AIR Hybrid 3.0 - User Guide - V1.0

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User Guide
Manual Version 1.0
Table of Contents
(Click a chapter/section to jump to it.)
Introduction................................................................................................................................. 6
System Requirements and Product Support ........................................................................... 7
Installation ................................................................................................................................... 7
®
Windows ............................................................................................................................... 7
® ®
Mac OS X ............................................................................................................................ 7
Understanding Hybrid ................................................................................................................ 8

Subtractive vs. Wavetable Synthesis .................................................................................. 8
The Hybrid Synthesizer and its "Parts" .............................................................................. 8
Hybrid's Graphical Interface ................................................................................................ 9
Setup Section ...................................................................................................................... 10
Master Section .................................................................................................................... 11
Morph Controls ................................................................................................................... 12
Morph Group Controller .................................................................................................. 14
MIDI Controller Mapping .................................................................................................... 15
2
Part Pages ................................................................................................................................. 16
Overview of Signal Flow ..................................................................................................... 17
Oscillators ............................................................................................................................ 18
Oscillators 1-2 ................................................................................................................. 19
Oscillator 3 ....................................................................................................................... 21
Filter ..................................................................................................................................... 23
Filter 1 (Main Tab) ............................................................................................................ 24
Filter 1 (Mod Tab)............................................................................................................. 26
Filter 2 (Main Tab) ............................................................................................................ 28
Amplifier Section ................................................................................................................. 29
Amplifier (Main Tab) ......................................................................................................... 30
Amplifier (Mod Tab) ......................................................................................................... 31
Envelope Sections .............................................................................................................. 33
Graphic Editing of Envelopes .......................................................................................... 34
LFO Section ......................................................................................................................... 36
LFO 1-2 ............................................................................................................................ 37
LFO 3 ............................................................................................................................... 40
Pump LFO ....................................................................................................................... 41
Sequencer Pages ..................................................................................................................... 43

Sequencer Page: Step Sequencer..................................................................................... 44
Sequencer Page: Settings .................................................................................................. 45
About the Playback Modes ................................................................................................ 47
"How-To" Instructions ........................................................................................................ 49
Linking Sequencers and Copying Settings ..................................................................... 50
3
Common Page .......................................................................................................................... 51
Common Page: Global........................................................................................................ 52
Common Page: Pitch/Voice ............................................................................................... 53
Common Page: Plug-In Settings ....................................................................................... 56
Effects Page .............................................................................................................................. 58

Effect Page: Effect Inserts ................................................................................................. 59
Effect Page: Master Effects ............................................................................................... 60
Master Effects: Chorus .................................................................................................... 61
Master Effects: Delay....................................................................................................... 62
Master Effects: Reverb .................................................................................................... 64
Presets Page ............................................................................................................................. 65

Presets Page: Controls....................................................................................................... 66
4
Appendix ................................................................................................................................... 68
Oscillator 1-2 Types ............................................................................................................ 68
Filter Types .......................................................................................................................... 70
LP: Low-Pass .................................................................................................................. 70
HP: High-Pass ................................................................................................................. 70
BP: Band-Pass ................................................................................................................ 70
HP+LP: Multi-Pole Band-Pass Combination................................................................... 71
BR: Band-Reject .............................................................................................................. 71
BR+HP/LP: Multi-Pole Band-Reject Combination .......................................................... 72
AP: Phase Shifter ............................................................................................................. 72
Low-Frequency Oscillator (LFO) Types ............................................................................ 73
Support ................................................................................................................................ 74
Trademarks and Licenses .................................................................................................. 74
5
Introduction
Hybrid is a high-definition software synthesizer that combines the warmth of legendary analog
synths with a full range of 21st century digital manipulation capabilities. The result is the best
of both worlds—a virtual instrument with a comprehensive set of precisely adjustable
parameters that can sound like a synth you remember or something no one has ever heard
before.
6
System Requirements and Product Support
For complete system requirements, compatibility information, and product registration, visit
the AIR website: airmusictech.com.
Installation
Windows®
1. Double-click the .exe installer file you downloaded.
2. Follow the on-screen instructions.
Note: Hybrid uses PACE copy protection, so it will install the PACE InterLok driver on your
system if you do not already have it. As most audio software uses PACE copy protection,
though, this is probably already installed on your system.
Mac® OS X®
1. Double-click the .pkg installer file you downloaded.
2. Follow the on-screen instructions.
7
Understanding Hybrid
Subtractive vs. Wavetable Synthesis
Hybrid's unique sound engine uses a combination of classic "subtractive" and digital
"wavetable" synthesis to give you a very wide palette of sounds.
Subtractive Synthesis:
This process of generating and shaping sound is called subtractive synthesis because it deals
mainly with removing frequencies from the highly harmonic waveforms. Subtractive synthesis
generally starts with one or more oscillators producing electronic waveforms with rich
harmonic content. Successive modules (such as filters and amplifiers) then shape this sound
by varying the harmonic content and level. Additional modules (such as Envelope Generators
and Low-Frequency Oscillators) are then used to shape and vary the sound over time (a
process known as "modulation").
Wavetable Synthesis:
Wavetable synthesis became popular with the first digitally controlled synthesizers. A
wavetable is a file that consists of 64 different single-cycle waveforms. A digital oscillator runs
through these waveforms to create complex and vivid sounds. Wavetable synthesis is usually
combined with subtractive synthesis for additional sound-shaping.
The Hybrid Synthesizer and its "Parts"

Before getting into the details, it's important to understand that Hybrid actually has two
complete synthesizer cores that work together. These cores are called "Parts" (or "Part A" and
"Part B"). You can use these Parts to create things like velocity layers, keyboard splits, or to
spread different sounds across the stereo field. The controls for Parts A and B are identical.
You can save individual Parts on the Part Presets page. Alternatively, you can save complete
"patches" (including both Parts and all other Hybrid parameters) by using the Save button at
the top right of the instrument. Both of these will be explained later in this guide.
8
Hybrid's Graphical Interface
Setup
Section
Control
Pages
Master
Section
Hybrid has a straightforward user interface that can be broken down into three sections. The
top ("Setup") and bottom ("Master") sections are always visible; the Control Pages area (in the
middle) changes depending on what you have selected.
• Setup Section: This area lets you load and save Hybrid patches as well as navigate to
any of the Control Pages. This section is described on the next page.
• Control Pages: This area shows one of the seven Control Pages where you can program
Hybrid sounds and effects. This user guide has a separate chapter for each of the pages.
• Master Section: This area has "global" controls including Master Volume and the
innovative "Morph" knobs. To learn more, see Master Section later in this chapter.
9
Setup Section
2
1 3 4 5 6
The left half of the Setup section (items 1-5 above) let you access Hybrid's seven Control
Pages. The right half is for saving and loading complete Hybrid sounds ("Patches").
1. Part A/B Page: Provides controls for all sound generating parameters of Part A or B,
such as settings for its oscillators, filters, amplifiers, envelopes, and LFOs.
2. Part A/B Seq: Provides controls for the sequencer of Part A or B. The settings include
the sequencer lanes for Note, Velocity, Control 1 and Control 2, and additional Playback
modes (such as arpeggios and MIDI phrases).
Note: Parts A and B are identical and provide the same controls on both their Part and
Sequencer pages.
3. Common Page: Provides controls for adjusting the overall pitch and voice management
across all Parts. In addition, there are global settings governing the operation of Hybrid.
4. Effects Page: Provides controls for the Part A and B insert effects as well as the master
effects applied to the whole patch.
5. Part Presets Page: Provides controls for loading and saving presets of Part A and B and
gives access to the most commonly edited synthesizer parameters.
6. Save/Load Section: This section lets you load and save sounds.
• Loading Sounds: To load a sound, click the screen to bring up a categorized list of
Hybrid sound patches. You can also use the arrow buttons to the right of the patch
name to quickly shift between sounds.
• Saving Sounds: To save a sound, click the Save button. If you wish to quickly
overwrite the file you are currently working on without changing the file name or
bringing up the file browser, you can do so by shift-clicking the Save button.
10
Master Section
1 2 3 4
The Master Section the innovative "Morph" controls (items 1-2) as Part on/off switches and a
master volume control.
1. Edit Morph Controls: The 1-4 Edit Morph buttons activate the editing and displaying of
assigned parameters of a Morph group. The Clear button deletes all assignments of the
edited Morph group. These controls are covered in detail in the next section of this guide.
2. Morph Knobs: You can assign each of these knobs to control many parameters
throughout Hybrid. These controls are covered in detail in the next section of this guide.
Note: All Morph group assignments and settings are saved and restored with the patch.
3. Part On: These buttons let you switch Parts A and B on and off. A lit button indicates the
Part is active.
4. Volume: Sets the master output volume of Hybrid.
11
Morph Controls
Hybrid has an innovative "Morph" control system that gives you easy and instant access to
many parameters throughout the synthesizer. This system lets you assign nearly any Hybrid
control (knob, fader, envelope, etc.) to a "Morph group" and then use one knob to control all of
the desired parameters simultaneously. This allows you to make very complex changes in your
Hybrid sounds by turning a single knob.
Tip: You can assign a MIDI controller, such as a modulation wheel or your keyboard's
aftertouch, to a Morph Control. See the following Morph Group Controller section to learn
how to do this.
To assign a knob or fader:

1. In the Master section, select a Morph group by clicking one of the 1-4 Edit Morph
buttons.
2. Hold Shift while you click-and-drag the control you want to assign, such as Filter Cutoff.
3. Set the control's morph range.
• To specify a morph positive in direction, Shift-drag the control, as you would to
increase its value.
• To specify a morph negative in direction, Shift-drag the control, as you would to
decrease its value.
• The indicator on your knob of a fader marks the start value of the morph. The yellow
next to a knob or fader indicates the morph range and direction.
You can make adjustments and assignments as long as you are in Edit mode.
4. When you are finished, click the 1-4 Edit Morph button to deactivate Edit mode.
Note: A Hybrid control can only be assigned to one Morph group at a time.
12
To assign a graphic control:
1. Choose a Morph group by clicking one of the 1-4 Edit Morph buttons.
2. Hold Shift while you click and drag the control you want to assign.
• With envelopes, the yellow envelope represents the values the envelope morphs to.
The blue envelope in the background represents the original envelope. Use Shift-
drag to change the yellow envelope to achieve a morph. Dragging without holding
Shift adjusts the blue envelope.
• With LFOs, Shift-click the rate cursor and drag left to increase the rate or drag right
to decrease the rate through morphing. A yellow bar represents the morph range
and direction.
3. Deactivate the Edit Morph button of the Morph group to finish editing.
Note: Graphic controls can only be assigned to one Morph group at a time.
To view or edit morph ranges:

1. Select a Morph group by clicking one of the 1-4 Edit Morph buttons.
2. Select a Control Page that contains the control that you're interested in viewing or
editing. Yellow lines appear next to all controls that are assigned to that Morph group.
3. To change the morph range:
• To change the end value, Shift-drag the control.
• To change the position of the morph range (start and end value), Shift+Alt-drag
(Windows) or Shift+Option-drag (Mac OS X) the control.
• Dragging without holding Option changes the start value of the morph range.
You can make adjustments and assignments as long as you remain in Edit mode.
4. When you are finished editing, click the 1-4 Edit Morph button to deactivate Edit mode.
13
Morph Group Controller
MIDI controllers give even better control over Hybrid's Morph groups. For example, use the
Modulation Wheel or Aftertouch from your MIDI keyboard to have immediate control over
morphs.
To assign a MIDI controller to a Morph group:

1. Select the Common page.
2. Make one of the following settings in the Morph Assign section:
• Off: Uses only the morph rotary control on the plug-in surface.
• Mod Wheel: Uses the modulation wheel to control the morph (CC# 01).
• Aftertouch: Uses channel pressure to control the morph.
• Pitch Bend: Uses pitch bend to control the morph.
• Foot Pedal: Uses the MIDI pedal to control the morph (CC# 04).
• Breath: Uses the breath controller to control the morph (CC# 02).
Note: You can also assign a continuous controller to the morph rotary controller with the MIDI
controller mapping. The difference is the settings above save with the patch and the MIDI
controller mapping saves only with the session.
14
MIDI Controller Mapping
Hybrid lets you assign standard MIDI controllers to virtually any parameter so that you can
control Velvet from a MIDI controller in real-time.
To assign a MIDI controller to a parameter:

1. Right-click (Windows or Mac OS X) or Control-click (Mac OS X) a control.
2. Do one of the following:
a. Select the desired MIDI controller from the Assign sub-menu.
b. Select Learn, and move the desired control on your MIDI controller. The parameter
is automatically assigned to that control.
To un-assign a MIDI controller:

1. Right-click (Windows or Mac OS X) or Control-click (Mac OS X) a control.
2. From the menu that appears, select Forget.
15
Part Pages
The Part A and Part B pages give detailed access to all sound-generating parameters of
Hybrid.
Note: The two pages have identical controls, so this chapter applies to both Parts.
This Page may appear overwhelming at first, but not to worry—the layout of the various
modules (such as Oscillator, Filter, Amplifier, etc.) follows Hybrid's signal flow. Signals start at
the top with the three oscillators and flow downward through the filter and finally the Amplifier.
The Filter and Amplifier modules have dedicated envelopes located to their right. Finally, there
are freely assignable Modulation envelopes and LFOs are on the left side of the page.
16
Overview of Signal Flow
Oscillator 1 Oscillator 2 Oscillator 3
Filter Filter Envelope

Envelopes
and LFOs
(user-assignable)
Amplifier Amplifier Envelope
Each Hybrid Part has three independent Oscillators along the top of each Part page. These
oscillators feed into a Filter section containing two separate filters. The output of the Filter
section is then fed into an output amplifier that controls the volume of the Part.
The Filter(s) and Amplifier have dedicated envelopes located directly to the right of each
module. These envelopes are "hard-wired" to control the Filter or Amplifier.
Finally, to the left of the Filter and Amplifier, you'll find two Mod envelopes and four LFOs that
can be assigned to control a variety of different parameters.
17
Oscillators
Oscillator Overview
The two main oscillators, Oscillators 1 and 2, offer various waveforms and provide tuning
controls calibrated in semitones and cents. Each waveform is unique in its function and sound.
The Oscillator Type drop-down menu selects the basic waveform of the oscillator, and the
Shape control provides further control over the waveform's tone color.
Oscillator 3 primarily supports Oscillator 1 and 2; it transposes in octave steps and provides
classic waveforms like sawtooth, square, and triangle as well as Sub oscillator and Noise
generator. The Sub oscillator has a square waveform and follows the pitch of Oscillator 3 but
one octave lower. The Noise generator outputs white noise. A blend of Oscillator 3 with noise
also serves as a Modulation source for the filter.
Note: Each oscillator contains two pages: Main and Mod. These pages are accessed by
clicking the corresponding buttons at the top-right of each module. Both of these pages are
described in the following pages of this section.
18
Oscillators 1-2
Oscillators 1-2 (Main Tab)

1. Oscillator Type: The drop-down menu at the
top selects the oscillator type (the basic
waveform and algorithm). The Wavetable and
1
Multi-wave options have sub-options that
can be selected by clicking the small triangle
under the display.
2. Shape: Selects the tone color of the
Oscillator. For some oscillator types, higher 2 3 4 5
settings of this control can result in radical sonic effects. A setting of 0% is neutral and
has no effect on the sound. The function of this knob varies depending on your Oscillator
Type selection:
• The pitch ratio between master and slave of a sync oscillator (Saw Sync and Squ
Sync types)
• The pitch ratio between carrier and modulator of a cross modulation oscillator (Saw
CM and Squ CM)
• The amount of detuning between the waves of a Multi-Wave oscillator
• The pulse width of a square wave (Squ PWM)
• The wave index of a wavetable oscillator (Wavetable)
Tip: For more detailed descriptions of the available waveforms, please see Appendix:
Oscillator 1-2 Type Descriptions.
3. Semi: Transposes the pitch of the oscillator up or down by semitones. The control range
is from:24 to +24 semitones (two octaves down or up). Use this feature to tune the
oscillator to an interval such as a perfect fifth (-7 or +7) for interesting tonal effects.
4. Cents: Sets the pitch of the oscillator in hundredths of a semitone. The control range is
from:50 to +50 cents. Use this control to detune an oscillator relative to the other
oscillators. Detuned oscillators animate and thicken the sound.
5. Level: Sets the volume of the oscillator.
19
Osc 1-2 (Mod Tab)
1. Oscillator Type: The drop-down menu at the
top selects the oscillator type (the basic
waveform and algorithm). The Wavetable and 1
Multi-wave options have sub-options that
can be selected by clicking the small triangle
under the graphical display.
2. Modulation Matrix: This area lets you
connect the various modulation sources (such
2
as an envelope or LFO) to the various
parameters of the oscillator (such as the Pitch or Shape knob). You can also set how
strongly you want the modulation source to affect the destination.
• Destination: Click the small triangle at the left edge of this section to select the
parameter that you would like to control (known as the "destination").
• Source: The drop-down menu in the middle determines which "source" will be used
to modulate the destination. There are many options you can choose from (any of
the envelopes or LFOs, data from the sequencer, or incoming MIDI data).
• Amount: The horizontal fader on the right determines how strongly the source
modulates the destination, from -100% to +100%. Note that setting this fader to 0%
will mean no modulation will take place.
20
Oscillator 3
Oscillator 3 (Main Tab)

The Oscillator 3 Main page provides controls for
Oscillator 3, the Sub oscillator, and the Noise
generator. Oscillator 3 features the classic 1
sawtooth, square, and triangle waveforms and can
serve as a Modulation source for Filter FM. In
general, its pitch follows that of the Part. The Sub
oscillator generates a square wave that follows the
pitch of Oscillator 3 but one octave lower. 2 3 4 5
1. Oscillator Type: Selects the wave shape of Oscillator 3.
2. Octave: Transposes the pitch of the oscillator up or down by two octaves.
3. Level: Sets the volume of Oscillator 3.
4. Sub: Sets the volume of the Sub oscillator.
5. Noise Level: Sets the volume of the Noise generator. The Noise generator provides four
different colors of noise:
• A (White Noise): Is a combination of equal amounts of all audio frequencies. In
general, white noise delivers a bright hiss with no pitch information, and can be used
to synthesize non-pitched sounds (such as drums or wind effects).
• B (Blue Noise): Is filtered white noise that is brighter, thinner and cleaner.
• C (Mod): Is white noise with amplitude modulation by Oscillator 3 for a pulsing,
grating sound.
• D (Crackle): Provides sparse noise, like a dusty vinyl record. You can use Crackle to
add a vintage character to the sound.
21
Osc 3 (Mod Tab)
This page has three destination controls for
modulating Oscillator 3, Sub oscillator, and Noise
generator. The destinations can be addressed 1
multiple times.
Note: Since Oscillator 3 always follows the Part's
pitch, it is not possible to modulation the pitch of
this oscillator.
1. Oscillator Type: The drop-down menu at the 2
top selects the oscillator.
2. Modulation Matrix: This area lets you connect the various modulation sources (such as
an envelope or LFO) to the various parameters of the oscillator (such as the Level or
Noise knobs). You can also set how strongly you want the modulation source to affect
the destination.
the envelopes or LFOs, data from the sequencer, or incoming MIDI data)
22
Filter
Hybrid's analog modeling filter block contains two independent filters. For each of these two
filters, you can choose from 23 different Filter types ranging from classic 4-pole low-pass to
completely new and unique types. The filter types are described in Appendix: Filter Types.
All Filter types include Cutoff and Resonance controls. The Saturation control adds the
characteristic grit of an overdriven filter to the sound. By default, cutoff is modulated from a
dedicated Filter envelope, located directly to the right of the filter module. The Env (Envelope)
knob adjusts the depth of this modulation.
Note: The filter module contains two separate filters that can be viewed by clicking the 1 and 2
buttons at the top-left of the page. Each of these filters has two pages: Main and Mod. These
pages are accessed by clicking the corresponding buttons at the top-right of the module. All
of these pages are described in the rest of this section.
23
Filter 1 (Main Tab)
1 2
3 4
5 6
7
1. Mode: Displays and selects the Filter mode, either DCF or VCF. DCF mode (Digitally
Controlled Filter) emulates a sharp and precise-sounding digital filter. VCF mode (Voltage
Controlled Filter) emulates the warm, analog sound of the filters in classic analog
synthesizers.
2. Type: Displays and selects the Filter type and structure. Capital letters describe the Filter
type (for example, "LP" stands for "low-pass"). The number indicates the attenuation by
number of poles (one pole equals an attenuation of 6 dB/oct). If a mode combines more
than one Filter type, they are both listed, separated by a plus (+) sign.
3. Cutoff: Adjusts the cutoff frequency of the filter. Depending on the Filter type,
frequencies above, below, or above and below the cutoff frequency are attenuated.
4. Resonance: Emphasizes the frequencies around the cutoff. With increasing values, the
tonal color changes from an open neutral sound, to a nasal sound, to a ringing tone,
caused by self-oscillation of the filter. Values above 90% usually drive the filter into self-
oscillation.
24
5. Gain: Adjusts the gain of the filter section. This can be used to compensate for
reductions in signal level due to filtering.
6. Env: Controls the cutoff modulation from the Filter envelope. Higher settings of this
control cause the filter to open wider.
7. Dist: This section adds color to the filtered sound by using the integral distortion of the
filter. There are seven distortion types, each with a distinct tonal character. The drop-
down menu lets you select the distortion type. The horizontal slider above the menu sets
the amount of filter saturation.
The sonic effects range from slight overdrive to hard-distorted sounds with
subharmonics. Higher values introduce more extreme effects. The graphic display in the
middle of the Filter section indicates the amount of saturation that is used.
Mode Description
Overdrive Creates a soft, tube-like clipping.
Distort Creates a harder, brighter clipping.
Hard Clip Creates a hard, bright, transistor-like clipping
Rectify Creates a gentle distortion, which retains the
character of the input.
Bit Crush Reduces the bit depth, creating deliberate
aliasing.
Resample Reduces the sample rate, creating deliberate

aliasing
25
Filter 1 (Mod Tab)
2 3 4
This page provides the controls for Filter FM and three sets of modulation source and
destination. Each destination can be set to Cutoff, Resonance, and FM depth.
1. Modulation Matrix: This area lets you connect the various modulation sources (such as
an envelope or LFO) to the various parameters of the filter (cutoff, resonance, or FM). You
can also set how strongly you want the modulation source to affect the destination.
26
2. Key Track: Allows for cutoff modulation by MIDI note number. The control range is from
–100% to +100%. With a low-pass filter and no key tracking applied, higher notes sound
darker as the pitch moves beyond the cutoff. When key tracking is set to +100%, the
pitch of the played MIDI note modifies the Filter cutoff in the same direction. Higher notes
increase the cutoff frequency and thus avoid tonal changes over the entire keyboard
range. Settings in between result in varying degrees of tonal change.
3. FM Mix: Blends the modulation signal between Oscillator 3 and the Noise generator. A
setting of 0% sends only Oscillator 3 to the cutoff. A setting of 100% sends only noise to
the cutoff. Use Oscillator 3 for a more regular modulation. Noise generates a random
modulation with no pitch information.
4. FM Depth: Sets the amount of Filter FM. The sonic effect depends on the modulation
signal, which is specified using the FM Mix control and the wave shape of Oscillator 3.
The amount of Filter FM can also be modulated with the filter's modulation source and
destination.
Creating a Filter FM Sound:

Modulating the cutoff at the audio rate produces Filter FM. Frequency modulation has the
reputation of being hard to use. However, if you keep the following rules in mind, this feature is
as easy to use as any other in Hybrid.
1. Filter FM is best used when the filter is self-oscillating. Therefore, please make sure
the Resonance control on the Main page is turned fully clockwise.
2. The higher the frequency of the modulating oscillator, the richer the sidebands. Use
the Octave control of Oscillator 3 to raise the pitch. Turn the levels of Oscillator 3 and the
Sub oscillator all the way down to make them inaudible.
3. Without moving the Cutoff, you will produce a static sound. Modulate the cutoff with
the Filter envelope to sweep through the sidebands.
27
Filter 2 (Main Tab)
Hybrid's second filter can be viewed by clicking 2 at the top-left of the Filter module. On the
second filter, all of the controls on the Main and Mod pages are identical to those of the first
filter, except one:
1. Routing: This drop-down menu lets you select how signals flow from one filter to the
other. The options are as follows:
Mode Description
Off Turns the second filter off.
Serial Signal flows from Filter 1 to Filter 2.
Parallel Incoming signal is fed to Filter 1 and Filter 2
simultaneously and is combined.
L/R Filter 1 is applied to the left channel;
Filter 2 is applied to right channel
Osc Oscillator 1 feeds Filter 1;
Oscillator 2 and 3 feeds Filter 2
28
Amplifier Section
The Amplifier section controls the loudness of a Part and its position in the stereo field. In
addition, it has activation buttons for the effects Inserts and knobs to control how much signal
is sent to three Master Effects.
The amplifier is hard-wired to the Amplifier envelope (located directly to the right), which
shapes the sound dynamically. "Hard-wired" means the envelope affects the amplifier always
at full intensity. Additional modulations, such as tremolo or panorama modulations from LFO,
can be selected on the Mod page.
29
Amplifier (Main Tab)
3 4
1 5
6 7 8
On its Main page, the amplifier provides the controls for level and position, the two activation
buttons for the effects Inserts, and the three sends for the master effects. The controls for Pan
key tracking and random modulation—and the three modulation sources and destinations—
are set on the Amplifier's Mod page. The Amplifier section provides the following controls:
1. Level: Controls the volume of the Part.
2. Pan: The graphic control displays and sets the output signal's position in the stereo field.
Click and drag the vertical blue line to change the position.
3. Ins 1-2: Activates and deactivates the effects inserts of the Part. Click each button to
switch the insert on or off. The insert is active when its button is lit.
4. Hype Low: Adjusts the amount of boost applied to lower-frequency sounds with an
optimal range and curve determined by Hybrid's Hype algorithm.
5. Hype High: Adjusts the amount of boost applied to higher-frequency sounds with an
optimal range and curve determined by Hybrid's Hype algorithm.
6. Chorus: Sets how much of this Part is sent to the Chorus Master Effect.
7. Delay: Sets how much of this Part is sent to the Delay Master Effect.
8. Reverb: Sets how much of this Part is sent to the Reverb Master Effect.
Tip: To learn more about effects Inserts and the Master Effects section, please refer to the
Effect Page: Master Effects section of this guide.
30
Amplifier (Mod Tab)
2 3
This page provides controls for two pre-assigned stereo field modulations, and three sets of
modulation destinations and sources.
1. Modulation Matrix: This area lets you connect the various modulation sources (like the
Sequencer or an LFO) to the volume and pan parameters of the Amplifier. You can also
set how strongly you want the modulation source to affect the destination.
31
2. Key Track Pan: Changes the Part's position in the stereo field with MIDI note number.
The control range is from –100% to +100%. The center point is in the keyboard center
(middle C) and marks the center position in the stereo field. Set a positive value to move
the sound left as you play low notes and right as you play higher notes. Specify a
negative value to move the sound right as you play low notes and left as you play higher
notes.
3. Random Pan: Use this control to offset the sound in the stereo field randomly each time
you play a note. Higher values produce greater offsets to the left and right.
Tip: Use the Pan control to reset the stereo balance after applying modulation, if necessary.
32
Envelope Sections
3 1
1. Filter Env: The Filter envelope controls the Filter module to its left. It is unipolar, meaning
it modulates in one direction only. It provides five segments: Attack, Decay1, Decay2,
Sustain, and Release. The shape of the envelope is modeled after classic analog
synthesizers with logarithmic attack and exponential decay and release. In general, it
modulates the Filter cutoff by the amount set by the envelope parameter of the Filter
section. The modulation matrix allows you to use this envelope in other areas of Hybrid.
2. Amp Env: The Amplifier envelope controls the Amplifier section to its left. The envelope is
unipolar, meaning it modulates in one direction only. It provides five segments: Attack,
Decay1, Decay2, Sustain, and Release. The shape of the envelope is modeled after
classic analog synthesizers with logarithmic attack and exponential decay and release.
The Amplifier envelope is hard-wired to the amplifier to give shape to the loudness of a
sound. However, the modulation matrix allows you to use this envelope in other areas of
Hybrid.
33
3. Mod Env 1/2: The two Modulation envelopes are located to the left of the Filter section.
By default, the Modulation envelopes are not assigned; you must use the modulation
matrix to assign these envelopes to control various parameters throughout Hybrid. To
maximize flexibility, their signals are bipolar allowing for modulations in both directions,
positive and negative. They provide six segments: Delay, Attack, Decay1, Decay2,
Sustain, and Release. The shape is linear for all segments.
Note: There are two enelopes available. You can use the 1-2 buttons at the top-right to
select which one you would like to view and edit.
Graphic Editing of Envelopes
The blue lines in the control graph illustrate times and levels of the envelope. You can click-
and-drag the points of the line to adjust the segments to your preferences.
Tip: On the Modulation envelopes, use Alt-click (Windows) or Option-click (Mac OS X) to reset
the level of a segment. Also, the last-edited envelope parameter displays in the text box of the
Envelope section. You can type in a value in the text box to adjust it numerically.
Envelopes:
1. Vel (Velocity): Modifies the amplitude of the
envelope by MIDI velocity. The control range is
from –100% to +100%. With positive values, the
loudness of a sound or the intensity of a
modulation increases the harder you hit the note.
With negative values, the loudness of a sound or
the intensity of a modulation decreases the harder
you hit the note. Use this feature to add
expressiveness to your performance.
1 2 3 4
34
2. Att Vel (Attack Velocity): Modifies the response of the attack segment by MIDI velocity.
The control range is from –100% to +100%. With positive values, the attack time
increases the harder you hit the note, so the envelope responds slower. With negative
values, the attack time decreases the harder you hit the note, so the envelope responds
faster. Use this feature to mimic the attack behavior of acoustic instruments.
3. Dec Vel (Decay Velocity): Modifies the response of the decay and release segments by
MIDI velocity. The control range is from –100% to +100%. With positive values, the
decay and release times increase the harder you hit the note, so the envelope decays
slower. With negative values, the decay and release times decrease the harder you hit the
note, so the envelope decays faster. Use this feature to mimic the decay behavior of
acoustic instruments that decay slower the harder you play them.
4. Key Track: Modifies all times of an envelope by MIDI note number. The control range is
from –100% to +100%. The center point of the key tracking is at the center of the
keyboard scale. With positive values, notes above the bias point are longer and notes
below the bias point are shorter. With negative values, notes above the bias point are
shorter and notes below the bias point are longer. Use this feature to mimic acoustic
instruments that decay faster with higher notes.
35
LFO Section
Hybrid features four LFO (Low-Frequency Oscillator) sections per Part. The LFO section is
located to the left of the Amplifier section. You can view and edit one of the four LFOs by
clicking the selector buttons at the top-right of the screen (labeled 1, 2, 3, Pump).
• LFOs 1 and 2: Are monophonic, meaning each LFO produces one modulation signal
that is distributed to all voices of a Part, which is ideal for vibrato or tremolo.
• LFO 3: Is polyphonic, meaning it produces one modulation signal per voice of a Part
resulting in a richer, more modulated sound. The speed of LFO 3 can be modulated.
• Pump: Is a special type of envelope that simulates the "pumping and breathing"
effect that is commonly heard in popular dance music. Normally, this is done by
keying the gain reduction of an overall mix bus compressor to the kick drum. In the
case of Hybrid, this rhythmic effect that can be applied to much more than the
overall mix. With Hybrid, the Pump LFO can be routed to create a rhythmic effect on
a variety of specific parameters. This is described later in this section.
Note: By default, the LFOs are not assigned to a Modulation destination. You can use all LFOs
as modulation sources on all Mod pages. All LFOs produce bipolar modulations, modulating
the destination parameter above and below its current value.
36
LFO 1-2
2 1
3 4
5 6
1. Waveform: This display shows the waveform of your LFO. You can change the rate of
the LFO by clicking and dragging the white dot at the top of the screen right or left.
Dragging the dot left increases the rate (faster modulation) whereas dragging to the right
reduces the rate (slower modulation).
Note: The Sync mode rate determines the speed in fractions of a beat or in multiples of
step sequencer steps.
2. Phase: This display describes the start point of the wave or modulation. You can click
and drag this display to adjust the start point of the LFO. The control range is from 0° to
359° plus a Random setting. Choose Random for a varying starting angle with each
restart of the LFO.
Note: The Sync parameter has to be active for this parameter to have an effect. Without
a Sync mode set, the LFO runs freely. The various sync modes let you synchronize from
your MIDI keyboard or audio software's master tempo.
3. Shape: Selects the shape of the modulation the LFO produces. Your selected waveform
is displayed in the Waveform display. Please refer to Appendix: Low-Frequency
Oscillator (LFO) Types for a detailed description of the available waveforms.
37
4. Sync: The LFOs have six different Synchronization modes to determine how rate and
phase respond to your play on the keyboard, the tempo of the song, or the internal step
sequencer. This way the modulation can be matched to an envelope sweep, the beat of
the song or a sequencer phrase.
When the Sync mode is set to Off, the LFO is freely running. Choose a mode from the
drop-down list to activate LFO synchronization and bring Sync mode and the Phase
control into effect.
Depending on the mode, the rate display switches from values in Hertz (Hz) when freely
running to values in note length or multiples of step sequencer steps when running
synchronized. The six modes work as follows:
• Off: The LFO is freely running with the frequency set by the Rate control. Values
display in units of Hertz or seconds.
• First Note: The LFO restarts when a note is played while no other notes are held.
The Rate parameter indicates values in units of Hertz or seconds. Use this method
to synchronize the modulation to an envelope sweep.
• Each Note: The LFO restarts whenever a note is played. The Rate parameter
indicates values in units of Hertz or seconds. Use this method to synchronize the
modulation to an envelope sweep.
• Step Seq: The LFO restarts with Hybrid's step sequencer. The LFO rate specifies in
multiples of step sequencer steps. Use this method to produce sweeps that match
the length of a sequencer phrase.
• Note+Tempo: The LFO rate is specified in fractions of a beat (note length) and
restarts whenever a note is played. Use it to match the modulation to the tempo of a
song with a specific note length.
• Beat+Tempo: The LFO rate is specified in fractions of a beat (note length) and
synchronizes to the bars and beats of the song while the transport is running. Use
this to match the modulation to the tempo and meter of a song.
Note: Due to its polyphonic architecture, LFO3 offers only three synchronization modes:
Each Note, Step Seq, and Note+Tempo.
38
5. Depth: Each LFO can be modulated in depth (amplitude) to allow for fade-ins and fade-
outs of a modulation from the LFO and this drop-down menu lets you select the source
of your modulation. For example, use one of the Modulation envelopes to shape the LFO
dynamically whenever you play a note. Alternatively, you can use the modulation wheel
for control over the LFO Modulation depth.
6. Amount: This slider lets you adjust the depth (or intensity) of the modulation source you
have selected. To increase the modulation, move the fader to the right. To decrease the
modulation, move the fader to the left.
39
LFO 3
The controls of LFO 3 are identical the controls of LFO 1-2, with only one exception: In
addition to depth modulation, LFO 3 allows for rate modulation. This is done through an
additional drop-down menu added to the lower-left corner of the LFO 3 page. This addition
lets you, for example, use key track as Modulation source to make the Modulation rate of LFO
3 track the keyboard.
1. Rate Modulation: This drop-down menu selects the target of your modulation source.
You can select Depth or Rate.
To assign rate modulation on LFO3:

1. Click the Rate Modulation selector and select Rate or Depth.
2. Select a modulation source from the drop-down menu in the middle.
3. Use the fader on the right to determine the amount of modulation that takes place.
• To increase the modulation, move the fader to the right.
• To decrease the modulation, move the fader to the left.
Note: The monophonic design of LFO 1 and LFO 2 does not allow for rate modulation.
Therefore, Depth is the only destination for LFO 1 and LFO 2.
40
Pump LFO
This is a unique envelope that simulates the "side-chaining" or "pumping and breathing" effect
that is commonly heard in popular dance music. Normally, this is done by keying the gain
reduction of a mix bus compressor to the kick drum. This compresses the entire mix (or a
chosen sub-group).
In the case of Hybrid, this rhythmic effect that can be applied to much more than the overall
mix. With Hybrid, the Pump LFO is a rhythmic modulation source that can be routed a variety
of specific parameters. You are not limited to affecting the overall volume of the sound—you
can affect things like pitch or filter settings.
1. Waveform: This display shows the waveform of your LFO. The blue line shows the
modulation shape, and the moving white dot represents the current position of the
modulation.
2. Speed: This drop-down menu sets the speed of the modulation. This parameter is in
musical subdivisions based on your audio application's master tempo.
41
3. Pump Controls: These knobs are used to set the shape of the LFO.
• Attack: Sets the time for the attack segment of the Pump envelope.
• Hold: Sets the hold time following the attack segment of the Pump envelope.
• Release: Sets the time for the release segment of the Pump envelope.
• Shape: Sets the shape of the envelope between the Hold and Release stages.
• Offset: Sets the amount of random variance for the start point of the Pump
envelope.
42
Sequencer Pages
Hybrid features two independent step sequencers; one for Part A and one for Part B. Step
sequencers play an important role in creating modern-sounding patches. Both offer nine
different Playback modes ranging from classic step sequences to a vast selection of
arpeggios and MIDI phrases. Depending on the mode, the step sequencers can deliver both
stepped modulation signals and musical phrases.
Note: The two Sequencers (for Part A and Part B) offer identical sets of controls. For this
reason, the following discussed controls apply to both Part A and B.
43
Sequencer Page: Step Sequencer
In the Step Sequencer section, there are four rectangular displays called "sequencer lanes."
These lanes carry note, velocity, and modulation data that the sequencer plays back. The
sequencer lanes have 16 "steps" each, and their timing is always synchronized (i.e., they
always playback together). The blue vertical bars in each line illustrate the values of a step.
When triggered, the sequencer plays through each step and synchronizes itself to your
software's tempo.
1. Step Position Indicator:

When the sequencer is 1
playing, these LEDs indicates 2
the current position within the
sequence.
3
2. Gate On/Off Switches:
These 16 buttons determine 4
whether the lanes below will
play, be muted, or be joined
to the previous step (or
steps), creating a "tied" note. 5
Active steps are illuminated.
3. Note Value: This lane sets the
MIDI note of each sequencer
step.
4. Velocity Value: This lane sets the MIDI velocity of each sequencer step.
5. Control 1/2: These two lanes are always active no matter which Playback mode you use.
They appear as Modulation Sources Seq1 and Seq2 on the Mod pages. For example,
you can select Seq1 as a modulation source for Filter cutoff.
Note: The Control 1 and 2 lanes have a Source selector and a Depth fader for
modulating the sequences' depth with MIDI controllers. The modulation signals from the
control sequences are bipolar.
44
Sequencer Page: Settings
In the Settings section of the Step Sequencer page, you can choose the Sequencer Playback
mode and adjust the playing performance. The Settings section includes the following
controls:
1. Sequencer Mode: Specifies a Sequencer

Playback mode or pattern to determine how 1 2
the step sequencer triggers the notes from
the keyboard. For more information on
3
4 5
Sequencer Playback modes please see
About the Playback Modes section of this 7
chapter.
6 8
2. Link Seq: Links the behavior of the step
sequencers of Part A and B. See Linking
Sequencers and Copying Settings later in 9
this chapter.
10
3. Copy to A / Copy to B: Applies the settings

of one step sequencer to the other. See
Linking Sequencers and Copying 11
Settings later in this chapter.
12
45
4. Sync: Specifies when the sequencer or arpeggio pattern starts and when rescans of the
keyboard happen whenever you hit a note. A rescan of the keyboard transmits the notes
you play to the step sequencer and alters the playback of the pattern, as follows:
• First Note: The pattern starts with the first note you play. Playing new notes rescans
the keyboard and alternates the pattern without restarting it.
• Each Note: The pattern starts by playing a note. Hitting new notes causes a rescan
of the keyboard and restart of the pattern.
• Beat: When you hit a note, the pattern waits for the next beat to start the pattern or
rescan the keyboard. This mode is often referred to as input quantization.
5. Latch: In Latch mode, the pattern continues playing even when you release the notes on
the keyboard. Hitting new notes causes a rescan of the pattern. The button is lit when
Latch mode is active.
Tip: With Latch deactivated, you can use the sustain pedal to temporarily put the
sequencer into Latch mode.
6. Rate: Chooses a note length to set the speed at which the pattern advances. In general,
the note length equals the length of a step.
7. Gate Length: Sets the gate length for all steps of the pattern. The full gate length of
100% equals the note length set by rate.
8. Swing: Delays every second step and plays it off-beat, creating a "swing" feel.
9. Restart: Forces the pattern to restart after the specified number of steps. The control
range is 1 to 16, or Off. The parameter is especially useful with arpeggio. For example, an
arpeggio with five notes running at a rate of 1/8th usually does not fit into a 4/4 beat; the
pattern repeats off-beat. By choosing Restart after 8 steps, it restarts every bar. By
choosing 16 steps, it restarts every second bar.
10. Octave: Sets the number of octaves over which the arpeggio plays, from 1 to 4.
Note: The Octave parameter only affects the arpeggios' Playback modes.
46
About the Playback Modes
The Step Sequencer features nine Playback modes.
These modes to determine how the sequencer
responds to MIDI input data. Depending on the
selected mode, the step sequencer can also
function as an arpeggiator or a MIDI phrase player.
Note: Each Hybrid Part has its own sequencer that
can be set independently.
• Off: The Sequencers including Control 1 and 2 are switched off. Notes can only be
triggered from a keyboard.
• Step Seq: This mode provides a classic step sequencer behavior. Incoming MIDI notes
are retriggered by the gate steps and transposed by each step of the note sequencer.
Use the gate buttons to mute steps of the sequence. This does not affect the control
sequences, which always transmit their values.
• Random Seq: This mode is similar to Step Seq mode, but the steps play randomly.
• Ctrl Seq: In this mode, only the two control sequences play. The gate, note, and velocity
sequencers do not transmit anything; they have no influence on the sound and notes
from the keyboard trigger the way you play them. To control a synthesizer parameter
through the control sequences select Seq1 or Seq2 as the modulation source within a
Part's modulation matrix.
47
• Up: This mode plays arpeggio notes in an upward direction. Notes from the keyboard
trigger repeatedly in ascending order over one or more octaves. Each note plays with its
original velocity. Note and velocity sequences do not transmit anything. Control
sequences play along with the arpeggio and reset to Step 1 whenever the arpeggio
restarts.
• Down: This mode plays arpeggio notes in a downward direction. Notes from keyboard
trigger repeatedly in descending order over one or more octaves. Notes play with their
original velocity. Note and velocity sequences do not transmit anything. Control
sequences play along with the arpeggio and reset to Step 1 whenever the arpeggio
restarts.
• Up+Down: This mode plays arpeggio notes in an upward-then-downward direction.
Notes from keyboard trigger repeatedly, first in ascending then in descending order over
one or more octaves. Each note plays with its original velocity. The note and velocity
lanes do not transmit anything. Control sequences play along with the arpeggio and reset
to Step 1 whenever the arpeggio restarts.
• As Played: This mode plays arpeggio notes as they are played or triggered, with their
original velocity. The note and velocity lanes do not transmit anything. Control sequences
play along with the arpeggio and reset to Step 1 whenever the arpeggio restarts.
• Random: This mode plays arpeggio notes in a random order with their original velocity.
The note and velocity lanes do not transmit anything. Control sequences play along with
the arpeggio. Control sequences reset to step one whenever the arpeggio restarts.
• Phrase: This mode plays whole MIDI Phrases triggered by single or multiple notes you
play. The featured phrases offer a wide range of typical playing styles in music. A note
from the keyboard transposes the phrase, and triggers additional notes according to its
style. Note and velocity sequences and control sequences do not transmit anything in
this mode.
• MIDI Phrases: MIDI phrases can be triggered to play back when playing a note on your
keyboard. Hybrid comes with over 150 factory MIDI phrases or you can load your own
short MIDI files.
48
"How-To" Instructions
To play the sequencer or arpeggiator:
1. Select a sequencer or arpeggio mode from the Mode drop-down menu in the Settings
section of the Sequencer page.
2. Play a note on the keyboard.
Note: Sequencer A is always assigned to Part A and Sequencer B is always assigned to
Part B. For your convenience, you can link the editing of the sequencers and/or copy
their settings from one Part to the other. For more information, see Linking Sequencers
and Copying Settings.
To play a MIDI phrase:

1. Select Phrase mode in the Settings section.
2. In the Phrase section, click the drop-down menu and select any of the available phrases.
3. Play a note on the keyboard.
To import a MIDI phrase:

1. Click the Import Phrase button to open the file browser of your system.
2. Choose a standard MIDI file from the file browser.
To enter sequencer data, do one of the following:

• Drag single bars up or down to increase or decrease the step values.
• Shift-click and drag the mouse horizontally over the steps you want to edit.
• Click on the step you want to edit. Then, click on the sequence's text box and type in a
value. For negative values, type a minus (-) sign before the value.
49
Linking Sequencers and Copying Settings
You can link the editing of the sequencers or copy their settings from one Part to the other.
This includes all settings and sequencer lanes. The direction for copying is always from the
source sequencer to the destination sequencer.
With link activated, the sequencer controls are linked. Any new settings on one sequencer will
be applied to the both sequencers. When unlinked, the selected sequencer can be edited
separately without affecting the other sequencer.
To link Sequencer settings:

• In the Sequencer page, click the Link Seq button to link the Sequencer settings of Part A
and B. The button is highlighted when activated.
To copy sequencer settings, do one of the following:

• From the Seq A page, click the Copy to B button.
• From the Seq B page, click the Copy to A button.
50
Common Page
Global
Pitch/Voice
Plug-In
Settings
The Common page provides additional controls that influence the overall playing behavior and
general performance of Hybrid. The Common page includes the following sections:
• Global Section: This section gives access to playing- and performance-oriented settings,
which include Morph controls, unison, pitch bend, and key split.
• Pitch/Voice Section (A and B): These sections provide additional sound settings for
Parts A and B. They affect the general tuning and pitch modulation of the Parts. You can
limit Hybrid's CPU demand with the Voice Limit parameter. The remaining settings affect
the voice, envelope trigger, and portamento settings for each Part.
• Plug-in Settings Section These settings configure the basic setup of Hybrid. These
settings save with the session, not with a patch. For example, you can adjust the Master
Tuning of the synthesizer.
Note: Global and Pitch/Voice settings are saved with a Hybrid patch. Plug-in settings are
saved with the session or through the Save Settings as Default function of Hybrid. When
settings are saved as a default, each new instance of Hybrid uses those settings as a default.
51
Common Page: Global
1 2 3 4 5 6 7
1. Unison Part A/B: Unison plays the sound monophonically with multiple voices. The
Unison Voices knob (see below) determines how many voices are used. Click either
switch to activate Unison for Part A or B.
2. Unison Voices: Specifies the number of voices in unison mode, from 2 to 8 voices.
3. Unison Detune: Thickens unison sounds by adding pitch deviation between the voices.
The control range is from 0.0 to 100.0 cents.
4. Unison Pan: Spreads the unison voices across the stereo panorama. A medium value
spreads the voices equally across the stereo panorama. A high setting plays half of the
voices hard left and half of the voices hard right.
5. Pitch Bend Range: Adjusts the pitch bend range from the MIDI pitch bend controller,
from 0 to 24 semitones. There are also two special options at the end of the knob range.
• 12Q: Bends pitch one octave up and down quantizes to the nearest semitone.
• Harm: Bends the pitch through harmonics 1, 2, 3, 4, 5, and 6 with the 3rd harmonic
in center.
6. Key Split: Sets and activates a split point by MIDI note number. Keys below the split
point play Part A, while keys above the split point play Part B. Turn the control fully
counter-clockwise to deactivate the key split.
7. Morph Assign Controls: For information on the Morph controls, see the Morph Group
Controller section of this guide.
52
Common Page: Pitch/Voice
8 13
10
14
9
16
11 12 15
8. Tuning Controls: These knobs adjust the tuning of the each voice.
• Octave: Sets the tuning of the Part in octave steps, from –2 to +2 octaves.
• Tune: Adjusts the coarse and fine tune of the Part simultaneously from –7.00 to
+7.00 semitones. This knob adjusts in semitones and cents simultaneously.
9. Envelope Trigger Mode: The envelopes of a "stolen" note can restart from zero or they
can be "picked up" just from where they are located:
• Legato: Envelopes resume from current location (slight variation in notes).
• Restart: Envelopes restart from zero (no variation among notes).
Tip: Legato mode mimics the behavior of vintage analog envelopes.
10. Voice Mode: Determines if Part has polyphonic or monophonic playback:
• Mono: Plays the Part with one voice. Depending on the Envelope Trigger mode,
overlapping notes play legato or restart.
• Poly: Plays the Part polyphonic. Voice stealing does not occur unless the played
notes exceed the maximum number of voices set by Voice Limit.
53
11. Voice Limit: Limits the maximum number of voices, from 2, 4, 8, 16, 32, and Off. When
this parameter is set to Off, Hybrid voice limits are computer-dependent. By setting a
voice limit, Hybrid's CPU demand can be tailored to suit the current session. For
example, use a setting of 2 or 4 voices for a bass sound. Voice-stealing happens more
often with a setting this low, but this is usually okay for a bass sound.
Tip: Voice Limit can be used creatively. Reduce the voice limit to a few voices and set the
Envelope Trigger Mode to Legato. Increase envelope attack and release times and play
a fast sequencer pattern. Listen how the envelopes smoothly react like envelope
followers.
12. Pitch Bend On/Off: Switches MIDI pitch bend on and off.
13. Pitch Modulation: Allows for pitch modulation of a Part so that all oscillators are
modulated at the same time, including Oscillator 3 and the Sub oscillator. To select a
modulation source, click the Mod Source selector and select a source from the drop-
down menu. To adjust the modulation depth, use the Modulation Level fader.
Tip: To apply classic vibrato to a Part, assign LFO1 or LFO2. Use the depth modulation
of the assigned LFO to control the vibrato with the modulation wheel.
14. Portamento Controls: Portamento sounds do not reach their pitch immediately; they
glide with a smooth transition from one note to another. The Time knob adjusts the time
for the pitch to glide between notes, from 0-32 seconds. This effect is commonly used for
monophonic lead sounds. You can choose from the following modes:
• Off: Portamento is off. The played notes reach their pitch immediately.
• Legato: Portamento only applies to overlapping notes (legato). Notes with a pause
in between them reach their pitch immediately. Legato notes experience a smooth
transition from one pitch to the other. The transition time specifies through the
portamento time.
• On: Portamento applies to all notes. All notes experience a smooth transition from
one pitch to another. Transition time is determined by the portamento time.
Tip: Portamento works in monophonic and polyphonic Voice mode. However, its more
popular use is with monophonic lead sounds (when Voice Mode is set to mono).
54
15. Osc Restart: Click this to restart the oscillator for that Part. When each note is played, it
will begin at the same point in its wave phase each time.
Tip: Use this on sounds and sequences that repeat quickly to ensure the attacks of each
note sound identical.
16. Doubling: Adds a detuned, phase-aligned signal to the original signal with optimal
crossfading and panning, effectively widening the signal's sound. When this button is lit,
doubling is activated for that Part. Adjust the amount of doubling with the Width knob.
55
Common Page: Plug-In Settings
17
18 19 20 21 22 23
17. Master Tune: Changes the global tuning of the synthesizer. Use the Semi and Cents
controls to correct for variations from the standard tuning of A440 Hz.
• Semi: Allows for steps in semitones from –12 to +12.
• Cents: Allows for steps in cents (hundredths of a semitone) from –100 to +100.
18. Receive Control Change: Activates or deactivates reception of MIDI continuous
controllers. When this button is lit, continuous controllers are received. When the button
is unlit, the Hybrid ignores continuous controller messages.
Tip: Control Change does not affect continuous controllers for modulation wheel, breath,
and foot pedal; these are always received as they are part of Hybrid's synthesis structure
and modulation matrix.
19. Reset Assignments: Deletes "learned" MIDI assignments and restores Hybrid to its
default factory MIDI assignment.
20. Receive Channel Pressure: Activates or deactivates the reception of aftertouch MIDI
data. When this button is lit, the plug-in receives channel after touch messages. When
the button is unlit, Hybrid ignores these.
56
21. Knob Mode: Adjusts the behavior of all Hybrid knobs. There are three modes:
• Linear: The rotary controls are adjusted by dragging the control horizontally or
vertically with the mouse.
• Circular Absolute: Knobs are adjusted by clicking the control and drawing a circle
with the mouse. The control immediately jumps to the position that you have
clicked.
• Circular Relative: Same as the Circular Absolute mode, but the control adjusts
relative to the position where you have clicked. Use this mode to avoid jumping to
values when you click the control.
Tip: For finer adjustments in Circular Absolute and Circular Relative modes, simply drag
in bigger circles with the mouse, or Control-drag-circle (Windows) or Command-drag-
circle (Mac OS X) the knob.
22. Tooltips: Activates or deactivates Tool Tips. A Tool Tip is a small window that shows
some descriptive text when you hold the cursor over a specific control.
23. Save Settings as Default: Saves all settings and the current MIDI controller mapping as
Hybrid's default. This means each time you launch a new instance of Hybrid, these
settings will be used as a default.
57
Effects Page
Part A/B
Inserts
Master
Effects
The Effects page includes two effects Inserts for each Part, and a Master Effects section that
can be used to affect both Parts.
The Inserts are connected in series (i.e., Insert 1 followed by Insert 2). They can be used to
create subtle or drastic changes to the sound of a Part. These Inserts operate after all
synthesis modules, and one Part's insert does not affect the sound othe other Part in any way.
Hybrid also has a Master Effects module that allows you to add Chorus, Delay, and/or Reverb
effects to the sound of Hybrid. Unlike the Insert effects, the Master effects section can receive
"send" signals from both Parts.
58
Effect Page: Effect Inserts
1 2 3
The Effects Inserts of Part A are located to the left of the Effects page; the Effect Inserts of
Part B are located to the right. Selecting and editing effects for these modules is exactly the
same.
1. Effect Selector: This drop-down lets you select any of the available effects for use on
your selected Part. To clear the insert of any effects, select None from this menu.
2. Sync: Certain effects have parameters that can be synchronized to the master clock of
your audio application (such as tempo or LFO rates). If the selected effect has such
parameters, this option appears at the top of the effect area. When this feature is
engaged, the light is illuminated and certain parameters display their values as fractions
of a beat. When this feature is switched off, the same parameters display their values in
seconds.
3. On: This buttons switches the effect on and off. The button is illuminated when the effect
is active.
4. Effect Area: Each effect algorithm is of varying complexity and unique in its sound and
function. For this reason, the different effects have a varying number of valid controls.
The maximum number of controls for each effect's Insert is 12. Unused controls are
grayed out.
59
Effect Page: Master Effects
Master Effects
The Master Effects section is located at the bottom of the Effects page and lets you apply
chorus, delay, and/or reverb effects to one or both of your Hybrid Parts. Unlike the Insert
Effects, these effects are shared among both Parts and are are used to shape the overall
"global" character to your Hybrid patch.
Note: You can only view one Master Effect at a time, but all three effects are active and can
be used simultaneously. Use the Chorus, Delay, and Reverb buttons at the top right of this
section to select which effect you'd like to view.
To edit Chorus, Delay, or Reverb:

1. Adjust the Part's send level in the Amplifier section of the Part page.
2. In the Master Effects section of the Effects page, click the tab of the effect you want to
edit. The set of controls in the section below changes accordingly.
3. Use the knobs to adjust the sound to your preferences.
60
Master Effects: Chorus
1 2 3 4 5 6 7
If two identical instruments play the same part, there are minor inconsistencies in performance
that result in a pleasant "chorusing" effect. The Chorus master effect simulates this sound by
modulating two delay lines and mixing them together with the original sound. This master
effect effect also includes a Flanger mode for applying tape flanging effects. Flangers use
shorter delays and add a feedback path to the delay lines to create electronic jet-like sounds.
1. Mode: Selects the basic sound character of the effect from the following options:
• Chorus: Applies a short modulated delay to give depth and space to the sound.
• Flanger: Applies a shorter modulated delay, delivering an "edgier" sound.
2. Rate: Adjusts the speed of the pitch modulation. Faster settings result in more motion
and movement in the sound.
3. Depth: Adjusts the intensity of the pitch modulation.
4. Phase: Spreads the pitch modulation across the stereo field. The control range is from 0°
to 180° and describes the phase between the left and right modulation.
5. Feedback: First adds a jet-like, then a ringing tone to the effect.
6. Wet Mix: Adjusts the amount of chorus that mixes with the original sound.
Tip: If you want a chorus on one Part only, add a chorus to one of the Part's effects
Inserts, instead of to the Master Effects section.
7. On: Activates and deactivates (bypasses) the effect.
61
Master Effects: Delay
1 2 3 4 5 6 7 8 9 10
This master effect offers classic echo effects with a twist. This effect includes the typical
parameters commonly found in delay modules, such as independent time and feedback
controls as well as high-frequency damping. In addition to these common parameters,
Hybrid's delay includes a Character knob that adjusts sound quality from digital (clean and
precise) to vintage (which approximates the sound of an analog tape delay).
1. Mode: Selects the basic layout of the feedback path for the left and right delay line.
Choose one of the following modes:
• Dual: The feedback paths of the left and right delay lines are in parallel, meaning the
left and right channels feed their outputs to their respective inputs.
• Cross: The feedback paths of the left and right delay lines are crossed, meaning the
left channel feeds its output to the input of the right channel and the right channel
feeds its output to the input of the left channel.
2. Sync: Activating this button lets you adjust delay times in fractions of a beat. If Sync is
disabled (unlit), the delay times are adjusted in seconds.
3. Time Left: Sets the elapsed time before the left channel repeats the input sound.
4. FB Left: Adjusts the feedback level of the left channel. The higher the value, the more
echoes will repeat on that channel.
5. Time Right: Sets the elapsed time before the right channel repeats the input sound.
6. FB Right: Adjusts the feedback level of the right channel. Higher the value, the more
echoes will repeat on that channel.
62
7. Hi Damp: Adjusts the high frequency loss of repeated echoes. This simulates the
regeneration loss from analog tape echoes. Use higher values for darker echoes.
8. Character: Adjusts the basic sound quality of the delay effect from digital to vintage. Use
higher values to age the sound of the delay.
9. Wet Mix: Adjust the amount of delay that mixes with the original sound.
Tip: If you want a delay on one Part only, add a delay to one of the Part's effects Inserts,
instead of to the Master Effects section.
63
Master Effects: Reverb
1 2 3 4 5 6 7 8
This master effect provides a studio quality reverb to add spaciousness to your sounds.
1. Mode: Selects one of three basic timbres or tonal qualities of the room:
• Bright: For brilliant, clear-sounding spaces.
• Natural: Produces open, natural-sounding spaces.
• Dark: With this type, high frequencies in the reverb tail decay faster.
2. Pre-Delay: This knob adjusts the time (in milliseconds) elapsing between the direct
sound and the arrival of the first reflection.
3. Time: Adjusts the reverb time (the decay of the reverb tail).
4. Size: Adjusts the dimensions of the room. Smaller values create smaller spaces.
5. Ambience: Puts the sound source deeper into the room. The effect is comparable to
bringing up the level of ambient or overhead microphones during the mix.
6. Hi Cut: Adjusts the timbre or tonal quality of the reverb tail from dark to bright.
7. Wet Mix: Adjusts the amount of reverb that mixes with the original sound.
Tip: If you want a reverb on one Part only, add a reverb to one of the Part's effects
Inserts, instead of to the Master Effects section.
64
Presets Page
This page provides controls for the management of Hybrid Parts and gives convenient access
to the most commonly edited Part parameters. Here, you can save individual Parts that you
have created. Alternatively, you can quickly create new patches simply by joining different
saved Parts and tweaking their parameters to make them work well together.
The page splits in two halves: To the left you find the preset browser and synthesizer
parameters of Part A. To the right you find an identical set of controls for Part B.
Note: The Part Presets page helps you manage presets for single Parts of a Hybrid sound. If
you'd like to save an entire patch (including both Parts and all additional settings), use the
Save/Load Controls at the top of the Setup section.
65
Presets Page: Controls
4 3
1. Folder Operations: These buttons work with the Part Browser and let you save, delete,
rename, and create new Parts and folders.
2. Part Browser: This screen lets you navigate to all of the Part Presets stored in various
folders.
3. Copy Part: This button copies the settings of the current Part into the next Part.
4. Osc: These knobs let you adjust the pitch tuning of the selected Part.
• Octave: Sets the tuning of the Part in octave steps.
• Tune: Adjusts the coarse and fine-tuning of the Part simultaneously.
66
5. Filt: These are convenient shortcuts to Filter section knobs on the Part page.
• Cutoff: Adjusts the cutoff frequency.
• Res: Adds character by emphasizing the frequencies around the cutoff.
• Env Depth: Adjusts the depth or intensity of the filter envelope's modulation.
Note: Each Hybrid Part can have up to two filters. The Cutoff, Res, and Env Depth
knobs on this page affect both filters equally.
• Attack: Sets the time for the attack segment of the Filter envelope.
• Release: Sets the time for the release segment of the Filter envelope.
6. Amp: These are convenient shortcuts to Amp section knobs on the Part page.
• Level: Adjusts the volume of the Part.
• Pan: Sets the position of the Part in the stereo panorama.
• Ins 1: Activates and deactivates the first insert effect of the Part.
• Ins 2: Activates and deactivates the second insert effect of the Part.
• Attack: Sets the time for the attack segment of the Amplifier envelope.
• Release: Sets the time for the release segment of the Amplifier envelope.
67
Appendix
Oscillator 1-2 Types
Saw Sync: Produces classic hard-sync (hard-synchronized) sounds from a sawtooth
waveform. The slave oscillator synchronizes to the pitch of the master oscillator, which means
that the wave cycle of the slave oscillator abruptly resets whenever the master oscillator
completes a full wave cycle. Only the slave oscillator is sent to the output, producing sharp
sounds when shifted up in pitch. The Shape control shifts the pitch of the slave oscillator by a
maximum of six octaves. You can use an envelope or LFO to modulate the Shape.
Saw CM: Cross-modulates (CM) the pitch of a saw wave (carrier) with the output of a triangle
wave (modulator). Only the carrier is audible. With Saw CM, the Shape control shifts the pitch
of the carrier by a maximum of six octaves, which produces sonic inter-modulation or
sidebands in the output spectrum. Try using an envelope to modulate the Shape control.
Multi-Wave: Generates a stack of seven saw or square waves that play in unison. Use the
waveform selector to choose either Saw or Squ (Square). The Shape parameter sets the
amount of detuning between the saw or square waves to animate and fatten the sound. This
parameter usually needs no modulation.
Squ Sync: Produces classic hard-sync sounds from a square waveform (slave oscillator).
"Sync" is short for synchronize. The slave oscillator synchronizes to the pitch of the master
oscillator, which means that the wave cycle of the slave oscillator abruptly resets whenever
the master oscillator completes a full wave cycle. Only the slave oscillator is sent to the
output, producing sharp sounds when shifted up in pitch. The Shape control shifts the pitch of
the slave oscillator by a maximum of six octaves. Use an envelope or LFO to modulate it.
Squ CM: Cross modulates (CM) the pitch of a square wave (carrier) with the output of a
triangle wave (modulator). Only the carrier is audible. With Squ CM, the Shape control shifts
the pitch of the carrier by a maximum of six octaves, which produces sonic inter-modulation
or sidebands in the output spectrum. Try using an envelope to modulate the Shape control.
68
Squ PWM: Produces a classic pulse-width-modulated square wave. One cycle of a square
wave consists of a high level that switches abruptly to its low level halfway through the cycle.
The Shape control lets you modulate the square wave's pulse width. This is perceived as a
pitch deviation that thickens the sound. Typically, the pulse width is modulated by an LFO.
Wavetable: Consists of 64 single-cycle waveforms with varying harmonic content. Use the
Waveform selector to select from the 100 available waveforms. The Shape control modulates
the oscillator's playback position in the wavetable, which changes the output spectra
according to the harmonic information contained in the selected waveform. The position in a
wavetable is also called a "wave index." Try using a Modulation envelope to modulate it.
Tip: In Wavetable mode (when Oscillator Type is set to Wavetable), an individual wavetable
must be selected. Choose one of the 100 wavetables from the menu.
69
Filter Types
LP: Low-Pass
LP4: Four-pole low-pass. Frequencies above the cutoff are attenuated at 24 dB/oct.
LP3: Three-pole low-pass. Frequencies above the cutoff are attenuated at 18 dB/oct.
LP2: Two-pole low-pass. Frequencies above the cutoff are attenuated at 12 dB/oct.
LP1: One-pole low-pass. Frequencies above the cutoff are attenuated at 6 dB/oct.
HP: High-Pass
HP4: Four-pole high-pass. Frequencies below the cutoff are attenuated at 24 dB/oct.
HP3: Three-pole high-pass. Frequencies below the cutoff are attenuated at 18 dB/oct.
HP2: Two-pole high-pass. Frequencies below the cutoff are attenuated at 12 dB/oct.
HP1: One-pole high-pass. Frequencies below the cutoff are attenuated at 6 dB/oct.
BP: Band-Pass
BP2: Two-pole band-pass: 6 dB/oct high-pass and 6 dB/oct low-pass in series. Frequencies
below and above the cutoff are attenuated at 6 dB/oct.
BP4: Four-pole band-pass: 12 dB/oct high-pass and 12 dB/oct low-pass in series.

Frequencies below and above the cutoff are attenuated at 12 dB/oct.
70
HP+LP: Multi-Pole Band-Pass Combination
HP2+LP1: Combination that forms a three-pole asymmetric band-pass. Frequencies below

and above the cutoff are attenuated. With a 12 dB/oct high-pass and a 6 dB/oct low-pass in
series, low frequencies are faster attenuated than high frequencies.
HP3+LP1: Combination that forms a four-pole asymmetric band-pass. Frequencies below and
above the cutoff are attenuated. With an 18 dB/oct high-pass and a 6 dB/oct low-pass in
series, low frequencies are faster attenuated than high frequencies.
HP1+LP2: Combination that forms a three-pole asymmetric band-pass. Frequencies below

and above the cutoff are attenuated. With a 6 dB/oct high-pass and a 12 dB/oct low-pass in
series, high frequencies are faster attenuated than low frequencies.
HP1+LP3: Combination that forms a four-pole asymmetric band-pass. Frequencies below and
above the cutoff are attenuated. With a 6 dB/oct high-pass and an 18 dB/oct low-pass in
series, high frequencies are faster attenuated than low frequencies.
BR: Band-Reject
BR2: Two-pole band-reject: 6 dB/oct low-pass and 6 dB/oct high-pass in parallel.

Frequencies around the cutoff are attenuated at 6 dB/oct.
BR4: Four-pole band-reject: 12 dB/oct low-pass and 12 dB/oct high-pass in parallel.

Frequencies around the cutoff are attenuated at 12 dB/oct.
71
BR+HP/LP: Multi-Pole Band-Reject Combination
BR2+LP1: Combination that forms a three-pole asymmetric band-reject. Frequencies around

and above the cutoff are attenuated. With a two-pole band-reject and a 6 dB/oct low-pass in
series, high frequencies obtain more attenuation than mid frequencies.
BR2+LP2: Combination that forms a four-pole asymmetric band-reject. Frequencies around

and above the cutoff are attenuated. With a two-pole band-reject and a 12 dB/oct low-pass in
series, high frequencies obtain more attenuation than mid frequencies.
HP1+BR2: Combination that forms a three-pole asymmetric band-reject. Frequencies below

and around the cutoff are attenuated. With a 6 dB/oct high-pass and a two-pole band-reject in
series, low frequencies obtain more attenuation than mid frequencies.
BP2+BR2: Combination that is sometimes called a four-pole tooth filter because the
frequency plot of the filter forms the shape of a tooth.
AP: Phase Shifter
AP3: Phase shifter, using three poles of the filter for phasing effects.
AP3+LP1: Phase shifter with a one-pole low-pass in series. In addition to the phasing effect,
high frequencies are attenuated at 6 dB/oct.
AP3+HP1: Phase shifter with a one-pole highpass in series. In addition to the phasing effect,
low frequencies are attenuated at 6 dB/oct.
72
Low-Frequency Oscillator (LFO) Types
Hybrid is capable of producing a several LFO wave shapes, as described below:
Sine: Smooth modulation shape curving up and down.
Triangle: Soft modulation shape ramping up and down. The turning points at the maximum
amplitude of the signal have an edge.
Sawtooth: Downward ramp modulation shape. The signal abruptly starts with an edge at
maximum positive amplitude and descends with a line forming the shape of a downward
ramp.
Square: Alternating modulation shape trilling up and down.
S&H: Randomly stepped modulation for classic sample and hold effects.
S&H Alternate: Randomly stepped modulation like sample and hold that always alternates
between high and low steps.
Random: Smooth random modulation.
Drift: Quasi-analog modulation shape that compares well to variations from electronic
components.
73
Support
For technical support, please contact us through the Support page of our website:
airmusictech.com/support.
Trademarks and Licenses

AIR Music Technology is a trademark of inMusic Brands, Inc., registered in the U.S. and other
countries.
Mac and OS X are trademarks of Apple Inc., registered in the U.S. and other countries.
Windows is a registered trademark of Microsoft Corporation in the United States and other
countries.
All other product or company names are trademarks or registered trademarks of their
respective owners.
airmusictech.com
74

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What are the different types of low-frequency oscillator (LFO) wave shapes described in the document?

What are the different types of low-frequency oscillator (LFO) wave shapes described in the document?

What are some examples of filter types described in the document?

What are some examples of filter types described in the document?



System Requirements and Product Support ........................................................................... 7

Understanding Hybrid ................................................................................................................ 8

Sequencer Pages ..................................................................................................................... 43

Effects Page .............................................................................................................................. 58

Presets Page ............................................................................................................................. 65

The Hybrid Synthesizer and its "Parts"

To assign a knob or fader:

To view or edit morph ranges:

To assign a MIDI controller to a Morph group:

To assign a MIDI controller to a parameter:

To un-assign a MIDI controller:

Oscillator 1 Oscillator 2 Oscillator 3

Filter Filter Envelope

Amplifier Amplifier Envelope

Oscillators 1-2 (Main Tab)

Oscillator 3 (Main Tab)

Resample Reduces the sample rate, creating deliberate

Creating a Filter FM Sound:

Graphic Editing of Envelopes

To assign rate modulation on LFO3:

1. Step Position Indicator:

1. Sequencer Mode: Specifies a Sequencer

3. Copy to A / Copy to B: Applies the settings

To play a MIDI phrase:

To import a MIDI phrase:

To enter sequencer data, do one of the following:

To link Sequencer settings:

To copy sequencer settings, do one of the following:

To edit Chorus, Delay, or Reverb:

BP4: Four-pole band-pass: 12 dB/oct high-pass and 12 dB/oct low-pass in series.

HP2+LP1: Combination that forms a three-pole asymmetric band-pass. Frequencies below

HP1+LP2: Combination that forms a three-pole asymmetric band-pass. Frequencies below

BR2: Two-pole band-reject: 6 dB/oct low-pass and 6 dB/oct high-pass in parallel.

BR4: Four-pole band-reject: 12 dB/oct low-pass and 12 dB/oct high-pass in parallel.

BR2+LP1: Combination that forms a three-pole asymmetric band-reject. Frequencies around

BR2+LP2: Combination that forms a four-pole asymmetric band-reject. Frequencies around

HP1+BR2: Combination that forms a three-pole asymmetric band-reject. Frequencies below

AP: Phase Shifter

Sine: Smooth modulation shape curving up and down.

Square: Alternating modulation shape trilling up and down.

Random: Smooth random modulation.

Trademarks and Licenses

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