Manual Nord Lead

Owners Manual
Software Version 2.x – English
© Clavia DMI AB 1996

The lighting flash with the arrowhead symbol within
an equilateral triangle is intended to alert the user to
CAUTION presence of uninsulated “dangerous voltage” within
RISK OF ELECTRIC SHOCK
the product’s enclosure that may be of sufficient
DO NOT OPEN magnitude to constitute a risk of electric shock to
persons.
ATTENTION: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK The exclamation point within an equilateral triangle
DO NOT REMOVE COVER (OR BACK) is intended to alert the user to the presence of impor-
NO USER SERVICABLE PARTS INSIDE. tant operating and maintenance (servicing) instruc-
REFER SERVICING TO QUALIFIED SERVICE PERSONELL tions in the literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read all the instructions and observe the graphic 6. The product should be located so that its location
symbols above before using the product. or position does not interfere with its proper venti-
2. This product must be grounded. If it should mal- lation.
function or break down, grounding provides a path 7. The product should be located away from heat
of least resistance for electronic current, to reduce sources such as radiators, heat registers, or other
the risk of electric shock. This product is equipped products that produce heat.
with a power supply cord having an equipment 8. The product should be connected to a power sup-
grounding conductor and a grounding plug. The ply only of the type described in the operating
plug must be plugged into an appropriate outlet instructions or as marked on the product.
which is properly installed and grounded in 9. The power supply cord of the product should be
accordance with all local codes and ordinances. unplugged from the outlet when left unused for a
DANGER: Improper connection of the equipment long period of time.
grounding conductor can result in a risk of electric 10. Care should be taken so that objects do not fall
shock. Do not modify the plug provided with the and liquids are not spilled into the enclosure
product. If it will not fit the outlet, have a proper through openings.
outlet installed by a qualified electrician. Do not 11. The product should be serviced by qualified serv-
use an adaptor which defeats the function of the ice personnel when:
equipment-grounding conductor. If you are in A. The power supply cord or the plug has been
doubt as to whether the product is properly damaged; or
grounded, check with a qualified serviceman or B. Objects have fallen, or liquid has been spilled
electrician. onto the product; or
3. Do not use this product near water – for example, C. The product has been exposed to rain; or
near a bathtub, washbowl, kitchen sink, in a wet D. The product does not appear to operate nor-
basement, or near a swimming pool, or the like. mally or exhibits a marked change in perform-
4. This product should be used only with a cart or ance; or
stand that is recommended by the manufacturer. E. The product has been dropped or the enclo-
5. This product, either alone or in combination with sure damaged.
an amplifier and headphones or speakers, may be 12. Do not attempt to service the product beyond that
capable of producing sound levels that could described in the user-maintenance instructions.
cause permanent hearing loss. Do not operate for All other servicing should be referred to qualified
a long period of time at a high volume level or at a service personnel.
level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should
consult an audiologist.
For the USA - for equipment with polarized line plug:
This product may be equipped with a polarized line plug (one blade wider than the other). This is a safety
feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete out-
let. Do not defeat the safety purpose of the plug.
For Canada - for equipment with polarized line plug:

CAUTION: TO PREVENT ELECTRIC SHOCK; MATCH WIDE BLADE OF PLUG TO WIDE SLOT; FULLY
INSERT.
ATTENTION: POUR EVITER LES CHOCS ELECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE
LA FICHE DANS LA BORNE CORRESPONDANCE DE LA PRISE ET POUSSER JUSQU’ AU FOND.
Table Of Contents Page 1
Table Of Contents
Introduction 5
Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Clavia on the Net . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Connections 7
Connecting a Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Basic Operations 9
Demo Play Function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Basic MIDI Settings for the Nord Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Selecting Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Using the Slots To Switch Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Layering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Replacing One Program In the Layer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Selecting Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Monophonic and Polyphonic Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Stereo/Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Pitch Stick and Modulation Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Master Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
The “Panic” button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Editing Programs 21
Changing An Existing Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Changing One Sound In A Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Getting Back To The Programmed Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Using Manual Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Customizing Manual Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Storing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Copying Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Using PCMCIA Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Programming Velocity Sensitivity 25

The Filter Velocity Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Making Any Parameter Velocity Dependent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Clearing Velocity Programming For One Knob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Clearing All Velocity Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Morphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Page 2 Table Of Contents
Percussion Kits 29
Selecting and playing a Percussion Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Editing the sounds in a Percussion Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Copying, Extracting and Importing individual Percussion sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Saving Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Sys Ex Dumps of Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using Percussion Kits in Performance Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Performances 33
What Are Performances? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Recalling A Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Editing the Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Extracting Single Sounds from a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Saving a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Exiting Performance Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
What a Performance contains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Panel Reference 37
Oscillator 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Oscillator 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Settings For Both Oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Amplifier. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
LFO 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
LFO 2/Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Modulation Envelope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Mod Wheel Destination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Poly Legato Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Portamento. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Oct Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Shift Functions 55
Accessing The Shift Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Tune (Master Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Out Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Local . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Prog/Ctrl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
MIDI Channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
MIDI 67
About the MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Using Nord Lead With a Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Bulk Dump. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Table Of Contents Page 3
About Subtractive Synthesis 73

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
The Building Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
The Oscillators and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
The Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
The Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
MIDI Implementation 89
Controller Number List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
System Exclusive Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Factory Settings 99
Factory Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Factory Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Factory Performances. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
About the Organ Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
About the Prophet-5 factory sound recreations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Restoring the Factory Programs in RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
MIDI Implementation Chart 107
Index 109
Page 4 Table Of Contents
Introduction Page 5
1. Introduction
Welcome!
We’d first like to thank you and congratulate to the purchase of a Nord Lead. You’re about to begin a
journey into the world of virtual analog synthesis. Analog because the Nord Lead mimics traditional an-
alog synthesizers in a way no one thought was possible. Virtual because the Nord Lead is actually a dig-
ital instrument, remaining true to the traditional analog concept, and still managing to go beyond it!.
But not all the magic lies in the sound creation. A major part is in the front panel, comprehensive, clearly
laid out and smooth to operate.
About This Manual

If you have some basic knowledge about programmable synthesizers, you probably won’t need this
manual much. Therefore it is arranged mainly as a reference text for those rare situation where something
isn’t as obvious as it should be.
Clavia on the Net

If you have access to the World Wide Web you can get free sounds for your NordLead on www.clavia.se.
Here you will also find all the latest information about the Nord Lead and other Claiva products.
Page 6 Introduction
Connections Page 7
2. Connections
▼ Make all connections before turning on your power amplifier!
▼ If you are using a Nord Rack together with a MIDI keyboard, connect a MIDI cable from MIDI Out on the
keyboard to MIDI In on the Nord Rack.
▼ All signal cables used with the Nord Lead must be shielded.
▼ The L/R Outputs are line level.
Midi in Midi out Pedal R out L out Headphone
Expression pedal Headphones

or footswitch
MIDI equipment (sequencer etc.) Audio equipment (mixer, PA etc)

Page 8 Connections
Connecting a Pedal
▼ If the Pedal input should be used for sustain, a regular footswitch and cable can be used.
▼ If the Pedal input should be used as a replacement for the modulation wheel, an “expression” pedal with
a “stereo cable” should be used.
Pedal R out L out Headphone
▼ For information on how to set the Nord Lead up for sustain or expression pedal, see page 17.
Basic Operations Page 9
3. Basic Operations
Demo Play Function
Before you try out the new features for yourself, you may want to listen to what can be done with the
instrument. Luckily, the Nord Lead is equipped with a built-in demo playback function! There are six
demo songs in ROM, showing the instrument’s versatility and features in different contexts. To listen to
the demo songs, proceed like this:
1. Simultaneously press the Shift and Sync (Demo) buttons.

FM AMT.
OSC 2 OSC 1 OSC 2

SYNC
Amount
Portamento DEMO OSC 1 OSC 2

Pulse width Mix
POLY
LEGATO
p o ly p h o n i c l e a d
MONO AUTO
SPECIAL SYSTEM
LFO 1
OSC 2
FM AMT
FILTER
SHIFT MORPH
The Shift and Sync buttons.
Playback starts. During playback, all knobs and buttons on the panel are disabled, except for Master Vol-
ume.
2. The demo songs are played back one after the other. If you want to move to the next or previous demo song,
press the Up or Down button in the Program section of the panel.
3. To exit demo play mode, press any other button on the panel.
Please note that some of the demo songs make use of 12 voices, and will therefore only be played back
on an expanded Nord Lead. If you use a 4-voice Nord Lead, you will not be able to select these demo
songs.
Page 10 Basic Operations
Basic MIDI Settings for the Nord Rack

If you are using the Nord Rack and controlling it from a MIDI keyboard, the Nord Rack must be set to
receive on the same MIDI channel that the keyboard transmits on. To get started, proceed as follows:
1. Set the keyboard to transmit on MIDI Channel 1.
2. Press the Program Slot A button, so that the LED above the button is lit.
Program STORE
A B C D
TUNE OUT MODE LOCAL PRG.CTRL.
3. Hold down the Shift button and press the MIDI Ch (Unison) button.
LEGATO
D UNISON MONO AUTO
TRL. MIDI CH SPECIAL SYSTEM
LFO 1 The MIDI Ch button

OSC 2
FM AMT
FILTER
Pitch bend SHIFT MORPH
The Shift button
The display will now show the MIDI Channel setting for Slot A (1 – 16 or off).
4. Use the Program Up/Down buttons to select MIDI Channel 1.

MIDI Channel 1 selected.
The Program Up/Down

buttons Program
A B C
5. Press Shift again to return to the normal play mode.

If you use Slot A when you play the Nord Rack (if you like, together with other Slots), this simple setting
should be sufficient in most situations - even when playing Layers and Performances, as described later
in this manual. For more information, see page 69.
Selecting Programs
Program are sounds that you have prepared in advance. The basic memory in the Nord Lead contains 99
Programs. 40 of these can be used for storing your own Programs, see below.
There are also four Program slots labelled A to D. The slots can be used for layering and quickly switching
between programs as described below. They are also used when the Nord Lead is played via MIDI.
1. Select a Program Slot to play by pressing one of the four buttons A to D.

When you are only playing one sound at a time, as you are now, you can select any slot.
Program STORE
This “slot” is
A B C D selected (lit
up).
Use these four but-
tons to select a
“Program slot”. TUNE OUT MODE LOCAL PRG.CTRL.
2. Use the Program Up/Down keys to select a Program for that slot.
Holding down a button scrolls the value quickly. Holding down the Shift key (the button above the Mod-
ulation wheel) while pressing the buttons makes the value change in steps of ten.
Press these buttons to increase/ If you hold down the Shift button
decrease the Program number. while you press the Up/Down keys,
the Program value will change in
steps of ten.
Program STORE
LFO 1
OSC 2
FM AMT
A B C D
FILTER
SHIFT MORPH
There are 99 Programs to select from. If you have a PCMCIA card inserted in the holder on the back (to
do this you must have the expansion card installed), you may have another 297 on this, arranged in three
banks. Dots to the right and between the numeral in the display indicate new Banks.
A single dot to the right indicates Bank 1. A single dot between the numerals
indicate Bank 2.
Dots both to the right and between the

numerals, indicate Bank 3.
Selecting Percussion Kits

In addition to the 99 Programs in the basic memory, there are 10 Percussion Kits. Each Percussion Kit
consists of eight different virtual analog percussion sounds, arranged in zones across the keyboard. The
Kits are located “above” Program number 99, and numbered “P0” to “P9”.
▼ To select a Percussion Kit for a Slot, proceed just as when selecting a regular Program: Use the Program
Up/Down buttons to scroll to the desired Percussion Kit location.
Program STORE
A B C D
Percussion Kit P0 selected.
For detailed information about how to play and edit the Percussion Kits, see page 29.
Using the Slots To Switch Programs

The four Program Slots A to D can be thought of as four independent synthesizers, each capable of play-
ing one Program or Percussion Kit. When you select one of the slots you will switch to play the Program
set for that slot.
For live performance, for example, you can set up each slot to play a different Program and quickly
switch between those four by pressing the buttons A to D.
Layering
Activating
You can play more than one Program at a time. Proceed as follows:
1. Set up the Program slots to play the Programs you want to use.
2. To activate more than one Program slot, simply press all the Program Slot buttons you want to use, at the
same time.
All those slots’ LEDs light up. The last one you pressed, is blinking. This will be the one you are editing
from the front panel, but more on this on page 21.
Program STORE Slots A and D (LEDs lit) are activated.
A B C D
Slot C (LED dark) is not activated.

Slot B (blinking) is selected. Any editing

will apply to this Program slot.
Deactivating
To turn of the layer, press a slot button that is not part of the layer, or press all the buttons that make up
the layer.
Polyphony
How many notes you can play when layering sounds depends on two things:
1. How many voices you have in your instrument (the basic four or the expanded twelve). 2. What Play
modes and Unison settings each Program uses. See page 53.
Replacing One Program In the Layer

You might want to select another Program for one of the slots in the layer:
1. Press the Program Slot button that you want to select Programs for.
Its LED will flash to indicate it is the active slot.
2. Select a new Program for that slot.

Selecting Performances
A Performance is a collection of four Programs, one for each slot. Furthermore, the Performance contains
information about which Programs should be active (layered).
In fact, a Performance also contains information about what MIDI Channels to use for each slot, and a
number of other settings, but this is described in detail on page 33. This text is only meant as a quick
introduction to playing the factory Performances.
1. If you have the rack version of the Nord Lead, make sure you transmit on MIDI Channel 1.
This is because the factory Performances are set to receive on MIDI Channel 1.
2. Enter Performance mode by holding down Shift and pressing Performance (Manual).
The display shows the latest selected Performance.
The Performances are organised in 10 Banks, named alphabetically from A to L (the letters I and K are
excluded because they’re hard to write clearly on the display). In each Bank there are 10 Performances,
for a total of 100. If you have a PCMCIA card inserted, the Banks on the card are found after the internal
(ROM) Banks and labelled in the same way, but indicated with a dot to the right of the digits in the dis-
play.
3. If you want to select another Bank (A to L), hold down Shift and press the Up and Down buttons.
4. To select a Performance in the Bank use the Up and Down buttons.

The Performance is instantly loaded and you can try it out. For a list of the factory Performances, see page
102.
Use the Up/Down buttons to change Performance (indicated by the

digit 1-9 to the right in the display).
If you hold down the Shift button,
you can change Performance Bank
(A-L) with the Up/Down buttons.
Program STORE
LFO 1
OSC 2
FM AMT
A B C D FILTER
SHIFT MORPH
5. When you are done, exit Performance mode by again holding down Shift and pressing Performance (Manual).
Monophonic and Polyphonic Operation

For each Program you can set a Play Mode (Poly, Mono, Legato). The exact nature of these modes is de-
scribed on page 53.
To make a sound fatter, you can activate Unison. This reduces polyphony. See page 53 for details.
Press this button to turn

Unison on and off. The LED Portamento
above the button indicates
that Unison is activated. POLY
LEGATO
UNISON MONO AUTO
MIDI CH SPECIAL SYSTEM
Stereo/Mono
If you are using both the Left and Right outputs, or headphones, you might want to know something
about how the sounds get positioned in the stereo image.
The complex answer is that this depends on the Out Mode settings as described on page 57. However,
the simple truth is that in the basic mode, which the Nord Lead is set to when it comes from the factory,
all Programs are in mono. In fact, there’s one exception: If a Program is set to Unison, the instrument is
switched to stereo operation.
Pitch Stick and Modulation Wheel

Pitch Stick
The Pitch Stick is used to bend the notes, just as with a pitch bend wheel on traditional instruments. The
pitch stick differs from other pitch bend devices in a couple of ways:
▼ There is no dead centre in the middle of the throw. This allows you to use the pitch stick for natural vi-
brato, pretty much like a guitarist can.
▼ The effect on pitch is logarithmic, that is, the further you move the stick away from the centre position,
the more drastic the effect will be.
To set the range of the Pitch Stick, proceed as follows:
1. Hold down the Shift button.

2. With the Shift button down, press the button labelled System.
Hold down the Shift button...
LFO 1
OSC 2
MONO AUTO FM AMT

UNISON
FILTER
SHIFT MORPH
...and press the button labelled System
(the LED above the button lights up).
3. Press the System button repeatedly until the character to the left in the display says “b” (for Bend).
4. Use the Program Up/Down buttons to the left of the display, to change the value.
The table on page 66 shows you how many semi-tones each value in the display represents.
If the Pitch Stick should be malfunctioning on startup, the display will scroll the message “PITCH BEND
ERROR.”. The Nord Lead will then work as usual, but the Pitch Stick will be disabled.
Modulation Wheel
The effect of moving the Modulation wheel can be different for each Program. You can change the func-
tion by pressing the button just above the Modulation wheel. It steps between five possibilities. A de-
scription of each can be found on page 52.
Master Tune
To tune the Nord Lead to other instruments, proceed as follows:
2. With the Shift button down, press the button labelled Tune.
Hold down the Shift button...

Program STORE
LFO 1
OSC 2
A B C D FM AMT
FILTER
SHIFT MORPH
...and press the button labelled Tune
(the LED above the button lights up).
3. Use the Program Up/Down buttons to the left of the display, to change the value.
00 is normal 440Hz tuning. Lower pitches are indicated by a dot to the right of the number and values
higher than normal pitch are indicated without a dot. The values are in cents (hundreds of a semitone).
4. Press the Shift button again.

Pedal
As shown in the picture on page 8, the Pedal input accepts either a foot switch or an expression pedal.
The procedures for setting up and using a connected foot pedal differs depending on the pedal type:
Using a Foot Switch

A connected foot switch works as a sustain pedal. Set it up as follows:
1. Hold down the Shift button, and press the “System” button.
2. Press the System button until the left digit in the display is “P”.
3. Use the Program Up/Down buttons to switch the right digit between “1” (Sustain pedal – closed when
pressed) and “2” (Sustain Pedal – open when pressed).
4. Press the Shift button again.
Using an Expression pedal

As indicated in the illustration on page 8, a regular expression pedal can be connected using a stereo ca-
ble. The connected pedal will either duplicate the Modulation wheel or independently control one of a
number of parameters. Set it up as follows:
1. Hold down the Shift button, and press the “System” button.
2. Press the System button until the left digit in the display is “P”.
3. Use the Program Up/Down buttons to switch the right digit to “E”.
This tells the Nord Lead that the connected pedal is supposed to be an expression pedal. Now it’s time
to assign a control function for the pedal:
4. While holding down the Shift button, press the Special button.
5. Press the Special button repeatedly, until the left character in the display is an “E” (for “Expression Pedal”).
6. Select a slot for which you want to set the pedal function by pressing one of the buttons A to D.
7. If you want the connected pedal to duplicate the functionality of the Modulation wheel, press the Program
Down button until the right character in the display is a dash (“–”).
Program STORE
With this setting, the expression pedal will have the same function as the Modulation wheel.
8. If you instead want to select an independent control function for the pedal, press Store.
The display will flash, showing one of the abbreviations in the table below.
9. ‘Use the Program Up/Down buttons to select one of the following control functions:
Display shows: Pedal assigned to:
LFO 1 Amount.
LFO 2 Amount.
Filter Cutoff Frequency.
FM Amount.
Oscillator 2 Pitch.
10. After you have made your choice, press Store again.
You return to the “E” display.
11. Use the Program Up/Down buttons to select a control amount value (“1” to “7”).
This value (shown to the right of the “E” in the display) determines the range of the pedal control signal.
Lower values give a smaller difference between the pedal’s “full up” and “full down” states. High values
give a big difference between the pedal’s up and down states.
12. If needed, repeat steps 5 to 10 to set pedal control function for the other slots.
13. Press Shift to exit the Special menu and return to play mode.
No matter which function is selected for the Pedal input (“E”, “1” or “2” on the System menu), the Nord
Lead will recognize Sustain and Expression pedal messages via MIDI (Controller message 64 and 11, re-
spectively). For example, it is possible to connect a regular sustain pedal to the Pedal input on the Nord
Lead, and simultaneously accept Expression pedal messages via MIDI, controlling a parameter assigned
as described above.
The “Panic” button

If notes “get stuck” or the Nord Lead behaves strangely all you need to do is hold down the Shift button
and press “Panic” (the Kbd Track button in the Filter section). This will execute an internal All Notes Off,
and reset certain parameters to normal values.
Filter
Filter type
HP 24 dB
BP
LP 24 dB
NOTCH
+LP LP 12 dB
Attack Decay Sustain Release
VELOCITY KBD TRACK
PANIC
Frequency Resonance Envelope amount
The Panic button.

Editing Programs Page 21
4. Editing Programs
Changing An Existing Program
Actually, how to change a programmed sound can be described in one sentence: “twist the knobs and
press the buttons”. It is as simple as that!
▼ For information about editing Percussion Kits, refer to page 30.
▼ Don’t be afraid to edit and overwrite the RAM Programs in the internal memory (Program 01 - 40). If later
you want to restore any of the original RAM factory programs, they are backed up as ROM Performances
as described on page 106.
Changing One Sound In A Layer

If you have layered sounds you can still edit one of the sounds from the front panel. Proceed as follows:
1. Press the Program Slot button that you want to edit.

Its LED will flash to indicate it is the active slot.
2. Use the front panel to change the sound.
Getting Back To The Programmed Sound

If you have edited a Program and want to get back to the programmed original, proceed as follows:
1. Select another Program for that slot.
2. Select the first Program again.

It will now have reverted back to the way it was when you selected it last.
Page 22 Editing Programs
Using Manual Mode
Master
level
Velocity / morph
ACTIVE
The Manual button.
SET
CLEAR
MANUAL
PERF. MODE
If you want to use the front panel to make up a sound from scratch, press the Manual button. This leaves
you with exactly the sound that the knobs and buttons on the panel indicate (just as if the Nord Lead was
an old non-programmable instrument).
When you press the Manual button, the instrument only plays one Program, layering is not possible.
Customizing Manual Mode

When you press Manual mode, the button functions (waveform select, modulation destinations etc.) will
be set to some default values, for a basic sound. However, if you would like Manual mode to be different
the next time you turn on power, proceed as follows:
1. Enter manual mode.
2. Set all button functions as you want them.
3. Press Store twice.

Editing Programs Page 23
Storing Programs
Storing is done identically regardless if you are saving an edited Program or if you are saving from Manual
mode.
Saving a Program will permanently overwrite an existing Program. Be careful so that you don’t acciden-
tally erase a Program you’d like to keep! However, there is no danger of permanently losing the Factory
Programs in RAM locations 01-40, since these are backed up as ROM Performances (see page 106).
1. Press the Store button.

The display flashes.
2. Use the Program Up/Down button to select a Program number.

You can play the now selected Program, in this mode, to decide if you want to replace it or not.
Only Program numbers up to 40 in internal memory Bank can be used for saving!. If you try to save in
higher program numbers, nothing will happen!
3. If you change your mind at this point, press the Program Slot you want to return to or press the Manual button
to return to Manual Mode.
4. If you decide to go ahead with overwriting the existing Program, press Store again.
The display stops flashing to indicate the Program has been saved.
Copying Programs
Copying Programs between memory slots is just a variation on Storing:
1. Select the Program you want to copy.
2. Press Store.
3. Use the Program Up/Down button to specify the memory location you want to copy the program to.
4. Press Store again.

Page 24 Editing Programs
Using PCMCIA Cards

If you have the eight voice expansion card installed in your Nord Lead, you can use a standard PCMCIA
computer memory card in the slot at the back of the instrument. This allows you to save another three
Banks for a total of 297 programmable memory slots and 30 programmable Percussion Kit locations, and
100 Performances (which in practice includes an additional 400 Programs). PCMCIA cards are also per-
fect for “backing up” (making safety copies of important Programs and Performances).
You can purchase Clavia cards at your Nord Lead dealer. These come with sounds for your instrument,
but can be used to store your won. Ask your dealer for the Nord Lead Sound Library Series.
If you purchase the card at a computer retailer you should ask for this: A 64 kilobyte S-RAM-based, bat-
tery-backed PCMCIA card. There are cards with larger memory capacity than 64 kByte but using one with
the Nord Lead is simply a waste of money.
Formatting of New Cards

For the Nord Lead to be able to use a new PCMCIA card, it has to be formatted. The instrument will do
this for you, if you perform the following steps:
1. Check that the card is not write protected.

This is done with a switch located directly on the card.
2. Insert the card.

The display will flash with the letters “Fo”.
3. To format the card, press Store.
Storing Programs On the Card

This is nothing different from storing into the internal memory Bank. When specifying where to store Pro-
gram, simply select one of the memory slots above “99”, as when selecting Programs from the card (see
page 11).
Storing Performances On the Card

This is described on page 35.
Before storing, make sure the card is not write protected. If it is write protected, the display will not stop
flashing when you press Store the second time, to indicate the Program hasn’t been stored.
Updating Older Cards

A number of new parameters were introduced with the Nord Lead Software version 2.x. If you have a
PCMCIA S-RAM card formatted with a previous Nord Lead software version, you need to update the card
to be able to properly save settings for the new parameters. This updating procedure will not erase or
alter any sound already on the card. Proceed as follows:
1. Check that the card is not write protected.
2. Insert the card.

The display will flash with the letters “UP”.
3. To update the card, press Store.

Programming Velocity Sensitivity Page 25
5. Programming Velocity
Sensitivity
The Filter Velocity Function
Press this button to make the Filter Envelope Amount respond to velocity.
The LED indicates that the Velocity function is activated.
VELOCITY
The quickest way to make a Program velocity sensitive, is to activate the Velocity function in the Filter
section. This makes the Filter Envelope Amount vary with striking force, to a pre-determined degree. See
page 46 for details.
Making Any Parameter Velocity Dependent

You can make any continuous parameter (those controlled with knobs) react to velocity. You can also
set the maximum and minimum boundaries for this, yourself.
Setting The Range

1. Set the parameter to the value you want it to deliver when you play with minimum force.
2. Press the Active Set button in the Velocity/Morph section.

The LED over the button will flash, indicating that the Nord Lead is in “Velocity Learn” mode.
3. Turn the knob to the value you want it to have at maximum striking force.
You can try out different settings for maximum velocity until you find the most suitable. While the Nord
Lead is in “Velocity Learn” mode, you can set ranges for as many parameters as you wish.
4. Press the Velocity/Morph button again.

Page 26 Programming Velocity Sensitivity
The Velocity/Morph LED is now lit to indicate that at least one parameter in the sound is velocity depend-
ant. What you have done now is to set the range, the span within which the parameter will change with
velocity.
If you press the Velocity/Morph button...

Velocity / morph
ACTIVE ...and move a knob from here to there...
SET
...this range will be the
one that the parameter OSC 1 OS
CLEAR varies within. SYNC
MANUAL DEMO
Pulse width
p o ly p h o n i c
PERF. MODE
5. Turn the knob back to the value you want it to have when you play with minimum force.
What you did now was moving the entire range, as described below.
Set the value you want the pa- OSC 1

Move the knob back OSC to
down 2 set the val-
rameter to have when you play SYNC
ues that should correspond to the lowest
with minimum force. velocity value.
DEMO
OSC 1 OSC 2
Pulse width Mix
p o ly p h o n i c l e a d s y n
If you have set the range as described in the previous picture,

the value you get when playing with maximum force will be this.
6. Play the Program to try out the effect.
Please note that any two values can be used when setting the range. To make a parameter value decrease
when you play with more force, i.e. have “reversed” velocity response, simply use a low value for the
“maximum force “setting and a higher value for the “minimum force” setting, when you are defining the
range.
Programming Velocity Sensitivity Page 27
Moving the Range

As explained above, step 1 to 4 sets the range of the parameter, how far it should be between the mini-
mum and maximum values.
If you then turn a knob that has been programmed for velocity sensitivity, without holding any buttons
or anything, you will adjust the minimum value only and the maximum value will move with it, accord-
ingly.
If you adjust the value for a parameter programmed for velocity control,
you move the entire velocity control range up/down:
This minimum value

will result in this
maximum value.
This minimum val-

ue will result in this
Pulse width Pulse width
maximum value.
p o ly p h o n i c p o ly p h
Clearing Velocity Programming For One Knob

1. Turn the knob to its lowest value.
2. Press the Velocity/Morph button.
3. Turn the knob a bit up and then back to its lowest value.
4. Press the Velocity/Morph button again.

The Velocity/Morph function is now cleared for the knob.
5. Turn the knob back up to any desired value.
When velocity programming is cleared for all knobs, the Velocity/Morph LED goes out.
Clearing All Velocity Programming

To clear all velocity programming, press the Clear button in the Velocity/Morph section.
Page 28 Programming Velocity Sensitivity
Morphing
Morphing is a term used to describe a continuous blend or “transfer” between two images, sounds or sim-
ilar. As described above, Nord Lead’s Velocity/Morph function is normally controlled by velocity. But you
can route the function to the modulation wheel instead which allows you to continuously fade between
two sounds – morphing!
The only thing you have to do to activate morphing for a sound that’s already set up for velocity control
is to press the Mod Wheel destination button until all the LEDS for the Mod Wheel destination go out.
Push this button... ...until none of these four

LFO 1 LEDs are lit.
OSC 2
FM AMT
FILTER
SHIFT MORPH
When the four LEDs are dark, the

fifth, printed Morph “LED” is con-
sidered lit.
However, if you are setting up a Morph sound from scratch, we recommend the following procedure:
1. Press the Mod Wheel destination button until all the LEDS for the Mod Wheel destination go out.
2. Make sure the Modulation wheel is all the way down.
3. Set up the basic Program as you want it.
4. Move the Modulation wheel all the way up.
5. Press Velocity/Morph button and adjust the knobs so that the Program sounds the way you want it at “the
other end” of the Morph.
6. Press Velocity/Morph again.
7. Play and move the Mod Wheel to try out the effect.
You can also use an Expression pedal for Morphing, see page 17.
Please note that the Velocity function in the Filter section can be used even if Morphing is active, so that
a Program can be basically Velocity sensitive even though Morphing is activated.
Percussion Kits Page 29
6. Percussion Kits
The Nord Lead Percussion Kits consist of eight different virtual analog percussion sounds, arranged in
zones across the keyboard. They allow you to incorporate percussion patterns in your music without us-
ing up more than one Nord Lead Program Slot.
Selecting and playing a Percussion Kit

1. Select the slot where you want the Percussion Kit.
You can select Percussion Kits for all four slots if you like, giving you a total of 32 different percussion
sounds available simultaneously.
2. Use the Program Up/Down buttons to scroll past Program number 99 and select one of the Percussion Kits.
There are ten Percussion Kits in ROM, located directly after the “regular” Programs and labelled “P0” to
“P9”. For example, select Percussion Kit P0.
Program STORE
A B C D
Percussion Kit P0 selected in Program Slot C.
3. Use the white keys to play the percussion sounds in the selected Kit.
There are eight different percussion sounds in each Percussion Kit, arranged in zones across the key-
board like this:
Dr
Dr
Dr
Dr
Dr
Dr
Dr
Dr
um
um
um
um
um
um
um
um
So
So
So
So
So
So
So
So
un
un
un
un
un
un
un
un
d
d
1
If you for example press the lowest keys F, G, A or B with Percussion Kit P0 selected, you will play a
snare sound. A list of the ROM Percussion Kits and their sounds is supplied in page 100.
The keys in a zone will produce different pitches, just as if you played the sound as a regular Program.
However, some percussion sounds are not programmed to respond to keyboard pitch.
Page 30 Percussion Kits
Editing the sounds in a Percussion Kit

While the white keys are used to play the percussion sounds, the black keys are used for selecting which
sound to make changes for:
Dr
Dr
Dr
Dr
Dr
Dr
Dr
Dr
u
u
m
m
So
So
So
So
So
So
So
So
u
u
nd
nd
nd
nd
nd
nd
nd
nd
1
8
If for example you want to edit the snare sound in kit P0, proceed as follows:
1. Select Percussion Kit P0 as described on the previous page.
2. Press one of the keys F#, G#, A# in the lowest octave.

The display will briefly show “-2”, indicating that percussion sound number 2 is selected for editing.
Program STORE
A B C D
3. Now you can use the knobs and buttons on the panel to edit the selected percussion sound to your liking,
just as in regular Nord Lead programs.
You can play the other sounds freely while editing the selected sound, as long as you don’t press any
other black key (since this would select another sound for editing).
There is one limitation when programming the percussion sounds: All of the sounds in a Percussion Kit
will share the same LFOs. The Nord Lead will use the LFO rate, waveform and destination settings of the
last played percussion sound.
4. When you’re satisfied with the first sound, press another black key to select another percussion sound for
editing, according to the figure above.
Edited Percussion Kits cannot be saved in the ROM Bank of the Nord Lead. To save Percussion Kits, you
can either use an optional PCMCIA S-RAM card or dump MIDI Sys Ex data to a sequencer or MIDI record-
er (see page 71).
Percussion Kits Page 31
Copying, Extracting and Importing individual

Percussion sounds
You can easily copy a percussion sound for use in another zone. This zone can be in the same Percussion
Kit or in another one. You can also “extract” the percussion sound and save it as a regular Program.
If you want to copy the percussion sound to a zone within a Percussion Kit, the destination Percussion
Kit must be on a PCMCIA S-RAM Card, since you cannot save any changes in the ROM Percussion Kits.
1. Locate the zone of the percussion sound you want to copy/extract. Hold down a black key in this zone and
press Store.
2. Scroll to the Program or Percussion Kit location to which you want to copy the percussion sound.
3. If you have selected a regular Program to save the sound in, just press Store again.
4. If you want to save the sound in a zone in a Percussion Kit, hold down a black key in the destination zone and
press Store.
You may also want to “import” a sound that is currently a regular Program, and use it as a part of a Per-
cussion Kit. Proceed as follows:
1. Select the Program and press Store.
2. Scroll to the Percussion Kit location to which you want to copy the sound.
3. Hold down a black key in the zone to which you want to copy the percussion sound, and press Store again.
Again, the destination Percussion Kit must be in one of the three Banks on a PCMCIA card.
Saving Percussion Kits

As already stated, an edited Percussion Kit cannot be saved internally in the Nord Lead. To save your
changes, you have to use a PCMCIA S-RAM card:
1. After editing the percussion sounds, press Store.

2. Use the Up and Down buttons to select a Percussion Kit location in one of the Banks on the PCMCIA card.
In each of the three Banks on the card, there are ten Percussion Kits, located above program number 99
and labelled “P0” to “P9” like in the ROM Bank. As with regular programs on the PCMCIA card, dots are
used to indicate which of the three Banks is currently selected (see page 11).
3. Press Store.
The edited Percussion Kit is saved at the selected location on the card.
Page 32 Percussion Kits
Sys Ex Dumps of Percussion Kits

You can transmit and receive Sys Ex data that contains all settings for a single Percussion Kit, just as for
a regular Program. However, there are a couple of things to note:
▼ You’ve got to initiate the dump from Program Mode, not from Performance mode!
If you make a Sys Ex dump from Performance mode, the actual parameters of the Percussion Kit will not
be included in the dump, only a reference to which Percussion Kit is used in the Performance.
▼ Before receiving a Percussion Kit data dump, you must select a Percussion Kit for the “receiving” slot.
If you attempt to receive a Percussion Kit into a slot which plays a regular Program (1-99), nothing will
happen. Likewise, you cannot receive regular Program Sys Ex data into a slot which plays a Percussion
Kit (P0-P9).
Using Percussion Kits in Performance Mode

In Performance mode, there is one big difference between regular Programs and Percussion Kits:
A Percussion Kit in a Performance is only a reference to the original!
This means that if you edit the percussion sounds in a Kit in Performance Mode, you will in fact be chang-
ing the original Percussion Kit, and all Performances that use this Percussion Kit will be affected by the
changes! If you want to use a Percussion Kit within a Performance, e.g. for use in a sequencer song, and
want to be absolutely sure that you get the right percussion sounds every time you select the Perform-
ance, proceed like this:
1. Edit a Percussion Kit as desired
2. Save it on one of the Percussion Kit locations on a PCMCIA card.
3. Make the Performance refer to this Kit location.
4. Be sure not to use this certain Percussion Kit in any other Performance or other context, to avoid editing and
changing it in any way.
Performances Page 33
7. Performances
What Are Performances?
Performances allow you to call up four Programs at a time in a live situation, or to recall complete setups
when sequencing via MIDI. The Nord Lead comes with 100 Factory Performances in ROM. Some of these
make use of two, three or four slots, while some are single-slot Performances, effectively serving as extra
ROM Patches. Please note:
▼ You can edit the selected ROM Performance as desired, but you cannot save your changes internally.
▼ To save an edited Performance, you need an expanded Nord Lead and an optional PCMCIA S-RAM card.
On a card, there is room for 100 Performances, located after the ROM Performances, and indicated with
a dot to the right of the digits in the display.
▼ You can transmit edited Performance data via MIDI Sys Ex, for storage in an external sequencer, etc.
If the Performance contains a Percussion Kit, only the reference to the Kit Location will be saved with the
Sys Ex dump! To include the parameters for the Percussion Kit, you need to make a separate Sys Ex dump
of the Percussion Kit, from Program mode (not from Performance mode).
▼ You can receive Sys Ex data for one Performance at a time into the edit buffer. If you for example use
Nord Lead multitimbrally together with a sequencer, it is often practical to place a Sys Ex Performance
data dump in the beginning of your song, to select sounds, initialize global settings, etc.
The Factory Performances include several life-like drawbar organ simulations, created using a special
“pseudo-additive” synthesis method. Some of the sounds include famous sound artifacts such as “hum”
and “click” as well as rotating speaker effects, accomplished with Nord Lead’s Morph function. Among
the Performances you can also find recreations of over 40 original factory patches from the classic vintage
synthesizer Prophet 5. Sounds and applications are described on page 102.
Later in this text follows a detailed list of what settings are contained in a Performance.
To store Performances you need an expanded Nord Lead with a PCMCIA card inserted (see page 24).
Recalling A Performance
When you recall a Performance, you replace the four current Programs in the slots A to D with the Pro-
grams in the Performance. You also recall other settings as listed in the table later in this chapter.
1. Enter Performance mode by holding down Shift and pressing Performance (Manual).
The display shows the latest selected Performance.
The Performances are organised in 10 Banks, named alphabetically from A to L (the letters I and K are
excluded because they’re hard to write clearly on the display). In each Bank there are 10 Performances,
for a total of 100. If you have a PCMCIA card inserted, the Banks on the card are found after the internal
(ROM) Banks and labelled in the same way, but indicated with a dot to the right of the digits in the dis-
play.
Page 34 Performances
2. If you want to select another Bank (A to L), hold down Shift and press the Up and Down buttons.
3. To select a Performance in the Bank use the Up and Down buttons.

The Performance is instantly loaded and you can try it out.
Use the Up/Down buttons to change Performance (indicated by the

digit 1-9 to the right in the display).
If you hold down the Shift button,
you can change Performance Bank
(A-L) with the Up/Down buttons.
Program STORE
LFO 1
OSC 2
FM AMT
A B C D FILTER
SHIFT MORPH
You can also select Performances via MIDI, see page 68.
Please note that selecting a new Performance changes a lot of parameters, including MIDI Channels and
Special modes for each Program slot. This might lead to silent sounds!
Editing the Performance

Selecting Programs
To replace a Program in a Performance, proceed as follows:
1. Hold down the desired slot button (A to D).

The displays shows which Program was used for this slot, when the Performance was created.
2. While holding down the button, select a Program for the slot, just as you would in “non-Performance” mode.
See page 11.
Hold down the desired slot button Use the Up and Down buttons to select an-
(its LED will blink, and the display other program for the Performance Slot.
will show the selected Program for
the slot).
Program STORE
A B C D

Performances Page 35
Layering and Editing

This is done just as in “non-Performance” mode. The only thing to note is that when you save the Per-
formance you save the edited Program(s) “inside” the Performance. The original Program that you used
as a basis for the Performance is not affected.
This is not true for Percussion Kits, which are only referenced in the Performances. Any editing done to
a Percussion Kit in Performance mode will affect the “original” Percussion Kit, and all references to it in
other Performances.
Shift Functions
Again, these parameters are set just as in non-performance mode. Most of these are also saved with the
Performance as indicated in the table on the next page.
Extracting Single Sounds from a Performance

The text below does not apply to Percussion Kits in Performances.
As stated earlier, the sounds used in the Slots of a Performance are not references to regular, existing Pro-
grams, but complete Program Patches “in their own right”. You will find several unique sounds in the
factory Performances, sounds that you will not find in any of the internal Program locations. You may
want to extract such a sound, for use as a single Program, or to make it part of another Performance layer.
Proceed as follows:
1. Select the Performance containing the sound you want to extract.
2. Make sure the Slot with the desired sound is selected (LED is flashing).
3. Press Store.
4. Hold down Shift and press the Perf Mode (Manual) button, to exit Performance mode.
5. Scroll to a suitable Program location (01 - 40 in the internal memory or any location on a PCMCIA card) and
press Store again.
The sound is stored as a regular Program. This can now be played as usual, or included in another Per-
formance as described on the previous page.
Saving a Performance
To be able to save edited Performances, you need an expanded Nord Lead with a PCMCIA S-RAM card
inserted.
1. Set up the Performance as desired.
2. Press the Store button.

The Program display flashes.
3. Select one of the Performance memory slots, as described above.

Page 36 Performances
4. If you change your mind at this point, press any of the Program Slot buttons.
5. If you decide to go ahead with overwriting the existing Performance, press Store again.
The display stops flashing to indicate that the Performance has been saved.
Programs in Performance Slots are actually saved complete with all parameter settings when the Perform-
ance is saved. Percussion Kits, on the other hand, are only saved as references to existing Percussion Kits.
The above point means that there is no need to store the Programs separately. As soon as you save the
Performance, all Programs that it uses are also saved, inside the Performance. This also means that if you
later change any of your Programs, from Program mode, the Programs in the Performances are not af-
fected in any way.
On the other hand, Percussion Kits need to be saved separately.
Exiting Performance Mode

1. To exit Performance mode, hold down Shift and press Performance (Manual).
Now you return to the regular Program mode. You will note that the four slots now play the four Pro-
grams that were selected before you entered Performance mode. Likewise, Layering and Shift functions
are restored to the way they were set before you entered Performance mode.
What a Performance contains

The following is a list of what a Performance contains, that is, what you actually save and recall when
you work with Performances:
For Each Program Slot

▼ The selected Program complete with parameter settings or a reference to a Percussion Kit.
▼ The MIDI Channel setting
▼ The Special settings
▼ Expression pedal assignment
▼ Aftertouch assignment
For the Entire Instrument

▼ The Layer configuration
▼ Which Program is active for editing
▼ The Pitch Bend Range setting
▼ The Out Mode setting
▼ The Unison Detune setting
Panel Reference Page 37
8. Panel Reference
Oscillator 1
Osc 1
Waveform
Waveform
This switches between on of three waveforms for Oscillator 1:
Triangle: This is a waveform with only odd and not very strong harmonics. It is suitable for flute sounds
and similar.
Sawtooth: This contains all harmonics and is the richest of the available waveforms. It is suitable for all
sorts of sounds.
Pulse: This waveform is special in that its harmonic contents can be varied continuously, by adjusting the
Pulse Width, see below. The pulse wave can also be modulated by LFO 1.
This waveform is suitable for many type of sounds, but has a more “hollow” character than the Sawtooth
wave.
For an introduction to waveforms, see page 74.

Page 38 Panel Reference
Oscillator 2
Osc 2
Waveform
–12 0 +12
–24 +24
–36 +36
–48 +48
–60 +60 NOISE
Semitones
Noise colour
0
KBD TRACK
Fine tune
Waveform
The first three waveform alternatives for Oscillator 2 are identical to those of Oscillator 1, see above. But
Oscillator 2 has one more waveform alternative:
Noise and Noise Color: With Noise selected, Oscillator 2 produces noise rather than a pitched waveform.
The exact color (frequency contents) of the noise can be adjusted with the Oscillator 2 Tune knob.
The further you turn the knob clockwise, the brighter the noise will be. All the way to the right, its fre-
quency characteristics is very close to that of white noise (where all frequencies are represented with
equal energy).
Please note that the sound of the noise is affected by the filter setting (as all other sound from the Nord
Lead). If the filter frequency is turned down, adjusting Noise color might not have the expected effect.
Semitones
This setting is used to adjust the tuning of Oscillator 2, relative to Oscillator 1. The setting is in semitone
steps. The range is from 5 octaves below Oscillator 1, to 5 octaves above Oscillator 1. However, the full
range may not be available, depending on the Oct Shift setting (see page 54).
To aid you in setting the value, the LED above the knob lights up when the tuning is in perfect octaves.
Fine Tune
This parameter is for tuning Oscillator 2, just as the Tune control is. The difference is that this parameter
operates within one semitone.
If you set the two oscillators to equal volume (see Balance below), make sure Sync is turned off, set the
two oscillators to the same Tune value, and raise or lower the Fine Tune Parameter slightly, the slight
difference in Pitch will make the sound “richer”.
▼ The LED above the Semitone knob will flash briefly when you set Fine Tune to 0.
Keyboard Track
When this parameter is activated, Oscillator 2 will have different pitches when you play different keys,
just as Oscillator 1 always does.
When this parameters is turned off, Oscillator 2 will always play the same pitch. There are mainly three
situations when this is useful:
▼ When Sync is activated (in this mode, the basic pitch of the sound is determined by Oscillator 1 anyway).
▼ When FM is used, to get inharmonic sounds with very varying timbre across the keyboard.
▼ For special effects and percussion sounds, which are supposed to sound the same all across the key-
board.
Settings For Both Oscillators
FM amount
OSC 1 OSC 2
SYNC
DEMO OSC 1 OSC 2

Pulse width Mix
FM Amount
This is classic “deep linear FM” as used in pure FM-based synthesizers. The FM function is a bit of depart
from the “analog” concept of the Nord Lead, but as you will find, it is a very useful addition.
In this FM implementation, OSC1 is being modulated by OSC 2. In FM speak, OSC 1 is the carrier and
OSC 2 is the modulator. This, means that changing the pitch of OSC2 basically does not affect the pitch
of the sound, but the timbre.
For classic FM sounds, use triangle wave on both oscillators.
Modulation of FM Amount: Please note that the amount of FM can be modulated from the Mod Env and also
controlled manually from the Modulation wheel.
Sync
When this switch is activated, Oscillator 2 is “synched” to Oscillator 1. This means that each time a period
in Oscillator 1’s waveform starts, Oscillator 2 is forced to start over with a new period, as well. See page
78 for a more in-depth explanation.
The effect of this is that if Oscillator 2’s pitch is higher than Oscillator 2, its resultant waveform will have
a pitch determined by Oscillator 1, but a timbre depending on the pitch of Oscillator 2. See page 78 for
a basic explanation.
The easiest way to try this out is probably to activate Sync, and adjust the Tune setting for Oscillator 2
while holding down a note.
When trying out Sync, make sure you listen to Osc2, since it is this that is affected by the changes!
Modulation of Oscillator 2 pitch: Please note you can modulate the pitch of Oscillator 2 in various ways: from
LFO 1, the Mod Env and from the Mod Wheel, for example. This can be used to create harmonically var-
ying timbres with a very characteristic sound.
Pulse Width
This setting only has any effect if Pulse wave is selected for either oscillator or both. It adjusts the pulse
width of the Pulse waves.
There’s only one Pulse Width setting, and it is common for both oscillators.
▼ When you turn the knob all the way to the left you get a perfect square wave which has a characteristic
“hollow” quality.
▼ When you turn the knob clockwise, the sounds gets progressively thinner. See page 77 for a general in-
troduction to pulse waves and pulse widths.
Pulse Width Modulation: Please note that the Pulse Width can be modulated by LFO 1. This creates a sweep-
ing “chorus-like” effect suitable for pads and string sounds.
Amplifier
Amplifier
Attack Decay Sustain Release Gain
The Amplifier section is used to adjust the volume of the sound.

The Amplifier Envelope consists of the Attack Decay, Sustain and Release parameters. The Amplitude En-
velope is used to give the sound it’s basic shape (soft, slow, short, long etc.) for an introduction to enve-
lopes, see page 84.
Level
Sustain
(level)
Time
Attack Decay Release
(time) (time) (time)
Key Down Key Up
Attack
This control is used to adjust how long it takes for the sound to reach full volume after a key has been
pressed. If the knob is turned fully counter-clockwise, the Attack is instantaneous. If the knob is turned
all the way to the right, it lasts many seconds.
Decay
After the attack phase is finished (and you haven’t released the key), the Decay begins. During the Decay
phase, the sound decreases in level, and continues to do so until it reaches the Sustain level (see below).
The Decay knob is used to adjust how long this should take.
Sustain
This is the level the sound will reach after the Decay phase. Once this has happened, the sound will stay
steady at this volume until the key is released.
Please note that the Sustain parameter is used to set a level, while Attack, Decay and Release all are used
to set times.
Release
This knob is used to adjust how long time it will take for the sound to decay to silence after you have
released the key.
Gain
This is used to adjust the overall Level of the Sound. This parameter is mainly used to balance one Pro-
gram against another.
Filter
Filter
Filter type
HP 24 dB
BP
LP 24 dB
NOTCH
+LP LP 12 dB
Attack Decay Sustain Release
VELOCITY KBD TRACK
PANIC
The Filter is the most important section for shaping the overall timbre of the sound. Nord Lead’s filter can
be switched between various types. It has the standard main Frequency and Resonance control. The At-
tack, Decay, Sustain and Release parameters make up the Filter Envelope. These, together with the En-
velope Amount knob, can be used to make the Filter frequency vary as the sound progresses, when you
press and hold a key.
For an introduction to filters, see page 79.
Filter Type
LP 12dB: LP stands for low-pass. A low-pass filter lets low frequencies pass and cuts out higher frequen-
cies. Exactly which frequencies get cut out is determined by the Filter Frequency setting (and various oth-
er controls, as described below).
In the 12dB low-pass mode, the filter has a gentle roll-off curve (12dB=2poles). This mode leaves more
harmonics than the 24dB variation discussed below. This type of filter has been used in various Oberhe-
im synthesizers and others.
Amplitude
Fc (Cutoff Frequency)
Frequency
LP 24 dB: This is the classic synth filter used in the Minimoog and Prophet-5, among others. It cuts out
high frequencies rather drastically (24db=4 poles).
Amplitude
Frequency
HP 24dB: HP stands for high-pass. This filter is the opposite of the lowpass filter, that is it lets the high
frequencies pass and cuts out low frequencies. The filter has a rather steep curve.
Amplitude
Frequency
BP: To select this type of filter, press the Filter Type button until both the HP and LP 24 buttons light up.
BP stands for band pass. In this mode the filter let’s frequencies in the “mid-range” band pass through,
while lower and higher frequencies are cut out. Each “slope” in this filter has a 12dB (2-pole) roll-off.
Amplitude
Frequency
Notch+LP: To select this type of filter, press the Filter Type button until both the LP 12 and LP 24 buttons
light up.
A notch (or band reject) filter can be seen as the opposite of a band pass filter. It cuts off frequencies in
a “mid-range” band, letting the frequencies below and above through. However, a plain notch filter is
not very musically useful, since it often lets too many frequencies through, resulting in a very sharp, harsh
sound. Therefore, the notch filter in Nord Lead is combined with a 12dB Lowpass filter, resulting in a filter
curve that looks like this:
Amplitude
Frequency
The audible result of this filter combination is a sound with plenty of body, some of the upper mid-range
“bite” removed but a certain amount of high frequencies still present. This type of sound could be very
useful for soft, yet clear pads, etc.
The special characteristics of the Notch+LP filter will be most obvious with low Resonance settings.
Frequency
This is the overall control for which part of the frequency spectrum the filter should operate.
▼ If you for example select the 24dB filter and turn the Frequency knob clock-wise, more and more high-
frequency material will be allowed to pass through the filter.
Amplitude
Filter Frequency
Frequency
Please note that if the Envelope Amount setting is raised from its full left position, turning the Frequency
knob might not change the sound as expected. For more information, see below.
Resonance
This control is used to further adjust the characteristics of the Filter.
▼ If you are using the 12 or 24dB low pass filter, increasing resonance will emphasize frequencies around
the set Filter Frequency, making the sound thinner. Further raising the knob will make the sound reso-
nant to a point where the filter adds a ringing quality to the sound. Exactly where in the frequency spec-
trum this “ringing” appears, depends on the Filter Frequency setting.
Amplitude
Resonance
Frequency
Filter
Frequency
▼ If you have the high-pass or LP+Notch filter selected, increasing Resonance will work pretty much as with
the LP filter.
▼ When you use the band-pass filter, adjusting the Resonance adjusts the width of the pass-band. When
you raise the Resonance, the band where frequencies are let through, will become narrower.
Envelope Amount
This is used to set to what degree the Envelope (see below) should affect the filter. The more you raise
this knob, the more drastic the effect will be.
This knob operates in addition to the Filter Frequency setting. This means that if you for example set the
Frequency knob half-ways, the filter will be already half-ways open the moment you press a key. The
envelope will then be used to open the filter further. Exactly how much further is determined by the En-
velope Amount setting.
Amplitude
Frequency
Filter Frequency Filter Envelope
Setting Amount Setting
Total Filter Frequency

Let’s take another example of the relation between Frequency and Envelope Amount: If the Filter Fre-
quency knob is already turned fully right, the Envelope Amount setting has no effect at all, since the filter
is already fully open the moment you press the key.
Attack, Decay, Sustain and Release

These are the parameters for the Filter Envelope. They are identical in functionality to the settings in the
Amplifier Envelope, described on page 40.
Velocity
When this switch is activated, the Envelope Amount varies with Velocity (how hard you play the key-
board). For this switch to have any effect, the Envelope Amount setting can’t be set to zero (full left).
Please note that more detailed velocity control can be achieved with the velocity programming function.
Kbd Track
▼ With this switch turned off, the Filter Frequency setting is constant regardless of where on the keyboard
you play.
▼ When this switch is activated, the filter frequency setting will be higher for higher notes as indicated in
the illustration below.
Amplitude
Frequency
The reason for using this switch is related to basic acoustics. If you raise the pitch of a waveform, the
harmonics naturally raise in frequency. If the filter frequency is then constant, the sound will be per-
ceived as getting muddier the higher up the keyboard you play. To avoid this effect, use KBD Track.
LFO 1
LFO 1
Waveform Destination
OSC 1+2
OSC 2
FILTER
P WIDTH
Rate Amount
LFO stands for Low Frequency Oscillator. An LFO is an oscillator producing waveforms with a certain
pitch, just like Oscillator 1 and 2. The differences are two:
▼ The LFOs produce waveforms with very low frequencies.
▼ You never hear the actual output of the LFO. Instead the output from the LFO is used for modulating,
that is controlling other functions, like for example the main oscillator frequency (vibrato) or the filter
frequency (wah-wah).
Waveform
This is used to set the shape of the output from the LFO:
Triangle: This is suitable for “normal vibrato” effects and for classic pulse width modulation.
Sawtooth: This creates a ramp which can be used for example for auto-repeats when applied to the filter.
Random: This adds random modulation to the destination. This is mainly useful for effect sounds.
Rate
This is used to set the frequency of the LFO, in other words “the speed of the vibrato”.
The rate can be controlled externally, via MIDI, see page 61.
Destination
This used to set which parameter the LFO should affect:
Osc 1+2: This routes the LFO to the frequency of both oscillators, in equal amounts. Together with the
triangle waveform this creates traditional vibrato.
Osc 2: This routes the LFO to the pitch of oscillator 2 only. This can for example be used together with
Sync (see page 39) to create a “pulsating” change in timbre.
Filter: This routes the LFO to the Filter Frequency. This can for example be used for wah-wah effects (tri-
angle wave) and for auto repeating sounds (sawtooth wave).
P Width: This routes the output of the LFO to the Pulse Width of both oscillators. For this to have any ef-
fect, pulse wave must of course be selected for at least one of the oscillators. This destination can be used
with an LFO triangle waveform to create a “chorus-like” sound, suitable for strings and pads.
Please note that this function operates relative to the Pulse Width setting. For optimal results, please
match the Pulse Width and LFO Amount settings (see below).
Amount
This is used to set to what extent the signal from the LFO should be routed to the destination.
Please note that the Amount can also be controlled from the Modulation wheel, see page 52.
LFO 2/Arpeggiator
LFO 2 / Arpeggiator
OSC 1+2 2 3
ECHO
AMP. RND OCT 1
ARP 4
ARP UP
OFF
Rate ARP DOWN Amt / Arp range
Rate
▼ For conventional LFO effects (vibrato and tremolo), this is used to set how fast the LFO should run.
▼ When “Echo” is selected (see below), the Rate setting determines the “speed”, i.e. the delay-time between
each echo. A higher Rate setting gives a faster echo (shorter delay-time).
▼ When arpeggio is selected (see below) this adjusts the speed of the arpeggio.
The LFO rate/arpeggio speed can also be controlled externally, via MIDI, see page 61.
Destination
OSC 1+2: When this is selected, LFO 2 produces a triangle wave routed to the pitch of Oscillator 1 and 2
in equal amounts – in other words, a regular vibrato.
Amp: When this is selected, LFO2 produces a triangle wave routed to the volume, for tremolo effects.
Echo: In this mode (“OSC1+2” and “Amplifier“ LEDs lit), LFO2 creates an echo-effect by using repeated
triggering with decreasing velocity (see explanation on the next page).
Arp Up: In this mode, LFO 2 works as an arpeggiator. The keys pressed on the keyboard will be played
one after the other, from top to bottom, at a speed set with the Rate button. For more details, see Arp
Range below.
Arp Down: As Arp Up but downwards.
Arp Up/Down: To get an up/down arpeggio, press the Destination button until both Arp Up and Arp Down
are lit.
Rnd Arp: In this mode (“ARP Up” and “Amp” LEDs lit), Nord Lead will create random arpeggios from the
chords you play on the keyboard. This means that the notes in the chord are played back one at a time,
but in random order and in random octaves.
Amt/Arp range
▼ When Osc 1+2 or Filter is selected for destination, this knob is used to control the amount of vibrato.
▼ When Echo is selected, this knob determines the number of echo repeats (0 – 8).
▼ When any type of arpeggio is selected, this knob is used to set the octave range of the arpeggio, as the
panel indicates. The Off position turns off the arpeggio completely.
You can select if you want the generated arpeggio notes to also be sent to MIDI Out. See page 59.
About the Echo function

It is important to understand that the Echo function is not the same as a regular audio delay! What hap-
pens when you play a note with Echo activated, is that the same note is triggered (played) again the set
number of times, with gradually decreasing velocity. This has the following consequences:
▼ If the sound you are playing is not sensitive to velocity (Filter Envelope Amount Velocity and Velocity/
Morph are both turned off) there will be no difference whatsoever between the echo repeats.
▼ On the other hand, it is fully possible to use the Velocity/Morph function to make the sound change com-
pletely with the echo repeats, making the function ideal for special effects.
▼ The echo consumes polyphony, i.e. each echo repeat “steals” one voice, just as if you had played the
repeats from the keyboard yourself.
This should not be a problem when using the echo effect with short sounds, but if you play long, sus-
tained notes with echo, you could experience notes being cut off by the echo repeats. The solution is to
lower the Amt setting (decrease the number of repeats) and possibly play shorter notes.
▼ The echo function may give unexpected results if you use another Play mode than Poly.
For example, in Mono mode, each sustaining note will be cut off by the next echo repeat and in Legato
mode, you may end up with no sound at all, since new notes will not re-trigger!
Modulation Envelope
Mod env
Destination
FM AMT.
OSC 2
Attack Decay Amount
This is a simple type of envelope only comprising Attack, Decay and Amount controls.
Level
Amount (±) Time
Attack Decay
(time) (time)
Attack
This is used to set the time it takes for the envelope to reach “full level” after you have pressed a key.
Decay
When the attack phase is over, the envelope drops back to zero level. The Decay knob is used to set how
long this should take.
There’s another difference between the way this envelope works compared to the other: It will start over
from “zero” each time you press a new key, regardless of which value it had when you released the key.
Amount
This is used to set to what degree the envelope should affect the destination. This knob is bi-polar, that
is, zero amount is in the middle (twelve o’clock). Turning it left introduces a negative envelope and turn-
ing it right gives you a positive envelope.
Destination
None: You can turn off both LEDs, to completely turn off the effect of the Modulation envelope. While
this is the same is setting Amount to its centre position, this method is simply quicker.
FM Amt: When this is selected the envelope is routed to the amount of FM modulation. Varying the
amount of FM changes the harmonic contents of the sound, so this can be used to have the timbre change
pretty much like when the Filter envelope is used to change the Filter Frequency.
Please note that this parameter operates in addition to the FM amount setting in the Oscillator section.
OSC 2: When this is selected, the envelope changes the pitch of Oscillator 2. This can be used in a number
of situations. For example:
▼ With Sync to create distinct sweeping sounds.
▼ With FM for effect type sweeps.
▼ To create “bleeps” in the beginning of a brass type of sound. Let us give a few examples:
If Attack is set to zero, and you have a positive Amount setting, Oscillator 2 pitch will decay down to nor-
mal pitch as set with the Decay knob.
Level
Time
If Amount instead is set to a negative value, the pitch will rise up to “normal”.
Level
Time
If Attack and Decay are both used and you have a positive Amount setting, the sound will start at normal
pitch when you press the key, rise and then “fall back”.
Level
Time
Mod Wheel Destination
LFO 1
OSC 2
FM AMT
FILTER
SHIFT MORPH
This is used to decide what effect moving the Modulation wheel should have.
LFO 1
When this is selected, the Mod Wheel adjusts the amount of output from LFO 1. This allows you to for
example add vibrato with the mod wheel.
Osc 2
With this selected the Modulation wheel is directly routed to Oscillator 2 pitch. This can be used for ex-
ample together with Oscillator Sync and FM to vary the timbre of the sound while playing.
FM Amt
This routes the modulation wheel to the amount of FM (see page 39).
Filter
This routes the modulation wheel directly to the filter frequency.
Please note that modulation wheel routing is in addition to the basic setting of the control it is routed to.
If you for example route the modulation wheel to the filter, and the filter is already fully open, moving
the modulation wheel has no effect.
Morph
When no LED is lit, the modulation wheel is used for morphing. See page 28.
Poly Legato Mono
The “play mode” Portamento

switch and LEDs.
POLY
LEGATO
UNISON MONO AUTO
The “play mode” switch is used for deciding exactly how your keyboard playing should be interpreted
by the synthesizer:
Poly: This mode allows you to play chords.
Legato: This makes the instrument monophonic. Furthermore, if you press a key without releasing the
previous, the pitch will change, but the envelopes will not start over. That is, there will be no new “at-
tack”.
Mono: This also makes the instrument monophonic. But if you press a key without releasing the previous,
the envelopes are still retriggered, like when you release all keys and then press a new one.
Furthermore if you press a key, hold it, press a new key and then release that, the first note is also “re-
triggered”.
Unison
The Unison switch Portamento
and LED.
POLY
LEGATO
UNISON MONO AUTO
When this is activated more than one voice will be played when you press a key. This gives you a “fatter”
sound, but at the same time reduces polyphony.
▼ If Poly mode is selected, two voices are used for each key. This allows you to play two notes at the same
time, on a basic four voice instrument, and six notes on an expanded 12-voice instrument.
▼ If Mono or Legato mode are selected, four voices are used for each key. This makes the Program mono-
phonic.
Portamento
Portamento
The Portamento
controls.
POLY
LEGATO
UNISON MONO AUTO
Portamento (Time)
This is used to set how long it takes for the pitch to slide from one pitch to the next. If you don’t want
any Portamento at all, set this knob to zero.
Auto
When this is activated (LED is lit), the pitch only slides if you play legato, that is if you play a new key
before lifting the previous.
The effect of this switch is pretty obvious when you have selected Mono or Legato “Play mode”. If, on
the other hand, Poly is selected, the Portamento effect will be slightly unpredictable if Auto is on, espe-
cially on a twelve voice synthesizer. For Poly mode, we therefore recommend you to turn Auto off.
Oct Shift
The Octave Shift buttons have two functions, Slot and Keyboard Octave Shift (explained below). To
switch between the two Octave Shift modes, simultaneously press both Octave Shift buttons and hold
them pressed until the LEDs change indication mode, as shown in this figure:
OCT SHIFT OCT SHIFT
DUMP ALL DUMP ONE DUMP ALL DUMP ONE
Slot Octave Shift (default) Keyboard Octave Shift (LEDs inverted)
Slot Octave Shift

This mode will automatically be selected each time you turn on the Nord Lead. In this mode, the Octave
Shift buttons affect the Program in the selected slot only. Notes sent to MIDI Out are not transposed. This
means that in this mode, the Nord Lead can only send MIDI Notes over a range of 4 octaves.
Keyboard Octave Shift

In this mode (LEDs inverted), the actual keyboard is affected by the Octave Shift buttons. This means that
all active slots are affected, as well as all notes sent to MIDI Out. This mode is suitable if you want to
control other MIDI instruments from the Nord Lead, since it lets you control a note range of eight octaves.
It is also the mode to use if you’re playing a Performance consisting of two or more slots, and want to be
able to Shift all slots simultaneously.
Low/high octave settings in combination with extreme Tune settings for Oscillator 2 may produce pitches
outside the hearing range.
Shift Functions Page 55
9. Shift Functions
Accessing The Shift Functions
Some functions do not have dedicated buttons, but share buttons with other functions and settings. These
are called the Shift Functions and are printed in blue on the front panel.
Selecting a Shift Function

2. Press any of the buttons labelled “Tune” to “System”.

Most of the front panel LEDS go out and the program display now shows the selected function.
Hold down the Shift button....
... and press one of these seven buttons.
A B C D UNISON MONO AUTO
TUNE OUT MODE LOCAL PRG.CTRL. MIDI CH SPECIAL SYSTEM

OCT SHIFT
LFO 1
OSC 2
FM AMT
DUMP ALL DUMP ONE FILTER

Pitch bend SHIFT MORPH
3. If the Function button you pressed is used for more than one parameter, press it repeatedly until the display
shows the desired function.
If you for example selected the “Prg.Ctrl” button, the left digit in the display switches between “P” (Pro-
gram) and “C” (Controllers) when you press it.
Press the function button to switch between the possibilities. In this picture the Program
(P) and Controller (C) functions.
Program STORE Program STORE
A B C D A B C D
TUNE OUT MODE LOCAL PRG.CTRL. TUNE OUT MODE LOCAL PRG.CTRL.
When a Function button is used for more than one param-

eter, the two digits are separated by a dot. The first digit
then indicates the parameter, and the second the value.
Page 56 Shift Functions
Shift Function Listing

The table below shows you what Shift Functions are available for each of the seven buttons and an ex-
ample of what the display might look like for each function.
TUNE OUT MODE LOCAL PRG.CTRL. MIDI CH SPECIAL SYSTEM
Master Tune Out Mode Local On/Off Prog. Change Slot MIDI LFO 1 Sync Pedal
On/Off Channel
Controllers Global MIDI LFO 2 Sync Pitch Bend

On/Off Channel Range
Arp. MIDI Out Filter Enve- Unison De-

On/Off lope Trig tune
Amplitude
Env. Trig
External Ve-
locity Morph
Aftertouch
Assignment
Exp. Pedal
Assignment
Each time you turn on Power, Local On/Off is set to On, and all the Special functions are turned off!
(However, the Special settings are saved with the Performances).
About Global and Slot Functions

▼ If the function you select can be set independently for each Program Slot (A to D), the selected Program
slot flashes. To make settings for a certain slot, select it.
▼ If the selected function is global for all slots, the selected Function button is steadily lit. Which slot is se-
lected is then of no relevance for the setting.
Setting the Value

Once a function is selected, the value is set using the Program Up/Down buttons.
Returning to the normal display

To go back to the regular functions, press the Shift button once again.
There is no need to store the Shift settings. The settings will automatically remain in memory. However,
some functions are reset to default values when you turn off power, see the description of each function
for details.
Tune (Master Tune)

This is used to tune the Nord Lead to other instruments.
“00” is normal 440Hz tuning. Lower pitches are indicated by a dot to the right of the number and values
higher than normal pitch are indicated without a dot. The values are in cents (hundreds of a semitone).
Out Mode
This function is used to set how the Outputs should be used for handling stereo and individual external
processing of sounds.
The Out mode setting is global for the entire instrument, which means all Programs share the setting
made here.
Basically there are three possibilities for how a sound appears in the outputs:
▼ The first is that a Program appears with equal level at both outputs, which is what we refer to as mono.
▼ The second option is that the voices (the keys you play) appear alternating between the left and right
outputs, which we refer to as stereo. If you play chords in stereo mode, the sound will be spread out in
the stereo image.
When Unison is activated, more than one voice will be used each time you press a key, as described on
page 54. If a Unison Program is played in stereo mode, each time you play a key you will get at least one
voice at the Right output and at least one at the Left output, which will result in a “wide” stereo sound.
▼ The third option is that when playing several Programs at the same time, some Programs can appear at
the right output only and some at the Left output only.
The Out Mode function can be set to one of four values:
Mode 1: In this mode, all sounds are mono (as described above), except if Unison is activated in which
case the instrument automatically switches to stereo. If one Unison and one non-unison Program are lay-
ered, stereo is used.
Mode 1 is not recommended when using the Nord Lead multitimbrally since one Program can be set to
Unison and another not, which might lead to a stereo image you might not expect.
Mode 2: This is a straight Mono mode. All Program always appear with equal level at both outputs.
Mode 3: This is a straight stereo mode. All Program always appear with voices alternating between out-
puts.
Mode 4: In this mode Programs assigned to slot A and C will appear at the Left output, while Program as-
signed to slot B and D will appear at the Right output. This mode can be used when it is desired to treat
two sounds differently in an external mixer, for example in multitimbral MIDI work or when layering
sounds.
Local
This is used to turn Local Control on and off.
▼ Local On is the normal Play Mode.
▼ In Local Off mode, the front panel actions and your keyboard playing are transmitted via MIDI, but are
not used to play the synthesizer directly. MIDI Input, however, works normally.
This mode is used with sequencers, when the Nord Lead is used both for recording and playing back
MIDI, and when the sequencer has a MIDI Thru function (sometimes called “Merge” or “echo-back”).
When you turn on power, the instrument is always in Local On Mode.
About Local Control and Control Change Transmission

The Local Control setting also affects the front panel.
▼ In Local Off mode the front panel controls can not be used to change the sound directly, they must be
routed via MIDI, just as the keyboard.
▼ However, if you use the Prog/Ctrl function to turn off reception and transmission of Control Change mes-
sages altogether, the front panel controls can again be used to change the sound directly, since otherwise
there would be no way to use the front panel controls at all.
Prog/Ctrl
This is used for setting how Program Change and Control Change MIDI messages should be handled,
and for turning the Arpeggio MIDI Out feature on and off.
These parameters are Global for the entire instrument, that is, the settings are valid for all Performances
and Programs.
To switch between the three different parameters, press the Prog/Ctrl button. The left character in the
display switches between “P” (Program), “C” (Control) and “A” (Arpeggio).
For the two first parameters (“P” and “C”) you use the Program Select buttons to switch between “–” and
“1”. The “–” value means that no data of that type is transmitted or received. “1” means that type of data
is both transmitted and received. The Arpeggio MIDI Out feature requires some explanation:
Arpeggio and MIDI Out

If you want to, generated arpeggios can be sent out as MIDI notes. This makes it possible to arpeggiate
chords on connected synthesizers and sound modules, and to record arpeggios in a sequencer. You ac-
tivate it using the Prg. Ctrl. menu:
1. Press the Prg/Ctrl button to select parameter.

The left character in the display switches between “P” (Program), “C” (Control) and “A” (Arpeggio).
2. Use the Program Up and Down buttons to switch between “–” and “1”.
▼ For the Program and Control parameters, the “1” setting means that the respective MIDI data is transmit-
ted and received by the Nord Lead, while the “–” setting means that it is not.
▼ For the Arpeggio parameter, the “1” setting means that generated arpeggios can be sent out as MIDI
notes. This makes it possible to arpeggiate chords on connected synthesizers and sound modules, and
to record arpeggios in a sequencer.
With the “–” setting, the chord you play on the keyboard is sent to MIDI Out, regardless of whether the
Nord Lead arpeggio is activated or not.
Be sure to turn the Arpeggio MIDI Out feature off if you are using Nord Lead in Local Off mode and/or
in a “Thru-loop” with a sequencer, other MIDI instruments etc! Under such conditions, the Arpeggio MIDI
Out feature will either prevent the instrument from sounding at all, or cause a MIDI feedback loop.
MIDI Channel
Program Slot MIDI Channel
To set the MIDI Channel that a certain Program slot receives and transmits on, proceed as follows:
1. Hold down “Shift” and press “MIDI Ch”.
2. The display shows the MIDI Channel for the active Program slot.
3. Select the Program slot you want to make settings for.

The Program slot’s LED flashes.
4. Use the Up/Down buttons to set the MIDI Channel.

If you don’t want the slot to respond to or send MIDI, set it to “Off” (display shows “oF”).
For more information on Program slots and MIDI Channels, see page 69.
Global MIDI Channel

This is the MIDI Channel used for transmitting and receiving Program Change messages for switching
between Performances. To set the Global MIDI Channel, proceed as follows:
1. Hold down “Shift” and press “MIDI Ch”.
2. Press “MIDI Ch” again.

The display now shows the Global MIDI Channel.
3. Use the Up/Down button to set the MIDI Channel.
For more information on the Global MIDI Channel, see page 69.
Special
There are five special functions that make it possible to use MIDI for functions that have previously been
reserved for users of analog modular synthesizer systems.
Accessing the Functions

1. Hold down Shift and press Special.
2. Press the Special button as many times is need to make the left digit in the display show the desired function
(“1”, “2”, “F”, “A” and “5”).
3. Select the Program Slot (A to D) that you want to make settings for.
4. Use the Program Up/Down buttons to set values (the right digit).
The Special Functions can be set up differently for each slot and each slot can use all and any of the Spe-
cial functions at the same time, if desired.
Function “1” – Synchronizing LFO 1 To MIDI Clock

For this to work you need to feed MIDI clock from a sequencer or similar into the MIDI In of the Nord
Lead and activate Play in the sequencer so that MIDI Clock is actually transmitted.
The function synchronizes LFO1’s start to the incoming MIDI Clock so that the LFO starts over at certain
intervals. Which interval to use is set with the parameter value:
Value Description
–– No external Sync
1 Restart every other bar
2 Restart every whole note
3 Restart every half note
4 Restart every quarter note
5 Restart every eighth note
6 Restart every eighth note triplet
7 Restart every sixteenth note
Please note that this only makes the LFO restart at the specified note value. In between those restarts, the
LFO runs at the rate set with the Rate knob.
Therefore, to “hard sync” the LFO to the tempo of the song when triangle or sawtooth waves are used,
set the LFO rate as close to the tempo in the sequencer as possible. On the other hand, unusual Rate val-
ues can lead to interesting rhythmic effects.
When random is selected (or when the Arpeggio is used, see below), to “hard sync”, you only need to
make sure the set rate is lower than the rate imposed via MIDI.
An Example of LFO 1 Synchronization

1. Select a Program for slot A, that plays a “stable” sound with infinite sustain, for example a “string” or “pad”
sound.
2. Lower the Filter Envelope Amount to 0.
3. Set the Filter Cutoff to “nine o’clock”.
4. In the LFO section, select a sawtooth wave, set destination to Filter and set the Amount to full value.
5. Play the keyboard.

You should hear a repeating sound.

The display should show the setting for Special function 1.
7. Press the Program Slot button A.
8. Use the Up/Down buttons to set the value to “5” (eighth notes).
9. Make sure all other Special functions are turned off for this slot.
Do this by pressing the Special button repeatedly and check that the left digit in the display is set to “–”
for all Functions except “1”.
10. Press Shift again to return to “normal mode”.
11. Set up your sequencer (or other MIDI device) to transmit MIDI clock to the Nord Lead. Set the tempo to
around 120 BPM and activate Play in the device so that MIDI clocks are actually transmitted.
12. Play the Nord Lead keyboard and adjust the Rate knob in the LFO 1 section.
Start at approximately 12 o’clock and adjust until you get eighth notes that are in sync with the sequencer.
If you raise the Rate slightly from this position you’ll get a shuffle 16th note repeat, etc.
Function “2” – Synchronizing LFO2/Arpeggio to MIDI Clock

This works exactly as Special Function 1, only that it operates on LFO 2 and the Arpeggio instead.
Please note that the explanation about the relation between the LFO rate and the restart via MIDI Clock
also applies to the Arpeggio.
This function will not be enabled when Echo is selected on LFO2.
Function “F” – External triggering of Filter Envelope

This function can be used to trigger the Filter envelope via notes coming in via MIDI, instead of by play-
ing the keyboard. The Filter envelope is triggered from its own MIDI Channel and note number(s), com-
pletely independent of the MIDI Channel used for defining which keys should be played. This can be
used to play back preprogrammed rhythms in your MIDI sequencer while inputting the actual pitch(es)
by playing the keyboard or via MIDI.
You can use the Program Select buttons to switch between “–” and “1”. The setting “–” means that the
function is turned off and. “1” means that it is activated.
To set which MIDI Channel and possibly which MIDI note number to use for triggering, proceed as fol-
lows:
1. Activate the function.

In other words, set the display to “F.1”.
2. Press Store.
The display shows the MIDI Channel currently used. Set the value with the Up/Down buttons.

The Displays shows which MIDI Note number is currently used. The numbers start at C0 (MIDI note
number 24), and a dot between the figures indicates a sharp (#). For example, “F.3” means F#3. “Middle
C” is indicated as “C3”.
The value “– –” means that note number is ignored, that is all notes on the set MIDI Channel will be used
for triggering. This value is found below all the “number values”.
Guidelines for Using Filter Envelope Triggering

▼ If you have notes transmitted from your sequencer that you want to use only for triggering the envelope,
make sure the MIDI Channel you use for this function is not used by any of the Program slots
▼ Please note that if the Velocity function in the Filter section is activated, the velocities of the incoming
MIDI notes are routed to Filter Envelope amount. This allows you to adjust the timbre of the sound with
the velocity of the incoming MIDI notes.
An Example of Filter Envelope Triggering

1. Select a Program for slot A, that plays a “stable sound with infinite sustain, for example a “string” or “pad”
sound.
2. Lower the Filter Cutoff to 0.
3. Raise the Filter Envelope amount and adjust the Filter envelope so that the sound has a short, snappy charac-
ter.
4. Hold down Shift and press MIDI Ch. Set the MIDI Channel for slot A to 1.
5. Press each of the other Program slot buttons and set them to MIDI Channel 16.
This is just to make sure they do not get used in this example.
7. Press the Special button until the left digit in the display is “F”.
8. Make sure Program Slot A is selected. Otherwise press its button.
9. Use the Up/Down buttons to set the value to “1” (“on”).
10. Press Store. Use the Up/Down buttons to select MIDI Channel “2”.
11. Press Store again and adjust to “– –” (any MIDI note number).
for all Functions except “F”.

If you play the keyboard now, you will not get any sound, because the Cutoff is all the way down, and
the Filter envelope is no longer triggered by the keyboard.
15. Set up your sequencer to play a simple repeating note pattern on MIDI Channel 2.
The pitches of the notes does not matter, only the rhythm.
16. Hold down a few keys on the keyboard and start the sequencer.
The keys you press should be played with the rhythm from the sequencer.
Function “A” – External triggering of Amplifier Envelope

This function can be used to trigger the Amplifier envelope via notes coming in via MIDI, instead of by
playing the keyboard. Just as with the previous function, this can be used to play back preprogrammed
rhythms in your MIDI sequencer while inputting the actual pitch(es) by playing the keyboard.
You must play keys on the keyboard, or via MIDI (on the Program slot’s “basic” MIDI Channel), to get
any sound!
The parameters are the same as for the Filter Envelope function, see above.
If this function is activated and no MIDI notes are triggering the Amplifier envelope, the instrument will
be silent!
Function “5” – External Velocity Morph

This function is used to control the Velocity/Morph function via the velocity numbers of incoming MIDI
notes.
This differs from the way Velocity/Morph is normally applied. Normally the velocity is applied each time
you press a key. With the External Velocity Control function, however, you can press and hold notes and
vary their timbre via the velocity of the incoming notes without releasing the keys (that is – without re-
triggering the envelopes).
You can use the Program Select buttons to switch between “–” and “1”. The setting “–” means that the
function is turned off and. “1” means that it is activated.
The velocity control happens on its own MIDI Channel and note number(s), completely independent of
the MIDI Channel used for defining which keys should be played. It can be controlled from all notes on
one MIDI Channel or one specific note number on one MIDI Channel (see Function 3 above for how to
specify the MIDI note number and the MIDI Channel).
▼ When this function is activated, and a Note On message comes in, the parameters’ values are adjusted
according to the note’s Velocity value.
▼ When a Note Off message comes in, the Velocity/Morph function is reset to the minimum value.
Please note that you must play the keyboard to hear anything. Also note that the Velocity/Morph must
be set up beforehand for this function to have any effect on the sound.
An Example of External Velocity Morph

1. Select a Program for slot A.
2. Edit the Program so that you get a morphing effect you like when you move the modulation wheel.
It is not actually necessary to assign the velocity programming to the Modulation wheel, but it is a prac-
tical way to try out the effect before you apply it via MIDI.
3. Hold down Shift and press MIDI Ch. Set the MIDI Channel for slot A to 1.
4. Press each of the other Program slot buttons and set them to MIDI Channel 16.
This is just to make sure they do not get used in this example.
6. Press the Special button until the left digit in the display is “5”.
7. Make sure Program Slot A is selected. Otherwise press its button.
8. Use the Up/Down buttons to set the value to “1” (“on”).
9. Press Store. Use the Up/Down buttons to select MIDI Channel “2”.
10. Press Store again and adjust to “– –” (any MIDI note number).
for all Functions except “F”.

If you play the keyboard now, there will not be any velocity control because you have set the instrument
up to only do this via MIDI.
14. Set up your sequencer to play a sequence of notes with drastically different velocity values.
The pitches of the notes does not matter, only the rhythm and velocity.
15. Hold down a few keys on the keyboard and start the sequencer.
The sound should now vary in character with the velocity values coming out from the sequencer.
Aftertouch and Expression Pedal Settings

The Special menu also contains settings for Aftertouch (“t”) and Expression pedal (“E”) parameter assign-
ment. These functions are described in their respective contents on page 17 (Expression pedal) and page
67 (Aftertouch).
System
Under this menu you will find three different functions, labelled “P”, “b”, and “U”.
To select one of the functions, hold down Shift and press the System. Then press the System button re-
peatedly until the left digit in the display shows the desired letter.
Pedal (P)
This is used to set how a connected pedal should be used. See page 17 for details.
This parameter is Global for the entire instrument, that is, the setting is valid for all Performances and
Programs.
Pitch Bend Range (b)

This allows you to set the range of the pitch stick, in semitones. The value is also used to set what effect
incoming pitch bend messages should have on the pitch.
The table below shows you how many semi-tones each value in the display represents.
Setting Range in semitones Setting Range in semitones
1 ±2 6 ±10
2 ±3 7 ±12
3 ±4 8 ±24
4 ±5 9 ±48
5 ±7
This parameter is “global” for all Program slots. However, it is saved with a Performance.
Unison Detune (U)

This allows you to set how far detuned the voices should be when you have Unison activated. For more
info on Unison, see page 53.
This parameter is “global” for all Program slots. However, it is saved with a Performance.
MIDI Page 67
10. MIDI
About the MIDI Implementation
The following MIDI messages can be transmitted and received from the Nord Lead:
Notes
▼ Note On and Off messages are of course transmitted when you play the keyboard. If you use the Octave
Shift buttons in their “Keyboard” mode (see page 54), you can shift the Nord Lead keyboard ± 2 octaves,
giving you an effective keyboard range of 8 octaves.
▼ Notes can be received over the entire MIDI range. That is, when playing via MIDI you have access to a
pitch range wider than 10 octaves!
Pitch Bend
▼ Pitch Bend messages are always transmitted from the Pitch Stick.
▼ The Pitch bend range (used when receiving pitch bend messages) can be adjusted, see page 66.
Controllers
▼ The Modulation wheel is transmitted and received via MIDI as Controller 1 (Modulation wheel).
▼ When the Pedal input is used with an Expression pedal, this is transmitted as Controller 11.
▼ When the Pedal input is used with a footswitch (sustain) this is transmitted as Controller 64 (Damper Ped-
al).
▼ All other controls (knobs and switches) on the front panel (except Master Level), are also transmitted and
received as Control Change messages. This can be used to record your actions on the front panel into a
MIDI sequencer, for playback together with the musical performance.
For a full list of which parameters correspond to which Controller number, see page 89.
You can turn the transmission/reception of the front panel Controllers on/off, see page 59.
Aftertouch
The Nord Lead can receive (but not send) Aftertouch (channel pressure) messages. For each program
slot, you can set which parameter (if any) should be controlled by the Aftertouch messages:
1. While holding down the Shift button, press the Special button.
2. Press the Special button repeatedly, until the left character in the display is a “t” (for “touch”).
3. Select a slot for which you want to set the aftertouch function.
4. To assign a parameter for the aftertouch, press Store.

The display will flash, showing one of the abbreviations in the table below.
Page 68 MIDI
5. ‘Use the Program Up/Down buttons to select one of the following control functions:
Display shows: Pedal assigned to:
LFO 1 Amount.
LFO 2 Amount.
Filter Cutoff Frequency.
FM Amount.
Oscillator 2 Pitch.
6. After you have made your choice, press Store again.

You return to the “t” display.
7. Use the Program Up/Down buttons to select a control amount value (“–” or “1” to “7”).
This value (shown to the right of the “t” in the display) determines how much the assigned parameter
should be affected by a received maximum aftertouch value.
If you don’t want the slot to be affected by aftertouch messages, select amount value “-”.
8. If needed, repeat steps 3 to 7 to set aftertouch assignment for the other slots.
9. Press Shift to exit the Special menu and return to play mode.
Program Change
The descriptions below are only true if transmission/reception of Program Change messages is activated,
see page 59.
▼ When you select a new Program for a slot, a Program Change message is transmitted via MIDI, on the
slot’s MIDI Channel.
▼ Likewise, if a Program Change message is received on a certain MIDI Channel, all Program slots set to
that MIDI Channel will switch to a new Program.
▼ When you select a new Performance, a Program Change message is transmitted on the Global MIDI
Channel. For information on how to set the Global MIDI Channel, see page 60.
▼ When a Program Change message is received on the Global MIDI Channel, a new Performance is select-
ed.
If the Global MIDI Channel happens to be set to the same number as one of the Program slots, the Per-
formance takes precedence. That is, Program Change messages on this MIDI Channel will select Perform-
ances, not Programs.
MIDI Page 69
Bank Select
Bank Select messages are only received, not transmitted.
If you use a PCMCIA card, received Bank Select messages can be used to switch between the internal
Bank and the three Banks on the card on the slot’s MIDI Channel, just as with Program Change, see
above. The lowest Bank Select number selects the internal Bank, the second selects the first PCMCIA
Bank and so on.
Bank Select must always be used in combination with Program Change, or no Bank change will take
place.
System Exclusive
Program settings can be transmitted as a System Exclusive “bulk dump”. See page 71.
Using Nord Lead With a Sequencer

Connections
1. Connect MIDI Out on the Nord Lead to a MIDI In on your sequencer.
2. Connect a MIDI Out from your sequencer to a MIDI In on the Nord Lead.
Local On/Off
If your sequencer “echoes” all received MIDI signals via its MIDI Output(s) (which it probably does, look
for a function called “MIDI Thru”, MIDI Echo”, MIDI Merge”, “Soft Thru” or similar), the Nord Lead should
be set to Local Off. See page 58.
MIDI Channels
▼ Which MIDI Channel the Nord Lead transmits on depends on which of the four Program slots is active
(see page 13).
▼ All four Program Slots always receive MIDI, regardless of which one is selected, or if layering of one or
more slots is activated or not. However, all Slots used in a Layer (i.e. all Slots that are activated) will also
receive on the MIDI channel set for the leftmost active Slot!
This means that if you have a layer consisting of Slots A, B and D, and Slot A is set to MIDI channel 1,
both Slots B and D will receive on channel 1, as well as on their respective set channels.
Therefore, if you want the sequencer to control the four Program Slots independently (i.e. not in a layer),
make sure only one of the Slots is active on the Nord Lead (only one Program Slot LED is lit)!
1. Set up the Program slots that you plan to use so that they transmit/receive on the desired MIDI Channels.
To set a slot’s MIDI Channel, hold down Shift, and press MIDI Ch. Then select the Program slot, and set
the value. See page 59 for details.
2. Set the program slots that you don’t plan to use, to MIDI Channel “Off”.
This is to ensure they don’t play any sound unintentionally.
3. Select the desired Program for each Program slot.

Page 70 MIDI
4. If your sequencer requires you to transmit on a certain MIDI Channel (the same MIDI Channel as the slot
receives on), select the desired slot, before recording.
5. If needed, set the sequencer up to record and play back on the desired MIDI Channel.
6. Activate recording and play the Nord Lead.
7. For an overdub with a new sound, either select the next Program slot, or just select a new Track and a new
MIDI Channel in the sequencer.
Which of the two alternatives that is right for you depends on your sequencer, not the Nord Lead.
Program Change
For the Nord Lead to transmit and receive Program Change messages, Program Change must be activat-
ed, see page 59.
▼ To record a Program Change for a certain Program slot, activate recording in the sequencer and simply
select a new Program for the slot.
▼ To record a change of Performance, go into Performance mode, activate recording in the sequencer and
select the Performance from the front panel.
When playing back the Performance Program Change message from the sequencer, make sure it gets
transmitted on the Nord Lead’s Global MIDI Channel (see page 60).
Controllers
For the Nord Lead to transmit and receive Control change messages from the front panel this must be
activated, see page 59. Modulation wheel and pedal, however, are always transmitted/received.
▼ When you record front panel movements, make sure you have the right Program slot activated, and that
the sequencer “echoes” the changes back on the right MIDI Channel, or your changes will affect the
wrong sound!
▼ If two (or more) Program slots are set up to receive on the same MIDI Channel, both will be affected by
the changes!
▼ Please read the note about Controller transmission in Local Off mode on page 58.
Some notes about Controllers and “Chasing”

Consider a situation in which you record a Controller message, e.g. a filter opening, in the middle of your
sequencer song. Then you “rewind” the sequencer, to a position before the recorded filter opening. The
problem is, that the Nord Lead’s filter will remain opened, although it really should be as it was before
you recorded the filter opening. To solve such problems, several sequencers include a function called
“chasing”, which keeps track of Controller changes and tries to adjust the settings on the instrument ac-
cording to the current position in the sequencer song.
However, in our case, this wouldn’t help much, because the filter opening was the first Controller mes-
sage recorded in the song. The sequencer has no information about the filter setting before the recorded
change, and therefore cannot “chase” the settings properly. To solve this, you could record a “snapshot”
of all Controller settings on the Nord Lead panel, at the beginning of your sequencer song. This is best
done by sending an “All Controllers Request” Sys Ex message from the sequencer to the Nord Lead,
which will respond by dumping all its Controller values into the sequencer for recording. The “All Con-
trollers Request” message is described on page 95.
MIDI Page 71
Bulk Dump
To dump one or more Programs or Performances via MIDI as System Exclusive data, for reprogramming
of another Nord Lead or for recording the data into another MIDI device, proceed as follows:
1. Connect a cable from MIDI Out on the Nord Lead to MIDI In on the other device.
2. Set up the receiving device so that it accepts System Exclusive data.
3. To Dump Performances, enter “Performance Mode” (see page 33). To Dump Programs or Percussion Kits, make
sure you are not in Performance mode.
4. If you want to transmit one Program/Performance only, select it.
5. If needed, set the other device to its “recording mode”.
6. Hold down the Shift button and press “Dump One” (Oct Shift +) to transmit the current Program/Perform-
ance only or “Dump All” (Oct Shift –) to transmit all Programs/Performances.
To receive a Bulk Dump, proceed as follows:
1. Connect a cable from MIDI Out on the transmitting device to MIDI In on the Nord Lead.
2. If you are about to receive a complete Bank, you need to scroll to a program number in the Bank (single Sound
Bank or Performance Bank) you want to replace with the received Bank.
3. Initiate the transmission on the transmitting device.
If the dump contained a complete Bank, it will take the place of the selected Bank in the Nord Lead. If
the dump contained one Program/Performance only, this will be put in the “edit buffer” of the active slot,
instead of the Program/Performance you were playing. However, it is not saved permanently. To save it,
use Store as described on page 23 and page 35.
Remember that any Percussion Kits in a Performance, will only be included as “references” when you
dump the Performance. If you want to dump Percussion Kits including all parameters, you have to be in
Program mode!
Page 72 MIDI
About Subtractive Synthesis Page 73
11. About Subtractive

Synthesis
Introduction
Subtractive synthesis is one of the oldest and most widely spread forms of synthesizing sounds. It is the
method employed in such classics as the Moog synthesizers, the Sequential Prophet-5 and 10, Arp syn-
thesizers, most Oberheim synthesizers, the Roland Jupiter models, the TB-303 etc; the list is practically
endless. Even new digital instruments such as workstations and sample playback devices employ many
of the basic principles of subtractive synthesis.
So what’s the big deal about the Nord Lead then? Simply another “subtractive synthesizer”? Well, the Nord
Lead is the first modern, digital instrument that combines a faithful reproduction of the behaviour of the
old analog favourites with the convenience and stability of the newer designs.
The purpose of this chapter is to give you a quick introduction to this world of subtractive synthesis as
used in he Nord Lead and its analog predecessors. If you’d like to know more, there are number of text
books on the subject.
The Building Blocks

Subtractive synthesis started its life in modular synthesizers, large cabinets housing separate electronic
modules, connected via patch cords. With the advancement of technology, the functionality of many of
these modules could be put onto one single circuit board. But functionality-wise, subtractive synthesizers
are still built out of the same modules (or building blocks) as they were decades ago.
We will now take a closer look at these building blocks. Let’s first talk about the three that actually create
and process sound:
Oscillator
The Oscillator is actually the only thing in a synthesizer that actually produces any sound, (all the other
modules only shape the sound from the oscillator.) The oscillator is a bit like the string on a string instru-
ment, it vibrates to create sound.
Filter
The signal from the oscillator is sent through the Filter which shapes the timbre of the sound to make it
“bright”, “dull”, “thin”, etc.
Amplifier
The Amplifier shapes the volume of the sound making it “soft” or “hard”, “slow” or “short”.
In addition to these major three modules all synthesizers also have “modulators”, devices that can make
the volume, timbre pitch and other qualities of sound vary continuously when you play a key. It is these
modulators that basically add animation to the sound, taking it from a dull organ drone to a dynamic and
interesting timbre. The two most common modulators are Envelopes and LFOs:
Page 74 About Subtractive Synthesis
Envelopes
An envelope is used to give a sound a “shape”. If you apply an envelope to the amplifier (which controls
the volume) you are able to make the sound for example slowly fade in and then fade out when you
press and hold a key.
LFOs
LFO is an abbreviation for Low Frequency Oscillator. It is used for repeating variations in a sound, such
as vibrato or tremolo.
Connections
There are many ways in which the modules outlined above can be connected in a synthesizer, but the
one in the picture below is a basic and common one, used in the Nord Lead (although the illustration
depicts far from all the possibilities in this instrument!)
Noise Mixer
Oscillator Filter Amplifier

Output
Oscillator
Envelope LFO Envelope LFO LFO
Audio Signal
Control Signal
Note that the horizontal lines indicate the way the sound travels. The vertical lines indicate control sig-
nals. The envelopes for example only modulate (control) the oscillator, filter and amplifiers, they do not
affect the sound directly.
The Oscillators and Waveforms

The two basic qualities of an oscillator is waveform and pitch.
Pitch
The picture of the sawtooth on the Nord Lead front panel displays a sawtooth during one period of
sound. During this time, the wave raises gradually up to maximum level and then instantly drops back
to minimum level.
The length of the period determines the pitch (frequency) of the sound. The shorter the period, the high-
er the pitch. If you for example make the oscillator play at a frequency of 440Hz, there will be 440 periods
of identical Sawtooth waves generated per second.
One Period
Normally there are three ways to change the frequency of an oscillator:
▼ By making settings on the front panel.

On the Nord Lead for example, you have an “Oct Shift” setting for both oscillators and separate Semitone
and Fine Tune adjustments for Oscillator 2.
▼ By playing the keyboard.

The keyboard is if course connected to the oscillator so that pressing different key produces different
pitches. In some cases this connection can be turned off, so that the oscillator always plays the same
pitch, regardless of which key is pressed. In the Nord Lead, this can be done for Oscillator 2, by deacti-
vating “Kbd Track”.
▼ By Modulation
Modulation allows you to make the pitch vary “automatically”. The most common example is probably
to use an LFO to make pitch go up and down, to create a vibrato. But you can also put the pitch under
envelope control, or make the pitch vary with your striking force (velocity).
Waveform
The waveform of the oscillator affects its harmonic content and thereby its “sound quality” (timbre). The
three most common waveforms are sawtooth, pulse wave and triangle.
Looking at the shape of a waveform tells very little about how it sounds. Instead, there’s a better way to
draw it, called a spectrum. Let’s introduce some quick theory:
Mathematically, all waveforms can be considered as built from a number of harmonics, added together.
Each of the harmonics consists of a sine wave, the purest and simple waveform there is (a sine wave has
no harmonics at all). In other words, if you add a number of sine waves together, each one with its own
pitch (frequency) and volume (amplitude), then you can build any waveform you like.
The lowest harmonic is called the fundamental. The fundamental determines the basic pitch of the
sound. If the fundamental has a frequency of 440Hz, we will perceive the entire sound as having a pitch
of 440Hz.
Other harmonics are then added to the fundamental, called overtones. Normally the first overtone ap-
pears at a frequency twice the fundamental (in our example 880 Hz). The next harmonic appears at a
frequency three times the fundamental (in our example 1320Hz) and so on.
In a spectral display of a waveform you can see the frequency (pitch) of each harmonic and its amplitude
(level). This is done by drawing each harmonic as a line raising up from a horizontal scale.
Each line’s position on this scale indicates the harmonic’s frequency. The line furthest to the left is the
fundamental, the next is the first harmonic etc. To make life easier, one usually doesn’t label the horizon-
tal scale with frequency in Hz, but rather with the number of the harmonic.
The height of each line represents the amplitude of each harmonic.
If you understand the principle, you also understand that if the harmonics with high numbers have a high
amplitude, the sound will be perceived as bright.
Let’s take a look at some common waveforms and their spectra.
In the illustrations below, only some of the first harmonics are displayed. In reality, waveforms like these
have an infinite amount of harmonics.
Sawtooth
The Sawtooth wave has a simple spectrum. All harmonics are present in the wave, in proportional values.
As you can see, the high harmonics have a fairly high amplitude, which makes this waveform sound
bright.
Amplitude
Amplitude
Time
Harmonic number
10 20 30 40 (Frequency)
Triangle
The triangle wave does not have very strong harmonics. Furthermore they only appear at odd harmonic
numbers. The first fact makes the tone pure, a bit like a flute, and the second fact gives the sound a slight-
ly “hollow” character.
Amplitude
Amplitude
Time
Harmonic number
10 20 30 40 (Frequency)
Pulse Wave
The pulse wave is slightly more complicated, because it is not one waveform, it is many different ones.
A pulse wave is a waveform that during one period jumps once between full positive amplitude and full
negative and then back.The thing that can be varied is where within the period you jump from maximum
to minimum amplitude. Let’s look at three examples:
Amplitude
Amplitude
5%
Time
95%
Harmonic number
10 20 30 40 (Frequency)
Amplitude
Amplitude 10%
Time
90%
Harmonic number
10 20 30 40 (Frequency)
Amplitude
Amplitude
50%
Time
50% Harmonic number

10 20 30 40 (Frequency)
In the first, the jump happens 5% in from the beginning of the period. This is referred to as a pulse wave
with a 5% pulse width (sometimes called duty cycle). The second wave has a pulse width of 10%. The
third wave has a pulse width of 50%.
This third wave is a special case of the pulse wave, called a square wave, and this has one peculiarity, it
only contains odd number harmonics, which gives it a “hollow” quality.
On many synthesizers (including the Nord Lead) the pulse width can be adjusted, to set the timbre of the
pulse wave. The more narrow the pulse width, the more “thin” the sound will be.
You can also have the pulse width vary continuously, for example from an LFO or envelope. This is re-
ferred to as pulse width modulation. Modulating pulse widths from an LFO creates a rich, chorus-like
effect often used in “string” sounds.
About Inharmonic Spectra

Above we have only discussed spectra where the overtones appear at perfect harmonics. While this is
true for the basic waveforms discussed above, it is definitely not true for all sound. If you for example
use the frequency modulation (FM) capabilities in the Nord Lead, with the two oscillators set to an unu-
sual” interval (not octaves or fifths, for example), you will get a spectrum where the overtones appear at
frequencies somewhere between the perfect harmonics. This results in an inharmonic sound, which of-
ten sounds “metallic”.
Amplitude
Amplitude
Time
Harmonic number
1 2 3 4 5 6 7 8 (Frequency)
Sync
One some instruments (including the nord Lead), two Oscillators can be synchronized. If you for exam-
ple synchronize Oscillator 2 to Oscillator 1, Oscillator 2 will start over with a new period of the waveform,
each time Oscillator 1 does so. If Oscillator 2 then has a higher frequency than 1, it will get a complex
waveform that depends both on its own pitch and on that of the other oscillator.
Oscillator 1
Oscillator 2
(synchronized)
When sync is applied, the basic pitch of Oscillator 2 is locked to that of Oscillator 1. If you change the
pitch of Oscillator 1 you will affect the basic pitch of both oscillators. Furthermore, when you vary the
pitch of the synchronized oscillator (Oscillator 2), this will be perceived as a change in timbre, rather than
in pitch.
This leads to a spectrum with deep resonances at Osc2’s harmonics, like this:
Amplitude
Osc 2 Harmonics
Harmonic number
10 20 30 40 (Frequency)
If you go even further and let the pitch of the synchronized oscillator vary continuously, for example
from an LFO or envelope, you will change the harmonic content of the sound in an interesting and very
characteristic way.
The Filter
The filter in a synthesizer is used to remove or emphasize frequencies in a spectrum. A filter is a bit like
an amplifier (a volume control) that is applied differently to different parts of the spectrum. For example,
a filter might make low frequencies louder, while at the same time making high frequencies weaker. Ap-
plying such a filter would make a sound have more bass and less treble.
Let’s imagine a sound with a spectrum where all harmonics are available at full level. It would look like
this:
Let’s now pass this spectrum through a lowpass filter (this type of filter is discussed in more detail below).
The filter has a characteristic, which can be drawn as a curve.
As you can see the curve is flat in the low register (which means it doesn’t affect this part of the spectrum
at all) and then, at a certain point, gradually starts falling. When applied to the wave above, this filter cuts
away some of the high frequency material in the wave, like this:
+ =
Filter Types
There are many types of filters, all with their different purposes. We will here discuss the three most com-
mon, the ones found in the Nord Lead.
Lowpass filter: The Lowpass filter dampens high frequencies and let’s low frequencies pass through unaf-
fected, as in the example above. It is the most common synthesizer filter, since it can be used to “round
off” the sharp sound of sawtooth waves and pulse waves.
Amplitude
Frequency
Highpass Filter: This is the opposite of the lowpass filter. It let’s the high frequencies of the sound pass
through and cuts off the low frequencies. This removes “bass” from a sound, without affecting the high
end.
Amplitude
Frequency
Bandpass filter: This let’s frequencies in a certain range of the spectrum (the band) pass through while
dampening frequencies both below and above this range. This accentuates the mid-range of a sound.
Amplitude
Frequency
Notch filter: This filter type (also known as Band Reject) can be seen as the opposite of a band pass filter.
It cuts off frequencies in a “mid-range” band, letting the frequencies below and above through.
Amplitude
Frequency
In the Nord Lead the Notch filter is combined with a 12 dB Lowpass filter, for greater musical versatility
(see page 44).
Roll-off
Filters of one and the same type (lowpass, highpass etc) can have different characteristics. One of the
factors determining the exact filter curve is the roll-off, which is measured in dB/Octave (“decibels per
octave”) or poles. The simplest possible filter has a roll-off of 6dB/octave, which is referred to as “1 pole”.
The next step up is 12dB (2 poles), 18db (3 poles) etc.
The most common synth filters are the 12dB and 24dB lowpass filters. The difference between the two
can be studied in the graph below. The 12dB filter let’s more of the high frequency pass through which
gives the sound a brighter and “buzzier” character than the 24dB filter does.
Amplitude
12dB (2-pole)
24dB (4-pole)
Frequency
In the Nord Lead, the lowpass filter can be switched between 12 and 24dB modes. For sounds with high
resonance (see below), similar to those in the Roland TB-303, we recommend the 12dB variation. For
most other sounds we recommend 24dB.
Cutoff Frequency
The most important parameter for a filter is its cutoff frequency, which is the setting that determines
where in the frequency material it should start cutting. If the cutoff frequency in a low pass filter is set to
a very low value, only the lowest harmonics (the bass) will pass through. If you raise the cutoff all the
way up, all frequencies will be let through, as the figure below illustrates.
Amplitude
Filter Frequency
Frequency
Changing the cutoff frequency is often referred to as “sweeping the filter”. This is probably one of the
most important ways of shaping the timbre of a synthesizer sound. By using an envelope you can for
example have a high cutoff at the beginning of a sound which is then gradually lowered (the filter “clos-
es” as the sound decays). This would emulate the way most plucked string sound (piano, guitar etc) be-
have; the amplitude of the harmonics decreases as the sound decays.
Key Tracking
When you play different pitches, the oscillators produce different frequencies. This means that the over-
tones in the waveform appear at different frequencies. The cutoff frequency of the filter however, is
fixed. This means that different overtones will be cut off at different pitches. To be more precise, the fur-
ther up the keyboard you play, the muddier the sound will be.
To remedy this problem many synthesizers have a parameter called Filter Keyboard Tracking. When this
is activated, the filter Cutoff Frequency varies with which key you play, just as the oscillator frequency
does. This ensures a constant harmonic spectrum for all keys.
Amplitude
Frequency
Resonance
Resonance in a filter is created by connecting the output of the filter to its input, in other words setting
up a “feedback loop”. The amount of feedback is then controlled with a Resonance parameter on the
front panel of the instrument.
When you apply resonance, the frequencies just around the cutoff point of the filter will be emphasized
(louder). As you increase the Resonance further and further, the filter will start to behave more an more
like a bandpass filter, where only the frequencies around the cutoff point are let through. The filter will
start to “ring”, which means it almost sounds like it is adding frequencies to the sound. If the Resonance
is then raised even further (on some synthesizers) the filter will start to self-oscillate, that is produce
sound of its own, just like an oscillator.
Amplitude Q=4
Q=2
Q=1
Q=0.5
Frequency
Filter
Frequency
High Resonance values are also visible in the waveform. They appear as a “superimposed” waveform
with a frequency equivalent to the filter’s cutoff frequency. The three examples above show the same
wave with increased resonance.
Q=0.5
Q=1
Q=2
If you add Resonance to a sound and then vary the Cutoff frequency (for example with an envelope) you
will get a very typical synthesizer sound.
The Amplifier
An amplifier is most often used at the final stage of a synth signal chain, to control volume. By modulating
the amplifier with an envelope, the sound can be given its basic “shape”. In fact, the “volume shape” is
one of the most important factors to how we identify the sound. By setting up a proper volume envelope
you can make a sound “soft”, “hard”, “plucked” “static” etc.
+ =
The volume envelope curve (to the left) determines how the amplitude of the waveform changes over time.
Envelopes
ADSR-Envelope
Envelopes are used to modulate pitch, amplitude, filter cutoff and other parameters in a sound. This is
used to give the sound a varying character from the moment the key is pressed to the moment it is re-
leased.
The classic synthesizer envelope has four parameters, Attack, Decay, Sustain and Release, and is there-
fore often referred to as an “ADSR-envelope”.
When you press a key, the envelope is triggered. This means is starts rasing from zero to maximum level.
How long this should take, depends on the Attack setting. If the Attack time is set to “0”, the envelope
will instantly reach full level. If it is raised it will take longer.
If you for example have an envelope controlling volume, raising the attack will give the sound a “softer”
character. If you have the envelope routed to the filter, it might give the sound a “wah” type of start.
Level
Time
Attack
(time)
Key Down
After the envelope has reached full level, it starts to fall back again. How long this should take, is set with
the Decay parameter.
Level
Time
Attack Decay
(time) (time)
Key Down
The level of the envelope does not necessarily have to fall all the way back to zero level at the end of the
Decay. Instead, the ADSR-envelope has a Sustain setting used to determine the level the envelope should
rest at, after the Decay. If you for example want to create a flute sound, you would have a fairly high
Sustain setting on your Volume envelope, since a flute tone basically stays at a steady level for as long as
you play it. On the other hand, for a piano sound, you would want a Sustain level of “0”, since a piano
sound decays to silence if you hold the key long enough.
Level
Sustain
(level)
Time
Attack Decay
(time) (time)
Key Down
Please note that the Sustain parameter represents a level, but all other envelope parameters represent
times.
As described above, the envelope stays at the Sustain level until the key is released. It then falls back to
zero level. The time it should take for this to happen is set with the Release parameter, which works just
as the Decay, only it is not applied until you lift your finger off the keys.
Level
Sustain
(level)
Time
Attack Decay Release
(time) (time) (time)
Key Down Key Up
▼ If you set Sustain to full level, the Decay setting is of no importance since the volume of the sound is
never lowered.
Level
Time
Key Down Key Up
▼ If you set Sustain to 0, the sound will become silent after the Decay phase is finished. With short Attacks
moderate Decay times, this can be used to simulate the behaviour of a plucked string instrument (guitar,
piano etc) where the sound always decays to silence after a while.
Level
Time
Key Down Key Up

▼ If you release a key before the envelope has reach its sustain, it will immediately “jump” to the Release.
The effect of this can be studied in the illustration below.
Level
Time
Key Down Key Up
▼ Often envelope levels can be made to vary with how hard you play the keys. This is used to make a
sound vary with your playing style, for example to make the sound brighter (filter envelope) or louder
(amplifier envelope).
AD-Envelope
A simpler form of envelope has Attack and Decay parameters only, and is therefore called an AD-enve-
lope. In effect, the AD-envelope behaves like an ADSR-envelope with Sustain set to 0 (see the picture at
the top of this page??). This type of envelope, often with amount and inversion controls, is suitable when
you want to affect the start of the sound only.
On the Nord Lead, the Modulation Envelope is of AD-type. Typically, it can be made to modulate the FM
amplitude or the pitch of Oscillator 2, to create a different timbre during the attack part of the sounds.
LFOs
An LFO is an oscillator, just like the ones that produce the sound in a synthesizer, but with two main dif-
ferences:
▼ The LFO produces very low frequencies, most often below the hearing range (up to 20Hz).
▼ The LFO is not used to produce sound, instead it is connected to other modules to provide modulation
of parameters.
If you for example route an LFO to pitch, you get a vibrato. If you route it to the filter’s cutoff frequency
you get a wah-wah type of effect. And if you route it to the amplifier of an instrument you get a tremolo.
The three basic parameters for an LFO are Waveform, Rate (frequency) and Amount:
▼ The waveform determines the type of vibrato, for example “regular” (triangle or sine), ramp (sawtooth)
or random.
▼ The Rate determines the speed of the vibrato.
▼ The Amount controls to what degree the LFO affects its destination.
MIDI Implementation Page 89
12. MIDI Implementation

Controller Number List
The following is a list of the MIDI Controller numbers used for all knobs and buttons on the front panel.
See page 70.
▼ The reception and transmission of Controllers can be turned on/off. See page 59.
▼ Buttons that control “on/off” functions have a Controller value of “0” corresponding to the “off” position
and a value of “1” corresponding to the “on” position.
▼ Buttons that step through various possibilities start with a Controller value of “0” for the “lowest” setting
and then increment with a value of 1 for each step upwards.
If you want to send Controllers to Percussion Kits, proceed with caution! The Controller message you
send will affect the percussion sound that was last selected for editing, by pressing a black key on the
keyboard (see page 30).
Nord Lead Parameter MIDI Controller # MIDI Controller Name
Gain 7 Main Volume
Oct Shift 17 General Purpose #2
Mod Wheel Destination 18 General Purpose #3
Unison 16 General Purpose #1
Poly/Legato/Mono 15 Undefined
Portamento Auto 65 Portamento On/Off
Portamento Time 5 Portamento Time
LFO 1 Rate 19 General Purpose #4
LFO 1 Waveform 20 Undefined
LFO 1 Destination 21 Undefined
LFO 1 Amount 22 Undefined
LFO 2/Arpeggio Rate 23 Undefined
LFO 2 Destination/Arpeggio Mode 24 Undefined
LFO 2 Amount/Arpeggio Range 25 Undefined

Modulation Envelope Attack 26 Undefined
Modulation Envelope Decay 27 Undefined
Modulation Envelope Destination 28 Undefined

Page 90 MIDI Implementation
Nord Lead Parameter MIDI Controller # MIDI Controller Name
Modulation Envelope Amount 29 Undefined
Osc 1 Waveform 30 Undefined
Osc 2 Waveform 31 Undefined
Osc 2 Semitones 78 Sound Controller 9
Osc 2 Fine Tune 33 LSB for Controller 1
Oscillator FM Depth 70 Sound Controller 1 (Sound Variation)
Osc 2 Keyboard Tracking 34 LSB for Controller 2
Oscillator Pulse Width 79 Sound Controller 10
Oscillator Sync 35 LSB for Controller 3
Oscillator Mix 8 Balance
Amplifier Envelope Attack 73 Sound Controller 4 (Attack)
Amplifier Envelope Decay 36 LSB for Controller 4
Amplifier Envelope Sustain 37 LSB for Controller 5
Amplifier Envelope Release 72 Sound Controller 3 (Release)
Filter Envelope Attack 38 LSB for Controller 6
Filter Envelope Decay 39 LSB for Controller 7
Filter Envelope Sustain 40 LSB for Controller 8
Filter Envelope Release 41 LSB for Controller 9
Filter Mode 44 LSB for Controller 12
Filter Cutoff 74 Sound Controller 2 (Timbre)
Filter Resonance 42 LSB for Controller 10
Filter Envelope Amount 43 LSB for Controller 11
Filter Velocity 45 LSB for Controller 13
Filter Keyboard Track 46 LSB for Controller 14
In addition to the above, following controllers are used:
▼ The Modulation wheel transmits and receives Controller 1.
▼ If the Pedal input is used with an expression pedal, this is transmitted and received as Controller 11.
▼ If the Pedal input is used for sustain, this is transmitted as Controller 64 (Damper Pedal)
▼ Bank Select messages (Controller 0 and 32) are received.

System Exclusive Implementation

Numbers are in decimal except when preceded by a “$” character, in which case they are in hexadecimal
format.
General Message format
Byte Description
$F0 System Exclusive
$33 Manufacturer ID (clavia)
<Device ID> = Global MIDI Channel, 0-15
$04 Model ID for Nord Lead
<Message Type> See each type of message, below.
<Message Specification> See each type of message, below.
<Data 1> This and following bytes depend on the Message Type and Message
Specification. Some messages have no data bytes at all.
<Data 2>
<Data 3>
<etc.>
$F7 End Of Exclusive
Patch Dumps
This message contains the actual Patch Dump. One complete message contains the data for one Patch.
It is transmitted from the Nord Lead in one of two cases:
▼ When a Patch Dump is initiated from the front panel.

▼ When a valid Patch Dump Request message has been received.
This message should be sent to the Nord Lead when you want to replace a Patch currently in the instru-
ment, with a new one.
The Message Type and Message Specification bytes in the Sys Ex message contains information about
from which location the Patch Dump was sent. When a Patch is sent to the Nord Lead, it will end up in
this location.
▼ If the Sys Ex data for a complete Bank is sent (using the “Dump All” command), the Program location
within the Bank is stored for each Patch. When any or all of these Patches are sent back to a Nord Lead,
they will be stored at their original Program Location, but in the Bank that is currently selected on the
Nord Lead.
▼ If the Sys Ex data for a single Patch is sent using the “Dump One” command, it is considered being sent
from the Edit Buffer of the selected Slot. This means, that when the Patch is sent back to a Nord Lead, it
will not actually be stored, but temporarily placed in the Edit Buffer of its original Slot.
▼ If the Sys Ex data for a single Patch is sent upon receiving a Patch Dump Request message, either the
Program Location or the Edit Buffer will be stored, depending on the Message Type byte in the Request
message. This will also determine where the Patch will be placed when it is sent back to a Nord Lead.
Byte (Hex) Byte (Decimal) Description
$F0 240 System Exclusive
$33 51 Manufacturer ID (clavia)
<Device ID> = Global MIDI Channel. 0 to 15 ($0-$F).
$04 4 Model ID for Nord Lead
$00 to $04 0 to 4 Message Type specifies the Bank. 0=Edit Buffer, 1 to

4=Bank 1 to 4
$00 to $03 or $00-$62 0 to 3 or 0 to 98 Message Specification specifies the exact memory loca-
tion, see below.
<Patch Data 1> See page 96.
<Patch Data 2>
<Patch Data 3>
<Patch Data 132>
$F7 247 End Of Exclusive
▼ If Message Type = 0 (Edit Buffer), the Message Specification can be 0 to 3, corresponding to Patch Slot
buttons A to D.
▼ If Message Type = 1 to 4, then the Message Specification (00 to 98) corresponds to the Program Number
within the Bank (01 to 99).
Percussion Kit Patch Dump

This message contains all settings in a Percussion Kit. It is transmitted from the Nord Lead in one of two
cases:
▼ When a Patch Dump is initiated from the front panel and a Percussion Kit is selected.
▼ When a valid Patch Dump Request message has been received, specifying a Percussion Kit location or
an Edit Buffer containing a Percussion Kit.
Percussion Kit Patch Dump messages will also be sent if the “Dump All” command is used.
This message should be sent to the Nord Lead when you want to replace a Percussion Kit currently in the
instrument, with a new one. When it comes to the location of the received Percussion Kit Dumps, the
same rules apply as when receiving regular Program Dumps. Just remember that the internal Percussion
Kit locations in the Nord Lead cannot be overwritten.
$00 to $04 0 to 4 Message Type specifies the Bank. 0=Edit Buffer, 1 to

4=Bank 1 to 4
$10 to $13 or $63-$6C 16 to 19 or 99 to Message Specification specifies the exact memory loca-
108 tion, see below.
<Patch Data 1> Patch data for eight percussion sounds. See page 96.
<Patch Data 2>
<Patch Data 3>
<Patch Data 1056>
▼ If Message Type = 0 (Edit Buffer), the Message Specification can be 0 to 3, corresponding to Patch Slot
buttons A to D.
▼ If Message Type = 1 to 4, then the Message Specification (99 to 108) corresponds to the Percussion Kit
locations (P0 to P9).
Patch Dump Request

This message is used for requesting the Nord Lead to transmit one Patch or Percussion Kit Dump Mes-
sage. The Message Type and Message Specification are used to specify which Patch should be transmit-
ted.
This message is never transmitted from the Nord Lead.
$A to $E 10 to 14 Message Type specifies the Bank. $A=Edit Buffer, $B to

$E=Bank 1 to 4
$00 to $03 or 0 to 3 or 0 to 108 Message Specification specifies the exact memory location,
$00-$6C see below.
▼ If Message Type = 10 (Edit Buffer), the Message Specification can be $00 to $03, corresponding to Patch
Slot buttons A to D.
▼ If Message Type = 11 to 14, then the Message Specification (00 to 98) corresponds to the Program Number
within the Bank (01 to 99).
Performance Dump
This message contains the actual Performance. One complete message contains the data for one Perform-
ance.
This message is transmitted from the Nord Lead in one of two cases:
▼ When a Performance Dump is initiated from the front panel.

▼ When a valid Performance Request message has been received.
This message should be sent to the Nord Lead when you want to replace a Performance currently in the
instrument, with a new one. The Message Type and Message Specification then specify in which memory
location the Performance should be stored.
$1E or $1F 30 or 31 Message Type specifies Performance Edit Buffer (30) or

PCMCIA Card Performance Bank (31)
$00 or $00-$63 0 or 0 to 99 Message Specification specifies the Performance number,

see below.
<Perf. Data 1> See page 97.
<Perf. Data 2>
<Perf. Data 3>
<Perf. Data 688>
▼ If Message Type = 30 (Edit Buffer), the Message Specification should always 0.

▼ If Message Type = 31, the Message Specification corresponds to the Performance Number (00 to 99).
Performance Dump Request

This message is used for requesting the Nord Lead to transmit one Performance Dump Message. The Mes-
sage Type and Message Specification are used to specify which Performance should be transmitted.
This message is never transmitted from the Nord Lead.
$28 or $29 40 to 41 Message Type specifies Performance Edit Buffer (40) or

the PCMCIA card Performance Bank. (41).
$00 or $00-$63 0 or 0 to 99 Message Specification specifies the Performance number,

see below.
▼ If Message Type = 40 (Edit Buffer), the Message Specification should always 0.

▼ If Message Type = 41 or 42, then the Message Specification (00 to 99) corresponds to the Performance
Number (A0 to L9).
All Controllers Request

This message instructs the Nord Lead to send all current Controller values for a specified Slot (see page
70). The message is never transmitted from the Nord Lead.
$14 20 Message Type specifies All Controllers Request.
$00-$03 0 to 3 Message Specification specifies the Program Slot.

Patch and Performance Data Formats

In the Patch and Performance Dump Messages, the Data Bytes contain the actual Patch/Performance set-
tings.
▼ All parameters are in 8 bit format, 2s complement (=signed). Each Byte is Nybbleized and coded into two
MIDI bytes, with the low Nybble transmitted first.
▼ A Patch contains 66 parameters, which means the data block of a Patch Dump is transmitted in 132 (66*2)
Bytes. See the “Patch Dump Format” table, below.
▼ A Performance consists of five blocks. The first four blocks contains the four Patches (A to D) This block
is 528 MIDI Bytes (4*66*2). After this follows 136 (68*2) of data for parameters local to the Performance.
See the “Performance Data Format” table, on page 97.
Patch Dump Format

Size Offset Name Min Max Comment
1 0 osc2pitch 0 120 middle=60
1 1 osc2pitchfine 0 127
1 2 mix 0 127
1 3 cutoff 0 127
1 4 resonance 0 127
1 5 filterenvamt 0 127
1 6 pw 0 127
1 7 fmdepth 0 127
1 8 filterenvattack 0 127
1 9 filterenvdecay 0 127
1 10 filterenvsustain 0 127
1 11 filterenvrelease 0 127
1 12 ampenvattack 0 127
1 13 ampenvdecay 0 127
1 14 ampenvsustain 0 127
1 15 ampenvrelease 0 127
1 16 portamento 0 127
1 17 gain 0 127
1 18 modenvattack 0 127
1 19 modenvdecay 0 127
1 20 modenvlevel 0 127 middle=64
1 21 lfo1rate 0 127
1 22 lfo1level 0 127
1 23 lfo2rate 0 127
1 24 arprange 0 127
1 25 osc2pitch_sens -128 127 velocity/morf sens
1 26 osc2pitchfine_sens -128 127 0=OFF
1 27 mix_sens -128 127
1 28 cutoff_sens -128 127
1 29 resonance_sens -128 127
1 30 filterenvamt_sens -128 127
1 31 pw_sens -128 127
1 32 fmdepth_sens -128 127
1 33 filterenvattack_sens -128 127
1 34 filterenvdecay_sens -128 127
1 35 filterenvsustain_sens -128 127
1 36 filterenvrelease_sens -128 127
1 37 ampenvattack_sens -128 127
1 38 ampenvdecay_sens -128 127
1 39 ampenvsustain_sens -128 127
1 40 ampenvrelease_sens -128 127

1 41 portamento_sens -128 127
1 42 gain_sens -128 127
1 43 modenvattack_sens -128 127
1 44 modenvdecay_sens -128 127
1 45 modenvlevel_sens -128 127
1 46 lfo1rate_sens -128 127
1 47 lfo1level_sens -128 127
1 48 lfo2rate_sens -128 127
1 49 arprange_sens -128 127
1 50 osc1waveform 0 2
1 51 osc2waveform 0 3 3=noise
1 52 sync 0 1
1 53 filtertype 0 4
1 54 osc2kbdtrack 0 1
1 55 filterkbdtrack 0 1
1 56 lfo1wave 0 2
1 57 lfo1dest 0 3
1 58 voicemode 0 2
1 59 modwheeldest 0 4
1 60 unison 0 1
1 61 modenvdest 0 2
1 62 auto 0 1
1 63 filtervel 0 1
1 64 octshift 0 4
1 65 lfo2dest/arpmode 0 4
For Percussion Kit Sys Ex Dumps, the above parameters will be repeated eight times, once for each sound
in the Percussion Kit.
Performance Data Format

264 0 "performance_patch [A,B,C,D]" see PATCH data format
4 264 "midichan [A,B,C,D]" 0 15
4 268 "lfo1sync [A,B,C,D]" 0 7
4 272 "lfo2sync [A,B,C,D]" 0 7
4 276 "filterenvtrig [A,B,C,D]" 0 1
4 280 "filterenvtrigmidichan [A,B,C,D]" 0 15
4 284 "filterenvtrignotenr [A,B,C,D]" 23 127 23=off
4 288 "ampenvtrig [A,B,C,D]" 0 1
4 292 "ampenvtrigmidichan [A,B,C,D]" 0 15
4 296 "ampenvtrignotenr [A,B,C,D]" 23 127 23=off
4 300 "morftrig [A,B,C,D]" 0 1
4 304 "morftrigmidichan [A,B,C,D]" 0 15
4 308 "morftrignotenr [A,B,C,D]" 23 127 23=off
1 312 bendrange 0 8
1 313 unisondetune 0 8
1 314 outmode 0 3
1 315 globalmidichan 0 15 not received!!!
1 316 midiprogchange 0 1 not received!!!
1 317 midicntrl 0 1 not received!!!
1 318 mastertune -99 99 not received!!!
1 319 pedaltype 0 2 not received!!!
1 320 localcontrol 0 1 not received!!!
1 321 Keyboard Octave Shift 0 4 not received!!!
1 322 selected_channel 0 3
1 323 Arpeggio MIDI Out 0 1 not received!!!
4 324 "channel_actived [A,B,C,D]" 0 1
4 328 "pgmselect [A,B,C,D]" 0 98

4 332 "bankselect [A,B,C,D]" 0 3
4 336 channel pressure amt. [A,B,C,D] 0 7
4 340 channel pressure dest. [A,B,C,D] 0 4
4 344 expression pedal amt. [A,B,C,D] 0 7
4 348 expression pedal dest. [A,B,C,D] 0 4
Factory Settings Page 99
13. Factory Settings

Factory Programs
Programs 1-40 are in the RAM bank, Programs 41-99 are in ROM.
Program Name Program Name Program Name

1 Sawbrass 34 String pad 67 Acid 2
2 Velocity strings 35 Solo pulse 68 legato bass
3 Resonance pad 36 Space pad 69 Black Hole
4 Hard string pad 37 Sample/hold 70 Sub
5 Resonance fade pad 38 Saw legato solo 71 DB
6 Portamento quints 39 Echo sound 72 Widebody
7 A fifth pad 40 Pulse solo 73 Fluff
8 Pulse pad with FM 41 Soft strings2 74 Steeldrums
9 Weather bass 42 Majesty 75 Wurz piano
10 Lead saw solo 43 Glass brass 76 My Clav
11 Soft saw lead 44 Gimme 5 77 I bow
12 Zyntar 45 Flute choir 78 Tack clav
13 Arpeggiator down 46 Brass Comp 79 Span Eyes
14 FM Metallic 47 Sync sweep 80 Floote
15 Attack bass 48 Synth strings 81 Hamplafon
16 Saw mono 49 Trumpets 82 Thumpinet
17 Osc 2 modulation 50 Duke 83 Bell bar
18 Guitar 1 51 Dirty FM 84 Flageolettes
19 Violin 52 Space clavinet 85 Rotator
20 Source bass 53 Resonant saw 86 Tuba
21 Perc Lead 54 FM lead 87 Trumpet
22 FM Clavinet 55 Talking clavinet 88 English horn
23 Soft strings 56 Saw ring 89 Metal Flute
24 S/H techno 57 Eraser 90 Voice
25 Resonance sweep 58 Take the fifth 91 FM horn
26 Phaser 59 Echo pad 92 Harpsichord
27 Brite pad 60 Yeow! 93 Electric piano 2
28 Analog grand 61 Syncher 94 Musing
29 Electric piano 1 62 Low bass 95 Chang
30 Random Arpeggio 63 water bass 96 Ravi
31 Clarinet 64 Pick bass 97 Guess!
32 Didjeridu 65 FM morph bass 98 Tubular
33 Sax 66 Acid 1 99 Waterhall
Page 100 Factory Settings
Factory Percussion Kits

Percussion Kit P0 Percussion Kit P1
Percussion Sound Percussion Sound
Zone 1 Acoustic kick Zone 1 Surdo drum
Zone 2 Snare drum Zone 2 Latin snare
Zone 3 Hi-hat Zone 3 Low tom
Zone 4 Low tom Zone 4 Bongo hi
Zone 5 Mid tom Zone 5 Bongo low
Zone 6 High tom Zone 6 Triangel
Zone 7 Crash Zone 7 Guiro
Zone 8 Cowbell Zone 8 Quica

Zone 1 Bass drum Zone 1 808 kick
Zone 2 Mute conga Zone 2 808 snare
Zone 3 Conga slap Zone 3 Clap
Zone 4 Conga hi slap Zone 4 808 rim
Zone 5 Conga hi Zone 5 808 cowbell
Zone 6 Conga Zone 6 808 conga
Zone 7 Cabasa Zone 7 Hi-hat
Zone 8 Quica Zone 8 808 Claves

Zone 1 Reverb kick Zone 1 909 kick
Zone 2 Paper snare Zone 2 909 snare
Zone 3 Hi-hat Zone 3 Hat
Zone 4 Low tom Zone 4 Bongo hi
Zone 5 Mid tom Zone 5 Bongo low
Zone 6 High tom Zone 6 Knack
Zone 7 Ride Zone 7 Electro tom hi
Zone 8 shot Zone 8 Electro tom low

Zone 1 Bass drum Zone 1 Reverb kick
Zone 2 Small quica Zone 2 Echo snare
Zone 3 Muted Zone 3 Heavy hats
Zone 4 Talking drum Zone 4 Sonar 1
Zone 5 Indian drum Zone 5 Sonar 2
Zone 6 Finger cymbal Zone 6 Noise
Zone 7 Darabouka Zone 7 Sonar 3
Zone 8 Thumb piano Zone 8 Crash

Zone 1 Hi kick Zone 1 Techno kick
Zone 2 Tone snare Zone 2 Snappy snare
Zone 3 Rim Zone 3 Hi-hat
Zone 4 Hi-hats Zone 4 Velocity plop
Zone 5 Latin tom low Zone 5 Snap
Zone 6 Latin tom mid Zone 6 Trek
Zone 7 Latin tom hi Zone 7 Electro guiro
Zone 8 Xylofon Zone 8 Echo wood
Factory Performances
Performance Name Performance Name
A0 Bellbrass pad D0 Acid clock
A1 Heavy sync sweep D1 Future pipe
A2 Big lead D2 Stereo Pad
A3 Orchestra bell D3 Wheel lead
A4 Pulse sweep with a twist D4 Expressive Lead
A5 Reverb choir D5 Techno song
A6 Majestix D6 Brass pad
A7 Arpeggiator string pad D7 Saw Sweep
A8 Plucking pad D8 Brite string pad
A9 Arpeggiator heaven D9 Space engine
B0 Sixtifive organ E0 Square organ
B1 Wow pad E1 Saw pulse pad
B2 Windy E2 Analog grand bass
B3 Water organ E3 Raga on white keys
B4 Big Morph E4 Soft string pad
B5 Heavy pulse lead E5 Voice 1
B6 Westminister E6 Voice 2
B7 Strings and bells E7 Voice 3
B8 The Jazz duo E8 Dist lead
B9 Ambient bell E9 Big bell
C0 Big pulse F0 Jungle
C1 Unison FM lead F1 Acid song
C2 Rise and fall F2 Bottle
C3 Greek stuff F3 ET go home
C4 Octave sweep F4 Acc gitar
C5 Cyber piano F5 Power bells
C6 Pan flute F6 Voices
C7 Metal sweep F7 Bells
C8 Sax-o-phone F8 The wheel morph
C9 Mouth flute F9 Attack

Performance Name
G0 Piano pad
G1 Harp
G2 Echo from africa
G3 Sweep pad
G4 Magic night
G5 – H7 Drawbar Organs (see below)
H8 – J9 Prophet 5 Factory Patch Recreations (see page 105
L0 – L9 Nord Lead RAM Programs 1-40 (Backup, see page 106)
Please note that many of the Performances consist of two-, three- or four-slot layers, which will lead to
reduced polyphony, especially noticeable on a 4-voice Nord Lead.
About the Organ Sounds

Among the Factory Performances, there are reproductions of 13 classic organ sounds. By using layers of
several Slots, combined with a special “pseudo-additive” synthesis, Clavia have filtered out a minor
number of “partials” from each Oscillator and combined them into different drawbar configurations, suc-
cessfully emulating the sound of drawbar organs such as the classic “B3”.
Drawbar Organ Essentials

To make best use of the organ emulations and their special features, some knowledge about the original
instruments might be of use. Briefly, the following building blocks were combined to create the unique
drawbar organ sounds:
Tonewheels: These are the basic sound-generating devices. In the Nord Lead, they are of course replaced
by the Oscillator section.
Drawbars: These are click-stopped “sliders”, usually nine, each one controlling the volume of a certain
partial in the organ tone. The partials are indicated in the classic pipe organ way, referring to the length
of the organ pipes. Thus, the standard drawbar configuration is (from the bottom up) :
16’ 5 1/3’ 8’ 4’ 2 2/3’ 2’ 1 3/5’ 1 1/3’ 1’
By using the drawbars to change the balance between the partials, the harmonic content of the organ
tone can be changed .
In the Nord Lead organ sounds, the oscillators are used to generate the partials. In some cases, there is a
direct “one oscillator - one drawbar” relation; other sounds use more complex waveforms to simulate up
to three combined partials with one oscillator. Usually, the oscillators in each slot are paired, so that Os-
cillator 1 generates the lower partial(s) and Oscillator 2 the higher. Therefore, you can give the sound
more bottom or edge, by changing the Oscillator balance with the Mix knob for each Slot.
Percussion: To add some attack to the sound, most classic organs feature Percussion - an accent-like tone
with fast attack, short decay and no sustain. Usually the pitch of the Percussion tones are 4’ or 2 2/3’ (or
both mixed), in effect replacing the corresponding drawbar partials. Some of the Nord Lead organ sounds
make use of Percussion in Slot B. You can vary the balance between the two Percussion pitches with the
Mix knob, and also change the Decay time of the Percussion tone to make it fit your playing style.
Click: Though not an intended feature on the classic organs, the short, non-pitched click noise when keys
are pressed has become a popular characteristic. In the organs, the sound came from oxidation on the
key switches; in the Nord Lead you can add or remove the click as desired. All of the Nord Lead organ
Performances has the click sound on Slot D, although it is by default turned off for some of the sounds.
Hum: This disharmonic, thin sound is also an unintended artifact, generated by leakage between the
tonewheels in the organs. It is included in some of the Nord Lead organ sounds, adding even further re-
alism.
Rotary Speaker: A large part of the characteristic organ sound is due to the rotary speaker cabinet. Such a
cabinet “moves the sound” around, either by rotating the actual speakers, or by directing the sounds with
rotating baffles or horns. Usually, the rotation speed can be changed from slow (producing a full chorus-
like effect) to fast (producing a very special doppler-shifted tremolo sound). Several of the organ sounds
in the Nord Lead include a Rotary Speaker effect, emulated by the LFO:s and the Morph function. Change
the rotor speed from slow to fast by raising the Modulation wheel.
This table shows the drawbar configurations simulated by each organ Performance. The configuration is
indicated by 9 numbers, volume settings (0 - 8) for each drawbar in the simulated sound.
For all Performances, you can activate Slot D to add Click to the sound.
Performance Name Drawbar configuration Extras Rotary Spkr.
G5 Perc 3rd w click 880 000 000 Slot B: Perc. No

Slot C: Hum
G6 NHL 808 000 022 No
G7 W. Shade of Pale 888 600 000 Yes
G8 Straight Jazz Perc 888 000 000 Slot B: Perc. No

Slot C: Hum
G9 Soul Rotor 888 222 222 Yes
H0 One high 888 000 008 Yes
H1 All Even Harmonics 808 808 008 Yes
H2 Odd Upper Harmonics 888 040 440 Yes
H3 All Out 888 888 888 Yes
H4 Cathedral Organ 864 212 468 Yes
H5 Low 876 543 211 Yes
H6 Mid 124 686 421 Yes
H7 Super Brite 112 345 678 Yes

About the Prophet-5 factory sound recrea-

tions
Over 40 of the 120 original factory sounds from the classic vintage “Prophet 5” synthesizer have been
faithfully recreated and stored in the Factory Performances of the Nord Lead. You find the Prophet
sounds in Performance memory locations H8 to J9.
Since each of these sounds uses one Slot only, four different Prophet sounds have been stored in each
Performance. To try out the different Patches in one Performance, select slot A, B, C or D, by pressing
the respective Slot button. The names of the recreated Prophet patches refer to their original location in
the Prophet 5 program banks.
Performance Slot A Slot B Slot C Slot D
H8 Bank 1-11 Bank 1-12 Bank 1-13 Bank 1-14
H9 Bank 1-15 Bank 1-16 Bank 1-17 Bank 1-18
J0 Bank 1-21 Bank 1-22 Bank 1-23 Bank 1-24
J9 Bank 2-54
Restoring the Factory Programs in RAM

Don’t hesitate to replace the Factory Programs in RAM locations 01 to 40 with sounds of your own! The
Factory Programs are duplicated in ROM Performances L0 to L9, as listed below. To extract one of these
sounds from its Performance, and store it as a Program, follow the instructions on page 35.
Performance Slot A Slot B Slot C Slot D
L0 Program 01 Program 02 Program 03 Program 04

MIDI Implementation Chart Page 107
14. MIDI Implementation

Chart
Model: Clavia Nord Lead (Keyboard and Rack) Date: 96 03 21
Version 2.x
Function Transmitted Recognized Remarks
Basic Default 1 – 16 1 – 16
Channel Channel 1 – 16 1 – 16
Default Mode 3 Mode 3
Mode Messages ✕ ✕
Altered ***********
Note 0 – 127 0 – 127

Number True Voice *********** 0 – 127
Velocity Note ON O v = 1 – 127 O v = 1 – 127

Note OFF ✕ ✕
After Key’s ✕ ✕
Touch Ch’s ✕ O
Pitch Bender O O
Control See page 89

O O
Change
Prog O 0 – 109 O 0 – 109

Change True #
System Exclusive O O See page 91
System : Song Pos ✕ ✕

: Song Sel ✕ ✕
Common : Tune ✕ ✕
System : Clock ✕ O
Real Time : Commands ✕ ✕
Aux : Local ON/OFF ✕ ✕

Mes- : All Notes Off ✕ ✕
sages : Active Sense ✕ ✕
: Reset ✕ ✕
Notes
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO ✕ : No
Page 108 MIDI Implementation Chart
Index 109
Index
A D
Aftertouch 67 Decay
Amount Amplifier 41
LFO 1 48 Filter 46
LFO 2 49 Introduction to 85
Mod Envelope 50 Mod Envelope 50
Amplifier Demo Play 9
Envelope 40 Destination
Introduction to 73 LFO 1 47
Triggering Envelope via MIDI 64 LFO 2 48
Amplitude Envelope 40 Mod Envelope 50
Arpeggiator 48 Drum Kits
Arpeggiator range 49 Copying Sounds To and From 31
Arpeggiator type 48 Editing 30
Arpeggio to MIDI Out 59 Playing 29
Attack Selecting 29
Amplifier 41 Dump One/All 71
Filter 46
Introduction to 84
Mod Envelope 50
E
Auto (Portamento) 54 Echo 49
Envelope
Amplifier 40
B Filter Amount 45
Band Reject 44 Introduction to 74
Bandpass 43 Expression Pedal 17
Bank Select 69
BP 43
Bulk Dump 71
F
Filter
Introduction to 73, 79
C Triggering Envelope via MIDI 62
Cards 24 Type 42
Controllers Velocity 25
Activating transmission/reception 59 Fine Tune 38
Front panel list 89 FM Amount 39
MIDI Transmission and reception 67 Frequency (Filter) 44
Recording in Sequencer 70 Frequency Modulation 39
Copying Programs 23
G
Gain 41
H
Headphone 7
Highpass 43, 80
HP 24dB 43
110 Index
K O
Kbd Track (Keyboard Tracking) Octave Shift 54
Filter 46 Oscillator 1 37
Osc 2 39 Oscillator 2 38
Oscillators, Introduction to 73
Out Mode 15, 57
L Outputs 7
L out 7
Layering 13
Layers P
Playing via MIDI 69 PCMCIA Cards 24
Legato 53 Pedal
LFO 1 47 Connecting 8
LFO 1, Synchronizing to MIDI Clock 61 MIDI Transmission and reception 67
LFO 2 48 Morphing 28
LFO 2, Synchronizing to MIDI Clock 62 Setting Up 17
LFO, Introduction to 74 Performances
Local (Control) 58 Defined 36
Lowpass 42, 80 Editing 34
LP 43 Introduction to 33
LP 12dB 42 MIDI Transmission and reception 68
LP 24 dB 43 Recalling 14, 33
Saving 35
Pitch Bend, see Pitch Stick
M Pitch Stick
Manual 22 MIDI Transmission and reception 67
Master Tune 16 Range
MIDI 59 Using 15
MIDI Channel Poly 15, 53
Global 60, 68 Portamento 54
Program Slot 59 Prog/Ctrl 59
Program slot 68 Program Change
With Sequencer 69 Activating transmission/reception 59
MIDI Connections 7, 69 Described 68
Modulation Envelope 50 Recording in Sequencer 70
Modulation wheel Program Slots
Destination 52 Introduction to 11
Morphing From 28 Programs
Using 15 Copying 23
Mono Editing 21
Mode 15, 53 Layering 13
Out Mode 57 MIDI Channel 68
Output 15 MIDI Transmission and reception 68
Morphing 28, 52 Selecting 11
Selecting in a Performance 34
N Storing 23
Pulse Width 40
Noise 38
Notch+LP 44
Index 111
R
R out 7
Rate
LFO 1 47
LFO 2 48
Release
Amplifier 41
Filter 46
Introduction to 86
Resonance 45
S
Semitones 38
Shift Functions 55
Special Functions 61
Stereo
Out Mode 57
Output 15
Store
Performance 35
Program 23
Sustain
Amplifier 41
Filter 46
Introduction to 85
Sustain Pedal 17
Sync 39, 78
System 66
System Exclusive
Bulk Dump 71
Implementation 91
T
Tune 16, 57
U
Unison 53
Unison Detune 66
V
Velocity
Morph via MIDI 64
Programming 25
to Filter 46
W
Waveform
LFO 1 47
Osc 1 37
Osc 2 38
112 Index

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Manual Nord Lead

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Owners Manual

Software Version 2.x – English

© Clavia DMI AB 1996

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

For Canada - for equipment with polarized line plug:

Programming Velocity Sensitivity 25

About Subtractive Synthesis 73

MIDI Implementation Chart 107

About This Manual

Clavia on the Net

▼ The L/R Outputs are line level.

Midi in Midi out Pedal R out L out Headphone

Expression pedal Headphones

MIDI equipment (sequencer etc.) Audio equipment (mixer, PA etc)

Pedal R out L out Headphone

1. Simultaneously press the Shift and Sync (Demo) buttons.

OSC 2 OSC 1 OSC 2

Portamento DEMO OSC 1 OSC 2

The Shift and Sync buttons.

Basic MIDI Settings for the Nord Rack

1. Set the keyboard to transmit on MIDI Channel 1.

TUNE OUT MODE LOCAL PRG.CTRL.

D UNISON MONO AUTO

TRL. MIDI CH SPECIAL SYSTEM

LFO 1 The MIDI Ch button

The Shift button

4. Use the Program Up/Down buttons to select MIDI Channel 1.

The Program Up/Down

5. Press Shift again to return to the normal play mode.

1. Select a Program Slot to play by pressing one of the four buttons A to D.

Dots both to the right and between the

Selecting Percussion Kits

TUNE OUT MODE LOCAL PRG.CTRL.

Percussion Kit P0 selected.

Using the Slots To Switch Programs

Program STORE Slots A and D (LEDs lit) are activated.

Slot C (LED dark) is not activated.

Slot B (blinking) is selected. Any editing

Replacing One Program In the Layer

2. Select a new Program for that slot.

4. To select a Performance in the Bank use the Up and Down buttons.

Use the Up/Down buttons to change Performance (indicated by the

TUNE OUT MODE LOCAL PRG.CTRL.

Monophonic and Polyphonic Operation

Press this button to turn

UNISON MONO AUTO

MIDI CH SPECIAL SYSTEM

Pitch Stick and Modulation Wheel

To set the range of the Pitch Stick, proceed as follows:

1. Hold down the Shift button.

Hold down the Shift button...

MONO AUTO FM AMT

1. Hold down the Shift button.

Hold down the Shift button...

4. Press the Shift button again.

Using a Foot Switch

4. Press the Shift button again.

Using an Expression pedal

Display shows: Pedal assigned to: