theintensity of the respective source signal.

PMod3Controls the depth of the pitch modulationfrom a third source. Modulation sourcescan be envelopes, LFOs, or othersources, and this control adjusts theintensity of the respective source signal.

ConnectionsFreq InInput for a Frequency signal, as from theMVC.

PMod1Input for a modulation source signal.




Freq OutModulated frequency signal output.

PMod4Controls the depth of the pitch modulationfrom a fourth source. Modulation sourcescan be envelopes, LFOs, or othersources, and this control adjusts theintensity of the respective source signal.


Constant ValueUse this module to provide control valuesfor modulation inputs. It is normally usedwith unipolar (positive value) inputs butcan also be used with bipolar modulationinputs. However, only the positivecomponent of the modulation will beregulated, as the Constant Value moduledoes not produce negative values.Constant Value can also be used with aMIDI controller to produce modulationvalues via MIDI.

ControlsValSpecify the modulation factor relative toa scale in the range of 0..127.

ConnectionsOutThe output of the unipolar signal.

Constant Value bipolarUse this module to provide control valuesfor modulation inputs. It is normally usedwith biipolar (positive and negative value)inputs but can also be used with unipolarmodulation inputs. However, only the po-sitive component of the modulation willbe regulated, as the unipolar input treatsnegative values as positive values.Constant Value Bipolar can also be usedwith a MIDI controller to producemodulation values via MIDI.

ControlsValSpecify the modulation factor relative toa scale in the range of -64..+63.

ConnectionsOutThe output of the bipolar signal.

Constant FreqThis module produces a constantfrequency signal which can be connectedto an oscillator, or a frequency divider.

ControlsFreqAdjusts the value of the frequency signal.The text field displays the value in Herz.

ConnectionsOutThe output of the frequency signal.


Constant PartialThis module produces an adjustablefrequency value. On output, thefrequency can be set to the value of aspecified overtone (partial). The outputof this module can then be connected,for example, to the frequency inputs ofoscillators or frequency dividers.

Positive to BipolarThis module converts a unipolar signal(positive values only) into a bipolar signal(positive and negative values). Anexample of a unipolar signal is the outputof an envelope generator which variesfrom 0 to maximum. Other examplesinclude Velocity and Aftertouch. To staywith the envelope generator example: Byinserting this module, the envelope signalno longer ranges from 0 to maximum, butfrom -Max to +Max. Velocity and After-touch values would be transformedsimilarly.

ControlsFreqThe basic frequency. Edit the value in thistext field to set the basic frequency.

PartialThe desired overtone to produce. Use avalue in the overtone series in which 1.0is the fundamental pitch. The easiest wayto set the overtone number is to enter itin the text field.

ConnectionsOutFrequency signal output. Connections

InInput for a unipolar signal.

OutBipolar signal output.


Curve TableThe Curve Table graphic represents the 128 possible values of the MVC’s Note, Vel,and At outputs. ‘Massaged’ values are output according to the curve in the graphicrepresentation. Using the Curve, Sensitivity and Offset settings, you can adapt thebehavior of incoming values as you desire. Seven curves determine the fundamentalbehavior - e.g. Linear (curve 1), Fixed (curve 3), Exponential (curve 4), or logarithmic(curve 6). The Sensitivity parameter will fit the curve to achieve the desired result, andthe Offset will add or subtract a constant.

ControlsCurveSelect one of the curves in the graphic todefine the basic behavior.

ConnectionsValInput for the MVC’s Note, Vel, or Atoutputs.

OutThe modulation signal output.

SensitivityAdjusts the upward slope of the curve,and the resulting output values asdisplayed in the graphic.

OffsetAdds or subtracts the value set here.


Linear ScaleThis module processes the values of the Note, Vel and AT outputs of the MVC. Itsfunctionality corresponds to that of a classic Keyfollow, except that in this module anoffset can be entered if desired (see digram). Use this module for modulating Pan,Crossfade or Filter Cutoff using Note or Velocity signals.

ControlsScaleControls the modulation response toincoming Note, Vel or AT MVC signalsrelative to their numeric value. The centervalue for scaling is MIDI value 64(Note=E3). This value produces noscaling modulation. If the value is aboveor below this center value, a number willbe added or subtracted to the modulationsignal, depending on the Scale setting.If Scale is adjusted to 100%, an incomingsignal is output at the Note, Vel and AToutputs at full modulation when the inputis at its maximum value. A setting of 50%means that the degree of modulation willbe scaled to produce only up to 50% ofthe original modulation. A value of 0%means that Scale reduces the modulationsignal to nothing. Negative valuesreverse the direction of the modulation.

Example: You are modulating Panusing Note values. Linear Scale is setto +100%. If you have a keyboard with128 keys, the lowest note will sound atthe far left, and the highest note at thefar right. Now, if you adjust Scale to -100%, the reverse is true.

OffsetUse this parameter to shift the centerposition for scaling by -64 to +64. Theresulting modulation shiftscorrespondingly.


Frequency DividerWith this module you can derive multiples or divisions of an input frequency. It providesan input for the basic frequency, and four outputs for multiples or divisions of the basicfrequency. Although the module is intended to operate with the MIDI clock, at can alsowork alone. With a MIDI clock you could, for example, derive several differentfrequencies and send them in parallel to several LFOs. You could also use the ConstantFreq module and similarly output several frequencies to the LFOs.

Example:

You have a MIDI Clock, a FrequencyDivider, and two LFOs. The Freq outputof the MIDI Clock supplies a value of2.00 cycles per second at 120 BPMwhich we will take to be half the periodof a quarter note. You want the first LFOto correspond to a quarter note, andthe second to a half note triplet. AdjustOut 1 to read 24/12, and Out 2 to read24/8. Out 1 will now produce afrequency equal to a quarter note as24/12 equals twice the originalfrequency, or 4.00 cycles per second,or four oscillations per clock. Out 2produces half note triplets, because 24/8 = 3.00 cycles per second, or 3oscillations per clock. The followingtable contains other clock values andthe corresponding se

ControlsFreq DivideFor each of the four outputs there is atext fader to adjust the multiplication ordivision factors (see the exaple beside).

ConnectionsClockInput for the frequency signal from a MIDIclock or another module.

Out 1Frequency output for the first frequencydivision.

Out 2Frequency output for the secondfrequency division.

Out 3Frequency output for the third frequencydivision.

Out 4Frequency output for the fourth frequencydivision.

24/96 = 1/1 note

24/48 = 1/2 note

24/24 = 1/4 note


24/12 = 1/8 note

24/8 = 1/8 triplets

24/6 = 1/16 note


24/3 = 1/32 note


Frequency MultiplyUse this module with oscillators, etc. to produce harmonics of the fundamantalfrequency. Harmonics are integral multiples of a fundamental frequency, and arerequired for additive synthesis. This module allows for non-integral decimal factors,which produce non-harmonic frequencies.

ControlsPartialThis is the factor by which the basicfrequency at Freq In is multiplied. Byadjusting this value to integer (wholenumber) values, harmonics areproduced: A factor of 1.000x produces thebasic frequency, or first harmonic. A factorof 2.000x produces the octave above thebasic frequency, or the second harmonic,etc.

Since using the rotary control to adjustthis value is a little clumsy, it is better tosimply enter the desired harmonic numberin the text field directly. For example, enter<3> + <Enter> to adjust the oscillator tothe third harmonic.

ConnectionsFreq InInput for a frequency signal, as from anMVC.

Freq OutOutput for the multiplied frequency signal.


Pitch QuantizerThis module allows you to derive discrete pitch values from a continuous modulationsignal. You can choose the desired interval and range to use for quantizing.

ConnectionsInInput for the modulation signal toquantize.

OutOutput for the quantized signal.

ControlsRangeSpecify the range, in semitones, withinwhich the signal will be quantized.

QuantAdjusts the quantization interval insemitones. A value of 1 equals asemitone, 2, a whole tone, 3, a minor thirdetc. The maximum allowable valuedepends on the range setting. If the rangeis adjusted to +/-24 semitones, then themaximum interval is 24 semitones.


Xmod & Feedback ConnectorIt can sometimes happen in a patch that you will create a feedback loop (recursiveconnection). This could happen, for instance, when crossmodulating oscillators.However, even if the signals are compatible, SCOPE 5 does not allow for directconnection of signals if it creates a loop. If you are designing a patch in which modulesare to modulate each other mutually, and you get an error message, try inserting thismodule between the modules. It should now work.

ConnectionsInInput for a modulation signal.

OutOutput for a modulation signal.


DrumThe Drum oscillators permit theproduction of analog-style drum soundswith the Modular. Since you can loadeach module several times, entire drumkits are possible. Each module offers anabundance of parameters with which tocreate a great variety of sounds. In orderthat you do not loose the sounds youcreate with the many new parameters,we have supplied the most importantmodules with their own Preset lists. Withthe self-contained Presets, you can storeyour sounds immediately. With the EventSequencer MDS8 you can create drumgrooves of up to eight instruments.

Drum SynthThe Drum Synth is the most versatile of the drum oscillators. It is designed in threeparts: Sine1, Sine2, and Noise. Sine1 is the Master over Sine2. In other words, Sine1determines the pitch of both oscillators. The Noise section features a filter to produce,in addition to analog hi-hat sounds, varieties of ‘Bips’ and ‘Bleeps’ that may come inhandy at times.

This module is quite resource hungry, and you should use it only for very complexdrum sounds. For straightforward sounds, the Modular offers the Drum Oscillator andthe Percussion Oscillator (see later).

This module offers its own Preset list in addition to the Modular’s Preset list. Use theexisting presets, or store your own collection.

ControlsPresetsOpens the module’s Preset list.

Note: Presets can play back atsubstantially high volumes. Thereforeuse a moderate volume level whenauditioning them. Otherwise damage toyour audio gear and/or your hearingcould occur.


Note No.Assigns the MIDI note number to whichthe oscillator will respond.

Note: This setting is not saved with apreset, but only with the patch. Thisway when you develop a drum mapwith several oscillators, and you wantto change sounds, the keyassignments remain appropriate forthe song.

FVelAssigns a velocity value to use when thesound is triggered by a gate signal.

This value is effective only when theDrumSynth is triggered by Gate. Whenit is triggered via MIDI, the MIDI note-on velocity is used instead.

Sine 1 DecaySets the time it takes for Sine 1 to fadeto silence after being triggered.

Sine 1 809Adjusts smoothly from a normal decayenvelope to a hold-decay envelope.Turning the control to the right increasesthe ‘hold’ part of the envelope whilereducing the ‘decay’ portion. Theenvelope time remains unchanged.

Sine 1 SnapAdds an additional ‘click’ to the attack tofurther define the striking of a drum.

Sine 1TuneTunes the basic pitch of the instrument.Sine 1 is the master of Sine 2, so Sine 2does not have a tuning capability, exceptDetune. This detunes it from Sine 1.

Sine 1 PModAdjusts the pitch modulation depth.

Sine 1 PDecSets the duration of the pitch modulation.Depending on the PMod and PDecsettings, you can add character to thesound anywhere from ‘boomy’ to‘scratchy’.

Sine 2 DecaySets the time it takes for Sine 2 to fadeto silence after being triggered.

Sine 2 DetuneDetunes Sine 2 relative to Sine 1. SinceSine 1 is the ‘master’ oscillator, theoverall tuning of the instrument isgoverned by Sine 1 alone.

Tip: This is especially interesting to usewith tom toms. Subtle detuning cansignificantly enhance the realism of thesound.


Noise LPF/HPF/BPFSwitches between lowpass, highpassand bandpass noise filters. Lowpass andbandpass are suitable (with highresonance) for effects such as filtersnaps, while highpass is suitable forsounds such as high hats.

Sine 1 LevelSpecifies the relative level of Sine 1.Moving the control beyond the centerposition can result in distortion.

Sine 2 LevelSpecifies the relative level of Sine 2.Moving the control beyond the centerposition can result in distortion.

Noise LevelSpecifies the relative level of Noise.Moving the control beyond the centerposition can result in distortion.

Sine 2 SlopeAdjusts the decay characteristic of Sine2. When set to the left, the decay is line-ar (slower fadeout). When set to the right,the fade is exponential (relatively quick).Percussive sounds naturally fadeexponentially, so set the control towardsthe right for percussive sounds.

Noise AttackControls the transient noise. Longerattack times allow the tone to carrythrough a little more. Only when theattack phase has completed will thedecay phase begin.

Noise DecayControls the time it takes the noise to fadeout after the attack phase.

Noise CfAdjusts the cutoff frequency of the noisefilter, and hence the tone of the noise. Athigh resonance you can use the cutoffcontrol to determine the basic pitch of,for example, a bass drum.

Noise ResAdds filter resonance. Using this controlalone you can generate filtersnaps orbass drums!

Noise Cf ModAdjusts the cutoff frequency modulationdepth.


ConnectionsMIDI InInput for a MIDI signal, as from the MIDIOut of the MVC. You can also connectthe MDS8 sequencer here, which wasspecifically designed for use with thedrum oscillators.

GateInput for a gate signal, as from an MVCor the gate of a sequencer.

MIn (Mute In)

Connect the Mute Out of another drumsynth or DVC (Drum Voice Control, seelater) to this input. The Mute Outs of drumsynths or DVCs transmit a message eachtime they are triggered. When the signalis received at Mute In, the current sound’senvelope is cut off. This is useful to closean open hi-hat, for example. Byconnecting several outs to a Mute Adder(see later) mute groups can beimplemented.

MOut (Mute Out)

Connect this output to the Mute In ofanother drum synth or DVC. Mute Outtransmits a signal whenever the drumsynth is triggered.

OutThe oscillator’s audio output. You canconnect this to one of the four Modularpatch outputs.

Tip: Use the Patch outputs 1-4 as inde-pendent outputs when using severaldrum oscillators.


Drum OscillatorThe Drum Oscillator is comprised of two sections: Sine and Noise. Sine produces thetonal component of the percussion instrument, while Noise provides the noise. Withthe two components, the Drum Oscillator is well suited to creating snare drum sounds.Electronic bass drums, with a noise attack, are also easy to create. An integratedPreset list lets you save sounds independent of the patches.

ControlsPresetsOpens the oscillator’s Preset list.

Note: Presets can play back atsubstantially high volumes. Thereforeuse a moderate volume level whenauditioning them. Otherwise damageto your audio gear and/or yourhearing could occur. Note No.

Assigns the MIDI note number to whichthe oscillator will respond.

Note: This setting is not saved with apreset, but only with the patch. Thisway when you develop a drum map withseveral oscillators, and you want tochange sounds, the key assignmentsremain appropriate for the song.

FVelAssigns a velocity value to use whenthe sound is triggered by a gate signal.

This value is effective only when theDrumSynth is triggered by Gate.When it is triggered via MIDI, the MIDInote-on velocity is used instead.

Sine LevelSpecifies the relative level of sinecomponent. Moving the control beyondthe center position can result indistortion.

Sine DecaySets the time it takes for sinecomponent to fade to silence afterbeing triggered.

Sine 809Adjusts smoothly from a normal decayenvelope to a hold-decay envelope.Turning the control to the rightincreases the ‘hold’ part of the envelopewhile reducing the ‘decay’ portion. Theenvelope time remains unchanged.


NoiseLSets the volume level of the noisecomponent. Moving the control beyondthe center position can result in distortion.

Noise ColorAdjusts the basic tone color of the noisecomponent of your percussioninstrument.

Noise DecaySets the time it takes for noise componentto fade to silence.

Noise SlopeAdjusts the decay characteristic of thenoise component. When set to the left,the decay is exponential (slower fade-out). When set to the right, the fade isexponential (relatively quick). Percussivesounds naturally fade exponentially, soset the control towards the right forpercussive sounds.

SnapAdds an additional ‘click’ to the attack tofurther define a percussive ‘strike’..

TTuneAdjusts the basic pitch of the instrument.

PModAdjusts the pitch modulation depth.

PDecSets the duration of the pitch modulation.Depending on the PMod and PDecsettings, you can add character to thesound anywhere from ‘boomy’ to‘scratchy’.





MIn (Mute In)


MOut (Mute Out)



Percussion OscillatorThe Percussion Oscillator is the most basic of the drum oscillators. It includes only asingle sine section with the typical drum parameters available. The Drum oscillator issuitable for bass drum, tom tom, and electronic drums. As with the other oscillators,this module has its own integrated Preset list.

ControlsControlsPresetsOpens the oscillator’s Preset list.

Note: Presets can play back atsubstantially high volumes. Thereforeuse a moderate volume level whenauditioning them. Otherwise damage toyour audio gear and/or your hearingcould occur.

Note No.Assigns the MIDI note number to whichthe oscillator will respond.

Note: This setting is not saved with apreset, but only with the patch. Thisway when you develop a drum map withseveral oscillators, and you want tochange sounds, the key assignmentsremain appropriate for the song.

FVelAssigns a velocity value to use when thesound is triggered by a gate signal.

TuneAdjusts the basic pitch of the instrument.

DecaySets the time it takes for the instrumentto fade to silence after being triggered.

PModAdjusts the pitch modulation depth.

PDecSets the duration of the pitch modulation.Depending on the PMod and PDecsettings, you can add character to thesound anywhere from ‘boomy’ to‘scratchy’.


809Adjusts smoothly from a normal decayenvelope to a hold-decay envelope.Turning the control to the right increasesthe ‘hold’ part of the envelope whilereducing the ‘decay’ portion. Theenvelope time remains unchanged.

SnapAdds an additional ‘click’ to the attack tofurther define a percussive ‘strike’.

OutputControls the output level of theinstrument. Moving the control past themid-point may result in distortion.




MIn (Mute In)

Connect the Mute Out of another drumsynth or DVC (Drum Voice Control, seelater) to this input. The Mute Outs of drumsynths or DVCs transmit a message eachtime they are triggered. When the signalis received at Mute In, the current sound’senvelope is cut off. This is useful to closean open hi-hat, for example. By connectingseveral outs to a Mute Adder (see later)mute groups can be implemented.

MOut (Mute Out)

Connect this output to the Mute In ofanother drum synth or DVC. Mute Outtransmits a signal whenever the drum synthis triggered.




Drum Voice ControlYou need the DVC when you want to design sophisticated drum circuits in the Modu-lar. It allows envelope generators and amplifiers to be used with the Hihat Source (seelater) or other oscillators, and basically provides connections to control these modules.A typical use would be to include a few DVCs in a patch, along with a Hihat Source, tosimulate the various hi-hat states - open, closed, half open, etc.

Connecting the DVC is similar to connecting the MVC within a patch. Using the DVC isnot necessarily simple, so several example Presets (hihat.mdl etc.) have been included.After examining these, however, you should have no trouble making creative use ofthe DVC.

ControlsNote No.Assigns a MIDI note number to the MVC.

VelAssigns a default velocity value to usewhen the sound is triggered by a gatesignal.



VelOutput for the MIDI velocity value. Thiscan be either the value that arrived withthe MIDI data, or the value set by theVel control to be sent when a gate signalis received.

MIn (Mute In)

Connect the Mute Out of another drumsynth or DVC (Drum Voice Control, seelater) to this input. The Mute Outs ofdrum synths or DVCs transmit amessage each time they are triggered.When the signal is received at Mute In,the current sound’s envelope is cut off.This is useful to close an open hi-hat,for example. By connecting several outsto a Mute Adder (see later) mute groupscan be implemented.

MOut (Mute Out)



Gate OutThe DVC sends a gate signal to triggermodules such as an envelope generator.The gate signal is output when a MIDINote On is received, or when a gatesignal is received at the DVC’s Gateinput.

EsyncFeedback containing envelope statusinformation. Connect this to the port ofthe same name on an envelopegenerator. If you are using severalenvelope generators, combine the Esyncconnections using the Esync Adder.


Mute Adder 2The Adder is required when you want to build groups of percussion instruments. Thisis the case when you want to connect more than to drum synths and/or DVCs. TwoDVCs or drum synths can be connected together directly using their Mute Out andMute In connections. With three drum synths/DCVs, however, you must use an adder.Connect two of the Mute Outs to the Ins in the Adder, and the Out of the Adder to theother synth or DVC to complete the group.

ConnectionsIn 1Connect the Mute Out of the first drumsynth or DVC you wish to merge into thegroup here.

In 2Connect the Mute Out of the second drumsynth or DVC you wish to merge into thegroup here.

OutProvides a ‘mixed’ signal of the MuteOuts of the first two synths or DVCs.Connect this to the Mute In of the thirdsynth/DVC.


Hihat Source

The Hihat Source provides waveforms and spectra suitable for developing effectivehi-hat sounds. Since this module uses several oscillators and a noise source to producethe spectra, and is thus resource hungry, it is best to load it only once. For othercymbal or hi-hat effects, use other modules from the Modular’s module library. Toillustrate the use of this module we have supplied an example patch, ‘Hihat.mdl’, alongwith the Modular tutorials. This also illustrates the use of the DVC to create groups.The HH Sound Source has its own Preset List, with which you can store the currentsettings.

ControlsTune 1-3These controls alter the spectrum of thehi-hat waveform. Adjust these until youfind a sound that is suitable for yourpurposes. Do not be surprised thatadjusting these controls seems to be achaotic procedure with ratherunpredictable results - this is intended inorder to create complex hi-hat andcymbal effects.

HPFThis High Pass Filter lies downstreamfrom the oscillators controlled by Tune1-3. If you find the spectrum is toopitched, or tonal, use this filter. Increasethe value of the high pass filter until thetonality disappears.

Nz BPF (Noise BPF)

Nz BPF can be added to help achieve ametallic-sounding spectrum. This controlfilters the noise to ‘tune’ it to the overallsound. In other words, this control letsyou adjust the color of the noise beforeadding it to the overall signal.

OSC LevelControls the level of oscillators 1-3. Thisaffects only the signal at the Outconnection. Out is the Hihat Source’s fi-nal mix output.

Noise LevelControls the level of the noisecomponent. This affects only the signalat the Out connection. Out is the HihatSource’s final mix output.

ConnectionsOscThe direct audio output of oscillators 1-3. Usually this is a very metallic sound,suitable for cymbal sounds etc.

NoiseThe direct audio output of the noisecomponent. This is useful for soundssuch as electronic hi-hats.

OutThe audio mix output of the Hihat Source.The controls Osc Level and Noise Levelaffect the mix at this output.


SampleDrum OscillatorThis is a monophonic sample-playback oscillator which is especially suited for usewith drum and sound-effects samples. It can be assigned to a specific MIDI note numberand played from a keyboard – it also works quite nicely with the MDS8 Drum Sequencermodule. An integrated volume envelope permits tailoring of the playback of longersounds, including sound cut-off in response to note-off events.

Load

Press this button to load a sample, thestandard dialog for loading a file appears.

The oscillator can only load individualsamples, not complete Akai programs.

CoarsePermits coarse tuning of the sample insemitones.

Note that sample tuning is accomplishedvia alteration of the effective sampleplayback "speed".

FinePermits fine-tuning of sample pitch.

ASets the attack time. When the envelopegenerator receives a gate signal, it startsthe attack phase, and the modulationsignal rises to the maximum value in thetime set here.

HSets the Hold time. When the attackphase has completed, the level of theenvelope signal is held at maximum forthe duration set here.

DSets the decay time. After the hold phasehas finished, the modulation signal fallsto zero according to the time andcharacteristic settings.

VelControls the amount of influence of notevelocity on sample loudness.

NoteSpecifies the MIDI note number to whichthe oscillator will respond.


ASlopeAdjusts the slope curve for the attackphase. The curve is continuouslyadjustable from linear to exponential.

DSlopeAdjusts the slope curve for the decayphases. The curve is continuouslyadjustable from a linear to a logarithmicfade out.

ConnectionsMIDIInput for a MIDI signal, as from the MIDIOut of the MVC. You can also connectthe MDS8 sequencer here, which wasspecifically designed for use with thedrum oscillators.

MOut (Mute Out)When this output is connected to theMute In jack of another Drum Oscillator,triggering of sample playback will causeplayback in the connected oscillator tobe immediately stopped.

MIn (Mute In)

When this input is connected to the MuteOut jack of another Drum Oscillator,sample playback will be immediatelystopped whenever playback in theconnected oscillator is triggered.

The Mute In/Out jacks of two SampleDrumoscillators can be cross-connected so thateach oscillators stops the other. Thiswould be a typical setup for playback ofopen and closed hi-hat samples.

OutThe audio signal from the oscillator.

Utilizing SamplesOnce you’ve loaded a sample and thensave a patch preset, the same samplewill later be reloaded whenever you recallthis preset. Keep in mind that theSampleDrum Oscillator does not storethe sample itself within the preset, butmerely records its name and its location.If you subsequently delete this sample,rename it or move it to a different location(or if the sample was loaded from a CD-ROM which is not inserted in the CD-ROM drive), the SampleDrum Oscillatorwill not be able to find it and thereforenot be able to load it.

In particular, note that whentransferring a patch which usessamples to a different computer, it isalso necessary to transfer the samplesbeing used.

To get around this problem, read thechapter OSC in the section, SamplePool.


MDS 8The MDS8 (MIDI Drum Sequencer) is designed especially for use with the DrumOscillator/Synthesizer modules. It has 8 independent tracks, each of which is assignedto its own MIDI output. With the MDS8, you can program complete drum patterns andtransform your patch into a true groove machine. In connection with the patternsequencer, you can program complete rhythm tracks, just as you’re used to doing withhardware drum machines. Rhythms are programmed easily via the built-in patternmatrix, and the free accent per step permits the creation of highly dynamic rhythms.

Options

Opens the Preset List

Matrix

Tracknames


No.Use this text fader to set the pattern tobe played.

Note: this control is disabled by a PSQconnection to the pattern sequencer.

MatrixHere, you set the steps at which MIDItriggers are to occur.

Navigating in the MatrixOnce you’ve clicked inside the matrix –e.g., to set a step – you can use the arrowkeys on your computer keyboard to movearound within it.

Setting steps

There are three ways to set and clearsteps:

1.) Click with the mouse on the step youwish to set. A second click on the samestep sets an accent for the step, a thirdclears the step.

2.) Use the arrow keys to navigatethrough the matrix, and repeated strokeson the <Space> bar to set a step, set anaccented step, or clear the step.

3.) Same as 2) above, but type 1 toclear a step, 2 to set it, and 3 to accent it.

StepsSets the desired length for the pattern.

When you are controlling the MDS8remotely over PSQ connection usingthe Pattern Sequencer, this parametercan no longer be adjusted here.

SwingControls the amoung of rhythmic "swing".

LoopActivating this option causes the currentsong or pattern-chain to repeatindefinitely.

If you want to control the MDS 8 withthe Pattern SEQ Loop must be On.

CopyClick here to copy the current sequenceinto the clipboard.

PasteClick here to replace the currentsequence with a sequence previouslycopied into the clipboard. This exchangeis possible only within a single sequencermodule.

You can also paste a copied sequenceafter switching to a new preset, whichpermits transfer of sequences from onepreset to another.


BreakClicking on this button stops thesequencer.

ResetClick on Reset to restart the pattern fromstep 1. This can also be done fromoutside via the Reset input – permittingrestart to be triggered by notes playedon a keyboard, for example. (see also GateSEQ)

PresetClick the P button to open the module’spreset list. Each preset contains 32 in-dependent sequences.

OptionsClick Options to open the followingdialog:

MuteClick Mute to mute the correspondingtrack.

SoloClick Solo to hear only the correspondingtrack.

Velocity LowSets the MIDI note velocity for normalsteps.

Velocity HighSets the MIDI note velocity for accentedsteps.

ConnectionsSyncTriggers advance to the next step in thepattern list. A typical connection wouldbe to the Sync output of the MDS8sequencer, which sends a sync signalupon reaching the end of its currentpattern.

Clock InConnect the clock output of the MIDIClock module here – or better still, theoutput of a Clock Divider.

ResetConnect this signal to other stepsequencers in order to have themsimultaneously reset when the patternsequencer sends a stop signal.

PSQFor connection to the input of the samename on a step sequencer, so that itspattern length and number of steps canbe remote-controlled by the patternsequencer.


Out 1-8Connect these MIDI outputs to the MIDIinputs of Drum Oscillators or the DrumSynthesizer.

Don’t forget to set the MDS8 and theDrum Module to the same MIDI notenumber.

PNr.Connect the PS32 pattern switcher here,for example, to permit live selection ofpatterns from the keyboard. Note that thisis possible only when the PSQ input isnot connected.

LinkUse this signal to supply clocks to addi-tional sequencer modules. Note thatswing settings may affect this signal.


EffectsThe SCOPE 5 provides a complete assortment of effects modules. The modules canbe divided into two groups: standard effects, which can be loaded only monophonically,and synthesis effects, which can be loaded either monophonically or polyphonically.

Standard effects include delays, choruses, compressors etc. Synthesis effects includeother effects such as the Bit Quantizer and the Distortion module. Since standardeffects are capable only of monophonic operation, they should always be wired into apatch following the Poly Out module, which constitutes the boundary between thepolyphonic and monophonic portions of a patch. These modules are therefore alwaysgreen, which serves as the visual indication of a monophonic module. The synthesiseffects can be used just like all other normal synthesis modules – either before thePoly Out module, in which case they should be set for polyphonic operation, or after it,where they should be set to monophonic (single) mode to minimize DSP powerconsumption.


CompressorStandard effect, always monophonic

This effect modifies the dynamics of a sound. The level of louder passages is decreased.This means that the overall level of the sound can be set higher, with the net result thatthe level of softer sections is increased. The compressor operates by monitoring thelevel of the input signal. An adjustable threshold level determines the point at whichcompression begins. Attack and release controls determine how quickly the compressorresponds when the threshold is exceeded and when the input signal level falls backbelow the threshold, respectively. The ratio control determines the intensity of thecompression – i.e., the ration of input level change to output level change. The gaincontrol adjusts the level of the compressed signal.

ControlsAttackThe Attack time (in milleseconds) is thecompressor’s reaction time - the time ittakes it to respond to a level spike.

ReleaseThis is the time (in milliseconds) after thesignal falls back under the threshold thatcompression is no longer active.

ThresholdSets the input signal level above whichcompression begins.

RatioThe Ratio adjusts the compression ratefor signals that exceed the thresholdlevel. The compression is displayed asa relation value. 1:1 means that there isno compression. 3:1e.g. means that aan amplification of +3dB of the inputsignal results only in +1dB at the output.

GainA compressor reduces the transientlevels of a signal so that the overall signalcan be increased later without danger ofdistortion. This increases the averagelevel of the music, resulting in a fullersound. Adjust the volume increase withthe Gain control.

BypassSends the input signal directly to theoutput, bypassing the effect.

ConnectionsInThe audio input of the compressor.

OutThe audio output of the compressor .


LimiterStandard effect, always monophonic

This effect is related to compression and likewise modifies the dynamics of a sound.The level of louder passages is decreased. This means that the overall level of thesound can be set higher, with the net result that the level of softer sections is increased.The limiter operates by monitoring the level of the input signal. An adjustable thresholdlevel determines the point at which limiting begins. Attack and release controlsdetermine how quickly the limiter responds when the threshold is exceeded and whenthe input signal level falls back below the threshold, respectively. The ratio controldetermines the intensity of the limiting – i.e., the ration of input level change to outputlevel change. The gain control adjusts the level of the limited signal.

ControlsAttackThe Attack time (in milleseconds) is thelimiter’s reaction time - the time it takesit to respond to a level spike.

ReleaseThis is the time (in milliseconds) after thesignal falls back under the threshold thatlimitting is no longer active.

ThresholdSets the input signal level above whichlimitting begins.

RatioThe Ratio adjusts the limitting rate forsignals that exceed the threshold level.The limitting is displayed as a relationvalue. 1:1 means that there is nocompression. 3:1e.g. means that a anamplification of +3dB of the input signalresults only in +1dB at the output.

GainA limiter reduces the transient levels of asignal so that the overall signal can beincreased later without danger ofdistortion. This increases the averagelevel of the music, resulting in a fullersound. Adjust the volume increase withthe Gain control.


ConnectionsInThe audio input of the limiter.

OutThe audio output of the limiter .


ExpanderStandard effect, monophonic only

The Expander alters the dynamics of an audio signal by attenuating the quieter passageswhile leaving the louder passages alone. This increases the overall dynamic range ofthe signal. You can use this to alter the way an instrument sound dies out, or possiblyto change the feel of a drum loop. Or you could use it to reduce unwanted room noisefor a lower noise floor. The expander is provided in both mono and stereo versions.The Threshold control sets the level at which expander begins to process the signal.The speed with which the expander responds after the level crosses the threshold iscontrolled by the Attack and Release parameters. Ratio determines how much thelevel changes. The Ratio is the relationship of the original signal to the expandedsignal.

AttackAdjusts the attack time; that is, howquickly the expander begins to work afterthe threshold is crossed.

ReleaseAdjusts the release time; that is, howquickly the expander stops processingthe signal after the threshold level hasbeen crossed.

ThresholdThe level at which the expander istriggered to begin processing the signal.

RatioRatio controls the amount of expansion.The expanded signal is expressed inrelation to the unprocessed (original)signal. 1:1 means no expansion. 3:1means that a normal 1dB drop in outputafter processing drops by about 3dB. Themaximum ratio value is 10:1.

GainControls the overall level. The signal isamplified or attenuated by the indicatedamount.

BypassRoutes the signal directly from the inputto the output, bypassing the effect.


OutOutput for the expanded signal.


Noise GateStandard effect, monophonic only

Briefly stated, a gate either lets a signal pass, or not, as a function of an input signal’svolume level. In contrast to a simpler gate, which opens or closes completely, thisgate can be adjusted to reduce the output to a specified level rather than block italtogether. For example, a gate can be used to automatically mute the signal (as in anoise gate, or to separate drums, etc.) or to change the quality of the ending phase ofan instrument’s sound.

AttackAdjusts the attack time; that is, howquickly the gate opens when thethreshold has been exceeded.

ReleaseAdjusts the release time; that is, howquickly the gate closes when the signalfalls below the threshold.

ThresholdThis is the value at which the gate opensor closes when the input signal levelcrosses it.

FloorWhen the gate closes, the output levelfalls to the value specified by Floor.Therefore, the gate does not necessarilyblock the signal completely, but lowers itto this level.

GainAmplifies the gate’s output by up to 18dB.



OutGated signal output.


ControlsTimeAdjusts the delay time in milliseconds.

FBSets the strength of the feedback - theportion of the delayed signal that is routedback to the input to create multiplereceding echos. The degree of feedbackdetermines the fade out time of therepeated echos.

HiDampControls the amount of high frequencydamping in the feedback signal. Dampingdegrades the signal with each repeat,creating a natural sounding fade.

DelayStandard effect, always monophonic

The Delay or Echo delays the signal in simple or more complex ways producingindividual or repeated echos. Repeated echos are created using a feedback. Thefeedback chain contains a filter which allows a damping of high frequencies.

DryThe level of the original signal.

WetThe level of the effect signal.


ConnectionsInThe audio input of the delay.

OutThe audio output of the delay .


Tempo DelayStandard effect, always monophonic

This module is actually a Stereo Delay with optional cross feedback. The reason theword ‘tempo’ appears in its name is to signify that it can be synchronized to the MIDIclock.

ControlsTimeL/RAdjusts the delay time, in milliseconds,for the left and/or right channels.

ExternalWhen this is enabled (the button is lit)you can control the Delay timesexternally. Connect the MIDI clockthrough a Frequency Divider to the FLand FR inputs. The delay times aredetermined by the Tempo and andsettings in the Frequency Divider.

FBControls how much of the delayed signalis fed back to the inputs to be delayedonce again.

CrossThis switch changes the feedback loopto a Cross Feedback loop: The output ofthe left channel is fed back to the rightchannel input, and the right channeloutput is routed to the left input channel.

HiDampAdjusts the amount of high frequencyfiltering applied to each cycle of the signalin the feedback loop.

DryControls the level of the original signal inthe output.

WetControls the level of the delayed signalin the output.



ConnectionsIn L/mInput for the left channel audio signal.This is also the input for a mono signal.

In RInput for the right channel audio signal.When you connect a signal here, theeffect switches automatically to stereomode.

FL (Frequency Left)

Input for a MIDI Clock, or, better yet, aFrequency Divider to control the effect’sleft channel delay time.

FR (Frequency Right)

Input for a MIDI Clock, or, better yet, aFrequency Divider to control the effect’sleft channel delay time.

Out LLeft channel output.

Out RRight channel output.


Modulation DelaySynthesis effect, monophonic and polyphonic

This Delay is special for two reasons: it is capable of being used polyphonically, andthe delay times can be modulated. This is possible because this delay uses the onboardmemory of the DSP modules. However, because this memory is limited, the delaytime is very short - on the order of 20 ms. But it’s enough to create perfect choruseffects, or, with feedback, flanger effects. And because the module can be loadedahead of the Poly Outs, it can serve as a polyphonic chorus or flanger for each inde-pendent voice.

ControlsTimeSets the delay in milliseconds.

Tmod (Time modulation)

Controls the intensity of the timemodulation. This setting corresponds tothe Depth control on a chorus or flanger.

FBControls the proportion of the delayedsignal that is fed back to the input to bedelayed again. If the Time value issufficiently short, this results in a typicalflanger effect.

Dry/WetDetermines the relative proportions of theoriginal signal and the effect signal in theoutput. Because a chorus or flanger effectcan only occur with some of the originalsignal present, you should always includesome of the unprocessed signal. Toproduce the strongest effects, a settingthat produces equal proportions is opti-mal (both controllers in the centerposition).


ConnectionsInInput for an audio signal.

ModInput for a modulation signal.

As well as connecting an LFO signal toproduce chorus and flanger effects,you can use any other arbitrary signalhere.

OutEffect signal output.


ChorusStandard effect, always monophonic

The name „chorus“ hints at the sound produced by this effect. It spreads and thickensthe sound passed through it, simulating the sound of multiple instruments of the sametype playing together – in other words, a chorus. This effect is achieved by means of ashort delay line whose delay time is periodically modulated. Mixing of this delayedsignal with the original produces the chorus effect. The intensity of the effect dependsupon the modulation rate, depth and phase settings as well as the dry/wet (original/delayed) mix. The effect is also useful for creating a stereo sound from a monauralsignal.

ControlsRateControls the frequency of the pitchmodulation.

DepthAdjusts the modulation depth - thestrength of the pitch modulation.

PhaseAdjusts the phase difference of themodulation signal between the left andright channels. This influences the ‘width’of the stereo field.

Dry/WetDetermines the relation between thelevel of the original and the effect signal.


ConnectionsIn L/mThe left audio input. This input also isused for monophonic signals

In RThe right audio input. The Chorus isautomatically switched to stereo inputmode once a signal is connected to thisjack.

Out LThe left channel of the audio output.

Out RThe right channel of the audio output.


FlangerStandard effect, always monophonic

This effect is similar to the chorus. Like the chorus, a flanger is based on a delay linewhose delay time is periodically modulated. However, the delay times in a flangerare substantially shorter than those of a chorus. In addition, the flanger utilizesfeedback of the delayed signal back to the delay line input. Therefore, it not onlythickens the sound but can add noticeable coloration owing to the comb-filter effectwhich results from the feedback. The intensity of the effect depends upon themodulation rate, depth and phase settings as well as the dry/wet (original/delayed)mix. The effect is also useful for creating a stereo sound from a monaural signal.

ControlsRateControls the frequency of the delaymodulation of the flanger.

DepthAdjusts the modulation depth - thestrength of the delay modulation.

FBAdjusts the feedback depth, or theamount of processed signal fed back intothe input.

Dry/WetDetermines the relation between thelevel of the original and the effect signal.



In RThe right audio input. The Flanger isautomatically switched to stereo inputmode once a signal is connected to thisjack.




Tempo FlangerStandard effect, always monophonic

This is a Flanger module in which the modulation speed can be synchronized to aMIDI Clock. For information on what a flanger does, and how to control it, read theprevious section. This section explains only the added parameters and connections.

Additional ParameterExternalBy enabling this option (button is lit) youcan control the modulation speedexternally. Connect a MIDI Clockthrough a Frequency Divider to the ExtFreq input. The modulation speed is nowderived from the tempo, and the settingsin the Frequency Divider. The Ratebutton is disabled when in externalmode.

Additional ConnectionsExt FreqConnection for a frequency signal, or,better, a signal from a Frequency Divider,to set the modulation rate.


PhaserStandard effect, always monophonic

The phaser or phase-shifter is similar to the flanger and chorus, but instead of using adelay line, it functions by introducing frequency-dependent phase shifts into the signalwhich is passed through it. The key phase-shift frequencies, and therefore the amountof phase shift, are periodically modulated. The phase-shifter effect results when thisphase-manipulated signal is mixed with the original signal. The effect is thus similar tothe flanger and chorus, but with a sound character of its own. The intensity of the effectdepends upon the modulation rate, depth and phase settings as well as the dry/wet(original/phase-shifted) mix. The effect is also useful for creating a stereo sound froma monaural signal.

ControlsRateControls the frequency of the phasemodulation of the Phaser.

DepthAdjusts the modulation depth - thestrength of the phase modulation.

FBAdjusts the feedback depth, or theamount of processed signal fed back into

the input.

Dry/WetDetermines the relation between the levelof the original and the effect signal.



In RThe right audio input. The Phaser isautomatically switched to stereo inputmode once a signal is connected to thisjack.




Tempo PhaserStandard effect, always monophonic

This is a Phaser module in which the modulation speed can be synchronized to a MIDIClock. For information on what a phaser does, and how to control it, read the previoussection. This section explains only the added parameters and connections.

Additional ParameterExternalBy enabling this option (button is lit) youcan control the modulation speedexternally. Connect a MIDI Clock througha Frequency Divider to the Ext Freq input.The modulation speed is now derivedfrom the tempo, and the settings in theFrequency Divider. The Rate button isdisabled when in external mode.

Additional ConnectionsExt FreqConnection for a frequency signal, or,better, a signal from a Frequency Divider,to set the modulation rate.


Pitch ShifterStandard effect, monophonic only

This module changes the pitch of the input signal. The Coarse and Fine controlsdetermine how much the pitch changes. Speed controls how quickly the shifter works(this helps even out the sonic change from the original signal to the shifted signal). Thepitch shifter serves very well to thicken synthesizer voices.

ControlsCoarseShifts the pitch in semitone steps.

FineShifts the pitch in cents (hundredths of asemitone).

PMod (Pitch Modulation)

Adjusts the intensity of the pitchmodulation.

SpeedThis value controls how often the pitchshifter processes the pitch change (usedto even out the difference between theoriginal sound and the shifted version).

Dry/WetSets the relative proportions of the effectsignal and the original signal in theoutput. To thicken synthesizer voices,both the original signal and the effectsignal must be present. To listen only tothe shifted signal, set the control all theway to Wet.



PModInput for a modulation signal.



Pitch Shift DelayStandard effect, monophonic only

Like the pitch shifter, this module changes the pitch of the input signal. The Coarseand Fine controls determine how much the pitch changes. Speed controls how quicklythe shifter works (helping to even out the sonic change from the original signal to theshifted signal). Using a delay and a feedback loop, the pitch shifter can be adjusted insuch a way that the pitch rises or falls gradually.

ControlsCoarseShifts the pitch in semitone steps.

FineShifts the pitch in cents (hundredths of asemitone).

PMod (Pitch Modulation)

Adjusts the strength of the pitchmodulation.

SpeedThis value controls how often the pitchshifter processes the pitch change (usedto even out the difference between theoriginal sound and the shifted version).

DelayThis control delays the effect signal withina range of 0 to 683 milliseconds.

FeedbackControls how much of the delayed signalis fed back to the input for furtherprocessing. With appropriate settings ofthe delay, echoes develop that rise or fallin pitch.

HiDampAdjusts the amount of high frequencycontent absorbed (attenuated) duringeach cycle of the feedback loop.

DrySets the volume level of the originalsignal.

WetSets the volume level of the effect signal.





DistortionSynthese-Effekt, mono- und polyphon

This effect produces both „soft“ and „hard“ distortion. Soft distortion is comparable tothat which results when analog magnetic tape overload occurs – it comes on slowlywith increasing signal level and has a soft sound. Hard distortion is produced viasimple clipping. It appears more suddenly and has a harder, edgier sound. This modulecan be used polyphonically as well as monophonically – thus both before and after thePoly Out module.

ControlsDistControls the intensity of the distortion forboth the Soft and Hard output.

ConnectionsInInput for audio signals.

SoftOutput for the distorted signal.

HardOutput for the strongly distorted signal.


Bit QuantizerSynthesis effect, mono- und polyphonic

In the SCOPE 5, signals are normallycomputed with 32-bit precision. The BitQuantizer lets you deliberately andradically decrease this precision to thepoint where noticeable quantizationartifacts begin to appear – thecharacteristic „digital trash“ sound andlimited dynamic range of quantizationnoise. This module can be usedpolyphonically as well as monophonically– thus both before and after the Poly Outmodule.

ControlsBitControls the number of bits which is usedfor quantization.



DecimatorSynthesis effect, mono- und polyphonic

The Decimator lets you play a signal with a different bit resolution and sample rate asthe rest of the system. In effect, the signal is internally resampled. Aliasing andquantization noise can be deliberately produced, depending upon the settings used.This module can be used polyphonically as well as monophonically – thus both beforeand after the Poly Out module.

ControlsBitControls the number of bits which is usedfor the Bit reduction.

Bit on/offTurns on/off the bit reduction.

Sample RateControls the sample rate which is usedfor the conversion.

FmAHere, the sample rate can be modulated– the potentiometer controls the intensityof modulation.

Sample Rate on/offTurns on/off the sample rate conversion.


FmodInput for modulation signals.



RingmodulatorSynthese-Effekt, mono- und polyphon

The ring-modulation effect is often described as „bell-like“ or „inharmonic-sounding“– fitting descriptions, when, for example, two audio oscillators are passed throughthe ring modulator. In essence, however, the ring modulator simply outputs the(multiplication) product of its two input signals, and therefore is also useful formodulation of modulation signals. This module can be used polyphonically as well asmonophonically – thus both before and after the Poly Out module. As the ring modulatoroffers only connections and no controls of its own, the intensity of the effect must becontrolled from outside, e.g., using mix modules.

ConnectionsIn1Input for audio and modulation signals.

In2Input for audio and modulation signals.

OutOutput of the modulated signals.


Please take note of the following: Whenyou exchange Modular patches withother users, it is possible that you orthe other user may not have a copy ofa effect offered by a third-partyprovider. The effect slot of the insertmodule will in that event remain empty– either it should be switched off, oralternatively, one of the SCOPE 5effects should be loaded.

ControlsInsert SlotLoad any SCOPE 5 effect into this slot.By double-clicking on the name in thisslot you open the effects’s user surface.To remove the effect, select the textfieldin the slot and press the <Delete> or<NumLock> key on your computerkeyboard.

DryControls the level of the original signal.

WetControls the level of the effect signal.

Note that the Dry and Wet settingsapply only to the Insert module itself.The individual effects modules likewisepossess Dry and Wet controls of theirown, which must be set appropriately.

ActiveThis button activates the effect in theinsert slot, which is active when the buttonis illuminated. When the insert slot isdeactivated, the effect is also unloadedfrom the DSPs and the audio input signalto the effect is passed directly to theoutput.

If the insert slot is activated with noeffect loaded, the signal in the insertmodule is determined by the Dry levelcontrol. If this is set to minimum, nosignal will come through.

Mono/Stereo InsertWith these modules you can integrate any SCOPE 5 effects into your Patch.

ConnectionsMono InsertInInput for audio signals.

OutOutput of the audio signals.

Stereo InsertInL/mInput for the left audio signal or amonophonic signal.

InRInput for the right audio signal.

Out LOutput of the left audio signal.

Out ROutput of the right audio signal.


Sequencer ModulesThe Modular2 offers a full assortment ofsequencer modules which can be usedto produce rhythmic structures, note runs,filter sweeps, drum patterns and muchmore. The various types of sequencermodules produce different types of outputsignal as appropriate. For example, thepitch sequencer produces pitch controlsignals which can be used to control anoscillator in semitone increments, thegate sequencer produces signals fortriggering of envelopes, and the variouscontrol sequencers permit sequence-driven control of filter, pan and othermodules.

The pattern switcher lets you recallpatterns from a keyboard, while thepattern sequencer permits the creationof complete song structures.

These modules have some special-purpose connections. For example, thePSQ jack is provided especially forcommunication with the patternsequencer.

The control sequencer modules arecurrently restricted to monophonicoperation. This means that they canmodulate polyphonic sounds, but that themodulation itself is the same for all voices.For example, if the pitch sequencer issending an offset of two semitones as youplay a three-note chord, all three noteswill be shifted in pitch by two semitones.However, polyphonic control sequencersare planned.


Gate SEQ1 / SEQ2The gate sequencers are used primarily for triggering envelopes. They output not onlyvalues indicating On and Off, but by means of Esync communication can also notify anenvelope that it should "ramp down" to zero before being retriggered. SEQ1 puts out atrigger signal on every 16th-note time interval, while SEQ2 permits note lengths to beextended.

Gate On/Off Opens the Preset List

Step Hold






Gate On/OffThese sixteen buttons determine whetheror not a trigger signal will be sent in thecorresponding time interval. The StepHold buttons extend note length bysuppressing new triggers (see following).

Step Hold (Gate SEQ2 only)

These buttons can be used to extend anote over one or more steps. Normally,a note-off is sent halfway through eachstep. If Step Hold is switched on for astep, then no note-off occurs in that step,and no note-on occurs at the start of thenext step, with the result that the originalnote is stretched.

PatternHere, you specify which of the 32available patterns is to be played. Thiscan also be controlled externally via thePNr input. Use the PS32 pattern switchermodule to select patterns from akeyboard.

StepsPattern length is independently variablefor each pattern, up to a maximum of 16steps.

If the sequencer module is beingremote-controlled by the PatternSequencer, the Pattern and Stepssettings are ignored – in this case, thePattern Sequencer determines whichpattern will be played as well as thepattern length.

SwingControls the amoung of rhythmic "swing".

This setting applies in common to all of amodule’s patterns.

LoopActivate this function to cause the patternto repeat continuously.

Note that this option must be active whenthe sequencer module is to be remote-controlled by the Pattern Sequencer.



ResetClick on Reset to restart the pattern fromstep 1. This can also be done fromoutside via the Reset input – permittingrestart to be triggered by notes playedon a keyboard, for example.

If you want to trigger Reset from thekeyboard, connect the GateOr moduleto the Gate output of the MVC, andconnect the output of the GateOrmodule to the Reset input of the GateSEQ module. With this connection,Reset will be triggered on every newnote. If the connection is made directlyrather than via the GateOr module,Reset will trigger less often – with apolyphony of four, for example, only onevery fourth note.

ConnectionsClockConnect the clock output of the MIDIClock module here – or better still, theoutput of a Clock Divider.

ResetConnect a trigger signal here to permitremote-actuated restarting of a patternfrom step 1.

PSQFor connection to the signal output of thesame name on the Pattern Sequencer,which can then remote-control patternnumber and pattern length.

PNo.Connect the PS32 Pattern Switcher hereto permit selection of patterns from thekeyboard.

EConnect the Esync output of an ADSRenvelope here. With this connection, theGateSequencer can command full "rampdown" of the envelope before retriggeringit.

LinkHere, connect other sequencer moduleswhich are to be strongly coupled to theGate SEQ module. A "swung" clock mayalso be output via Link.

For example, if you use the OnGateoption in a pitch sequencer, you needthe clock signal from the Link outputin order to relay information regardingwhether or not a given step is set.

Gate OutHere, connect an envelope or othermodule which is to be triggered on everystep.

SyncConnect this output to the Sync input ofthe Pattern Sequencer, which thusreceives a trigger signal when the end ofthe current pattern is reached and in turncan call up the next pattern.


Ctrl SEQ1 / SEQ2The control sequencers are used for control of modulation signals. They producesequences of unipolar values in the range 0-127. Unipolar means that the modulationworks in only one direction – for example, the preset cutoff of a filter can only beraised. At your option, the control value programmed for each step can either alwaysbe sent or sent only when a gate occurs on that step. Finally, the slide buttons permitstep-by-step control over the change from one control value to the next, which can beeither an instantaneous change or a smooth glide.

Control-Wert

Slide-Switch







Control ValueUse these faders to set control valuesfor each step in a pattern (or enter valuesin the range 0-127 directly via the textfield above each fader).

Slide (Ctrl SEQ2 only)

These three-state buttons permit you toactivate a control-value glide function ona step-by-step basis. The glide can beeither exponential (blue) or logarithmic(yellow). Which type is to be preferreddepends upon the parameter beingmodulated – for example, filters oftensound better with exponential control.

Depending upon the tempo and your ownpersonal taste, you may also need toadjust the Intensity control (see below) toget the glide function to sound the wayyou want.

Intensity (Ctrl SEQ2 only)

Controls the "steepness" or speed of theexponential or logarithmic control-valueglide in pattern steps for which the Slidefunction is active (all steps are affectedin common).

Curve (Ctrl SEQ2 only)

Same as the Slide buttons describedabove – but switches the states of thesebuttons in common for all sixteen patternsteps at one time.


PatternHere, you specify which of the 32available patterns is to be played. (see alsoGate SEQ)

StepsPattern length is independently variablefor each pattern, up to a maximum of 16steps. (see also Gate SEQ)

SwingControls the amoung of rhythmic "swing".(see also Gate SEQ)

LoopActivate this function to cause the patternto repeat continuously. (see also Gate SEQ)



OnGateActivate this option to cause controlvalues to be sent only on steps in whicha gate event (note-on) occurs. For this towork, the Ctrl SEQ Clock must come fromthe Gate SEQ module and not directlyfrom the MIDI Clock module or ClockDivider module.

When this option is not active, controlvalues are sent on every step, regardlessof whether a note-on occurs, meaningthat new control values may change thesound of an already-playing note from anearlier step.





OutThe unipolar modulation signal is outputhere.


Ctrl SEQ B1 / SEQ B2The "B" control sequencers are used for bipolar control of modulation signals. Theyproduce sequences of control values in the range -64 - +63. Bipolar means that themodulation can work in both directions – for example, the preset cutoff of a filter canbe both raised and lowered. At your option, the control value programmed for eachstep can either always be sent or sent only when a gate occurs on that step. Finally,the slide buttons permit step-by-step control over the change from one control value tothe next, which can be either an instantaneous change or a smooth glide

Control-Wert

Slide-Switch







Control ValueUse these faders to set control valuesfor each step in a pattern (or enter valuesin the range -63 to +63 directly via thetext field above each fader).

Slide (Ctrl SEQ B2 only)

These three-state buttons permit you toactivate a control-value glide function ona step-by-step basis. The glide can beeither exponential (blue) or logarithmic(yellow). Which type is to be preferreddepends upon the parameter beingmodulated – for example, filters oftensound better with exponential control.


Intensity (Ctrl SEQ B2 only)


Curve (Ctrl SEQ B2 only)















OutThe unipolar modulation signal is outputhere.


Pitch SEQThe Pitch Sequencer is largely similar to the Ctrl SEQ B2 bipolar control sequencer,but is optimized for pitch modulation. It produces a bipolar control signal for connectionto the pitch modulation input of a pitch modifier module, with modulation values in therange -36 – +36 semitones. At your option, the pitch value programmed for each stepcan either always be sent or sent only when a gate occurs on that step. Finally, theslide buttons permit step-by-step control over the change from one pitch value to thenext, which can be either an instantaneous change or a smooth glide.

Pitch Offset-valuesÖffnet die Preset Liste

Slide-Function






Pitch Offset ValuesUse these faders to set control valuesfor each step in a pattern (or enter valuesin the range -36 to +36 directly via thetext field above each fader).Pitch Offset-Wert

SlideThese three-state buttons permit you toactivate a control-value glide function ona step-by-step basis. The glide can beeither exponential (blue) or logarithmic(yellow). Which type is to be preferreddepends upon the parameter beingmodulated – for example, filters oftensound better with exponential control.


Intensity (Ctrl SEQ B2 only)


Curve (Ctrl SEQ B2 only)















OutThe bipolar modulation signal is outputhere.


Pattern SEQThe pattern sequencer permits remote-control selection of the pattern to be played bya step sequencer. Connection of the pattern sequencer overrides the local pattern-select and number-of-steps controls, so that the pattern sequencer also directly controlspattern length, regardless of the pre-programmed length of the pattern being played.The pattern sequencer permits pre-programmed looping of a handful of patterns or thecreation of complete song structures.

Start

Pause/Stop

Loop Lenght

Pattern List

Scrollbar

To modify an entry in the Pattern List,simply select it and enter the new valuedirectly from your computer keyboard. Aselected entry in the list allows itself tobe overwritten directly – just start typingthe new value.

As soon as the Pattern Sequencersends a pattern change command,each connected sequencer pre-loadsits next pattern, switching to the newpattern when the current pattern hasplayed through to the end. Note thatpre-loading does require a smallamount of time. In order to ensure thatthe transition to the new pattern ismade correctly, you should avoidsetting playback pattern length tooshort. As a rule, this is a problem onlywhen the pattern length is set belowfour steps, and when the playbacktempo is high.

When song mode is not active, theconnected step sequencers can also bemade to switch to new patterns byclicking on the desired list entry. Asalways, the actual switch to the newsequence takes place when the currentpattern has played through to the end.

Pattern ListThe Pattern List lets you control thesequence of patterns to be played andthe actual playback length of eachpattern.

Each entry in the Pattern List shows thesong step number, the name and numberof the selected pattern and the playbacklength of the pattern in steps.


Song Mode

Activate this option to cause the patternsequencer to work its way through thepattern list. When deactivated, only thecurrently selected pattern plays.

In song mode, switching to newsequences by clicking on entries in thePattern List is not possible. In this case,the Pattern SEQ module exclusivelycontrols pattern transitions. To jump toa different position, first deactivatesong mode, select the desired songstep and then reactivate song mode.

Song StepThe pattern sequencer can handle songsconsisting of up to 256 patterns. This fieldshows which pattern of a song is currentlyplaying.

StartClick this button to start the patternsequencer.

This applies also when you’re notplaying a song – it is nonethelessnecessary, so that the patternsequencer will send clocks to theconnected sequencer modules, whichotherwise won’t run.

StopClick this button to stop the patternsequencer, which ceases sending clocks.If you now click the Start button, songplayback will resume where it left off.Clicking Stop a second time will reset thesong to the beginning.

LoopActivating this option causes the currentsong or pattern-chain to repeatindefinitely.

Loop LengthSets the number of song steps (startingwith step 1) which are to be included in asong loop. For example, if this is set to4, then the first four patterns of the songwill repeat indefinitely.

PatternSpecifies the pattern number which is tobe sent to the connected step sequencerfor the currently-selected song step.

Alternatively, pattern numbers can beentered directly into the pattern list. Todo this, select the existing patternnumber at the desired song step andenter a new pattern number from thekeyboard.

StepsSpecifies the number of repetitions of thepattern at the current song step. As withpattern numbers, these values can alsobe entered into the pattern list directly(when doing so, it’s a good idea to stopthe pattern sequencer first!)


ConnectionsClock InConnect the clock output of the MIDIClock module here – or better still, theoutput of a Clock Divider.

SyncTriggers advance to the next step in thepattern list. A typical connection wouldbe to the Sync output of the MDS8sequencer, which sends a sync signalupon reaching the end of its currentpattern.

ResetConnect this signal to other stepsequencers in order to have themsimultaneously reset when the patternsequencer sends a stop signal.

LinkConnect the Link output of the patternsequener to the Link input of the MDS8in order to transmit the clock signal. TheStart/Stop status of the pattern sequenceris likewise taken into account.

PSQFor connection to the input of the samename on a step sequencer, so that itspattern length and number of steps canbe remote-controlled by the patternsequencer.


PS32This module permits you to call up new patterns without having to do so directly on thesequencer module itself. More interestingly, however, it is also possible to remote-control bank and pattern select on the PS32 from a MIDI keyboard. In combinationwith a MIDI KeySplitter module, you can play normally in one part of the keyboardwhile selecting patterns in another part.

MIDI LED

Opens the settings dialog

BankSelect the desired bank here.

1-4/5-8Here, select one of the eight patterns ina bank.

SetOpens the Settings dialog, in which youcan assign MIDI note numbers to buttonsfor remote-control purposes.

ConnectionsMIDIMIDI input – connect it directly to a MIDIsource, or to one of the outputs of aKeySplitter module.

OutConnect this signal to the PNr input ofone or more sequencer modules.

Bank A-CSpecify the desired MIDI note numbershere.

Pattern 1-8Specify the desired MIDI note numbershere.


GateOrFor use in conjunction with the MVC module. A "gate collector" which permits derivationof a trigger signal every time a new note is played on the keyboard – for example, tosend a Reset to a step sequencer module whenever a new note is played, causing it torestart its current pattern.

Gate InConnect the Gate output of the MVCmodule here.

Gate OutConnect this signal to the Reset input ofa step sequencer, for example, so that itrestarts its pattern whenever a new noteis played on the keyboard.

Start/StopThis is a simple module for starting andstopping the sequencer when, forexample, no pattern sequencer ispatched into the circuit. Connect the Outof this module to the start/stop input of aClock Divider.

ControlsStart/StopWhen this module is connected to a clockdivider, this control starts and stops anysequencer modules also connected tothe clock divider.

ConnectionsOutStart/Stop signal output.


Index

Symbols

1x6 Switch 59A

Active 147Add 2/3/4/5 61Adjusting Levels 43Adjusting Times 43ADSR 34Aftertouch 3Am 27Amod 36, 37, 39, 41Amplitude Modulator 54ASlope 36, 38, 40, 123Att 49, 50Attack 45, 129, 130Audio-Trig 96B

Bedienelemente 43Biphase LFO 92Bit 145Bit on/off 145Bit Quantizer 145BPF 29Bypass 134, 137, 138, 140, 143C

CFm166, 69, 70, 71, 73, 75, 76, 78

CFm266, 67, 68, 69, 70, 71, 72, 76, 78

Changing the Mode 43Chorus 137Clock 8, 106Coarse 15

Coarse/Fine2, 17, 19, 21, 22, 23, 24, 26, 28, 30, 98

Combfilter A/B 77Compare AB 12Compare AX 13Compressor 129Constant Partial 103Constant Value 102Constant Value bipolar 102Controls 43Crossfade 51, 53Crossfade Modulator 52Curve 104Curve Table 104Cutoff

65, 66, 67, 68, 69, 70, 71, 72, 73, 75, 76, 77D

Damp 28, 77DampMod 28, 77db/Oct 73Decay 116Decimator 145Defining a Loop 43Delay 87, 88, 133Delete button 43Deleting Segments 43Depth 137, 138, 140Detune 25Dist 144Distortion 144Dmod 28, 37, 41Drum 110Drum Oscillator 114Drum Synth 110Drum Voice Control 118Dry 147Dry/Wet 138, 140

E

EG 25eight-note triplets 8Envelope Follower 45Envelopes 33EQ 81Esync 4, 35, 37, 39, 41, 44, 119Expander 131ExpM 100Exponential VCA 47Ext 85, 87, 89, 91, 92, 95F

Fade In 85, 88Fade Out 87FB

133, 134, 136, 138, 140, 142Filter 64Fine 15fingered Glissando (fG) 3fingered Portamento (fP) 3Fixed 24, 26Flanger 138Fm 1 25, 27Fm Operator 24FmA1/2 24, 27, 31Freq

81, 82, 83, 86, 87, 90, 91, 92, 102, 103Freq Divide 106Freq In

15, 17, 20, 21, 23, 25, 27, 28, 98, 99, 100, 101, 107Freq Out 98, 99, 100, 101, 107Frequency & Pitchmodulation 14Frequency Divider 106

G

Gain 81, 82, 83, 129, 130Gain 1 - 4 57Gate

35, 37, 39, 41, 86, 87, 90, 91, 92, 96, 113, 115, 117, 118Gate In 25Gate Out 119Gate/Trigger 96Glissando (G) 3Granu Gater 55H

Hard 144HiDamp 133, 134High Key 6Hihat Source 121Hmod 39HPF 76, 121I

In 28, 96In 1- 4 58, 59, 60, 61, 63In L/m

135, 136, 137, 138, 140, 142, 143In R 135, 137, 138, 140Init Phase 85, 87, 88, 89InL/m 147Input Gain 45InR 147Insert-Slot 147Inserting Segments 43Internal/External 7Inverter 61


K

Key Zone 6Keyf

67, 68, 69, 70, 71, 72, 73, 75, 76, 78, 86, 90, 98L

Level 95LFO 88, 89, 93Limiter 130Linear VCA 47LinM 100Lmod 34, 38, 40Loops 43Low Key 5, 6Lowpass 66M

Man/Mod 19MIDI 2MIDI High 5MIDI In

4, 5, 9, 113, 115, 117, 118MIDI Low 5MIDI Out 6MIDI to Trigger 9Mit diesem Schalter können Sie

einen Audioeingang 59, 60Mix & Gain 46Mix 2/4/8 51Mod 52, 53Mod1 54, 55Mod2 54Mode 73Modifier 97Modulation Delay 136Modulation Synthesis OSC 26Mono/Stereo Insert 147

Morphing Pulse 21Morphing Saw 22Multi LFO A 85Multi LFO B 87Multi OSC 15Multimode Filter A 73Multimode Filter B 75Multisegment Envelopes 42Mute In 113, 118MVC 2MW LFO 88N

Noise 121Noise Attack 112Noise Cf 112Noise Cf Mod 112Noise Color 115Noise Decay 112, 115Noise Gate 132Noise Generator 29Noise Level 112, 121Noise Res 112Noise Slope 115NoiseL 115Note No. 114O

Offset 104On/Off Switch 57OSC 14Osc 121Out 15, 17Out 1- 4 57, 59, 60Out L 52, 53Out R 52, 53Output Gain 45

P

P 19Pan L/R 52, 53Pan Modulator 53Parametric EQ 81PDec 116Peak Meter 62Peak Textfeld 62Phase 26Phaser 140Pitch Modifier B 99Pitch Modifier C 100Pitch Modifier D 101Pitch Quantizer 108Pitch Shift Delay 143Pitch Shifter 142Pitch Wheel Range 2PMod 115PMod1 98, 99, 101PMod2 98, 99, 101Portamento (P) 3Positive to Bipolar 103PP 19PPm 20Pulse LFO 89Pulse OSC 16PW 15, 19, 21PWidth 89Pwm 15, 20, 21PwmA 19, 21, 89PWR 2Q

Quant 108

R

Random Gate Generator 13Random Signal Generator 95Range 108Rate

85, 87, 88, 89, 91, 92, 93, 94, 95, 137, 138, 140, 142, 143Ratio 129, 130Release 129, 130, 131ResM 73, 76ResMod 28, 77Resonanz 73, 75, 76, 77Ret 31Retrig 85, 88, 89Ringmodulator 146Rm 27Rmod 28, 41Rmod1 85, 89Rmod2 85, 86S

S 19Sample & Hold 96Sample Rate 145Saw Down LFO 93Saw down/up 17Saw Up LFO 93Saw/Pulse 23Schwellwert 96Selecting a Node 43Sensitivity 104Set button 43Shape LFO 91Sine 1 809 111Sine 1 Level 112Sine 1 PDec 111Sine 1 PMod 111


Sine 1 Snap 111Sine 1Tune 111Sine 2 Decay 111Sine 2 Detune 111Sine 2 Level 112Sine 2 Slope 112Sine 809 114Sine Decay 114Sine Level 114Sine OSC 18Sinus LFO 93Slope 34, 44, 47, 48Smod 41Snap 117Soft 144SP 19Spectral OSC 23SPm 20Square LFO 94Start 165Start/Stop 8, 165Static Crossfade 51Static Pan 52Stereo Insert 147Stop 165Sub 19Switch 57Switch 1 - 4 57, 58, 59, 60Sync In 15, 17, 27Sync Out 20SyncM 15SyncMaster 14SyncS 15, 16SyncSlave 14Synthese-Effekt 144

T

Threshold 96Time 133, 134, 136Tmod1 34, 36, 37, 38, 39, 40, 41, 44Tmod2 34, 36, 37, 38, 39Transpose 6Triangle LFO 94Tube Resonator 28Tune 115Tune 1-3 121U

Uknow Filter 76Uknow OSC 19V

Val 102, 104Vel 111, 114, 116, 118Velocity/Aftertouch 3Volume Attenuator 49W

Waveform 15, 85, 87Wet 147WF 21, 22Wfm 21, 23WfmA 22, 23White 29X

X-Fade 1/2 51, 52Xmod & Feedback Connector 109

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