Modal Electronics ARGON8 8 Voice Polyphonic Wavetable Synthesiser User Manual

: June 10, 2024
: Modal Electronics

Table of Contents

Modal Electronics ARGON8 8 Voice Polyphonic Wavetable Synthesiser
Product Information
Product Usage Instructions
- Important Safety Information
Getting Started
Introduction
Specification
Getting Started
Basic Functions
Settings
Warranty Information
References
Read User Manual Online (PDF format)
Download This Manual (PDF format)

Modal Electronics-ARGON8-8-Voice-Polyphonic-Wavetable-
Synthesiser

Product Information

The Modal ARGON8 is an 8-voice polyphonic wavetable synthesizer with an OS version of 3.2. It comes with a provided power supply and should only be serviced by qualified service personnel. The apparatus should not be operated near water or in wet environments as it produces sound that could cause permanent damage to hearing.
The synthesizer features various functions including oscillators, filters, envelopes, LFOs, arpeggiator, sequencer, and FX. It also has controls for performance and inputs and outputs for connectivity.

Product Usage Instructions

Important Safety Information

Before using the Modal ARGON8, ensure that the correct PSU polarity is in place to avoid permanent damage. The device should not be operated near water or in wet environments. Liquids should not come into contact with the apparatus. Always operate the device at safe listening volumes to avoid hearing damage.

Getting Started

To access some of the deeper functions of the synthesizer, there are a number of UI combinations required.

Use the Shift’,Patch’, Velo’ &Arp’ buttons to access secondary functions on the top panel UI.
To access the functions labelled in light blue text, press Shift’ to latch shift mode or holdShift’ and turn an encoder or press a button momentarily.
To access the functions on the panel labelled in light grey text (3 buttons bottom left, 3 buttons and 2 encoders bottom right), hold the button in that section that has a light grey ring (Velo’ button orArp’ button) and press the relevant button. Note that these combinations are momentary, not latchable.
The Patch/Seq’ button is primarily used to switch the screen to either theLoad Patch’ or Load Seq’ param for loading patches or sequences, entering the panel into eitherPatch’ mode or Seq’ mode. When inPatch’ mode, use the Save’ andInit’ buttons for patch preset management. When in Seq’ mode, use theSave’ and Init’ buttons for sequence preset management. The white LED above this button signifies that the panel is inSeq’ mode.

Modal ARGON8
8 voice polyphonic wavetable synthesiser
User Manual
OS Version – 3.2
1

Important Safety Information

WARNING AS WITH ALL ELECTRICAL PRODUCTS, care and general precautions must be observed in order to operate this equipment safely. If you are unsure how to operate this apparatus in a safe manner, please seek appropriate advice on its safe use.
ENSURE CORRECT PSU POLARITY – FAILURE TO DO SO MAY CAUSE PERMANENT DAMAGE – RECOMMENDED USE WITH PROVIDED POWER SUPPLY
This apparatus MUST NOT BE OPERATED NEAR WATER or where there is risk of the apparatus coming into contact with sources of water such as sinks, taps, showers or outdoor water units, or wet environments such as in the rain. Take care to ensure that no liquids are spilt onto or come into contact with the apparatus. In the event this should happen remove power from the unit immediately and seek expert assistance.
This apparatus produces sound that could cause permanent damage to hearing. Always operate the apparatus at safe listening volumes and ensure you take regular breaks from being exposed to sound levels
THERE ARE NO USER SERVICEABLE PARTS INSIDE THIS APPARATUS. It should only be serviced by qualified service personnel, specifically when:
· The apparatus has been dropped or damaged in any way or anything has fallen on the apparatus
· The apparatus has been exposed to liquid whether this has entered the apparatus or not · The power supply cables to the apparatus have been damaged in anyway whatsoever · The apparatus functions in an abnormal manner or appears to operate differently in any
way whatsoever.

Index

00. Introduction

Specification

01. Getting Started

Basic Functions

UI Combinations

Screen Map

02. Connections

03. Synthesis Engine

Oscillators

Oscillator Modifiers

Wavetable Modifiers

Filter

Envelopes

LFOs

Arpeggiator

Sequencer

Modulation

Keyboard/Voice

Joystick + Audio Input

Audio Output + Gain

Settings

04. MIDI

MIDI Implementation Chart

MPE

Polychain

05. Update

06. MODALapp

Getting Started

Main Editor

Preset Manager + Modulation Tab

Sequencer Tab

FX, Keyboard + Settings

Warranty Information

Introduction

Modal ARGON8 is an eight voice polyphonic wavetable synthesiser. It features four digital oscillators per voice split into two controllable wavetables with one innovative offline wave modifier available per wavetable with 32 different options to redraw each wavetables and one modulatable oscillator modifier available per patch with eight modifier types to choose from. There are eight flexible multi-mode filters and three dedicated flexible envelope generators for AMP, MOD and FILTER that can be accessed independently or all three simultaneously on board. ARGON8 also boasts a hugely powerful “Mod Matrix” with eight assignable slots and four additional fixed routes, 11 mod sources and 52 destinations. The 4-axis joystick can be assigned to a huge range of modulation destinations and can be locked’ in place when desired. There are two Audio rate LFO’s with tempo sync (one poly, one global). Polyphonic LFO can sync to frequency divisions. ARGON8 has 27 on board FX; a waveshaping distortion that is followed by three incredibly powerful, independent and user configurable stereo FX engines that can create sophisticated Delays, lush Reverbs, Flanging, Phasing, and Rich Choruses to name a few. The hardware has been manufactured with high-quality components: a powder coated black steel case, anodised aluminium top panel, endless encoders and a super bright white on black OLED screen. Among the many connections, Modal ARGON8 features a USB port to connect your synth to the MODALapp user interface on a computer tablet or phone. This can be used for preset design and management as well as updating the firmware on your ARGON8 (please seeUpdates’ section).
7

Specification

Polyphony
· True 8 voice polyphonic with option to polychain any two ARGON8 synthesisers for 16 voice polyphony.
MPE
· Supports MPE-compatible MIDI controllers, allowing you to apply polyphonic control and expression to individual notes
Oscillators
· 32 high-resolution wavetable oscillators, 4 per voice · 180 carefully crafted wavetables split into 36 banks of 5 morphable waveform sets
Additional PWM bank and 3 noise/modulation banks accessible on Oscillator 2 · 32 static wavetable modifiers including, de-rez, wave folders, waveshapers, phase shapers
and rectify can be applied to the 180 wavetables to give a mind-boggling array of permutations and new waveshapes. · 8 types of oscillator modifier including Phase Mod (FM), Ring Mod, Amp Mod, Hard Sync and Windowed Sync · Voice Drift and Width controls that help to create massive stereo soundscapes · Vintage Parameter and Oscillator Free Run to emulate the behaviours of vintage analogue synths
Filter
· Eight Filter types · Two Standard’ filters are 2-pole state variable filters, based on the resonant filter found in other Modal synthesisers, morphing through: LP > BP > HP or LP > Notch > HP · TwoClassic’ 2-Pole state variable with a more rounded character and a softer resonance
response, morphing through: LP > BP > HP · Ladder’ – 4 pole resonant ladder filter with pre-filter drive, morphing through: LP > BP > HP ·Ladder Hybrid’ – 1 pole resonant ladder filter with pre-filter drive, morphing through: LP
+ Notch > Notch > HP + Notch · Ladder Phaser’ – Resonant ladder filter with pre-filter drive, morphing through: Notch > Phaser ·Sallen-Key’ – 2 pole resonant Sallen-Key Filter with pre-filter drive, morphing through: LP

BP · Cutoff Scaling with three distinctive modes
8

Specification
Modulation
· 3 dedicated envelope generators for AMP, MOD and FILTER that can be accessed independently or all three simultaneously including negative (reverse) versions and multiple envelope curve options
· 2 Audio rate LFO’s with tempo sync (one poly, one global). Polyphonic LFO can sync to frequency divisions
· 8 assignable modulation slots and 4 additional fixed modulation routings for common assignments with 11 modulation sources and 52 modulation destinations
Sequencer and Arpeggiator
· Polyphonic Real-time and Step sequencer with 512 notes and four recordable/editable parameter animations (Delay FX, LFO’s, sequencer and arpeggiator can be either clocked internally or externally)
· Step Sequencer holds up to 64 steps, 8 notes per step, 4 lanes of Parameter- Lock style animation, Step Input mode, multiple playback modes including gate modes and rest function
· Built-In sophisticated programmable arpeggiator of 32 steps with rest capability and random up to 2048 steps before repeating, , multiple Arpeggiator direction modes
FX
· Waveshaping distortion · Three incredibly powerful independent and user- configurable stereo FX engines for 26
Effects algorithms, incl. Drive, Chorus, Phaser, Flanger, Tremolo, LoFi, Rotary, Stereo Delay, Ping-Pong Delay, X-Over Delay and Reverb.
User Memory
· 500 patch memories, all fully editable and ships with 300 factory programs · 100 sequencer presets that can be linked to any patch for quickly loading arrangements · 100 FX presets · 8 Quick Recall slots accessible from the panel for quickly loading your favourite patches
Enclosure and Display
· Road-ready steel and aluminium enclosure with economical stained bamboo end cheeks · 1.54-inch large OLED display for instant visual feedback at all times of playing/editing
9

Specification

Controls and Performance
· Premium FATAR 37-key Keyboard with velocity and channel aftertouch · 29 endless encoders, 24 buttons · 4-axis joystick that can be assigned to a huge range of modulation destinations and
virtually `locked’ when desired · Multiple keyboard modes, Mono, Poly, Unison 2, unison 4, unison 8, Stack 2 and Stack 4 · Glide/Portamento with both legato and staccato modes · Chord Invert control to easily create chord inversions and variations
Inputs and Outputs
· 6.35 mm / 1/4″ TS dual-mono line outputs · 6.35 mm / 1/4″ TRS headphone output · 3.5 mm / 1/8″ TRS stereo audio input · MIDI DIN In and Out · 3.5 mm / 1/8″ TS Analogue clock sync In and Out · Class compliant MIDI over USB connection · 6.35 mm / 1/4″ TRS expression pedal input · 6.35 mm / 1/4″ TS sustain pedal input
Power
· Power: DC-9.0V 1.5A centre-positive
Editor Software
· Free MODALapp software editor available for macOS, Windows, iOS and Android · MODALapp can also be run within your Digital Audio Workstation (DAW), with VST3 and
AU versions available
Dimensions (L x W x H)
· 555 x 300 x 100 mm / 21.9″ x 11.8″ x 4″
Weight
· 5.6 kg / 12.4 lbs

Getting Started

Basic Functions
Powering on Connect the power lead to your ARGON8 then connect the outputs of the ARGON8 to your mixer, or if you prefer, connect your headphones. Optionally connect a USB cable from your computer or tablet device to the ARGON8 for MODALapp communication. Then power on. You will see a loading animation on the screen. When the synth has loaded it will change to show the main patch page. Screen Control The Modal ARGON8 interface is designed to be extremely intuitive and easy to use, so that all the most important parameters are easily accessible and tweakable directly from the top panel, however, all functions are also accessible and tweakable on-screen using the two detented encoders. These two switched-encoders are located either side of the screen are used for screen navigation and control and can be clicked to either switch mode or trigger / modify the selected function:
· Page/Param – When this encoder is in Page’ mode (top row of on-screen text) it cycles through the parameter pages / groups (e.g. Osc1, Osc2, Filter); when it’s inParam’ mode (bottom row of on-screen text) it cycles through the parameters on that page / group. Use the switch by clicking the encoder to toggle between the two modes, where the mode is displayed on the screen with a line at top for Page’ mode and at the bottom forParam’ mode.
· Preset/Edit (/Bank) – This encoder/switch is used to adjust the currently selected value or trigger’ the currently displayed parameter. When the panel is inShift’ mode the `Load Patch’ encoder is used to select the patch bank number, jumping up or down in increments of 100.
13

Basic Functions

Secondary functions
ARGON8 is a comprehensive and fully featured synthesiser. Therefore there are a number of user interface combinations that are required to access some of the deeper functions of the synth.
The top panel UI has 4 buttons that can access secondary functions. These are the Shift’,Patch’, Velo’ &Arp’ buttons.
To access the functions labelled in light blue text you may either press Shift’ to latch shift mode or use it momentarily by holdingShift’ and turning an encoder or pressing a button. Once let go the panel will return automatically to its regular non-Shift state.
To access the functions on the panel labelled in light grey text (3 buttons bottom left, 3 buttons and 2 encoders bottom right), hold the button in that section that has a light grey ring (Velo’ button orArp’ button) and press the relevant button. NOTE: These combinations are momentary, not latch-able.
The Patch/Seq’ button is primarily used to switch the screen to either the Load Patch’ or Load Seq’ param for loading patches or sequences, entering the panel into eitherPatch’ mode or Seq’ mode. When inPatch’ mode the Save’ andInit’ buttons are used for patch preset management, however when in Seq’ mode theSave’ and Init’ buttons are used for sequence preset management. When the white LED above this button is lit, it signifies that the panel is inSeq’ mode.
When held the Patch/Seq’ button can also be used to selectWavMod’s for each wavetable by turning either of the Wave1′ orWave2′ encoders, to select the Filter Type by turning the Cutoff’ encoder, to select theArp Gate’ length by turning the Arp’ encoder or, to dial in the amount of dynamics processing being applied by thePatch Gain’ function by turning the Volume’ encoder, and to select the Chord Inversion type by turning theDrift’ encoder.
The Init / Rand’ button/functions respond to a button hold. Navigating and Loading Preset To navigate through and load patches first press thePatch/Seq’ button to return to the Patch page and use the Preset/Edit’ encoder to scroll through presets. Click this encoder (if Preset Auto-Load is not enabled) on the desired preset to load it. An asterisk will appear on next to the current preset name to indicate unsaved edits. Init Preset Press and hold theInit’ button, a confirmation message will appear on-screen however the preset will not be overwritten until saved.
14

Basic Functions
Randomise Preset Either when in ‘Shift’ mode or while momentarily holding Shift’ press and hold theRand’ button, a confirmation message will appear on-screen however the preset will not be overwritten until saved. Randomise is only available for patches. Save Preset First press the ‘Save’ button to enter the full’ save procedure (setting preset slot and/or name – see below), or hold theSave’ button to perform a quick’ save (saving preset directly into current slot with current name). Once you are in thefull’ save procedure, presets are saved in the following way: Slot Selection Use the Preset/Edit’ encoder to select the preset bank/number to save into, and press theEdit’ switch to select it. Naming Use the Page/Param’ encoder to select the character position, and use theEdit’ encoder to select the character. Press the Preset/Edit’ switch to finish editing the name. There are a number of panel shortcuts here: · PressOct-to jump to lowercase characters · Press Oct+’ to jump to uppercase characters · Press Transpose’ to jump to numbers · PressChord’ to jump to symbols · Press the Page/Param’ switch to add a space (increment all above characters) · PressInit’ to delete the current character (decrement all above characters) · Hold Init’ to delete the entire name Confirming Press thePreset/Edit’ switch to confirm the settings and save the preset. At any point during the save procedure hold the Page/Param’ switch to move back a step. To exit/quit the procedure without saving the preset, press thePatch/Seq’ button.
15

UI Combinations
Quick Recalls ARGON8 has 8 Quick Recall slots for quickly loading presets. Quick Recalls are controlled using the following button combos: · Hold `Patch’

hold one of the eight buttons on bottom left of the panel to assign the
currently loaded patch to a QR slot · Hold Patch’ + press one of the eight buttons on bottom left of the panel to load the patch in the QR slot LFO · Turn theRate’ encoders into the negative range to access synced rates Oscillators · Hold the Patch’ button and turn theWave1′ or ‘Wave2′ encoder to control the WavMod
parameters · Hold the Patch’ button and turn theTune2′ encoder to control the Osc Free Run
parameter Filter · Hold the Patch’ button and turn theCutoff’ encoder to control the Filter Type parameter · Turn the Distortion’ encoder to control filter drive when any Ladder variant or Sallen-Key filter types are active · Hold thePatch’ button and turn the Reso’ encoder to control the Cutoff Scaling parameter Envelopes · Hold either the FILT-EG or AMP-EG button for one second and then turn the ADSR encoders to adjust all envelopes simultaneously · Press theMEG’ button when MEG is already selected to latch MEG assign
16

UI Combinations
Sequencer
· Hold the Mute’ button to clear the sequencer notes · Hold the Anim1 / Anim2 / Anim3 / Anim4 buttons to clear an animation lane · When the screen is displaying theLinked Sequence’ parameter, hold the Edit’ switch to set the value to be the currently loaded sequence. · Hold thePatch’ button and press the Record’ button to enter the Step SequencerEdit’
Mode, if the currently loaded sequence is in Step’ mode Keyboard/Voice · PressUnison’ repeatedly to cycle through the different unison modes; press Stack’ repeatedly to cycle through the different stack modes · PressChord’ whilst holding a chord on the internal or an external keyboard to set the chord mode chord.
· Hold Transpose’ and press a key on the internal keyboard to transpose all notes, where the central C key is the root note. Press ‘Transpose’ with no keyboard interaction to reset the transpose value back to 0. · Hold theSustain’ button for one second when turning on Sustain to enable Sustain Latch Mode’ · Hold thePatch’ button and turn the Drift’ encoder to control the Chord Invert parameter. · Hold thePatch’ button and turn the Mix’ encoder to control the Vintage parameter. Modulation · To assign a Mod Slot either hold (momentary) or latch the desired Mod source button then set a depth by turning desired modulation destination parameter encoder · When latched in a Mod Source assign mode pressing the flashing Mod Source button again will exit assign mode · Mod source button +Depth’ encoder – set global depth for that mod source · Press ModSlot repeatedly to cycle through and view all mod slot settings on the screen · When the screen is displaying a mod slot Depth’ parameter (most easily accessed via assigning modulation using the panel or via the ModSlot button), hold the Edit’ switch to clear the mod slot assignment. · To assign a mod source to an osc’s global frequency destination, use either of the fine tune controls. Tune1′ will assign to Osc1 tune,Tune2′ will assign to Osc2 tune.
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UI Combinations
Arp
· Hold the Arp’ button and press keys on the internal or an external keyboard to add pattern notes or press theRest’ button to add a rest to the pattern
· Hold the Patch’ button and turn theDivision’ encoder to control Arp Gate
FX
· Press FX1 / FX2 / FX3 button repeatedly to change the FX type of the slot · Hold FX1 / FX2 / FX3 button to reset the FX type of the slot to None’ · Turn theB’ encoder into the negative range for the slot with a Delay FX assigned to
access synced delay times · Press FX1 + FX2 + FX3 to jump to the FX Preset Load’ parameter Global Settings · When the screen is displaying theReset’ option, press the Edit’ switch and follow the confirm instructions to reset all global settings to the factory default settings. Please note that this will also reset the Main Volume and Tempo parameter values. · Hold thePatch’ button and turn the Volume’ encoder to control the Patch Gain parameter. Screen Parameter List · If a screen parameter is crossed out this means that it isinactive’ (and can’t be controlled) due to the value or state of other parameters or settings.
· If a screen parameter value is underlined to indicate the currently selected value, you will need to use the Edit encoder switch to apply newly selected values.

Screen Map

Patch Preset Load Patch Save Patch Init Patch Randomise Patch Linked Sequence
Keyboard / Voice Voice Mode Glide Octave Transpose Chord Latch Voice Drift Vintage Voice Width Chord Invert Sustain Velo Assign Velo Depth AftT Assign AftT Depth Note Assign Note Depth Expr Assign Expr Depth
Osc1 Wave Bank Tune Fine WaveMod
Osc2 Wave Bank Tune Fine WaveMod Tune Mode

Osc (General) Mix Mode OscMod Spread Free Run
Filter Cutoff Reso Morph Type Cutoff Scaling
Filter EG Amount / Depth Attack Decay Sustain Release Type
Amp EG Amount / Depth Attack Decay Sustain Release Type
Mod EG Amount / Depth Attack Decay Sustain Release Type Assign

LFO1 Shape Rate Depth Mode Sync Assign
LFO2 Shape Rate Depth Mode Sync Assign
Mod Slot 1 Status Source Destination Depth Clear
Mod Slot 2 Status Source Destination Depth Clear
Mod Slot 3 Status Source Destination Depth Clear
Mod Slot 4 Status Source Destination Depth Clear

Mod Slot 5 Status Source Destination Depth Clear
Mod Slot 6 Status Source Destination Depth Clear
Mod Slot 7 Status Source Destination Depth Clear
Mod Slot 8 Status Source Destination Depth Clear
Mod (General) Note -> Cutoff Y+ -> LFO1 Depth AftT -> Cutoff Velo -> AEG Amount
Joystick XYLock Pitch Bend Status X+ Assign X+ Depth X- Assign X- Depth Y+ Assign Y+ Depth Y- Assign Y- Depth

Screen Map

FX Preset Load FX Save FX
FX (General) Distortion Level
FX-1 Type A B C D E F Delay Mode Delay Sync Swap
FX-2 Type A B C D E F Delay Mode Delay Sync Swap
FX-3 Type A B C D E F Delay Mode Delay Sync Swap

Arpeggiator Status Division Direction Octave Swing Gate
Sequence Preset Load Sequence Save Sequence Init Sequence
Sequencer Play Record Mode Length Step Length Num Steps Step Mode Step Overdub Note Mute Note Clear Anim1 Status Anim1 Param Anim1 Clear Anim2 Status Anim2 Param Anim2 Clear Anim3 Status Anim3 Param Anim3 Clear Anim4 Status Anim4 Param Anim4 Clear Loop Hold
Clock Tempo

Audio Main Volume Patch Gain Headphone Level Gain Boost Audio In Volume Audio In -> FX
Settings – MIDI Channel Omni Pitchbend Range MPE Mode MPE Master Channel MPE Num Channels MPE Pitchbend Range DIN In Filters DIN Out Filters DIN Thru USB Thru Arp / Seq Out MIDI-in Oct Offset MIDI-in Monitor

Settings – Sequencer Metronome Pre-Roll Quantise Transport
Settings – General Clock Source Global Tune Polychain Master Preset Auto-Load Reset Settings Firmware Version

Settings – UI Screen Brightness Screen Switch Mode Screensaver Idle Time LEDs Brightness Keyboard Local Velocity Curve Aftertouch Curve Modwheel Out Pitchbend Out X+ Calibration X- Calibration Y+ Calibration Y- Calibration Centre Calibration Expr Pedal – Type

02
Connections
Audio In
Audio Input on 1/8″ stereo/TRS jack.

Expression Pedal over standard 1/4″ stereo/TRS jack from an external expression source.
ARGON8 works best with expression pedals that use the TRS polarity and have a resistance of 10k or above. However ARGON8 has a software configuration option for providing basic compatibility with RTS polarity pedals as well as for improving the compatibility with different resistances. If your expression pedal has a polarity switch we recommend setting it to the TRS’ polarity (the default setting on most pedals). For setting maximum compatibility with your expression pedal’s polarity and resistance value, please see theSettings – Pedal Type’ section. If you are unable to configure ARGON8 to work adequately with your expression pedal, you may need to use a TRS Polarity Adapter. Please note that expression pedals with the TS polarity will not work with ARGON8.

MIDI (In, Out)
MIDI In / Out on MIDI 5-pin DIN cable. These outputs can be used to communicate with any other MIDI devices. The MIDI Out can be set to Thru using MODALapp or MODALplugin (See the MIDI section)

USB MIDI
ARGON8 is a class compliant USB MIDI device and connects to a USB host via USB B Connection for MODALapp communication, MIDI input and MIDI output. Simply connect ARGON8 to a USB socket, such as on your computer or tablet with a standard USB cable and find `ARGON8′ listed as a MIDI port on your computer or tablet.

Headphones
Headphone output on 1/4″ stereo/TRS jack. The volume can be adjusted using the VOLUME knob or the dedicated Headphone Level control on the screen.
The headphone output will match the audio output so it can be either stereo or mono depending on the current audio out configuration.
22

Line Out
Line level stereo outputs on 1/4″ TS dual-mono jacks.. The left jack only will break the stereo circuit and collapse the signal to mono. These outputs can be connected to any line level input for monitoring and recording. The line output is higher quality than the headphone output, so always use it when recording or performing. The Line out level can be adjusted using the `Volume’ knob.

Sustain Pedal over standard 1/4″ mono/ TS from an external sustain pedal.
Note: ARGON8 supports both types of sustain pedal polarities. “Positive / Normally Open” pedals can be connected / disconnected whilst ARGON8 is powered on, however “Negative / Normally Closed” pedals must be connected before powering on the device and disconnected after powering off the device in order to work correctly. If your sustain pedal has a polarity switch we recommend setting it to the “Positive” polarity. If you are unsure of your pedal’s polarity type, it is recommended to only connect / disconnected the pedal whilst the device is powered off.

Clock Sync (In, Out)
Clock Sync In / Out on 1/8″ mono/TS jack. Simply plug into your clockable gear as desired. (See the Sync section)
Power
Power switch for ARGON8. Power via DC-9.0V – 1.5A center-positive PSU (supplied)
23

03
Synthesis engine

Oscillators
ARGON8 features 40 banks of unique morphable waveform sets located on either Wave 1 (first 36) or Wave 2 (first 36 plus an additional 4). It has a total of 32 oscillators inside.
· Wave1: This encoder allows you to sweep continuously through the selected wavetable. Holding Patch and turning this encoder will select the WavMod type for this wavetable set.
· Wave2: This encoder allows you to sweep continuously through the selected wavetable. Holding Patch and turning this encoder will select the WavMod type for this wavetable set where available (PWM and noise banks are not modulatable in this way)
· Tune1: Turning this encoder allows us to control the coarse tuning of Wave1 (Tune) at desirable intervals +/- 2 octaves.
· Tune2: Turning this encoder allows us to control the coarse tuning of Wave2 (Tune) at desirable intervals +/- 2 octaves.
· Fine1: Holding the Shift’ button and (or when latched in shift mode) turning this encoder allows us to control the fine tuning of Wave1 (Fine) +/- 100 cents. · Fine2: Holding theShift’ button and (or when latched in shift mode) turning this encoder allows us to control the fine tuning of Wave 2 (Fine) +/- 100 cents.
· Bank1: Holding the Shift’ button and (or when latched in shift mode) turning this encoder allows you to select which bank of waveforms you want on Wave 1. · Bank2: Holding theShift’ button and (or when latched in shift mode) turning this encoder allows you to select which bank of waveforms you want on Wave 2 (there are 4 extra banks for PWM and noise on Wave 2).
· WavMod1: Holding the Patch/Seq’ button and turning the Wave1 encoder selects which of the 32 wavetable modifiers you want to apply to the wavetable on oscillator 1. · WavMod2: Holding thePatch/Seq’ button and turning the Wave2 encoder selects which of the 32 wavetable modifiers you want to apply to the wavetable on oscillator 2 (cannot be applied to the PWM or noise banks).
· Spread: This introduces additional oscillators to achieve unison or stacked octaves and intervals. In the first half of the dial, Wave 1 and Wave 2 are split into individual oscillators and spread out over the frequency spectrum to create a fat unison sound. This effect is increased up to the center position. Past half way, the oscillators arrange themselves into intervals. A huge variation of chords can be created with this control in conjunction with Wave1&2 detune. Note: The average level of the sound will be lower when using the `Spread’ control. This is because the combining oscillators are phasing in and out and not constantly reenforcing each other as they would if the spread is set to zero.
26

Oscillators
· Glide: Holding the Shift’ button and (or when latched in shift mode) turning this encoder controls the speed with which the oscillators change their pitch,sliding’ from one note to the next one pressed. Positive values will achieve normal always active glide and negative amounts will achieve fingered glide and will only glide if another note is already held. Envelopes will be retriggered with every note when the glide control is centred. Moving the control in either direction will enable legato mode, where envelopes are triggered only for the first note in a note stack.
· Mix: This encoder allows you to balance the volume between each wave. All the way to the left you will hear only Wave 1, All the way to the right you will hear Wave 2. In the centre you will hear a balanced blend of both waves.
· Audio In: Holding the Shift’ button and (or when latched in shift mode) turning this encoder allows you to select the volume of the Audio Input. This will default to 0 on boot. · OscMod: Turning this encoder controls the oscillator modifier amount where either Wave 1 is the carrier and Wave 2 is the modulator or the modifier is applied directly to Wave 1. · Mode: Holding theShift’ button and (or when latched in shift mode) turning this encoder selects which of the 8 oscillator modifiers you want to use.
· Osc2 Tune Mode: This screen-only setting (under Osc2) changes the behaviour of the Tune2 control. In the default mode Semitones’, Tune2 sets oscillator 2 tuning as a semitone offset from the root note. WithRelative’ mode turned on, the Tune2 control is relative to oscillator 1 tuning rather than the root note, and snapped to a mathematical relationship rather than an equal- temperament tuning offset. This is most useful for achieving cleaner FM / RM harmonics. In this mode oscillator 2 tuning will follow any changes to oscillator 1 pitch (including modulation) and `Osc2 Pitch’ mod assignments won’t do anything.
· Free Run: This parameter emulates the behaviour of analogue oscillators by allowing them to run freely
27

Oscillators Modifiers
ARGON8 features 8 oscillator modifiers to change how the oscillators cross modulate each other. In all of the modifiers Wave 1 is the carrier and Wave 2 is the modulator.
· Phase Modulation
Effect: The phase of Wave 1’s oscillators are modulated by Wave 2’s, distorting the shape of the waveform and producing complex frequencies. Phase Modulation is an expanded version of “FM” found on our CRAFTsynth range Control: Controls the Phase Modulation depth (how much Wave 2 affects the phase of Wave 1). Tip: For more harmonic results it is recommended to set Wave 2’s detune value to either Octaves or Fifths. For complex waveforms the sound can get extreme fairly quickly, in these cases a lesser PM depth is recommended. · Ring Modulation
Effect: Wave 1’s oscillators are multiplied with Wave 2’s causing new frequencies (known as sidebands) to be produced that are the sum and difference of those in the original signals. Control: Crossfades between the Dry and Ring Modulated signal on Wave 1. Tip: For more harmonic results it is recommended to set Wave 2’s detune value to either Octaves or Fifths. For sounds more akin to Amplitude Modulation set the crossfade value at halfway. · Amp Modulation:
Effect: Applies amplitude modulation to Wave 1 and Wave 2’s oscillators producing new frequencies known as sidebands whilst retaining the original frequencies of the wavetables Control: Crossfades between the dry and amplitude modulated signals Tip: Use ratios such as fifths and octaves for the most harmonic results · Hard Sync:
Effect: Oscillator sync is performed on Wave 1, with a sharp jump occurring at the phase reset. Wave 1 is synced to an internal master counter tracking the current playing note, with the slave frequency being controlled via the “Osc Mod” control. This allows sync effects to be created without having to use Wave 2’s tuning Control: Controls the sync slave playback rate (how much faster Wave 1’s audible oscillators are playing back in relation to the master counter). Tip: This style of Sync is the version found on many synthesisers and works best on harmonically rich waves, for classic kinds of synced sounds try using this effect on the Square and Sawtooth waves (Wave Bank = 1, Wave 1 CC = 94 or 127).
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Oscillator Modifiers
· Wind Sync: Effect: Oscillator sync is performed on Wave 1, with an amplitude window applied over the waveform to smooth the jump at the phase reset. Wave 1 is synced to an internal master counter tracking the current playing note, with the slave frequency being controlled via the “Osc Mod” control. This allows sync effects to be created without having to use Wave 2’s tuning. (Note: As the window is always applied to the waveform, this modifier will have an impact on the sound regardless of whether the control is set to zero, this can act like filtering with waveforms that have a lot of variation towards their edges). Control: Controls the sync playback rate (how much faster wave 1’s audible oscillators are playing in relation to the master counter). Tip: Window Sync is particularly useful for smooth sync effects on simple waveforms.
· Shaper: Effect: Crossfades between several subtle waveshaping distortion curves which are applied to wave 1, producing varying harmonics and altering the shape of the base wavetable Control: Controls which shaping curve is being applied.
· Inverter: Effect: Inverts the phase of the the wavetable (i.e inverts a positive value to a negative and vice versa), which can create sharp discontinuities in the waveform Control:: Controls where in the wavetable to apply the phase inversion Tip: The effect tends to be strongest when the wavetable value to invert is furthest away from the zero crossing of the wavetables
· Sync RM: Effect: Applies classic two oscillator Hard Sync, where Wave 1’s oscillators are slaved to Wave 2’s oscillators frequency, with blend-able ring modulation of the master and slave also possible. Control: Crossfades between the dry and amplitude modulated signals Tip: As the Oscillators are Synced, inharmonic tuning ratios between Wave 1 and Wave 2 can be set but the output will remain harmonically linked
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Wavetable Modifiers
ARGON8 has 32 static wavetable modifiers that can be applied to both Wavetables independently. These are applied offline and effectively redraw the waveforms by applying a process to them. Available modifications are:
· Derez 1: Applies a sample rate reduction effect to the wavetable · Derez 2: Applies slightly more sample rate reduction · Derez 3: Applies the most sample rate reduction out of the 3 different types · Crush 1: Reduces the bit depth of the wavetables · Crush 2: Further reduces the bit-depth of the wavetables · Resample 1: Applies a naïve down-sampling algorithm, reducing the amount of detail in
the waveforms · Resample 2: Applies slightly more down-sampling · Resample 3: Applies the highest amount of down-sampling · Simplify 1: Reduces the amount of high frequency partials in the wavetables · Simplify 2: Reduces more high frequency partials than Simplify 1 · Dual Rectified 1: Alternates between a fully rectified version of the signal played back
at a faster rate and a zero value for the first half of the waveform and then mirrors the response for the second half · Dual Rectified 2: Alternates between a fully rectified version of the signal played back at a faster rate and a zero value for the first half of the waveform and inverts the phase of the first half for the second half of the wave. · Triangle Fold: Boosts the amplitude of the waveform and wraps back around whenever the signal would clip with a triangular curve · Sine Fold Hybrid: Boosts the amplitude of the waveform and wraps around whenever the signal would clip with a sinusoidal curve, with some additional wave-shaping applied · Shaper 1: Applies an amplitude wave-shaping algorithm to the wavetables · Shaper 2: Applies a different variation of wave-shaping effect · Shaper 3: Applies another different wave-shaping effect

Wavetable Modifiers
· Cubic Phaseshaper: cubes the read curve of the wavetable creating a different variation of its shape
· Scrunch Phaseshaper: reads through different portions of the wavetable at varying rates · Half Sine Phaseshaper: reads through the wavetableusing a half of a sine wave · Rise Over Run Phaseshaper: reads through half of the wavetable at a slower rate then
originally stored and then reads through the other half faster · Rubber: Plays through the wavetable shape several times at varying rates and stores
them into a single wavetable · Window Amp Sync: modulates the amplitude of the wavetable with a half sine window
that is played 4.5 faster than the fundamental · Resonance Sync: Uses a half wave rectified version of the wavetable (that only keeps the
positive values of the signal) to modulate the amplitude of a sine wave playing back at 8.5 the fundamental · Half Rectified: Applies half wave rectification to the wavetable, keeping only the positive values of the signal · Half Rectified Inverted: Applies half wave rectification to the wavetable, keeping only the negative values of the signal · Shaped RM: Applies a wave shaped variation of ring modulation to the wavetable, using a sine wave playing back at 2.5 * the fundamental as the modulator signal · Symmetrical Signs: all values in the first half of the waveform are set to positive, whilst all values in the second half are set to be negative. · Mirror: Plays through the waveform twice but mirrors the result for the second half of the wave · Half Reverse: Alters the playing direction of various parts of the wavetable at different positions · Digital Wrap: Boosts the amplitude of the wavetable and whenever it passes the maximum range the value jumps to a different polarity. · Sign Subtract: Subtracts the current wavetable value from its sign value, where sign is +1 if the wavetable value is positive and -1 if the wavetable value is negative

Filter
ARGON8 has 8 filter types to choose from: Standard, Standard Notch, Classic, Classic Notch, Ladder, Ladder Hybrid, Ladder Phaser and Sallen-Key.
· Cutoff: This parameter controls the low-pass filter cutoff frequency. This affects the cutoff frequency of the filter, from 0Hz up to 22kHz.
· Reso: This parameter controls the amount of resonance of the filter. · Morph: This encoder allows control of the shape of the filter and provides different
morphing characteristics depending on the active filter type. · Distortion: In any Ladder variant or Sallen-Key filter types the Distortion’ encoder is used to control filter drive (instead of the standard post-filter distortion effect). · Cutoff Scaling: This Parameter switches the control curve of the Cutoff as well as the Note > Cutoff behaviour of the filter Legacy – The original cutoff control scaling curve and note-to-cutoff tracking behaviour from firmware prior to version 2.0. Relative – A scaling curve that is more balanced and changes the note-to-cutoff tracking to behave more closely to analogue synths and tracks portamento / glide and pitch bend. In this mode note-to-cutoff tracks best when the cutoff control is at 0. Bipolar – The same cutoff control scaling curve as theRelative’ mode, except in this mode note-to-cutoff tracks best when the cutoff control is at 64.

Filter
· Type: Holding the Patch/Seq’ button and turning theCutoff’ encoder selects the current type of the filter. The filter types available are:
Standard – 2-pole resonant filter found in other Modal synthesiser, morphing through low pass to band pass to high pass. Standard Notch – 2-pole resonant filter found in other Modal synthesiser, morphing through low pass to notch to high pass. Classic – 2-pole resonant filter with a more rounded character and a softer resonance response, morphing through low pass to band pass to high pass. Classic Notch – 2-pole resonant filter with a more rounded character and a softer resonance response, morphing through low pass to notch to high pass. Ladder – 4-pole resonant ladder filter with pre-filter drive, morphing through low pass to notch to high pass. This filter also has drive controlled with the Distortion’ encoder. Ladder Hybrid – 1-pole resonant ladder filter with pre- filter drive, morphing through: low pass + notch to Notch to high pass + notch. This filter also has drive controlled with theDistortion’ encoder. Ladder Phaser – resonant ladder filter with pre-filter drive, morphing through notch to phaser. This filter also has drive controlled with the Distortion’ encoder. Sallen-Key – 2-pole resonant Sallen-Key Filter with pre-filter drive, morphing through low pass to band pass. This filter also has drive controlled with theDistortion’ encoder.

Envelopes
ARGON8 provides 3 updated separate 4-stage Envelope Generators (i.e. envelopes), one for the filter (FILT-EG), one for the amplifier (AMP-EG) and one for modulations (MOD-EG). With negative amounts only the attack, decay and sustain levels are inverted, the release phase will still tend to 0.
The envelope generator represented on the encoders can be selected using the 3 dedicated buttons to the right of the envelope depth encoder.
· Attack: This parameter controls the time passing from the moment you press a key (i.e. MIDI Note On’ message) until the sound reaches its maximum value. · Decay: This parameter controls the time passing for the envelope to drop from its maximum value to a sustain level (see below). · Sustain: This parameter controls the level of the sustain phase (i.e. the volume of the sound while keeping the key pressed for AMP-EG). If there are no modulations active, this volume keeps constant until you release the key. (The envelope then enters therelease’ phase)
· Release: This parameter controls the time passing from the moment you leave a key (i.e. `MIDI Note Off’ message) until the sound reaches silence.
· Depth: This controls the envelope depth amount of the selected envelope generator (i.e. FILT-EG, AMP-EG or MOD-EG.) This gives bi-polar control of the amount of modulation the envelope has over its destination/s.
· Type: There are 8 envelope types. These types are stored per-patch and each envelope type is independent so you can have a different type for MEG, FEG and AEG in the same patch. You can find these settings at the bottom of the AEG, FEG and MEG pages on the screen. – Expo – classic exponential curve – suited for most sound types – Snappy – fast attack and decay time curves – best suited for percussive material – Soft – smoother attack and release time curves – best suited for pads – Linear – simple linear ramp for each envelope stage – best suited for modulation – Expo Long Expo curve with double the maximum time for each stage of the envelope – Snappy Long Snappy curve with double the maximum time for each stage of the envelope – Soft Long Soft curve with double the maximum time for each stage of the envelope – Linear Long Linear curve with double the maximum time for each stage of the envelope Long variants possess a maximum release time of 10 seconds.
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Envelopes
· FILT-EG, AMP-EG, MOD-EG: These buttons selects which envelope generator the above controls are representing. Pressing the MOD-EG button again latches the assign mode – you will notice the LED blinking to indicate you are in assign mode. Press again to exit assign mode. TIP: Holding either the FILT-EG or AMP- EG button and changing the ADSR parameters will alter all three envelopes simultaneously and is a useful shortcut to quickly change all envelopes at once.
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LFOs
ARGON8 features two individual low frequency oscillators. LFO1 is global and LFO2 is polyphonic.
Both LFO1 and LFO2 can be set to Retrigger, Single and Free mode and have these parameters:
· LFO1: This button enters and exits assign mode for LFO1 · LFO2: This button enters and exits assign mode for LFO2
This is how we route the LFO’s to parameters in the matrix. Once in this mode, simply turning the knob for the parameter that you would like the LFO to modulate, you will see the LED above the button begin to flash to indicate you are currently in an assign mode. · Rate: This parameter controls the speed of the LFO. LFO1 in a positive amount is a free rate meaning it will run independently from the synths tempo / MIDI clock input. In negative amounts it is synced to the synths tempo / MIDI clock input at various subdivisions. LFO2 in a positive direction is free rate for the first half then snaps to divisions of the main frequency of the note being played. This allows the LFO frequency to run into the audible range and maintain harmonious modulations. A massive array of effects can be achieved in this way, including AM and FM. In negative amounts the first half of the dial is synced to the tempo and the second half is synced to divisions of the main frequency of the note being played · Shape: Holding the Shift’ button and (or when latched in shift mode) turning this encoder controls the given LFO Shape. This allows you to continuously sweep through the four available LFO waveforms (i.e. sine, sawtooth, square and sample & hold). · Depth: This parameter controls the depth of the given LFOs modulation. · Mode: Holding theShift’ button and (or when latched in shift mode) turning this encoder selects the Retrigger Mode. The modes are: Retrigger – In this mode, each new keypress restarts the LFO and it the continues to run particularly useful for Unison/Stack sounds. Free – In this mode LFO 2 is never reset, so it could be at any phase when a note is pressed. Single – In this mode, the LFO will start when a new key is pressed, complete cycle and stop, but will not retrigger when a new note is triggered and one is already held.

Arpeggiator
ARGON8 features an intuitive programmable arpeggiator. The speed of the arpeggiator is controlled by the current clock which can either be received from the sync in port, external MIDI or from the internal clock in ARGON8.
For arpeggiator hold’ functionality please use the SustainLatch Mode’ as described below.
· Arp: The Arp can be enabled / disabled by pressing this button. Holding this and entering notes using the keys or over USB or MIDI connection will input notes to the Arp. Rests can be input by pressing the Arp Rest button while entering notes.
· Division: Turning this encoder allows you to select the clock division of the Arp · Mode: Holding the Shift’ button and (or when latched in shift mode) turning this encoder allows you to select the octave range and direction of the Arp. · Swing: Holding theArp’ button and turning this encoder allows you to dial in swing
to the Arp. This setting is bi-polar allowing us to nudge every other note backward or forward in time. · Arp Gate: Holding the Patch’ button and turning the Arp encoder allows you to set Arp Gate length. · SustainLatch Mode’: Holding Velo’ and holding theSustain’ button for one second will enable Sustain Latch Mode’ – press and release a note / chord to sustain it, press a new note / chord to overwrite the existing one. This also provides the classic arpeggiatorHold’ functionality.
Note. Programmed patterns in the arpeggiator are temporary and are not saved per patch. They will remain until reprogrammed or until the unit is power cycled.

Sequencer
ARGON8 has an extremely powerful sequencer on board, that can be configured in either real-time or step modes. Both modes feature four recordable / editable parameter animation lanes, allowing you to add parameter motion to your sequences over time.
NOTE: Most screen only sequencer parameters can be found on the Seq page of the screen menu. To navigate to this, Scroll the Page/Param left screen encoder in Page mode to the Seq page. Click the left screen encoder to enter Param mode and scroll through the parameters.
· Play: This button starts and stops the sequencer. · Record: This button allows you to record enable and disable. See below for record
behaviour in real-time and step modes. · Mode: This is a screen only parameter that sets the current sequence to either real-time
(default) or step modes. NOTE: switching a sequence from real time to step mode (or vice versa) will initialise the sequence, as the two modes are not compatible. Once a sequence is saved as a step sequence, it will always load in step mode. · Mute: This button mutes all notes in the sequence. Hold the Mute’ button to clear all the sequencer notes in the currently selected sequence. · Tempo: Turning this encoder selects the tempo of the internal clock. · Length: Holding theShift’ button and (or when latched in shift mode) turning this encoder allows you to select the length of the selected sequence. · Quantise: Holding the Arp’ button and turning this encoder allows you to select an input quantise value for the sequencer. · Seq Loop: Allows you to loop certain parts of the sequencer. When the button is first pressed is the loop start point and when it is released becomes the loop end point. When a loop is active pressing the button again will disable the loop. When the sequence is configured in real time mode, the looped portion is quantised to 1/16th of the total sequence length. · Seq Hold: Holds the current sequencer step and repeats it, like a beat repeater. When the button is released the sequencer carries on from the location it should have been before the step was repeated so it will still be in time. In real-time mode astep’ is a 16th of the total sequence length, on release, the sequencer carries on playing from the current position

Sequencer
· Linked Sequences: This is a screen only parameter that allows you to link a sequence to a specific patch. This loads this sequence every time its linked patch is loaded. You can access this easily by pressing the Patch button and using the Page/Param encoder to scroll all the way to the right. Simply input the desired sequence number for that patch or select `Off’ for no linked sequence. Like any other patch parameter, the patch must be saved in order to retain the linked sequence number. Tip: When selecting a Linked Sequence, hold the Preset/Edit switch to select the current sequence.
Real-time Mode
The Real-time sequencer boasts a 512-note capacity and will record notes as you have played them in making this the ideal sketchpad for your musical ideas.
· Recording: Pressing record starts the sequencer recording. If the sequencer is not running when this is pressed and pre-roll is disabled, the sequencer will start. By default, a metronome will play whilst the sequencer is recording. Up to four parameters can be recorded while recording, one for each animation lane. Tip: You can enable or disable the metronome in the MODALapp or on-screen on the Settings Seq page.
· Length (Shift + Tempo): Allows you to select the length of the selected sequence. · Quantise (Arp + Tempo): Allows you to select an input quantise value for the
sequencer. This setting is global and can be found on the screen on the Settings Seq page.
Holding the Shift button and (or when latched in shift mode) holding the Anim1 / Anim2 / Anim3 / Anim4 buttons clear their respective animation lanes.
The Sequence position LED will always cycle 1 – 16 over the current sequence length. Eg. if sequencer is set to 4 bars; it will take 4 bars for the sequencer LED to scroll from 1 to 16 (i.e. not steps) If sequencer is running, any sequencer length changes will only take affect at the beginning of a bar.

Sequencer
Step Mode
The step sequencer is a 64-step, 8 note-per-step sequencer giving you full step-by-step control of your melodies and ideas. It also features a number of Step Modes that add powerful flexibility to deploy your sequences in a variety of setups and situations. Entering notes into the step sequencer can be achieved in three ways:
Step Input Mode
· Accessed when the sequencer is not playing, but is recording. · The first note received will clear all notes in the sequence and reset the number of steps
(great for starting again quickly). · Sequencer step will progress when no notes are held, you can keep adding notes until all
notes are released. · You can also input animation data when in this mode, progressing through the steps by
triggering notes or adding rests. · Enter rest steps using the Arp rest button/shortcut. · Exit this mode by toggling record or hitting play.
Step Edit Mode
· Accessed using Patch + Record when the sequencer is NOT recording, exit using the same combo or pressing Patch (not in Shift mode).
· Page mode + left screen encoder allows you to scroll through the notes and animator data for each step.
· Shift + page mode + left screen encoder allows you to scroll through only the currently selected page type for each step only (e.g. just notes pages, or, animation).
· Param mode + left screen encoder moves the cursor to change which value is being edited.
· Right screen encoder edits the value highlighted by the cursor. · Pressing the right screen encoder triggers/previews the currently displayed step. · Shift + holding the right screen encoder will clear a highlighted note. · When the cursor is over a note value, note input (keyboard or MIDI) will set the
highlighted value · When the cursor is over an animator value, parameter changes (panel or MIDI) will assign
an animation lane and/or set the highlighted value.
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Sequencer
Overdub
· While the sequencer is playing, press Record to allow notes to be overdubbed into the sequencer.
· Any animated parameter changed while overdubbing will replace control values on the current step.
· here are two step overdub modes, found on the Seq page of the Screen: · Replace – Note input will replace notes on a given step when overdubbing. · Add – Note input will be added to notes on a given step when overdubbing.
The step sequencer also has the following parameters:
· Num Steps: Turning the Length encoder on the panel (Shift + Tempo) controls the number of steps that are played back without changing any of the step data, so can be used as a performance tool.
· Step Length: Turning the Quantise encoder on the panel (Arp + Tempo) controls the length of each step (globally) when the sequencer is running in clock step mode (see below).
· Step Mode: This is a screen only parameter that controls the way in which the sequencer steps advance. The modes are:
Clock – Step sequencer will follow the same clock as the rest of ARGON, with the clock division set by the Step Length control. Each step will play until the start of the next step. This means you can run the step sequencer and the arp at different clock divisions.
Gate – Sequence progresses when a note on is received and no other notes are held. Sequencer will play the current step until all notes are released. Only notes from the sequencer are sent to the voices. This means you can play back a sequence by pressing a single note repeatedly, varying the rhythm. You could also play chords and have the sequence progress with each new chord that is played. Tip: Using the arp with any of the gate modes allows the step sequencer to follow the rhythm of the arpeggiator exactly, complete with Swing and Gate Amount.
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Sequencer
Gate Thru – The same as Gate’ but all MIDI notes are sent to the voices. Great for re-harmonising a sequence – record chords into the sequence, then play it back using a single finger to add a bassline. Also useful for polyrhythms e.g. programming a 7-step sequence, then playing a 3 note arpeggio alongside. Tip: Try gate triggered animation sequences – mute or clear the note lane and play notes to hear just the animation changes. Gate Transpose – The same asGate’ but the sequence is transposed relative to middle C (note 60 / C4). Pressing note 60 repeatedly will play back the sequence as programmed, playing note 61 will play the sequence back 1 semitone higher than programmed Great when used in conjunction with the Arp + Arp octave controls, playing back some sequence steps a few octaves above or below normal.
Sync Gate – Sequencer timing driven from the sync in port (rising edge). Allows you to drive the sequencer from external CV sources without affecting timing on the rest of ARGON. ARGON will not follow sync timing when this mode is enabled. To use sync as the clock source for the whole synth, step sequencer will need to be in `Clock’ mode.
Sequencer LED’s will cycle in groups of 16 steps, with the first four blue sequencer LEDs lighting to signify which group of 16 the sequencer is currently playing.

FX
ARGON8 features 3 incredibly powerful independent and user configurable stereo FX engines and a separate per-voice waveshaping distortion pre-FX engine. These 3 slots can be rearranged in any order in series. 1>2>3. Any effect can go in any slot, but you may only use 1 type of each effect per preset plus any effect with “+” in the name will take up two slots.
· Distortion: This encoder allows us to control the Distortion amount. The distortion is a waveshaping overdrive and as such is incapable of bit- crushing effects. In any Ladder variant or Sallen-Key filter types the Distortion’ encoder is used to control filter drive (instead of the standard post-filter distortion effect). · FX Level: Holding theShift’ button and (or when latched in shift mode) this encoder allows us to control the FX level amount within this patch.This parameter affects the Dry/Wet mix of the of the FX engine’s audio output with the pre-FX signal. When set to minimum, only the dry signal will be heard. When set to maximum, only the FX engine’s signal will be heard.
· A: This encoder allows us to control the first parameter of the selected effect. · B: This encoder allows us to control the second parameter of the selected effect.
Tip: Turn the FX1,2 and 3 B’ encoder into the negative range to access synced delay times with delay type FX. · C: This encoder allows us to control the third parameter of the selected effect. · D: Holding theShift’ button and (or when latched in shift mode) this encoder allows us to control the fourth parameter of the selected effect. · E: Holding the Shift’ button and (or when latched in shift mode) this encoder allows us to control the fifth parameter of the selected effect. · F: Holding theShift’ button and (or when latched in shift mode) this encoder allows us to control the sixth parameter of the selected effect. · FX1: This button allows to select 1st FX slot for control with encoders A-F with a single click. With multiple clicks it will cycle through the effect type used in that slot. · FX2: This button allows to select 2nd FX slot for control with encoders A-F with a single click. With multiple clicks it will cycle through the effect type used in that slot. · FX3: This button allows to select 3rd FX slot for control with encoders A-F with a single click. With multiple clicks it will cycle through the effect type used in that slot.
Note: You can hold FX1, 2 or 3 when cycling through FX types to clear that slot.
You can press FX1 + FX2 + FX3 to jump to the `FX Preset Load’ page to save or load FX presets.
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FX
· Delay Mode: The delay mode control unlocks several different variations of delay, introducing new Clean and Long settings. This setting can also be found on-screen in the relevant FX slot page that any delay is loaded into. The modes are: – Colour: The original classic colouring delay that saturates and smears delay tails slightly. – Clean: A crystal clear delay with no smear to the feedback tails. Offers the same time scaling as Standard. – Long: Our pristine Clean delay with up to 4x Colour or Clean delay times.
FX Presets ARGON8 can store up to 100 FX presets on board and comes loaded with 60 factory FX presets for you to instantly switch up your sound. FX presets range from simple single-FX presets to complex multi-FX presets. To easily navigate to the FX preset page simply press all thee FX slot buttons (FX1, FX2, FX3) at the same time. Loading an FX preset will apply preset FX settings to the currently loaded patch, but you need to save the patch to save the new FX settings to the patch. FX Preset saving can be done on-screen once you have navigated to the FX preset pages. Saving here will save the FX settings from the currently loaded patch into the selected FX preset slot. + FX Types Some FX types due to DSP limitations will take up two FX slots instead of one. These are indicated by using “+” in the FX name.
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FX List

FX Chorus Chorus V2 Phaser Phaser V2 Flanger (Pos) Flanger (Neg) Unisoniser Tremolo
LoFi Rotary Stereo Delay Ping-Pong Delay X-Over Delay Reverb + Reverb V2
EQ Compressor
Utility Drive-M (Hard) Drive-M (Soft) Drive-M (Rectify) Drive-M (Fold) + Drive-S (Hard) + Drive-S (Soft) + Drive-S (Rectify) + Drive-S (Fold)

A Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Redux Amount Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix
Low Gain Dry:Wet Mix
Gain Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix Dry:Wet Mix

B Mod Depth Mod Depth Mod Depth Mod Depth Mod Depth Mod Depth
Detune Phase SR Redux LFO Rate Time Time Time Time Time Low Freq Threshold Pan Drive Drive Drive Drive Drive Drive Drive Drive

C Mod Rate Mod Rate Mod Rate Mod Rate Mod Rate Mod Rate Stack Count
Rate Bitcrush Vibrato Feedback Feedback Feedback
Size Brightness Mid Gain
Ratio Width Makeup Gain Makeup Gain Makeup Gain Makeup Gain Makeup Gain Makeup Gain Makeup Gain Makeup Gain

D Time Feedback Frequency Frequency Frequency Frequency Width Reduce Shape BC Amount Balance HPF HPF HPF Dampening HPF High Gain Attack Bass Mono
–

E Feedback
Feedback Resonance Feedback Feedback
Noise Width LPF LPF LPF Pre-Delay Modulation High Freq Release Low Cut –

F Phase
Phase Pole Count Phase Phase
Width Reduce Modulation Pre-Delay Makeup Gain –

NOTE: All of the Drive-M FX are mono – the wet signal of the Drive-M FX will sum the stereo input to a mono output. This means that any stereo elements of the signal that precede a Drive-M FX {e.g. oscillator width, stereo FX placed in lowered numbered slots) will not retain their stereo width in the wet portion of the signal, however the stereo image of the dry signal will not be affected.

Modulation
ARGON8 has a comprehensive Modulation Matrix with 11 Modulation Sources and 52 Modulation destinations. These Mod slots can be used to assign a combination of modulation sources to destinations, 8 modulation sources can be assigned to a single destination, or any other combination thereof. There are also 4 preassigned slots for common modulation routings. These preassigned modulations are:
· Note>Cutoff: Increase or decrease how much key scaling is applied to the cutoff frequency. Use the `Cutoff Scaling’ parameter to select the behaviour of the modulation curve.
· Y+>LFO1-Depth: Increases LFO1-Depth with Y+ on Joystick, commonly used to set up vibrato when LFO1 is controlling global pitch.
· AftT>Cutoff: Bipolar control to Increase or decrease filter cutoff frequency with aftertouch.
· Velo>AEG-Depth: Increases amount of velocity applied to the AEG-Depth. Commonly used as one way to increase velocity sensitivity of patches.
TIP: Try Velo>FEG-Depth for a more consistent, organic sounding velocity sensitivity.
The Mod Matrix is additive – Modulation values are added or subtracted from the modulated parameter value and limited to the parameter range. If a parameter is at 0, negative modulation values will not be audible until the parameter value is increased. The opposite is true for parameters at max value.
All of the modulation depths are bipolar, meaning sources can be inverted using negative depths.
When multiple mod slots are assigned to the same destination, the modulation from all assigned slots is summed and limited before being applied.
LFO1, LFO2, MOD-EG, Velo, AftT, Note, Expr, X+, X-, Y+, Y- can all be assigned to destinations from the front panel by holding their buttons on the front panel and turning the desired modulation destination encoder in a positive or negative direction.
Note. An LED flashing is used to indicate that the panel is in assign mode for the relative function to that LED.
ModSlots can be viewed on-screen by using the Velo + ModSlot combination which also gives access to screen only ModSlot Status control which allows you to activate or deactivate that slot.
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Modulation
· Velo: Pressing this button enters and exits the assign mode for velocity. · AftT: Pressing this button enters and exits the assign mode for after touch. · Note: Pressing this button enters and exits the assign mode for note / keytracking. · Expr: Pressing this button enters and exits the assign mode for expression pedal. · X+: Holding the Shift’ button and (or when latched in shift mode) pressing this button enters and exits the assign mode for Joystick X+. · X-: Holding theShift’ button and (or when latched in shift mode) pressing this button
enters and exits the assign mode for Joystick X-. · Y+: Holding the Shift’ button and (or when latched in shift mode) pressing this button enters and exits the assign mode for Joystick Y+. · Y-: Holding theShift’ button and (or when latched in shift mode) pressing this button
enters and exits the assign mode for Joystick Y-. · XYLock: Holding Velo’ and pressing this button locks the Joystick in the position it is held allowing you to let go and continue playing. Pressing this button again will unlock the Joystick. · Sustain: HoldingVelo’ and pressing this button enables MIDI sustain. Pressing this button again disables MIDI sustain. Holding this button for one second when turning on Sustain will enable Sustain Latch Mode’ – press and release a note / chord to sustain it, press a new note / chord to overwrite the existing one. This also works with the arpeggiator and provides the classic arpeggiatorHold’ functionality. · ModSlot: Pressing this button navigates to the ModSlot page on-screen. Repeatedly pressing this button cycles through all mod slot settings pages on the screen.
Holding any mod source button and turning the Depth’ encoder allows you to set the global depth for that mod source (pre-assigned mod routings are not affected by the source’s global depth value). When the screen is displaying a mod slotDepth’ parameter (most easily accessed via assigning modulation using the panel or via the ModSlot button), hold the Edit’ switch to clear the mod slot assignment. To assign a mod source to an osc’s global frequency destination, use either of the fine tune controls.Tune1′ will assign to Osc1 tune, `Tune2′ will assign to Osc2 tune.
49

Modulation

Valid combinations are listed here, combinations marked “·” are possible and marked `X’ are not possible:

Parameter

LFO1 LFO2 EG NOTE VELO EXPR AFTT X+

X-

Y+

Y-

Wave 1

Wave 2

Mix

Global Pitch

Osc2 Pitch

Osc-Mod

LFO1 Rate

LFO2 Rate

LFO1 Shape

LFO2 Shape

LFO1 Depth

LFO2 Depth

Cutoff

Reso

Morph

FEG Attack

FEG Decay

FEG Sustain

FEG Release

FEG Amount

AEG Attack

AEG Decay

AEG Sustain

AEG Release

AEG Amount

MEG Attack

MEG Decay

MEG Sustain

MEG Release

MEG Amount

Distortion

Modulation

Parameter

LFO1 LFO2 EG NOTE VELO EXPR AFTT X+

X-

Y+

Y-

Spread

Glide

Osc2 Pitch

FX Amount

FX-1 A

FX-1 B

FX-1 C

FX-1 D

FX-1 E

FX-1 F

FX-2 A

FX-2 B

FX-2 C

FX-2 D

FX-2 E

FX-2 F

FX-3 A

FX-3 B

FX-3 C

FX-3 D

FX-3 E

FX-3 F

Scaling
LFO1 and LFO2 are scaled such that if they are assigned with maximum depth and the modulated parameter is at its centre value, the full parameter range will be modulated. All other modulation sources are scaled such that if they are assigned with maximum positive depth and the modulated parameter is at 0, the full parameter range will be modulated.

Keyboard/Voice
· Oct -/+: These buttons control the key range available along the keyboard.
Tip: You can use this while holding notes to access unavailable notes. Particularly handy when used in conjunction with Sustain and Chord mode.
· Transpose: Holding this button enters Transpose mode. Here you can directly transpose the pitch of both oscillators using the keyboard. C2 (directly beneath the Transpose button) is the default position. Keys below this transpose down 1 semitone per key and keys above transpose up 1 semitone per key.
Note: Using transpose will not trigger a new note. If you are using low EG settings you may not notice the change. This can be used to great effect while sequencing the synth from its Arp or Seq or from external sources.
Note. Pressing Transpose without entering any key values will reset transposition to 0. Transpose is a performance feature and as such is not saved per patch. It will remain until it is either reset, turned off or the unit is power cycled.
· Chord: Pressing this button while holding a chord (input directly from the keys or via incoming MIDI) stores this chord and enables chord mode. This chord can then be played from a single note trigger until the chord is changed, or chord mode is disabled. To change a chord, simply turn Chord mode off and repeat the process holding your new chord shape. To exit simply press the Chord button again. The Chord function is a performance feature and as such is not saved per patch. It will remain until it is either reset or the unit is power cycled.
· Mono: This button selects Mono voice mode for the current patch. 4 oscillators will be stacked into a single voice
· Poly: This button selects polyphonic voice mode for the current patch. 8 voice stereo true polyphonic path all the way to the stereo FX engine input.
· Unison: This button selects Unison voice mode. Cycle through to choose between Unison-2, Unison-4 or Unison-8. These are monophonic voice modes where multiple voices are stacked and detuned, the number reflects the number of voices per note.
· Stack: This button selects Stack voice mode. Cycle through to choose between Stack-2 or Stack-4. These are polyphonic voice modes where multiple voices are stacked. Stack-2 offer 4-note polyphony and Stack-4 offers 2-note polyphony.
· Drift: This encoder controls the voice drift amount. This is the amount of slop or random detuning of each oscillators phase and tune per note.
· Vintage: Holding the Patch’ button and turning theMix’ encoder controls Vintage. This emulates the behaviour of vintage synths by introducing variation between the voices
· Width: Holding the `Shift’ button and (or when latched in shift mode) turning this encoder controls the voice width of the current patch. This sets how far left and right the alternating pan of the voices is from mono at 0 to hard panned & wide at 127.
52

Keyboard/Voice
· Chord Invert: Holding the Patch’ button and turning theDrift’ encoder controls Chord invert. Chord invert looks at the notes that are being played across the voices on the synth, then adds octave offsets to these notes depending on the setting: Oct 1 : n – adds 1 octave to the lowest n notes in the chord, inverting the chords in the traditional way Oct 2 : n – adds 2 octaves to the lowest n notes in the chord and 1 octave to all other notes Even 1 : n – adds 1 octave to the lowest n even notes in the chord i.e. the 2nd, 4th, 6th and 8th notes Odd 1 : n – adds 1 octave to the lowest n Odd notes in the chord i.e. the 1st, 3rd, 5th and 7th notes Shuffle 1 – adds an extra octave to each additional note in the chord up to 3 octaves. i.e 1 octave added to the 2nd note, 2 octaves to the 3rd note, 3 octaves to the 4th note, 1 octave to the 5th note Shuffle n – the same as shuffle 1 but with different orderings of octave offsets Note – Chord invert looks at the state of the synth voices rather than MIDI note input, so pressing a 3 note chord with “Stack-2″ voice mode will be counted as a 6-note chord. You can take advantage of this for huge stereo pads by combining Chord Invert, Stack and Voice Width/Drift settings.
53

Joystick + Audio Input
Joystick The joystick can be assigned to multiple destinations in any of the X or Y directions. The Joystick position can be locked or unlocked using the Velo + XYLock button combination. This locks the joystick at whatever value it was held at while the buttons were depressed. The X axis controls pitch bend as standard, but this can also be turned off (on-screen: Joystick: Pitchbend status or on MODALapp) it also sends MIDI pitch bend messages which can also be toggled on or off in the global settings. Y+ sends MIDI mod wheel data (CC1) which can also be toggled on or off in the global settings. Audio In The audio inputs route audio directly in to the 3-slot stereo FX engine although this can also be bypassed if you want to use the Audio In to only mix in the audio input with the synths output. The Audio In settings (Audio-In Volume, FX Bypass) are temporary and will not be saved so will need to be reset when using upon each boot.
54

Audio Output + Gain

Firmware 2.0 introduced a revised gain structure, for advanced output level adjustments: The Gain Boost setting applies to all patches and increases the average output level.
It also increased the range of the Patch Gain control, allowing you to balance even the quietest patches, and dramatically improved the audio quality while decreasing noise floor, so adding gain from external sources won’t introduce unwanted noise.
Because ARGON8 employs a limiter as the final stage before output in its audio signal path, headroom for dynamics might be reduced as a result of higher gain levels.
Note: The main outputs on Argon are designed to output Line Level signals, so existing patches that are already close to the maximum output level will not become dramatically louder with this update.
· Patch Gain: Per-patch gain adjustment for balancing patches relative to each other. Values in the range 0-100 should be transparent to use on any patch that needs it, moving the control past 100 can begin to saturate the limiter on some patches. Note that this can be used creatively.
· Gain Boost: Global gain boost that increases average output level, there are 3 settings:
Off – full dynamic range
Normal – boost to output volume (Default Setting)
Saturate – a large boost to output volume, potentially saturating the internal limiter. You may notice that dynamic range is reduced with this setting on, although this has creative uses.
Gain boost setting will be saved automatically
· Headphone Volume: Headphone output volume can vary dramatically depending on which model of headphones is connected. This global control adjusts the output range of the headphone out to compensate for this variance and prevent unsafe listening levels.
· Main Volume: Master output volume of the synth, post limiter. Controls the output volume of both the headphone out and the main outputs. For best signal to noise, set this to 127.

Voice Engine

Patch Gain

Gain Boost

Limiter

Main Volume
H-Phone Volume

Line Output
H-Phone Output
55

Settings
General
· Clock Source: Sets the clock source for the ARGON8 with the following available options: Internal, MIDI, Sync-In, Auto, Master. If Master is selected then ARGON8 will ignore incoming clock sources and output MIDI clock messages at all times. IfAuto’ is selected then the ARGON8 will automatically use any detected clock source (prioritising Sync-In over MIDI) else it will use the internal clock. Please note that if MIDI’ orSync-In’ is selected whilst there is no MIDI or Sync-In clock present then clocked- synced functions (sequencer, arpeggiator, delay FX, LFOs) may not work correctly or at all.
· Global Tune: Sets the global tuning of the ARGON8 with a range of +/- 1 semitone. You may need to adjust this if using the ARGON8 with other synthesisers that are not tuned to the standard tuning (e.g. old analogue synthesisers).
· Polychain Master: Sets this ARGON8 to be the master in a polychain setup. When active any changes on this ARGON8 will be mirrored on the others.
· Preset Auto-Load: Toggles if presets are loaded with or without confirming with a press of the Preset knob. If enabled when scrolling through presets a preset will be loaded automatically after a short pause.
· Reset: Press the Edit’ switch and follow the confirm instructions to reset all global settings to the factory default settings. Please note that this will also reset the Main Volume and Tempo parameter values. MIDI · Channel: Sets the MIDI channel that the ARGON8 uses for both MIDI input (the MIDI-in messages channel that the device will respond to) and MIDI output (the channel for the transmitted MIDI messages). · Omni: Enables the ARGON8 to be configured toOmni Mode’, where it will respond to MIDI-in message on any MIDI channel.
· Pitch Bend Range: Sets the ARGON8 pitch bend range – in semitones – for both MIDI-in Pitch Bend messages and the joystick X axes.
Note. If MPE Mode is enabled then this sets the pitch bend range MPE master channel messages only, where the MPE Pitch Bend Range setting should instead be used for configuring MPE member channel messages
· MPE Mode: Enables / disables MPE Mode for compatibility with external MPE instruments. Please note that you cannot enable both MPE Mode and Polychaining simultaneously.
· MPE Master Channel: Sets the MPE Master Channel for MPE Mode. Please note that if using external non-MPE MIDI controllers or software when MPE Mode is enabled, please set their output MIDI channel to match this MPE Master Channel value to ensure correct behaviour.
56

Settings
· MPE Number of Channels: Sets the number of MPE member channels to use in MPE Mode.
· MPE Pitch Bend Range: Sets the pitch bend range / sensitivity – in semitones – for MPE member notes in MPE Mode.
· DIN In: A set of MIDI filter settings for enabling / disabling the ARGON8 from responding to certain types of MIDI-in messages from the MIDI DIN-in port.
· DIN Out: A set of MIDI filter settings for enabling / disabling the ARGON8 from transmitting certain types of MIDI-in messages from the MIDI DIN-out port.
· DIN Thru: Enables a Soft MIDI Thru’ mode for the DIN ports, where messages received by the DIN-in port are forwarded to the DIN-out port. · USB Thru: Enables aSoft MIDI Thru’ mode for all MIDI sources, where messages received by the DIN-in port are forwarded to USB-out and messages received by USB-in are forwarded to DIN-out.
· Arp/Seq Out: Enables the ARGON8 arpeggiator and / or sequencer to transmit notes to the MIDI-out ports. When arp out is enabled the internal keyboard notes will not be transmitted to MIDI-out. Please note that MIDI-in notes that are being arpeggiated will also be transmitted to MIDI-out if arp out is enabled, which may cause MIDI loop / echo issues in complex MIDI setups.
· In Oct Offset: Enables / disables the Keyboard Octave parameter from transposing MIDIin notes
· MIDI-in Monitor: The MIDI-in Monitor is a useful tool to use if needing to verify if the ARGON8 is receiving MIDI messages. It will display the data of any MIDI message that ARGON8 can respond to and will ignore the current MIDI channel and filter settings.
The MIDI monitor will provide the following information for each received message:
Source – USB or DIN
Message type – Note-on (NOn”), Note-off (“NOf”), Control Change (“CC”), Program Change (“PC”), Channel Aftertouch (“CAt”), Pitch bend (“PB”), System Exclusive (“Sys”), Clock Start (“Srt”), Clock Continue (“Con”), Clock Stop (“Stp”)
Channel
Message data / values
Incoming clock timing messages are displayed in the top right corner of the screen, where a “U” indicates it is receiving USB clock messages and a “D” indicates it is receiving DIN clock messages.
Please note that it will only display messages that are received whilst the MIDI Monitor screen is being displayed.
Press the `Edit’ switch to exit the MIDI Monitor. 57

Settings

Keyboard
· Local: Enables / disables the internal keyboard’s connection with the internal sound engine. If you are using ARGON8 with an external sequencer you may need to set the Local setting to Off’ to eliminate the double-triggering of notes caused by MIDI loops / echoes. · Velocity Curve: Sets the velocity curve / sensitivity for notes from the internal keyboard. There are six curve options – Very Light, Light, Normal, Heavy, Very Heavy, Fixed. SelectLight’ or Very Light’ if you play keys lightly but would like the device to respond as though they were played harder; selectHeavy’ or Very Heavy’ if you play keys heavily but would like the device to respond as though they were played lighter; or selectFixed’ to have a constant velocity value of 127 (maximum velocity).
· Aftertouch Curve: Sets the aftertouch curve / sensitivity for the internal keyboard. There are five curve options – Very Light, Light, Normal, Heavy, Very Heavy. Select Light’ orVery Light’ if you want more control over the upper range of values of the aftertouch response; or select Heavy’ orVery Heavy’ if you want more control over the lower range of values of the aftertouch response. There are three sets of these curves – 1-3 – if you find you are not able to reach the maximum aftertouch value please increment this set number.
Sequencer
· Metronome: Enables / disables the metronome click track for sequence recording. Please note that the sequencer pre-roll (if enabled) will always contain the metronome.
· Pre-Roll: Sets the sequence recording pre-roll length to determine how many bars of the metronome click track you hear before the recording starts.
Note: Metronome and Pre-Roll are only available for realtime sequences
· Quantise: Sets the sequencer note recording input quantise value to ensure that played notes can be kept in time. Please note that this is an input quantise setting and therefore cannot be used to adjust previously recorded notes.
· Transport: Enables / disables the sequencer transport to be controlled by MIDI Clock Start / Continue / Stop messages from USB-MIDI. You may want to disable this behaviour if using ARGON8 with an external MIDI sequencer.

Settings
Joystick
· Mod Wheel Out: Enables / disables the joystick Y+ axis from transmitting MIDI Modulation Wheel messages (MIDI CC 1) to MIDI-out. You may want to disable this behaviour if the ARGON8 is connected to other synthesisers that responds to MIDI Modulation Wheel messages.
· Pitch Bend Out: Enables / disables the joystick X axes from transmitting MIDI Pitch Bend messages to MIDI-out. You may want to disable this behaviour if the ARGON8 is connected to other synthesisers that responds to MIDI Pitch Bend messages. Please note that if this is disabled the joystick X axes will instead transmit CC messages for MODALapp communication.
· X+ / X- / Y+ / Y- Calibration: These are manual calibration settings for adjusting the usable travel range of each axis of the joystick.
Increase this value if the joystick axis is not reaching the top modulation / MIDI value (especially in the corner positions), however if too large the usable travel range will be massively reduced. Decrease this value if the joystick axis has a small usable travel range, however if too small the joystick may not reach the top modulation / MIDI value.
· Centre Calibration: This is a manual calibration setting for adjusting the centring of the joystick.
Increase this value if the joystick is not properly returning to the `centre’ value (it sends sporadic values when untouched or is too sensitive in its resting position), however if too large the usable travel range of each axis will be reduced.
Decrease this value if the joystick doesn’t respond to small movements around the centre position, however if too small the joystick may not centre properly.

Settings
Screen
· Brightness: Sets the brightness / contrast of the ARGON8 screen. · Switch: Sets the screen Page Switch’ /Context Sensitivity’ mode to determine how the
screen responds to certain panel control interactions and MIDI-in messages. There are three main Page Switch modes – Regular, Smart, Off; and the first two modes contain three sub modes – All, Panel, MIDI. The Regular’ mode causes the screen to switch to the page of the adjusted parameter and stay on the page until another parameter is adjusted; theSmart’ mode causes the screen to switch to the page of the adjusted parameter but then switch back to the previous page after two seconds, where the previous’ page will be the page accessed via either the screenPage / Param’ control, the Patch / Seq button, or the FX1 + FX2 + FX3 button combination. The sub-mode of each mode sets the parameter source – the panel, MIDI-in, or both. · Saver: Sets the idle time for the screen’s screensaver. A smaller time will increase the lifetime of the screen.
LEDs:
· Brightness: Sets the brightness of the panel LEDs.

Settings
Expression Pedal
· Pedal Type: Allows you to configure the ARGON8 to work with various types of expression pedals.
There are two main modes here (TRS and RTS) where each mode has three sub modes (1-3).
Select a TRS’ polarity mode if you are using a TRS expression pedal (or an expression pedal with a polarity switch, set to the TRS polarity) – this is the most common polarity of expression pedals. Select anRTS’ polarity mode if you are using an RTS expression pedal which contains no polarity switch. If your pedal does not contain a polarity switch and you are unsure of its polarity, if the ARGON8 isn’t responding to your pedal correctly (e.g. full modulation range can’t be obtained, modulation curve is skewed), it is likely that you need to switch the ARGON8 polarity mode. Please note that expression pedals with the TS polarity will not work with ARGON8.
Select the 1′ sub-mode for expression pedals with a resistance of 10k; select the2′ submode for expression pedals with a resistance of 20k or 25k, or select the 3′ sub-mode for expression pedals with a resistance of 50k or above. If you are unsure of the resistance of your expression pedal then select the1′ sub-mode – this will work with the majority of expression pedals but you may find that the maximum modulation happens before the pedal completes it movement (but selecting 2′ or3′ instead may improve on this).
If you are unable to configure ARGON8 to work adequately with your expression pedal using this setting, you may need to use a TRS Polarity Adapter.

04
MIDI
62

MIDI
ARGON8 is a fully class-compliant USB-MIDI device, meaning you can plug it into your computer, no drivers required, and gain access to a huge array of extra features. Simply plug in ARGON8 synthesiser to a USB port and it will show up as a MIDI input and output device in any software that supports external MIDI devices.
On macOS, ARGON8 will show up in `Midi Studio’, found in Applications > Utilities > Audio MIDI Setup. (Once open, select Window > Show MIDI Studio)
On Windows, ARGON8 will show up as a sound device in the Device manager.
Remember to enable the device input and output in your DAW’s preferences.
63

MIDI
MIDI Channel
On ARGON8 the MIDI channel can be set in the on-screen settings, or with the MODALapp. You can also change additional MIDI settings in the on-screen settings pages or in the settings tab of MODALapp.
MIDI Output
ARGON8 can sequence your DAW or any device that can send MIDI notes over USB, MIDI or CV clock using the keyboard, sequencer or the arpeggiator.
The keyboard sends MIDI Channel Aftertouch messages and the Joystick can send MIDI Pitch Bend messages.
All of the encoders on ARGON8 output MIDI messages (The appropriate CC message depending on the SHIFT or panel state). This allows ARGON8 to be used as a fully functional plug and play MIDI controller!
When a change is detected on any of the parameters, a CC message is sent out. See the MIDI implementation chart to find which parameters send which CC numbers. The keys also send the appropriate MIDI notes for the Octave range and scale that they are programmed to.
MIDI Input
ARGON8 can be played by sending it MIDI notes. This means you can use your DAW or any device that can send MIDI notes over USB/MIDI to sequence ARGON8 or control any of the parameters featured in the CC Implementation List.
MIDI Clock
Configure your DAW and MIDI devices to send or receive MIDI clock (Sync) to or from ARGON8 and, when Auto’ is selected it will automatically configure itself to work in time with your track tempo. When no clock is detected, the ARGON8 will continue to use whatever tempo it is internally configured to. To use ARGON8 as a master MIDI clock set Clock Source toMaster’.
MIDI Soft Thru
ARGON8 has two soft thru settings configurable from the app:
· DIN Thru: Forwards Midi received on din in to din out · USB Thru: Soft interface mode which forwards midi received on din in to USB out, and
USB in to din out
64

MIDI
Program Change Sending a bank change (0-4) followed by a program change (0-99) to ARGON8 will load the relevant preset. Sync The analogue sync connections on ARGON8 are configured to use a 3.3v, rising edge, 1 pulse per 16th note signal. This is used to syncopate any other gear that is CV clock enabled with your device. PLEASE DO NOT EXCEED 5V INPUT AND OUTPUT. Any signal received by the SYNC IN connection is automatically forwarded to the SYNC OUT. When running off internal clock or external clock SYNC OUT sends out the received clock. Sync auto detects incoming clock / sync signals and will select these in priority order: 1) Sync, 2) Ext MIDI and 3) Internal. Sync will fall back to the next available sync source in reverse priority order after a timeout of 3 seconds. Din MIDI Filters ARGON8 has app-configurable midi filters on the Din input and output: Notes, CC, Program Change, Aftertouch, Pitchbend, Transport, Clock and Sysex. By default Din IN allows all message types, and Din OUT allows all message types except clock. MIDI In Omni MIDI can be made omni within the Settings pages or in the Settings tab of MODALapp. Omni mode makes ARGON8 listen to all midi channels, for all received midi (din or usb). Transmitted midi is still sent out on ARGON8’s current midi channel.
65

MIDI CC Implemention Chart

CC 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
66

Function Bank Change Mod Wheel
WavMod 1
Glide
Main Volume
Voice Mode –
Expression Pedal Distortion WavMod 2 Osc1 Tune Osc1 Fine Osc1 Shape Osc2 Shape Osc Mix OscMod Spread
OscMod Mode FEG Attack FEG Decay FEG Sustain FEG Release AEG Attack AEG Decay AEG Sustain AEG Release Osc2 Tune Osc2 Fine

Function

FEG Amount

Morph

Cutoff

Resonance

LFO1 Rate

LFO1 Depth

–

LFO1 Shape

Octave

Delay Mode

Filter Type

MEG Attack

MEG Decay

MEG Sustain

MEG Release

LFO2 Rate

LFO2 Depth

MEG Depth

LFO2 Shape

AEG Depth

LFO1 MIDI Sync

Arp Gate

LFO2 MIDI Sync

Delay MIDI Sync

LFO1 Mode

LFO2 Mode

Arp Status

Arp Octave

Arp Direction

Arp Division

Osc1 Bank

Osc2 Bank

Function

Sustain Pedal

–

Seq Length

Seq Mute

Seq Clear

Seq Hold

Seq Loop

Seq Record

FX Amount

–

Transpose

–

Swing

Seq Quantise

AEG Type

FEG Type

MEG Type

Audio In

All EG Attack

All EG Decay

All EG Sustain

All EG Release

ModSlot 1 Depth

ModSlot 2 Depth

ModSlot 3 Depth

ModSlot 4 Depth

ModSlot 5 Depth

ModSlot 6 Depth

ModSlot 7 Depth

ModSlot 8 Depth

Function

Chord Mode

–

100

ModSlot 1 Source

101

ModSlot 2 Source

102

ModSlot 3 Source

103

ModSlot 4 Source

104

ModSlot 5 Source

105

ModSlot 6 Source

106

ModSlot 7 Source

107

ModSlot 8 Source

108

ModSlot 1 Dest

109

ModSlot 2 Dest

110

ModSlot 3 Dest

111

ModSlot 4 Dest

112

ModSlot 5 Dest

113

ModSlot 6 Dest

114

ModSlot 7 Dest

115

ModSlot 8 Dest

116

Joystick X+

117

Joystick X-

118

Joystick Y-

119

Patch Gain

120

All Sound Off

121

Reset All Controllers

122

–

123

All Notes Off

124

Omni Off

125

Omni On

126

–

127

–

MPE
MIDI Polyphonic Expression (or MPE) is a method of using MIDI to enable expressive electronic musical instruments to control multiple dimensions of sound polyphonically. In MIDI, channelwide messages (such as pitch bend, CCs, and channel aftertouch) are applied to all notes being played on a single channel; therefore, in MPE each note is assigned its own channel so that those messages can be applied to each note individually.
An MPE instrument typically has three dimensions of expression / control left-right (X-axis); front-back (Y-axis); and pressure (Z-axis) each axis can be mapped to various parameters of sound and be applied on a per-note basis.
ARGON8 is an MPE-compatible synthesiser, which means any valid MPE instrument / controller can control multiple parameters of ARGON8’s sound engine polyphonically. The majority of the ARGON8 parameters can be controlled by MPE.
Setting up MPE on ARGON8
Enabling ARGON8 to respond to MPE involves the following steps:
1. Navigate to the MIDI settings controls on the screen
2. Set MPE Mode’ toOn’
3. Set MPE Master Channel’ to match that of your MPE instrument. Your MPE instrument may refer to this as itsMPE Zone’ Lower Zone’ uses channel 1 andUpper Zone’ uses channel 16. Some MPE instruments may not specify a Master Channel / Zone in this case the most likely value to use here is 1′. Please refer to the MPE instruments settings or documentation for more information. 4\. SetMPE Number of Channels’ to match that of your MPE instrument. It is recommended to set this value as high as possible (on both your MPE instrument and ARGON8) to take full advantage of ARGON8’s polyphony. Some MPE instruments may not specify a Number of Channels in this case the most likely value to use here is 15′. Please refer to the MPE instruments settings or documentation for more information. 5\. SetMPE Pitch Bend Range’ to that of your MPE instrument. Your MPE instrument may refer to this as its `Pitch Bend Sensitivity’. Some MPE instruments may not specify, or use, a fixed Pitch Bend Range in this case use this value to set your preferred semitone range of the MPE X-axis. Please refer to the MPE instruments settings or documentation for more information.

MPE
Each MPE dimension is mapped to the ARGON8 sound engine as follows:
· Left-right / X-axis (sent as MIDI Pitch Bend) This controls the pitch of the note, with the range set using the MPE Pitch Bend Range’ global setting (see above). · Front-back / Y-axis (sent as MIDI CC 74) This controls the ARGON8 Y+ modulation assignments. · Pressure / Z-axis (sent as MIDI Channel Aftertouch) this controls the ARGON8 Aftertouch modulation assignments. As the MPE Y and Z dimension assignments are built into ARGON8’s existing modulation matrix, these assignments are saved and recalled with each patch. Using MPE on ARGON8 If using MODALapp / MODALplugin please ensure that you are running the version (or above) of MODALapp / MODALplugin released with ARGON8 firmware v2.0 to ensure correct communication between the app / plugin and the ARGON8. If using in conjunction with non-MPE MIDI controllers or software, please set their output MIDI channel to match the ARGON8’sMPE Master Channel’ to ensure correct behaviour.
ARGON8 MPE limitations:
· If Y+ or Aftertouch is assigned to any global sound parameters (LFO1 or FX parameters) then these parameters will change for all notes / voices and only the latest / newest MPE note will have control of these parameters.
· MPE is not available in Polychain mode · MPE expression data cannot be recorded into the ARGON8 sequencer, and any MPE
notes recorded into the sequencer are converted in master’ notes. · ARGON8 doesn’t support MPEMIDI Mode 4′ (`one channel per string’ voice allocation).

Polychain
You can connect any 2 ARGON8 models together to give 16 voices using polychain. First, connect the desired master ARGON8 DIN MIDI Out to your desired slave ARGON8 DIN MIDI In. On the master ARGON8 navigate to Settings (General) > Polychain Master’ and turn this on. The slave device should now be showing all voice mode LEDs lit andPolychain Slave’ onscreen. When In Polychain mode, the slave ARGON8 panel is disabled along with the keyboard (for ARGON8 & ARGON8X). Polychain mode can be exited by turning off the `Settings (General) > Polychain Master’ setting on the master ARGON8 or by rebooting the synthesisers. Note: Polychain can only be enabled when not in MPE mode

05
Update

Update
The firmware on ARGON8 can be updated remotely. This means that you will be able to update your ARGON8 to the latest version each time an update is released. You can update ARGON8 using the MODALapp. MODALapp is available for macOS, iOS, Windows, and Android. To find the app on your platform, visit www.modalelectronics.com/modalapp DO NOT run any other MIDI software that could be sending messages to ARGON8 during the update process.

06
MODALapp
74

MODALapp
MODALapp adds visual feedback for ARGON8 (and other Modal devices) and access to a handful of extra settings outlined above. All parameters are accessible from a single interface split into 3 tabs. · All UI parameters accessible from a single interface · Preset Manager page for preset management, backup and import · Modulation page to quickly view and edit the current patch modulation settings · FX page for selecting and editing the 3 stereo FX engines on ARGON8 · Sequence page for live sequence controls and editing the 4 parameter animation rows · Keyboard page for playing ARGON8 directly from your device as well as access to other
keyboard settings · Settings page to configure MIDI settings and update the firmware MODALapp is available for macOS, iOS, Windows, and Android. To find the app on your platform, visit www.modalelectronics.com/modalapp
75

Getting Started
Connecting devices MODALapp can be attached to an iPad using a Camera Connection kit, or an Android device using a USB OTG (On-the-go) adapter. MODALapp can only be connected via USB MIDI and not by MIDI DIN. Install and open MODALapp. You will see a splash screen until a ARGON8 has been detected, at which point you will see the Editor page appear. Playing ARGON8 At this point you can play your ARGON8 with any MIDI controller! MODALapp forwards all incoming MIDI to ARGON8 automatically. Just make sure that your MIDI controller is sending to the same MIDI channel you’re ARGON8 is assigned to.

Main Editor
This is the main section for patch design / editing. You will find keyboard/voice, oscillator, filter, and envelopes here.
The currently selected preset is shown at the top. There are also options for previous or next preset, init preset and randomise.
To save a preset first click the save button. You can then select the slot you would like to save the new preset with the – / + buttons. You can change the name of the preset by clicking on the preset name. Finally click either SAVE again to confirm or EXIT to discard any name / slot changes.
There is also access to play, record, tempo options as well as sliders for patch gain and volume.
Across the middle there are the 12 modulation slots with 8 user configurable and 4 pre defined. Only valid modulation destinations for the respective source will be shown in the drop down menu.

Preset Manager + Modulation Tab
In the Preset Manager Tab there are options to curate, move, backup or import presets. There are 100 presets per bank that can be viewed by scrolling in the preset list.
Presets can loaded with a double click and they can be renamed with two slow clicks. To move a preset simply click and drag it into your desired location. Dragging the preset to either edge of the preset manager window will start it scrolling in that direction. Different banks can be accessed by dragging the selected preset over the bank button.
Multiple presets can be selected by holding shift, ctrl or cmd and clicking. Shift clicking will select a block of presets and cmd or ctrl clicking will select individual presets. Once multiple presets are selected you can start moving them by clicking on a selected preset and dragging. Right clicking on a selected preset allows renaming and exposes the exporting or importing options. Exporting will copy and send all of the selected presets to the selected folder. Importing will overwrite all of the selected presets in the preset manager with the presets selected from your computer.

Preset Manager + Modulation Tab
You may also right click on a bank to expose exporting and importing options of the entire bank (as individual .syx files) All actions will display a confirmation window unless the yes to all button has been clicked. In which case no confirmation window will appear for the rest of the session. On touchscreens a single tap will be the equivalent of a cmd or ctrl click. Holding a selected preset will start a move action In the Modulation Tab there is access to the parameters for LFO-1, LFO-2 and MOD-EG. There is also an XY pad that will emulate the movements of the Joystick on ARGON8 as well as options for pitch bend and XYLock so that the XY pad will not return to zero on release. Finally there is also access to the global depths of the 8 modulation sources Velo. Aftertouch, Note, Expression Pedal and the 4 Joystick axes.

Sequencer Tab
In the Sequencer Tab you can choose sequence type, load, initialise and save any of the Seq presets as well access the live sequence controls such as Length, Hold, Loop and Quantise.
When in Step Seq you can also scroll through steps displayed in groups of 16.
There is a drop down to select the current row and to the right of this a clear button for the current row. There are then the 5 mute buttons for the note row or any of the 4 parameter animation lanes.
NOTE: Editing of notes is only available for step sequences & there is no undo functionality.
Assigning some steps: A new sequence won’t have any steps assigned to it and it will appear greyed out until you assign some steps using the front panel or by adjusting the `Steps’ control on the panel to the left.
Navigation: The visible key range (vertical) can be controlled using the controls to the left of the piano roll. The +/- buttons can be used to control how many notes are displayed and the slider can be used to set which note range is displayed. You can also move the view up and down by scrolling.
If you have a trackpad then the zooming gesture will have the same effect as pressing the +/buttons. Visible step range (horizontal) can be changed by clicking the +/- controls on the top bar or scrolling left/right.

Sequencer Tab
Draw Mode: To create some notes, ensure the draw button on the top bar is highlighted (this will be by default) and click or drag on any of the empty slots in the display below. Click on a note to clear it, click and drag on a note to erase a selected area. There are two modes to change the vertical drag behaviour:
Drag: Notes will be created with a default velocity of 63, click and drag vertically to change the pitch of the created note(s)
Velo: Dragging vertically will change the velocity of the created notes as you drag
Edit Mode: To edit notes, ensure the draw button on the top bar is highlighted.
It’s a lot like you’d expect from any old piano roll, clicking on an untoggled note or dragging over some toggled ones will select them. It is also possible to delete notes by pressing backspace while you have some notes selected. Selected notes will have a bar through them that indicates their velocity. Once they’re selected you can click on one of the active ones you just selected and drag it vertically- it’ll do one of two things depending on the mode selected:
Drag: Will move all of the notes in pitch and step – if you hold down the alt or option key it will try to copy the notes
Velo: The velocity of all notes will be edited relative to the velocity they had at the start of the operation.

FX, Keyboard + Settings Tab
In the FX Tab you can load, initialise and save any of the FX presets as well edit any of the global FX parameters such as Level and Distortion.
The FX preset selection box on the left will display that no preset is loaded if an fx parameter is altered in any way, e.g. changing an fx parameter on ARGON8 or loading a patch.
Also, on this page you will find the external Audio In parameter that controls the amount of Audio In signal sent through the 3 stereo FX engines.
Finally, there is access to the 3 stereo FX engines that show the currently selected FX in each slot and their respective controls.
In the Keyboard Tab there is a MIDI controller that can be used to play notes on ARGON8 from your device. There are pitchbend and modwheels as well as 3 buttons to determine how many octaves are shown on the screen at one time. The piano keyboard can be scrolled using the top scroll bar.
There is also access to the Arpeggiator controls and transpose/chord options.
In the Settings Tab there are options for updating your ARGON8 to the latest versions. MODALapp will notify you when a new update is available.
To have the app update the screen in realtime, the page switch mode needs to be set to one of the (All) or (MIDI) options.
Finally there is access to the other settings available on ARGON8. For a list of all settings available please read the Settings section in Synthesis Engine section of this manual.

Warranty Information

Warranty Statement
· The Modal warranty period for any product purchased is 12 months from the date of the original purchase.
· The warranty is not transferable to a second user. · Modal products are built using the latest manufacturing technology, tested to the highest
possible standards and by using premium components this should result in providing you with reliable performance for many years. · The warranty is return to base, meaning the unit must be returned, carriage paid, to the Dealer you purchased the unit from or the exclusive territory Distributor responsible for the country in which you purchased the product. · Some of the products returned under warranty are found not to exhibit any fault at all when they are retested at our Service Centre’s so it’s always useful to contact our Support team first to try to avoid inconvenience to you at support@modalelectronics.com · If you suspect that your unit is suffering from a component or manufacturing defect during the warranty period please contact either Modal support or the dealer that you purchased the Modal product from. · In the event of a component or manufacturing defect becoming evident during the warranty period, Modal will ensure that the product is repaired free of charge or replaced. · Whilst this warranty is provided by Modal, the warranty obligations are fulfilled by the exclusive territory Distributor responsible for the country in which you purchased the product. · The Dealer will advise you of the appropriate procedure for resolving the warranty issue. · In every case it will be necessary to provide a copy of the original invoice or Dealer purchase receipt to the Distributor. · In the event that you are unable to provide proof of purchase directly then you should contact the Dealer from whom you purchased the product and attempt to obtain proof of purchase from them. The Dealer | Distributor will then advise the procedure to follow. · This limited warranty is offered solely to products purchased from an Authorised Modal Dealer (defined as a Dealer which has purchased the product directly from Modal in the UK, or one of our Authorised Distributors outside the UK). Please note that if you purchased the product from outside of your country of residence you must return the unit to the original point of purchase for repair. · The Modal warranty term is additional to any statutory rights in the country of purchase or as offered by the dealer at the time of purchase.

Warranty Information
What is meant by a Manufacturing Defect?
· We define this as a defect in the performance or specification of the product as described and published by Modal.
· A Manufacturing Defect does not include damage caused by post-purchase shipping, storage or careless handling, nor damage caused by misuse.
Warranty Limitations
· This warranty does not cover damage resulting from accident or misuse. · The warranty is void unless repairs are carried out by an authorised service centre. · The warranty is void if the unit has been modified other than at the manufacturer’s
instruction. · The warranty does not cover components which have a limited life, and which are
expected to be periodically replaced for optimal performance. · We do not warrant that the unit shall operate in any other way than as described in this
manual.
For further details please contact: support@modalelectronics.com

References

MODALapp - Modal Electronics

Read User Manual Online (PDF format)

Read User Manual Online (PDF format) >>

Download This Manual (PDF format)

Download this manual >>

Modal Electronics ARGON8 8 Voice Polyphonic Wavetable Synthesiser User Manual

Product Information

Product Usage Instructions

Important Safety Information

Getting Started

Introduction

Specification

Getting Started

Basic Functions

Settings

Warranty Information

References

Read User Manual Online (PDF format)

Download This Manual (PDF format)

Modal Electronics User Manuals

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