dreadbox NYMPHES 6-Voice Analog Synthesizer Owner’s Manual

: June 6, 2024
: dreadbox

Owner’s Manual

Introduction

1.1 Key features

All analog Synthesizer (except for the reverb)
6 voices of Polyphony
Lush digital reverb
12 envelopes and 7 LFO’s (2envelope/voice, 1LFO/voice + 1 generic)
6 different playing modes
98 Presets Memory (49 users and 49 factories)
MIDI in/out over USB or via MIDI out via DIN5
Compact, USB powered for maximum portability
Metal enclosure

Included in the box

Nymphes synthesizer
Quick start guide
Menu map card
USB cable
DIN5 to 3,5mm cable
Please note that a USB mains adapter or power supply is not included. Almost any USB adapter will work with the Nymphes, but there are some power considerations, so please check the “Connections” section of the manual before plugging in your Nymphes.

Schematic diagram

Connections

Getting started with the Nymphes

2.1 Powering considerations

Even though the Nymphes is an analog synthesizer, it can be powered with a simple USB cable. Giving the unit some extra mobility, you can just use a power bank and play anywhere (with a 20.000 mAh power bank you could power and play the unit for up to 55 hours).
Most households nowadays have at least a dozen or so USB cables and power adapters available.

So, you’re thinking, “Can I use any USB power supply?”
Yes, but there are some things you need to take into consideration.
Not having a dedicated power adapter means that
depending on the USB power supply quality or your connection, could result in a dirty synth and noise floor.
You can easily avoid those situations by following these simple rules:
– When you turn the Nymphes on, there is a burst of noise occurring. This is normal but in order for this to happen, make sure you have the level of your monitor/amp turned off.
– Power the Nymphes and all the devices connected to it, from the same mains power line. You should specifically avoid using different mains. For example a mains line for Nymphes and a different one for your amp/monitor that has an internal protection circuit. This can produce a constant noise generation from the output of the synthesizer, which can only be eliminated by resetting the unit.
– When powering the Nymphes from a computer, if you use a DAW to work with the MIDI CC documentation, a ground loop can be created, causing a noticeable hum. In that case, you should power the Nymphes from a different power supply and not from the same computer that you’re running the DAW on.
You can do that with the use of a USB data/power splitter.
– Using a very long USB cable can also cause line noise. For cleaner sounding performance it is also better to use a USB cable that has a ferrite bead installed.
– Make sure your USB power adapter is rated for at least 1A – Poor quality USB power adapters should be avoided.
– Also have in mind – as mentioned before – when using a power bank, make sure it’s a good quality one.
You can also power a keyboard controller with the same power bank.

Bad power supply (or cable) side effects

May not boot Nymphes
Lots of noise, abnormal sound elements
Wobbly oscillators
Firmware update may not work

If you have any of the above effects, replace your adapter and/or cable asap.
You should also avoid leaving the synth on power when you are not going to use it for a long period of time (and that should be a rule for every electrical/electronic device) for various reasons.
The most important reasons are:

Expanded life circle
Protection of the environment

2.2 Quick Start Guide

THE SHIFT BUTTON

Double click the SHIFT button and its LED will be lit. You can now control all the parameters labeled above the sliders.
Another way to access these parameters is by holding down the SHIFT button while changing the values of the parameters in the pink areas (similar to how you use the SHIFT button on a computer’s keyboard).

HOW TO LOAD A PRESET
If you want to reload your current preset, just skip steps 2 and 3.

Press the LOAD button and its LED will flash.
With the SHIFT button ON, select a bank with the rotary switch.
With the SHIFT button OFF, select a preset with the rotary switch.
Press the LOAD button to recall the selected user preset OR Hold down the LOAD button to recall the factory preset.

HOW TO SAVE A USER PRESET
If you want to save on your current edited preset, just skip steps 2 and 3.

While holding down SHIFT, press SAVE. Its LED will flash.
With the SHIFT button ON, select a bank with the rotary switch.
With the SHIFT button OFF, select a preset with the rotary switch.
Press SAVE to store the selected user preset.

HOW TO CONTROL THE MENU

Press the MENU button to access the numeric menu. While the MENU LED is lit, use the rotary switch to select the desired MENU option. Some of the MENU options will also have submenus used to access more parameters.

When an option has a submenu (like MODE), press the MENU button again and its LED will flash, to indicate that the rotary switch is now selecting the submenu options.

HOW TO CONTROL THE MENU

CHANGING PLAY MODE

Press MENU and select MODE. ****
Press MENU again. Its LED will start blinking.

MODE LIST

POLY: 6 Voices to 6 keys
UNI A: 6 Voices to 1 key
UNI B: 4 Voices to 1 key
TRI: Voices to 3 keys
DUO: 3 Voices to 2 keys
MONO: 1 Voice to 1key
CHORD: This is not a Play Mode.
When selecting it, you are accessing the Chord editing page. Chords are active only on modes 2, 3, 4, 5 and can be accessed via the dedicated slider.

3. Select a Play Mode. Press MENU again to confirm your selection.

ADDING REVER

HOW TO USE MOD WHEEL, VELOCITY, AND AFTERTOUCH

Programming the Nymphes

The Basics of How a Synth works

You can find a lot of information on this topic all over the internet, but here are at least a few of the basic concepts that might help you understand this synth a bit more.

The oscillator serves as the source for the basic noise or sound in a synthesizer. The tone of that sound depends on the shape of the wave produced by the oscillator. Classic-style analog synthesizers usually offer a similar list of waveforms, and the Nymphes as well offer all the usual suspects: saw, square, pulse, and triangle. After a synthesizer’s waveform produces a tone, it is usually sent to the filter.

The filter does exactly that: it lets you filter out or remove harmonics from the basic waveform, making the tone brighter or duller depending on how the filter is set. Another feature of some filters is resonance or Q. This accents the harmonics near the filter cutoff frequency, providing that classic squelchy and squeaky quality that synths are so well known for. After the filter, a synth usually sends the signal to the amplification section.

The amplification section of a synth is the part that controls the amplitude or how loud the sound is. Usually, the amplification of the tone is controlled by a 4-step envelope that provides an attack phase, a decay phase, a sustain phase (where the amplitude is held constant), and a decay phase, where the amplitude drops to zero after the sustain phase. This attack, decay, sustain, and release envelope is frequently referred to as an ADSR envelope.

The last key piece of the synth puzzle is the modulation. A modulator is simply something (a source) that modulates, changes, or controls something else (a destination). In the case of a synthesizer, usually, there is a low- frequency oscillator (LFO) or an envelope generator (EG) that can be used to modulate another parameter or value on the synthesizer. For example, you can create vibrato by using an LFO to slightly change the oscillator pitch in a cyclic way. You could also use an LFO to modulate the filter cutoff value to create an auto-wah effect, alternately changing how bright or dull a tone is. The possibilities are almost endless and that is what makes programming synths such an interesting activity.

The SHIFT Button

Though there are only 14 sliders on the Nymphes, by using just the SHIFT button with those 14 sliders, you can easily access 28 parameters for controlling and programming the synth. When the SHIFT button is lit, the 14 labels on top of the sliders describe the parameter that each slider controls.

When the SHIFT button is not lit (off), then the 14 labels underneath the sliders describe what each of the 14 sliders control

You can either temporarily press the SHIFT button, and it will light up, or you can quickly double-click the shift button, and it will stay lit. Again, it’s important to remember, as long as the SHIFT button is lit, the sliders will control the parameters labeled at the top.

Oscillator

The 10 available settings in the oscillator section are controlled with the 5 sliders and the shift button. Most importantly, these settings let you program the shape, the tuning/pitch, and the amplitude of the oscillator waveform and sub-oscillator.

WAVE (slider 1) – the oscillator waveform control lets you select the shape of the continuously variable waveform, morphing between sawtooth, square, and triangle shapes.

LVL (slider 2) – the level control lets you set the amplitude or loudness of the oscillator waveform.

SUB (slider 3) – the sub-oscillato r control lets you add a square wave, pitched one octave below the pitch of the oscillator waveform

NOISE (slider 4) – the noise source control lets you add white noise mixed with the main oscillator and sub-oscillator.

LFO (slider 5) – the low-frequency oscillator control sets how much LFO 1 modulates the pitch of the waveform.
This can be used to create just a subtle vibrato to more extreme sound effects.

PW (shift-slider 1) – the pulse-width control lets you adjust the pulse- width of the pulse or square wave, changing the characteristics of the sound. Modulating the PW with an LFO can produce a slightly-detuned sound that Nick from Sonic State loves. As long as there is some pulse wave selected, the pulse width can be adjusted. When the waveshape is strictly a saw wave or a triangle, changing the pulse width has no effect. Modulating the PW requires the use of LFO2

GLD (shift-slider 2) – the glide control (also referred to as portamento) lets you set the glide rate between successively played notes. Glide is fixed- rate, not a fixed-time, and polyphonic. Whether the glide reacts to legato playing or not is set through the menu. See the MENU MAP for how to change the legato setting. On the polyphony, note that glide is heavily dependent on the number of voices, and whether there is a free available voice or not.

DTN (shift-slider 3) – the detune control lets you detune the intervals between notes, from a slight effect to a dramatic. The detune can be used in any of the various polyphonic or unison modes, creating some incredibly thick- sounding notes.

CHORD (shift-slider 4) – the chord control lets you use the slider to choose different predefined chords that can be programmed via the MENU function. On POLY and MONO modes, this has no effect

EG (shift-slider 5) – the envelope generator control lets you program how much the filter envelope modulates the pitch of the oscillator. Important to note, envelopes are unipolar.

Filter ****

The Nymphes has a 24db lowpass (LP), a resonant filter that feeds into a 6db High Pass (HP), non-resonant filter. The 6 available settings in the filter section are controlled with the 3 sliders and the shift button. These 6 settings let you program parameters for both filters like cutoff and resonance, as well as modulations like key tracking, envelope, and LFO.

CUT (slider 6) – the filter cutoff control lets you set the cutoff frequency of the LP filter. The frequency range is from 32,7 Hz up to 16.744 Hz

RES (slider 7) – the filter resonance control lets you set the amount of resonance, also sometimes referred to as Q. At its max setting it will self oscillate.

EG (slider 8) – filter envelope generator (EG) control lets you set how much the filter envelope modulates the filter cutoff 8

HPF (shift-slider 6) – the high-pass filter control lets you set the frequency cutoff for the high-pass filter. Note, the HPF is routed in series after the LPF, giving you a band-pass effect.

TRACK (shift-slider 7) – the filter key tracking control lets you set how much the filter frequency cutoff follows the keys. When the slider is all the way up, the filter cutoff will track to the oscillator pitch at a 1:1 ratio (the cutoff will increase 1 octave for every octave the pitch of the note increases).

LFO (shift-slider 8) – the low-frequency oscillator control sets how much the LFO 1 modulates the filter frequency cutoff.
Playing only with the filter as a source: Set up the Oscillator LVL, SUB, and NOISE to 0% and then on the filter :

CUT = 0%, RES= 100%, EG=0%, HPF=0%, TRACK=100%, LFO= 0% .
This will allow for the filter to be in perfect tune and matched with the oscillator’s frequency.

Envelope

The 8 available settings in the envelope section are controlled with the 4 sliders and the shift button (discussed later in the manual, these controls can also be used to program the reverb effect). The sliders allow you to shape the envelope generator or EG for modulating both the filter cutoff and the amplitude or volume of output.

Filter Cutoff and Pitch Envelope
A (slider 9) – the attack control sets how fast or how slow the envelope rises to its peak filter cutoff value.
D (slider 10) – the decay control sets how fast or how slow the envelope drops from its peak value filter cutoff value to its sustain value.
S (slider 11) – the sustain control lets you set the level filter cutoff to sustain value.
R (slider 12) – the release control lets you set how fast or how slow the envelope drops from the filter cutoff sustain value to a zero value, totally closing the filter cutoff.

Amplitude Envelope
A (shift-slider 9) – the attack control sets how fast or how slow the amplitude envelope rises to its peak value.
D (shift-slider 10) – the decay control sets how fast or how slow the amplitude envelope drops from its peak value to the value the envelope will sustain at.
S (shift-slider 11) – the sustain control lets you set the amplitude envelope’s sustain value.
R (shift-slider 12) – the release control determines how fast or how slow the envelope drops from the amplitude sustain value to value of zero.

LFO

The Nymphes has 2 Low-Frequency Oscillators or LFO’s referred to as LFO1 and LFO2.
Both are bipolar and can be used to modulate various parameters on the synth. LFO 1 is polyphonic and can only modulate 1) the frequency or pitch of the oscillator and 2)
the filter cutoff. LFO 2 is monophonic but can be programmed as a modulation source for 24 different destinations.
Both LFO 1 and 2 have four different rate settings accessed through the MENU, and both can be set to 1) low, 2) high, 3) track (where the rate is determined by key tracking), and 4) BPM (where the rate can sync to the midi clock). Lastly, KEY SYNC can be switched on or off for both LFOs. When the Rate is set to BPM, but no clock is sent, it automatically works on low rate mode.

RATE (slider 13) – the LFO frequency rate control sets the LFO 1 frequency or how fast it will cycle.
WAVE (slider 14) – the LFO wave shape control lets you select the wave shape for LFO1.
Unlike the Nymphes oscillator waveforms that are continuously variable, the LFO waveforms are five discreet (individual) waveforms including 1) triangle, 2) saw/ramp down, 3) saw/ramp up, 4) square and 5) random (sample-and-hold).
DELAY (shift-slider 13) – the LFO amplitude delay control lets you set an amount of time or delay before the LFO amplitude increases.
FADE (shift-slider 14) – the LFO amplitude fade control lets you set an amount of time or delay before the LFO 1 amplitude fades out. If the FADE setting is zero, the amount of LFO modulation will remain constant.
TIP! One-Shot LFO: If the DELAY slider is set to zero and the FADE slider is set to full ( or all the way up) then the LFO will only cycle one time, and can also be used like a secondary envelope-shaped by the LFO waveform.

Notes about modulation

The Nymphes offers a respectable selection of modulation options, letting you manipulate and modulate the sound in various ways. Some of the modulation sources are not assignable, meaning they are already assigned to certain modulation destinations.
For example, both LFO 1 and the filter envelope are already routed to the oscillator pitch and the filter cutoff, and cannot be assigned to any other destinations. Only the amount of the modulation can be changed by the user. Fortunately, there are other modulation sources that offer more flexibility and can be assigned to a large list of destinations.
How to set up the assignable modulation sources is discussed in “5. Menu Accessible Parameters” below in the user guide.

Saving and Loading

Loading a patch

The Nymphes has 49 factory preset patches and 49 user patches. Each of the 49 storage locations, A1 through G7 can contain both a factory preset patch or a user patch. How to load either a preset or user patch is described below.

To load a patch, simply run through the following steps:

Press the LOAD button which will then slowly blink.
With the SHIFT button lit, turn the rotary selector to choose bank A through G. If you are already in the bank you want, you can skip this step.
With the SHIFT button off (not lit), turn the rotary selector to the desired patch number 1 through 7.
For this last step, it’s important to understand you have 2 options:
a. If you quickly click the LOAD button, it will rapidly blink, and a user patch will be loaded or
b. If you press and hold the LOAD button until it starts rapidly blinking, a factory preset patch will be loaded

Tips:
– You can quickly reload your current preset by double-clicking the load button
– If you switch to a different preset than the one you are already at, the LOAD button will start blinking at a different interval.

Saving a patch

To save a user patch in any of the 49 storage locations, just follow these steps.

While holding SHIFT, press the SAVE button which will start flashing after being pressed.
With the SHIFT button lit, turn the rotary selector to choose bank A through G. If you are already in the bank where you want to store your patch, you can skip this step.
Next, turn off the SHIFT button (it should be unlit), and turn the rotary switch to your desired patch location 1 – 7.
Finally, press the SAVE button which will flash, showing your patch is now saved.

Tips:

You can quickly save your current preset by clicking SHIFT+SAVE and then SAVE again.
If you switch to a different preset than the one you are already at, the SAVE button will start blinking at a different interval.
Save and Load have a different LED blinking pattern

Menu Accessible Parameters

The menu section lets you access parameters and settings that help you further:

program your patches and
configure how the Nymphes operate.

To access any of the menu items, just press the MENU button, which will light up, and using the rotary selector, choose numbers 1 through 7. When you’re finished editing whatever menu option, just press the MENU button again to return to normal operation.

Play MODE (MENU item 1)

MODE Submenu #		Polyphony	Oscillators per Note
POLY		6	1
UNI A	2	1	6
UNI B I	3	1	4
TRI	4	3	2
DUO	5	2	3
MONO	6	1	1

This option lets you set how many oscillators will sound with each note, which will overall affect the polyphony as well. See the table below that describes each mode.

CHORD Edit Mode

Also accessed under the MODE submenu is the CHORD option (submenu item 7). With any of the four unison play modes (UNI A, UNI B, TRI, and DUO), this submenu option lets you program 7 different chords that are stored with the patch and can be changed with the CHORD slider (shift-slider 4). The slider accesses the 7 chords from lowest to highest, meaning when the slider is all the way down, chord EDIT 1 is playing, and as you push the slider up, it will select the next chord sequentially (EDIT 2, then EDIT 3, etc) until the slider is all the way up, and chord EDIT 7 is playing.

Programming Chords
Programming chords is fairly easy, though a bit lengthy, and naturally starts with a click of the MENU button:

Press the MENU button, which will light up.
With the rotary switch, select option 1, PLAY MODE.
Press the MENU button again, which will begin to blink.
With the rotary switch, select option 7, CHORD EDIT.
Press the MENU button again (which will blink faster still), and the EDIT 7 chord will begin to play automatically.
Select the chord EDIT number you want to program, and simply play the chord, which is automatically saved.
Select any other chord EDIT numbers, program the chords you want, and hit the MENU button to return to normal operation when you’re done.

An interesting thing to try: Adding some interesting possibilities, the CHORD selection slider (shift-slider 4) can be a modulation destination, letting you sequence through the chords using a modulation source, like the mod wheel or an LFO.

LFO 2 (MENU item 2)

This option lets you program the parameters of a second low-frequency oscillator, LFO 2, as a modulation source, and also link LFO 2 to multiple modulation destinations and set the modulation amounts. To link one of the slider parameters as a modulation destination, just move the slider for the parameter. You may have to use the SHIFT button in combination to alternate parameters a slider can control.

REVERB (MENU item 3)

This lets you activate the 4 ADSR sliders to program the reverb for the Nymphes. Using just these four sliders you can:

Adjust the reverb space (SIZE) with slider 9.
Adjust the decay of the reverb (DEC) with slider 10.
Set the amount of a lowpass filter (FILT) with slider 11.
Adjust the mix of dry and wet signal (MIX) with slider 12.

MOD W (MENU item 4)

This lets you use the modulation wheel to modulate any of the 28 slider parameters. As a quick tip, by linking the mod wheel to the oscillator LFO (slider 5) using a triangle wave, you can manually add vibrato to the sound.

VELO (MENU item 5)

This lets you use keyboard velocity (how hard you strike a note on a keyboard) to modulate any of the 28 slider parameters, assuming your keyboard controller has velocity-sensitive keys.

AFTER (MENU item 6)

This lets you use keyboard aftertouch to modulate any of the 28 slider parameters.

MIDI C (MENU item 7)

This option lets you set the midi channel the Nymphes will respond to. Press the MENU button to access the menu options. Select 7 with the rotary switch. Press the MENU button a second time to access the sub-menu (the MENU button will flash after the second press). Use the rotary switch to select 1 through 7 representing midi channels 1 through 7, and then press the MENU button again to exit.

The Four Assignable Modulation Sources

The four modulation sources accessed through the MENU (LFO 2, MOD W, VEL, and AFTER) are all set up and assigned to mod destinations in a similar way.

With the exception of LFO 2 (which cannot modulate the LFO 1 parameters), all the parameter values controlled by the sliders can be set as modulation destinations. LFO 2 can modulate 24 destinations linked to the parameters controlled by the first 12 sliders. The modulation wheel (MOD W), velocity (VEL), and aftertouch (AFTER) can each modulate any of the 28 destinations linked to the parameters controlled by the 14 sliders. It can get quite extreme, where you could modulate every slider parameter value with a modulation source if you really wanted to.

Assigning Modulations
To assign any of the four modulation sources to any of the destinations, you merely need to:

Press the MENU button, which will remain lit.
With the rotary selector, select numbers 2, 4, 5, or 6, to select either the LFO 2, mod wheel (MOD W), velocity (VEL), or aftertouch (AFTER) as the modulation source.
Select the modulation destination or destinations by moving the sliders for the parameters you want to be modulated, where the position of the slider determines the amount of modulation. If the slider is all the way up, the modulation amount will be 100%. If the slider is halfway up, the modulation amount will be 50%. If the slider is all the way down, the modulation is 0% or basically turned off.
Press the MENU button to exit, the MENU light will go off, and the Nymphes is now back in normal operation.

Canceling Modulations
An easy way to cancel all modulation destinations for a given modulation source is to:

Press the MENU button,
Select the mod source with the rotary selector, and then
Press and hold the MENU button for one second.
The MENU button light will go out, and any mod destinations for that mod source are now reset or turned off (see the MENU MAP for more details on this).

Modulation Behavior
An important point to note is when modulating a parameter, with the exception of the LFO’s, the modulation amount from the source is added to the current destination parameter setting. For example, if the programmed amplitude of the oscillator is already maximum (the LVL setting), then you can’t use the modulation wheel (MOD W) to increase the value anymore. It is already at its maximum. You would first need to reduce the oscillator level setting (LVL), so using the modulation wheel would have room to add value to the parameter and control the increase in amplitude.

For LFO2 though, modulations will be added in a mixing method. That means that the slider value sets the starting point and then LFO 2 is mixed in there. If the LFO2 amount is at max, the slider value will have no effect.

We strongly suggest you experiment with modulations and the way they are added, especially with LFO2, as
we consider it one of the strongest morphing points that Nymphes has to offer.

Global Settings

The global settings offer six more parameters that affect the Nymphes’ operation. These are the only parameters that are saved outside of the normal patch settings. See the MENU MAP for a graphic description of the steps outlined below.

To access the Global Settings:

Press the MENU button, which will light
Select option 7 (MIDI CHANNELS)
With SHIFT lit, press the MENU button again, which will start flashing slowly
With the rotary switch, select options 1 through 6 to access to the various Global Settings
With either the LFO RATE slider (slider 13) or the LFO WAVE slider (slider 14), adjust the settings as desired.

The list of Global Settings

No.	Setting Name	Possible Values	Description
1	PITCH WHEEL	From 0 to 12 semitones	Let’s you set how much the pitch

wheel will fully shift the pitch. Use the LFO WAVE slider (slider 14) to adjust.
2| FINE-TUNE| +/- 4 Semitones| It Lets you fine-tune the instrument as a whole. Use the LFO WAVE slider (slider 14) to adjust.
3| SLIDERS| Jump or Catch| Lets you decide whether the slider value automatically jumps to the position of the slider, or you have to move the slider past the stored value before it responds ( catch ). Use the LFO WAVE slider (slider 14) to select.
4| LOAD PREVIEW| Off/On| Let’s you turn patch preview on or off, where you can preview the stored patch before loading it. Use the LFO WAVE slider (slider 14) to turn on or off.
5| CC| In: Off/On Out: Off/On| Lets you turn on or off whether the Nymphes responds to midi CC values. Use the LFO RATE slider (slider 13) to set. Lets you turn on or off whether the Nymphes sends midi CC values. Use the LFO WAVE slider (slider 14) to set.
6| PROGRAM CHANGE| In: Off/On Out: Off/On| Lets you turn on or off whether the Nymphes responds to program change messages. Use the LFO RATE slider (slider 13) to set. Lets you turn on or off whether the Nymphes sends program change messages. Use the LFO WAVE slider (slider 14) to turn to set.

Preset List

No.| NAME| MODE| REVERB| MOD WHEEL| VELOCITY| AFTERTOUCH| LFO1 MODE| LFO2 MODE
---|---|---|---|---|---|---|---|---
A1| LONG PAD 1| POLY| LONG| PITCH LFO| X| X| LOW| LOW
A2| MOVING PAD| POLY| SMALL| WAVE| LFO1 RATE| X| HIGH| LOW
A3| SOFT PAD 1| POLY| MEDIUM| PITCH LFO| X| X| LOW| LOW
A4| LEAD| TRI| X| PITCH LFO| X| X| LOW| LOW
A5| ETHEREAL 1| POLY| LONG| SUB| X| X| LOW| LOW
A6| BASS 1| UNI A| X| PITCH LFO| X| CUT LFO + RES| LOW| LOW
A7| ETHEREAL 2| POLY| LONG| MULTIPLE| X| X| LOW| LOW
B1| PAD 1| POLY| X| LFO RATE| X| X| TRACK| LOW
B2| SOFT PAD 2| POLY| X| CUT| CUT| PITCH LFO| LOW| LOW
B3| DEEP PAD 1| TRI| MEDIUM| PITCH LFO| X| X| LOW| LOW
B4| NIL’S LEAD| POLY| X| PITCH LFO| X| X| LOW| LOW
B5| PAD 2| POLY| X| PITCH LFO| X| X| LOW| LOW
B6| SHEARING| POLY| LONG| CUT| X| X| TRACK| TRACK
B7| THIN PAD| POLY| X| RES| X| X| LOW| TRACK
C1| EPIC| TRI| LONG| PITCH LFO| X| X| LOW| LOW
C2| RADIO| POLY| MEDIUM| LFO1 WAVE| X| X| TRACK| TRACK
C3| SPACE 1| POLY| LONG| NOISE| RES| X| LOW/KEY| LOW
C4| DEEP PAD 2| POLY| LONG| X| X| X| LOW| LOW
C5| SPACE 2| POLY| MEDIUM| X| X| X| LOW| LOW
C6| ETHEREAL 3| POLY| LONG| PITCH LFO| X| X| LOW| LOW
C7| ETHEREAL 4| POLY| MEDIUM| MULTIPLE| X| X| LOW| LOW
D1| BRASS 1| POLY| SMALL| RES| X| CUT| LOW| LOW
D2| BRASS 2| POLY| SMALL| PITCH LFO| X| X| LOW| LOW
D3| BRASS 3| POLY| SMALL| PITCH LFO| X| X| LOW| LOW
D4| PIANO| POLY| SMALL| AMP D +R| VCA LVL| X| LOW| LOW
D5| ORGAN| POLY| X| CUT| X| X| LOW| LOW
D6| ELC PIANO| POLY| X| AMP D +R| X| X| LOW| LOW
D7| FLUTE| MONO| SMALL| AMP S| VCA LVL| X| LOW| LOW
E1| FAT UNISON| UNI A| X| PITCH LFO| X| CUT LFO + RES| LOW| LOW
E2| RUN ARP| DUO| X| CUT| X| X| LOW| LOW
E3| MONOPHONIC| MONO| X| AMP R| X| X| LOW| LOW
E4| SLIDE CHORD| UNI A| X| CHORD| X| X| LOW| LOW
E5| BASS 2| UNI A| X| CUT| X| X| LOW| LOW
E6| CHORD PROG| UNI B| MEDIUM| CUT + RES| X| X| LOW| LOW
E7| BASS 3| DUO| X| PITCH LFO| X| X| LOW| LOW
F1| KICK| MONO| X| VCF EG| X| X| LOW| LOW
F2| SNARE| POLY| SMALL| X| X| X| LOW| LOW
F3| TOM| POLY| X| X| X| X| LOW| LOW
F4| HAT| MONO| X| AMP D +R| X| X| LOW| LOW
F5| CLAP| POLY| SMALL| X| X| X| HIGH/KEY| HIGH/KEY
F6| STICK| POLY| X| X| X| X| HIGH| HIGH
F7| DISCO| POLY| X| X| X| X| LOW| LOW
G1| CLICKY| POLY| X| PITCH LFO| X| X| LOW| LOW
G2| PSEUDO DELAY| POLY| X| LFO RATE| X| X| LOW/KEY| LOW
G3| S+H VCF| POLY| LONG| PITCH LFO| X| X| TRACK| LOW
G4| BROKEN| POLY| X| X| X| X| TRACK| TRACK
G5| SEASIDE| MONO| X| X| X| X| LOW| LOW
G6| INITIAL (POLY)| POLY| X| PITCH LFO| VCA LVL| CUT| TRACK| LOW
G7| INITIAL (UNISON)| UNI A| X| PITCH LFO| X| CUT| LOW| LOW

CC List

Controls	CC	Value	Notes

Modwheel

| ****

1

| ****

0-127

|
| | |
| | |
Filter Control
HPF Cutoff| 3| 0-127|
LPF Cutoff| 4| 0-127
Glide| 5| 0-127|
LPF Tracking| 6| 0-127|
AMP Level| 7| 0-127
Resonance| 8| 0-127|
LPF EG Depth| 9| 0-127|
LPF Cutoff LFO Depth| 10| 0-127|
| | |
Oscillator Control
PulseWidth| 11| 0-127|
OSC Wave| 12| 0-127|
OSC Level| 13| 0-127
Sub Level| 14| 0-127|
Noise Level| 15| 0-127
LFO Pitch Depth| 16| 0-127|
EG Pitch Depth| 17| 0-127|
Detune| 18| 0-127
Chord Selector| 19| 0-127|
| | |
Envelope Control| | |
Filter EG Attack| 20| 0-127|
Filter EG Decay| 21| 0-127
Filter EG Sustain| 22| 0-127|
Filter EG Release| 23| 0-127|
AMP EG Attack| 24| 0-127
AMP EG Decay| 25| 0-127|
AMP EG Sustain| 26| 0-127
AMP EG Release| 27| 0-127|
| ****

30

| ****

0-5

| ****

POLY / UNI A / UNI B / TRI / DUO / MONO

Play MODE
| | |
LFO Control| | |
LFO 1 Rate| 31| 0-127|
LFO 1 Wave| 32| 0-127|
LFO 1 Delay| 33| 0-127
LFO 1 Fade| 34| 0-127|
LFO 1 Type| 35| 0-3| LOW / HIGH / TRACK / BPM
LFO 1 SYNC| 36| 0-1| FREE / KEY SYNC
LFO 2 Rate Depth| 37| 0-127|
LFO 2 Wave| 38| 0-127
LFO 2 Delay Depth| 39| 0-127|
LFO 2 Fade Depth| 40| 0-127|
LFO 2 TYPE| 41| 0-3| LOW / HIGH / TRACK / BPM
LFO 2 SYNC| 42| 0-1| FREE / KEY SYNC
Reverb Control

Reverb Size

| ****

44

| ****

0-127

|
---|---|---|---
Reverb Decay

Reverb Filter

| 45

46

| 0-127

0-127

|
Reverb Mix| 47| 0-127|
| | |
Mod Source Control
Mod Source Selector| 50| 0-3| LFO 2, ModWheel, Velocity, Aftertouch
Mod| | |
Mod Source OSC Wave Depth| 51| 0-127|
Mod Source OSC Level Depth

Mod Source Sub Level Depth

| 52

53

| 0-127

0-127

|
Mod Source Noise Level Depth| 54| 0-127|
Mod Source LFO Pitch Depth Depth

Mod Source PulseWidth Depth

| 55

56

| 0-127

0-127

|
Mod Source Glide Depth

Mod Source Detune Depth

| 57

58

| 0-127

0-127

|
Mod Source Chord Selector Depth| 59| 0-127|
Mod Source EG Pitch Depth Depth

Mod Source LPF Cutoff Depth

| 60

61

| 0-127

0-127

|
Mod Source Resonance Depth| 62| 0-127|
Mod Source LPF EG Depth Depth| 63| 0-127|
| | |
Sustain Pedal| 64| 0-1|
Mod Source HPF Cutoff Depth| 65| 0-127|
Mod Source LPF Tracking Depth

Mod Source LPF Cutoff LFO Depth Depth

| 66

67

| 0-127

0-127

|

Legato

| ****

68

| ****

0-1

|
| | |
Mod Source Filter EG Attack Depth

Mod Source Filter EG Decay Depth

| 69

70

| 0-127

0-127

|
Mod Source Filter EG Sustain Depth| 71| 0-127|
Mod Source Filter EG Release Depth| 72| 0-127|
Mod Source AMP EG Attack Depth| 73| 0-127|
Mod Source AMP EG Decay Depth

Mod Source AMP EG Sustain Depth

| 74

75

| 0-127

0-127

|
Mod Source AMP EG Release Depth| 76| 0-127|
Mod Source LFO 1 Rate Depth

Mod Source LFO 1 Wave Depth

| 77

78

| 0-127

0-127

|
Mod Source LFO 1 Delay Depth