Modular 3 Modules en

Modular Reference
MIDI Mix & Gain LFO Effects

MVC A/B - MIDI Voice Control A/B PolyOut 1 & 2 Single/Poly und LFOs Compressor
Key Split Linear und Exponential VCA Multi LFO A Limiter
Key Zone Slope Mod VCA Multi LFO B Expander
MIDI Clock 6dB/12dB Gain MW LFO Noise Gate
Clock Divider Volume Attenuator Pulse LFO Delay
MIDI to Trigger Micro Mixer Shape LFO Tempo Delay
MIDI Channel Filter Mix 2/4/8 Biphase LFO Modulation Delay
MIDI Monitor Static Crossfade Saw Down LFO Chorus
Static Pan Saw Up LFO Flanger
Gate Crossfade Modulator Sinus LFO Tempo Flanger
Gate2Sync Pan Modulator Square LFO Phaser
Gate Switcher Amplitude Modulator Triangle LFO Tempo Phaser
Compare AB Granu Gater Random Signal Generator Pitch Shifter
Compare AX On/Off Switch Sample & Hold Pitch Shift Delay
Random Gate Generator 1x4 Switch (Gain) Distortion
Modifiers
4x1 Switch (Gain) Pitch Modifier A Bit Quantizer
OSC 1x6 Switch (Gain) Decimator
Frequency & Pitchmodulation Pitch Modifier B
6x1 Switch (Gain) Pitch Modifier C Ringmodulator
SyncMaster/SyncSlave 1x8 Switch (Gain) Mono/Stereo Insert
Multi OSC (SyncM/SyncS) Pitch Modifier D
8x1 Switch (Gain) Constant Value
Pulse OSC (SyncS) Add 2/3/4/5 Sequencer Modules
Saw down/up (SyncS) Constant Value bipolar
Inverter Gate SEQ1 / SEQ2
Sine OSC Constant Freq
Peak Meter Ctrl SEQ1 / SEQ2
Uknow OSC (SyncM/SyncS) Constant Partial
DC Blocking Filter Ctrl SEQ B1 / SEQ B2
Morphing Pulse Positive to Bipolar
Pitch SEQ
Morphing Saw Filter Curve Table
Pattern SEQ
Spectral OSC Linear Scale
6dB Highpass PS32
Fm Operator Frequency Divider
6dB Lowpass GateOr
Tube Resonator Frequency Multiply
12dB Multimode Filter Start/Stop
Noise Generator Pitch Quantizer
18dB Lowpass
BPF Noise Xmod & Feedback Connector
24dB Lowpass Filter
Sample Oscillator 24dB Highpass Filter Drum
Sample Pool 24dB Lowpass Filter V Drum Synth
24dB Lowpass Filter R Drum Oscillator
Envelopes 24dB Highpass Filter R
ADSR Percussion Oscillator
24dB Bandpass Filter R Drum Voice Control
ADSR B Multimode Filter A
AD (& Mod) Vintage Mute Adder 2
Multimode Filter B Hihat Source
AHD (& Mod) Vintage Uknow Filter
ADSR (& Mod) Vintage SampleDrum Oscillator
Combfilter A/B MDS 8
Multisegment Envelopes Vocal Filter
Envelope Follower 12dB Lowshelf EQ
Parametric EQ
12dB Highshelf EQ
Free Filter Bank A/B
Modular Synths Page Main table of contents Common Contents Index 1

MIDI
The modules in this group process MIDI data. Some modules process existing MIDI
signals, while others supply MIDI control signals to other synthesis modules.
MVC A/B - MIDI Voice Control Controls PWR

A/B The Pitch Wheel Range setting controls
Coarse/Fine
the deflection of the pitch by the incoming
The MVC modules are the most Transposes the pitch of the incoming pitchwheel values. The range is
important in the MIDI group. They are Freq Out/Sample F note data. Coarse adjustable from 0 to 24 semitones. The
required in every synth patch. They make transposes the pitch in semitones, while pitchwheel has no effect, of course, of
the connection between your MIDI Fine adjusts it in cents (hundredths of a the value here is set to zero.
keyboard or sequencer and your synth semitone).
patch, interpreting MIDI information such
as note number, note velocity, pitch bend
and aftertouch (with influence from
settings on the MVC module itself) and
translating this info into frequency, gate,
velocity and other signals which can be
used to control oscillators, filters,
envelopes, and so on.
There are two versions: MVC A offers

portamento, while MVC B does not and
is therefore "less expensive" in terms of
DSP power.
Modular Contents Index 2

Porta/Glis Curves
When Portamento or Glissando is Opens the Velocity/Aftertouch Curve
switched on, the pitch will either glide dialog with additional parameters.
(Portamento), or progress in a stepwise
sequence (Glissando), from one note to Velocity/Aftertouch Curve
the next over a fixed time period The illustration shows the 128 possible
(adjustable - see next section). Velocity/Aftertouch values.
You can adjust this parameter to Off, The associated parameters Curve,
Portamento (P), Glissando (G), fingered Sensitivity, and Offset all contribute to the
Portamento (fP) or fingered Glissando way the MVC adapts the Velocity/After-
(fG). Note that Portamento/Glissando is touch values to produce the desired
only effective when playing in a legato response. The fundamental response is
style. determined by the 7 Curves - linear
(curve 1), fixed (curve 3), exponential
Time (curve 4) or logarithmic (curve 6).
Used in conjunction with the Port/Gliss Sensitivity adjusts the depth of the curve
option, above. This sets the amount of (i.e. the degree of response) and Offset
time to glide or gliss from one note to the adds or subtracts a fixed amount from
next. the response curve.
For more information, see the section

‘Curve Table’, also in this chapter.

Connections
MIDI In Vel Esync
Connect the MIDI signal from a MIDI Provides the MIDI velocity value after This is an input used to receive Esync
Source module, or another modular having been ‘massaged’ by the velocity (Envelope Synchronization) messages.
module that has a MIDI out port to this curve. This output can be connected to Esync signals are fed back from the
input. several different inputs to provide envelope generators and report the
modulation based on keyboard current state of the envelope to the MVC.
Freq Out dynamics. It is commonly used to This is necessary for precise voice
This jack supplies frequency values for influence envelope timings and levels, control. Only if Esync and Gate are both
oscillators, pitch modifiers etc. You can and filter cutoff modulations. connected to their appropriate ins and
also connect an LFO’s Freq In input here. outs will the envelope generators operate
AT error-free. To use more than one
Provides MIDI Aftertouch values after envelope, you must also include the
Sample Freq
having been processed by the aftertouch Esync Adder module.
This output is used for frequency control
of the SampleOscillator. curve. Attach any modulation input to this
Important: If you use the gate signal
output. with no envelope generator present in
Do not confuse this setting with the the patch, you must first connect Gate
sample rate setting. A sample rate Gate with Esync (i.e. bridge the connections
designates the bandwidth of a selected in the MVC). Otherwise, no gate signal
sample. The Sample Freq connection is
Connect envelope generators, LFOs, or
will be sent.
for pitch information used for sample other modules that require a gate signal
playback. to this output. Some envelope generators
use Envelope Synchronization (Esync,
Note see next section) which must be
Supplies the MIDI Note value. Use this connected in conjunction with Gate in
to connect to a Key Follow modulation order for the voice envelopes to function
input or other modulation input (such as correctly. You can connect several
Envelope Tmod). envelope generators in parallel to the
Gate output.

Key Split
This module takes the MIDI data and splits it according to note number into two keyboard
zones defined by a split point. Only MIDI data falling within the low or high split zones
are transmitted through the respective Low/High MIDI outputs. Each zone has its own
Transpose parameter. Typically you would connect two MVCs to the outputs of the
Key Split module to control two separate sounds.
Controls Connections
Low Key MIDI In
This value sets the lowest note (as a note Input for the MIDI signal.
number) for the keyboard zone. The
highest note for the zone is determined MIDI Low
by the Split value. Transpose
Outputs the low split zone portion of the
Allows for independent transposition MIDI signal (after transposition).
Split values for the Low and High keyboard
This note number separates the high and ranges, adjustable to +/-64 semitones.
MIDI High
low keyboard zones. Note that the transposition will succeed
only if the result lies within both the Outputs the high split zone portion of the
respective low/high key range and the MIDI signal (after transposition).
High Key
The note number that defines the upper permissible range of MIDI note numbers
boundary of the high keyboard range. The (0-127).
lower boundary is determined by the Split
value.

Key Zone
This module reads the incoming MIDI data and re-transmits only the portion that lies
within an adjusted keyboard zone. A Transpose setting allows notes within the zone to
be transposed. Typically you would insert this module before an MVC to limit the input
of the MVC to a specific key range on a keyboard.
Low Key MIDI In

This specifies the low key of the range Input for the MIDI signal.
as a MIDI note number.
MIDI Out
Transpose
High Key The resulting MIDI output (limited to the
You can transpose the notes in a key Key Zone range defined by the settings).
Specifies the upper limit of the zone as a zone by up to +/- 64 semitones. The
MIDI note number. transposed notes must lie within the Low/
High key range, and must remain within
the allowable MIDI range of 0-127 or they
will not play.

MIDI Clock
This module converts internal or external MIDI clock messages into clock pulses for Clock
use by the Step Sequencer, or to control LFO frequencies, etc. A MIDI Clock signal Outputs the Clock signal of either the
consists of 24 pulses per beat. The Clock Signals and the resulting frequencies are internal or external MIDI clock. Connect
output at a 1:1 ratio, i.e. 24 pulses per beat. Adjusting the clock frequency has some this to the Clock inputs of the Clock
implications with regard to the Clock Divider (see next module) and the Frequency Divider or Sequencer, or to the Gate In
Divider (see the Modifier section). So that different devices within the SCOPE 5 can of an envelope generator.
be synchronized with a Modular patch, the MIDI Clock has a MIDI Out which can be
connected to the MIDI destination. Start/Stop
Sends MIDI Start and Stop
Controls synchronization messages to the Clock
Divider. Connect the Clock Divider’s input
Internal/External of the same name to this output.
Switches the MIDI Clock between
Internal and External modes. When the Freq
indicator is lit, the module is in Internal Sends the clock signal as a frequency.
mode. You can connect Freq directly to a Divider
Connections (see Modifiers) to provide a signal to
BPM connect directly to an LFO’s Freq In.
Sets the clock tempo BPM (Beats Per MIDI In
Minute). The first field is the whole Input to receive the MIDI signal from the MIDI Out
number value, and the second is the Modular MIDI Source. Of course, this Provides a MIDI signal with MIDI Clock
fractional value in 1/100ths of a beat per connection is only required in External information so you can synchronize other
minute. mode. Sonic Core devices to the Modular’s
In order to use MIDI In to control the Clock,
clock.
a MIDI signal containing MIDI Clock
information must be connected to the
Modular’s MIDI In within the Project
Window.

Clock Divider
The Clock module always outputs 24 pulses per beat, but this is not always the number
required in your patch, or portion of a patch. Often you will want to divide (or multiply)
this number to produce different note length values. In addition to the Clock input, the
Clock Divider provides two Clock outputs which supply subdivisions or multiples of
the signal.
Clock Divide Clock
Each of the two outputs has an Connect the Clock output of a MIDI Clock
associated Textfader to adjust its or other module here.
multiplication or division factor.
Start/Stop
Example: You have a MIDI Clock, a 24/96 = 1/1 note Connect this with the output of the same
Clock Divider, and two sequencer
name on the MIDI Clock module. The
modules. The first sequencer is to 24/48 = 1/2 note
produce quarter notes, and the second, MIDI Clock uses this connection to
eighth-note triplets. Connect Out 1 to 24/24 = 1/4 note enable synchronous control. When this
the first sequencer, and set it to 24/24. signal is received, Out 1 and Out 2 of the
Likewise, connect Out 2 to sequencer 24/16 = 1/4 triplets Clock Divider are resynchronized.
2, but adjust the ratio to 24/8. Out 1 will
send quarter notes (24/24 = 1 step per 24/12 = 1/8 note
beat) and Out 2 will transmit eight-note Out 1
triplets (24/8 = 3 steps per beat). 24/8 = 1/8 triplets Clock Divide output 1.
24/6 = 1/16 note Out 2

24/4 = 1/16 triplets Clock Divide output 2.
24/3 = 1/32 note

MIDI to Trigger
This module converts detailed MIDI Note On events to a more generic trigger, or
Clock signal. MIDI to Trigger can be used, for example, to trigger a step sequencer
whenever you play a note on the keyboard. MIDI to Trigger distinguishes between
Single and Legato modes.
In Single mode, each new note on event produces a trigger signal.
In Legato mode, notes played before the previous note is released are ignored.
Therefore, there must be a small space between two notes for the second to produce
a trigger.
Single MIDI In
Enables Single mode. The button is lit Connect this to a MIDI source.
when enabled.
If you want the module to respond only to
a specific MIDI channel, connect a MIDI
Legato Channel Filter and set it to pass MIDI data
Enables Legato mode. The button is lit only from the desired channel.
when enabled.
Trig
Outputs the trigger/clock signal.

MIDI Channel Filter MIDI Monitor
The MIDI Channel Filter permits only The MIDI Monitor shows the incoming
those MIDI events which are on the MIDI-messages and allows therefor to
selected channel to pass through. This see quickly, if a MIDI signal is present
permits you to divide the common and on which channel it’s coming in.
incoming MIDI stream according to Additionally you get information about the
channel, so that specific portions of a note number and the velocity.
patch respond only to messages
received on a specific channel. Multiple
MIDI Channel Filters can be used within
one patch to apply different MIDI
channels within one patch.
Connections Connections
In MIDI In
Connect, for example, the MIDI input of Connect, for example, the MIDI input of
the patch here. the patch here.
Out
Delivers the filtered MIDI stream,
containing only the messages on the
specified channel.

Gate
This group contains modules that process, change, and/or produce Gate signals. Some modules supply processed or refreshed
gate signals, while others produce control signals for the Modular’s synthesis modules.
Gate2Sync Gate Switcher

This simple module converts incoming This module takes an incoming gate signal and routes it one of two ouputs depending
Gate signals into audio impluses which on the incoming Vel or Note signal from an MVC, and the range values adjusted for
can be used for oscillator synchronization each output. Therefore, a gate signal can be routed dependent on either the MIDI
and restarting. note, or the velocity.
Controls
Controls Min/Max1
on/off Sets the range within which the incoming Connections
Switches gate to synchronization signal gate signal will be routed to the first
conversion on or off. When the button is output. Gate
lit, Gate2Sync is switched on. Input for the gate signal.
Min/Max2
Connections Sets the range within which the incoming Val
gate signal will be routed to the second Input for the Note or Vel signal of an MVC.
Gate output.
Input for the gate signal. Gate 1
Link Gate ouput for the Min/Max1 range.
Sync Enable this option to make Max1 and
Output for the synchronization signal. Min2 adjustable simultaneously in paral- Gate 2
lel. This makes it easier to separate the
Gate ouput for the Min/Max2 range.
two ranges accurately.

Compare AB
This module compares the instantaneous levels of two incoming audio signals. When
the signal level at input A exceeds the level of the signal at input B, the module outputs
a Gate signal (Gate open). The gate remains open until the level of the signal at input
A falls below the level of the signal at input B. A sensitivity control reduces the sensitivity
of the circuit so that the gate output responds less frequently.
Sens Gate
Reduces the sensitivity of the circuit so Gate signal output.
that the gate state changes less
frequently. In A
Input for the first audio signal.
In B
Input for the second audio signal.
To compare for A<B it is only necessary

to exchange the input signals.

Compare AX Random Gate Generator
This module compares the instantaneous level of an audio signal with a fixed value This module generates random gate
(Threshold). When the signal level at input A exceeds the Threshold value, the module signals. The rate at which the module
outputs a Gate signal. The gate remains open until the level of the signal at input A produces the signals is adjustable.
falls below the Threshold. A sensitivity control reduces the sensitivity of the circuit so
that the gate state changes less frequently. The Threshold can be switched to use
bipolar values.
Controls
Rate
Controls how frequently the module
Controls generates gate signals.
Connections
Treshold Gate Connections
Sets the value to compare to the level of Output for the gate signal.
the signal at input A. Gate
In A Gate signal output.
Sens Input for an audio signal.
Reduces the sensitivity of the circuit so
that the gate state changes less
frequently.
Bipolar
Switches the Threshold control to use bi-
polar values.

Frequency &
OSC Pitchmodulation SyncMaster/SyncSlave
The Modular provides you with many Without a frequency signal at the Some oscillators are provided in
varieties of oscillator. In this section you Frequency In connection, an oscillator SyncMaster or SyncSlave variants. The
will find many typical and familiar will produce no sound, as it has no following applies to oscillator
oscillators, as well as several interesting indication of what frequency to generate. synchronization in general:
implementations of new concepts. One easy and common way to provide a
frequency value is to connect Freq Out The SyncMaster supplies a signal that
In general, the more functionality an of the MVC to the Freq In connection of adjusts the waveform of the SyncSlave
oscillator offers, the more hungry it will an oscillator. This patch enables the to restart with each new SyncMaster
be for processing resources. Using oscillator ’s frequency to follow a cycle (see diagram). With pitch
smaller, more basic oscillators when keyboard. modulation, only the tone quality, but not
possible will help optimize DSP usage. the frequency of the slaves changes.
Always try to use smallest oscillator For pitch modulation, use one of the Pitch
possible in any particular section of a Modifiers (see under ‘Modifiers’).
Modular patch. Connect the modifier to the MVC (as you
would an oscillator) and then connect the
Tip: Start with full featured oscillators, respective oscillators to the Freq Out jack
and then replace them later with of the modifier. You can connect any of
smaller versions that supply only the
functionality you need.
several modulation sources to the pitch
modifier.
This module group also includes a
selection of noise generators. If you require only a fixed frequency, use
the Constant Pitch modifier in the
modifier group.
Normally you would connect the Sync
Out of a SyncMaster to the Sync In of
the slave(s). Then use a pitch modifier
(see under Modifiers) to modulate the
pitch of the slave(s) using any modulation
signal.

Multi OSC (SyncM/SyncS)
The classic analog oscillator with 5 waveforms: Sine, Triangle, Saw up, Saw down, Connections
and Pulse. The pulse width is controllable either manually, or by a modulation input.
This oscillator is available as either a SyncMaster or SyncSlave. Freq In
Input for the frequency signal.
Pwm
Connect a modulation signal to control
the pulse width here.
Out
The oscillator’s output signal.
Controls
Sync Out (Only in SyncMaster version)
Coarse/Fine PW
Provides a synchronization signal for a
Controls the pitch of the oscillator. Coarse When the pulse waveform is selected, SyncSlave oscillator. Connect this output
adjusts the pitch in semitones; Fine use PW to manually adjust the ‘duty cycle’ to the Sync In jack of the slave oscillator.
adjusts it in cents (1/100 of a semitone). of the wave. This adjusts the shape of
the pulse rectangle. Sync In (Only in SyncSlave version)
Waveform Input for the synchronization signal of a
Allows you to choose from the following PwmA
SyncMaster oscillator. Connect the Sync
waveforms: Sine, Triangle, Saw up, Saw Adjusts the degree to which the incoming out of a SyncMaster here.
down, and Pulse. signal at the Pwm input influences the
pulse width modulation.

Pulse OSC (SyncS)
Oscillator to produce a pulse wave with variable pulse width. Available as SyncSlave.
Coarse/Fine Freq In
Controls the pitch of the oscillator. Coarse Input for the frequency signal
adjusts the pitch in semitones; Fine
adjusts it in cents (1/100 of a semitone). Pwm
PW the pulse width here.
Control to adjust the pulse width
manually. Out
The oscillator’s audio output.
PwmA
Adjusts the degree to which the incoming Sync In (SyncSlave only)
signal at the Pwm input influences the Input for the synchronization signal of a
pulse width modulation. SyncMaster oscillator. Connect the Sync
out of a SyncMaster here.

Saw down/up (SyncS)
This simple oscillator provides descending and ascending sawtooth waveforms.
Available as SyncSlave.
Coarse/Fine Freq In
Controls the pitch of the oscillator. Coarse Input for the frequency signal.
adjusts it in cents (1/100 of a semitone). Out
Sync In (SyncSlave only)

Input for the synchronization signal of a
SyncMaster oscillator. Connect the Sync
out of a SyncMaster here.

Sine OSC
The Sine Oscillator is provided in three versions: normal, SyncSlave, and Partial. The
SyncSlave version is used for oscillator synchronization. The Partial version is
specifically designed for use in additive synthesis patches, since this oscillator can be
tuned to produce pitches in the harmonic series.
Controls
Connections
Coarse/Fine
Freq In
Controls the pitch of the oscillator.
Coarse adjusts the pitch in semitones; Input for the frequency signal.
Fine adjusts it in cents (1/100 of a
semitone). Out
Partial (only in the SineOSC Partial)
This is the factor by which the basic Sync In
frequency at Freq In is multiplied. By Input for the synchronization signal of a
adjusting this value to integer (whole SyncMaster oscillator. Connect the Sync
number) values, harmonics are out of a SyncMaster here.
produced:A factor of 1.000x produces the
basic frequency, or first harmonic. A
factor of 2.000x produces the octave
above the basic frequency, or the second
harmonic, etc.
Since using the rotary control to adjust

this value is a little clumsy, it is better
to simply enter the desired harmonic
number in the text field directly. For
example, enter <3> + <Enter> to adjust
the oscillator to the third harmonic.

Uknow OSC (SyncM/SyncS)
This oscillator actually consists of three oscillators: a pulse oscillator with variable dulation (the External button is lit) the PP
pulse width, a sawtooth oscillator, and a square wave sub-oscillator. The volume of and SP controls adjust the intensity of the
each oscillator can be independently adjusted. The phases of the pulse and sawtooth phase modulation of the pulse and
oscillators can be adjusted manually, or controlled by a modulation signal. This oscillator sawtooth waves.
is provided in both SyncMaster and SyncSlave versions.
PP
Controls Controls the phase of the pulse wave.
It’s effect is either direct, when in manual
Coarse/Fine mode, or indirect by controlling the
Controls the pitch of the oscillator. Coarse intensity of the incoming modulation
adjusts the pitch in semitones, Fine signal in Modulation mode.
adjusts it in cents (1/100 of a semitone).
SP
PW Controls the phase of the sawtooth wave.
Control to adjust the pulse width It’s effect is either direct, when in manual
manually. mode, or indirect by controlling the
intensity of the incoming modulation
PwmA signal in Modulation mode.
Adjusts the degree to which the incoming
signal at the Pwm input influences the P
Ext
pulse width modulation. Volume of the pulse wave.
Switches between manual control and
Modulation control of the phase of the S
pulse and sawtooth waves. With manual
control (the button is not lit) the phases Volume of the sawtooth wave.
of the pulse and sawtooth waves are
controlled directly using the PP and SP Sub
controls respectively. When set to Mo- Volume of the sub-oscillator.

Connections
Freq In Out
Input for the frequency signal. Audio output of the oscillator.
Pwm Sync Out (SyncMaster only)

Connect a modulation signal to control Provides a synchronization signal for a
the pulse width here. SyncSlave oscillator. Connect this output
to the Sync In jack of the slave oscillator.
PPm
Input for a modulation signal to control Sync In (SyncSlave only)
the phase of the pulse wave. The signal Input for the synchronization signal of a
at this input has an effect only when Man/ SyncMaster oscillator. Connect the Sync
Mod is set to Mod (button is lit). out of a SyncMaster here.
SPm
Input for a modulation signal to control
the phase of the sawtooth wave. The
signal at this input has an effect only
when Man/Mod is set to Mod (button is
lit).

Morphing Pulse
This oscillator can produce a continues waveform change (morph) from sine to pulse.
The morph factor and the pulse width can each be controlled manually, or by a
modulation signal.
Coarse/Fine Freq In
adjusts it in cents (1/100 of a semitone). Pwm
PW the pulse width here.
Control to adjust the pulse width
manually. WfmA Wfm
Adjusts the intensity of the modulation Input for a modulation signal to control
PwmA signal connected to the Wfm input. This the waveshape/morph factor.
Adjusts the degree to which the incoming signal modulates the waveshape/morph
signal at the Pwm input influences the factor. Out
pulse width modulation. The oscillator’s audio output.
WF
Here you set the morph factor which
controls the relationship of the sine wave
to the pulse wave.

Morphing Saw
This oscillator can produce a continues waveform change (morph) from sine to saw.
The morph factor can be controlled manually, or by a modulation signal.
Coarse/Fine Freq In
adjusts it in cents (1/100 of a semitone). Wfm
WF
WfmA the waveshape/morph factor.
controls the relationship of the sine wave Adjusts the intensity of the modulation
signal connected to the Wfm input. This Out
to the pulse wave.
signal modulates the waveshape/morph The oscillator’s audio output.
factor.

Spectral OSC
Like the morphing oscillators, this oscillator produces a smooth transformation from
one waveform to another. However, it is a little different. Although both are
‘waveshaping’, and produce dynamic spectra by increasing overtones for a brighter
tone, this oscillator can also switch between sawtooth and pulse waveforms.
Coarse/Fine Freq In
adjusts it in cents (1/100 of a semitone). Wfm
Saw/Pulse WfmA the waveshape/morph factor.
Switches between the sawtooth and Adjusts the intensity of the modulation
pulse waveforms. signal connected to the Wfm input. This Out
signal modulates the waveshape/morph The oscillator’s audio output.
WF factor.
controls the relationship of the sine wave
to the saw/pulse wave.

Fm Operator
Use this module to create patches using FM synthesis. The FM Operator can be used
either as a modulator or a carrier. In an FM patch, modulators determine the tone, and
the carrier (the FM Operator at the end of the chain) determines the amplitude. The
carrier waveform is a sine. There is a separate input for connecting envelope generators.
Controls
Coarse/Fine Phase
In an FM Operator, the Coarse/Fine Use this control to adjust the start phase
controls are used not only to determine of the carrier wave. Usually this results
the pitch of the output, but also the in small spectral changes, and will work
spectrum (e.g. frequency modulation). only if retrigger (Ret) is enabled.
Coarse changes the frequency in integer
steps, resulting in simple spectra with Ret
recognizable pitch. Changes to the Fine This switch determines whether the
setting result in less recognizable pitch, Fixed signal will run continuously, or be
and more complex spectra reminiscent Fixed permits you to adjust the operator’s restarted at its initial phase setting each
of bells or ring modulation. In order to use frequency to a fixed value. You can create time a new note is played. Retrigger is
the Coarse/Fine controls, Fixed must not some particularly interesting effects using enabled when the button is lit.
be enabled, and the blue LED beside the Fixed.
controls must be lit. FmA1/2
When you use a fixed frequency, the
Detune Coarse/Fine controls are disabled. This Controls the depth of frequency
is indicated when the blue LED next to modulation from the respective
Allows you to detune, or fine tune the Fixed is lit. modulation inputs.
operator. Range is +/-20 cents.

Connections
Freq In Out
Input for the frequency signal. The operator’s audio output. This can be
connected directly to a modulation input
Gate In to create a feedback loop.
Input for a Gate signal (possible from an
MVC). Without a signal connected here,
the Phase and Ret controls will have no
effect.
EG
Input for an envelope signal. Controls the
amplitude of the operator.
Fm 1
Input for a modulator for frequency
modulation.
Fm 2
Input for a modulator for frequency
modulation.

Modulation Synthesis OSC
Use this module to implement classic modulation synthesis. Well-known modulation
synthesis techniques include ring modulation, amplitude modulation, and frequency
modulation. This module has individual modulation inputs for ring and amplitude
modulation, and two inputs for frequency modulation. The carrier used for frequency
modulation is a sine wave.
Controls
Coarse/Fine Fixed
The Coarse and Fine controls adjust the Sets the pitch of the oscillator to a fixed
pitch, and in the case of frequency frequency. Using a fixed frequency
modulation, also the sound spectrum. results in particularly interesting effects.
The Coarse control adjusts the basic
When the oscillator is set to a fixed
frequency in integral relationships so as frequency, the Coarse/Fine controls
to create simple spectra with have no effect (as indicated by the state
recognizable pitch. Use the Fine control of the blue LED - on or off).
to produce spectra with less easily
recognizable pitch and more complex Phase
spectra with bell-like qualities. To use the This control sets the start phase of the
Coarse/Fine controls, Fixed must be set carrier wave. Usually this results only in
to null, and the blue LED between the small changes to the spectrum, and then
Coarse and Fine controls must be lit. only when an appropriate signal is
connected to the Sync In input. You
Detune could, for example, use the Gate to Sync
Controls the fine tuning or detuning of the module to provide an appropriate signal.
oscillators within a range of +/- 20 cents.

RmA (Ringmodulation Amount) Connections Fm 1
Intensity of the ring modulation. Frequency modulation input for any
Freq In arbitrary modulator.
AmA (Amplitudemodulation Amount) Input for a frequency signal.
Intensity of the amplitude modulation. Fm 2
Sync In A second modulation input for frequency
The sound spectra produced by ring
Input for a synchronization signal from modulation.
and amplitude modulation are quite
similar. However, they differ as follows: the SyncMaster Oscillators or the Gate
In ring modulation the fundamental to Sync module. Connect the Sync Out Out
pitch of the spectral waveform signal here.
gradually disappears as the modulation
The oscillator’s audio output signal. You
intensity increases. In amplitude can connect this output directly to the
modulation, the fundamental pitch Rm modulation inputs of this module to create
remains in the spectrum. Ring modulation input for any arbitrary a modulation feedback loop.
modulator.
FmA1/2 (Frequencymodulation Amount 1/2)
Controls the intensity of the frequency Am

modulation of the signals at the Amplitude modulation input for any
respective modulation inputs. arbitrary modulator.
For these controls to have an audible
effect, a signal must be present at the
control’s corresponding modulation
input.
Out
Adjusts the volume of the audio signal at
the Out output.

Tube Resonator
This module is actually based on a comb filter, but was conceived to perform as an DampMod
oscillator. Comb filters are particularly effective when imitating sounds such as a flute
Controls the intensity of a modulation
(from which the module got its name, since a flute is little more than a ‘tube’). To
signal over Damp. You can use this, for
produce a flute sound, you would start by sending some noise to the resonator. The
example, to apply an envelope to the
frequency is controlled, as usual, by the signal at the Freq In input. Other modulation
Damp parameter, controlling the amount
inputs provide signals to control the spectrum.
of audible noise to imitate the blowing
sound of a wind instrument.
Connections
Controls
In
Coarse/Fine
Input for an audio signal.
Controls the pitch of the resonator.
Coarse adjusts the pitch in semitones;
Freq In
Fine adjusts it in cents (1/100 of a
semitone). Input for a frequency signal.
Damp
Res The resonance of the filter is created Rmod
Controls the strength of the comb filter using feedback. By adjusting the Damp Input for a modulation signal
effect. The higher the resonance, the parameter, you control the depth of the (Resonance).
clearer the pitch becomes. feedback loop. This provides an additio-
nal way to control the behavior of the Dmod
comb filter. Input for a modulation signal (Damp).
ResMod
Adjusts the degree of influence of
modulation on the resonance. Out
The resonator’s audio output.

Noise Generator BPF Noise
Noise has many applications in synthesis Produces white noise that has been
- as a tone color, a modulation signal, in filtered through a bandpass filter with
sample-and-hold circuits - to name just adjustable cutoff. The filtered and
a few. This module simultaneously unfiltered signal is available at separate
delivers both pink and white noise at the outputs.
respective outputs.
Controls
Connections
Cutoff
White Adjusts the cutoff frequency of the
White noise output. bandpass filter.
Pink Connections
Pink noise output.
White
Output for the unfiltered white noise.
BPF
Output for signal after it has passed
through the bandpass filter.

Sample Oscillator
The Sample Oscillator lets you use any desired Akai (.s) or Wave (.wav) sample files
as a sound source in your patch. Samples are loaded via simple drag & drop from the
File Browser onto the sample-drop field. Once loaded, a sample can be played via the
keyboard with normal semitone transpose per note number or, via the Fixed option,
with the same pitch on all keys. The latter option is especially useful with sound effects High
samples. If other modules through which the sample is played, such as filters, are Sets the highest note number at which
connected in such a way as to be dependent upon note number, then it is possible to the sample is triggered.
vary a parameter (such as filter cutoff) in response to keyboard position, even though
sample pitch stays fixed. Sample Drop Field Fixed Tune
Activating this option causes sample
pitch to be the same on all keys which
Controls trigger it. The Coarse and Fine Tune
controls can still be used to dial in a pitch
Coarse/Fine
other than the original sample pitch.
Adjusts the coarse and fine tuning of the
sample oscillator in semitones and cents Keep in mind that transposition of a
(1/100th of a semitone) respectively. sample changes its playback speed –
this is especially noticeable with sound
effects samples. Transposing a sample
PMod
downward slows it down, while
The Sample Oscillator does not receive transposing it upward speeds it up.
a frequency control signal in the same
Low
sense as a standard oscillator. Instead, Load
it receives an offset based on the Coarse Sets the lowest note number at which the
sample is triggered. Click on this button if you want to load a
and Fine Tuning settings and the pitch sample. This button opens the standard
change introduced by Pitch Bend dialog for loading files.
messages. Thus, a separate pitch Center
modulation input is provided for Sets the note number at which the
connection to an LFO or similar sample plays at its original pitch.
modulation source.

Connections
Gate to EG Using Samples
Triggers the sample. Typically connected Connect this output to the Gate input of Once you’ve loaded a sample and then
to the Gate output of the MVC module all envelopes involved with playback of save a patch preset, the same sample
for triggering from a MIDI keyboard or the sample. This ensures that the sample will later be reloaded whenever you recall
sequencer. is started before the envelope receives this preset. Keep in mind that the
its gate signal. SampleOscillator does not store the
Note sample itself within the preset, but merely
Presents note number information to the Out records its name and its location. If you
Sample Oscillator. Typically connected Audio output from the SampleOscillator. subsequently delete this sample, rename
to the Note output of the MVC module. it or move it to a different location (or if
the sample was loaded from a CD-ROM
Smpl F which is not inserted in the CD-ROM
drive), the SampleOscillator will not be
For connection to the output of the same
able to find it and therefore not be able
name on the MVC module. The Sample
to load it.
Oscillator must be connected this MVC
output instead of the Freq output normally In particular, note that when
used with standard oscillators. transferring a patch which uses
samples to a different computer, it is
PMod also necessary to transfer the samples
being used.
For connection to a pitch modulation
source such as an LFO. Note thaat LFOs To get around this problem, read the next
connected to this input should not be run section, Sample Pool.
at speeds higher than approximately
10Hz.

Sample Pool Remove
The Sample Pool gives you the capability to integrate several samples into your patch By clicking on this button, the currently
in a simple manner. When you load a sample, it becomes a component ot the patch. selected sample is deleted from the
Therefore, the storage requirements of the patch rise depending on the size of the Sample Pool.
integrated samples. On the other hand, now you don’t have to pay attention to where
your samples are stored on your hard disk - whether they are in the correct location or Remove All
not. Also, this design has the advantage of ensuring that the patch always contains the When you click on this button all samples
correct samples when it is transferred to another computer. in the pool, regardless of the selection,
are deleted.
Controls Samples in the Sample Pool that also
Load reside on the hard drive will not be
deleted from the hard drive by Remove
Press this button to load a sample, the or Remove All.
standard dialog for loading a file appears.
If the samples are stored only in the
Save Pool patch and you remove one or more
from the pool, only the remaining
Clicking on this button allows you to save samples will be saved when the patch
the Sample Pool, in its current state, as is saved. The removed sample are lost
an independent module. Later you can when the patch is overwritten with the
integrate this pool into another patch. changes.
Export
Click on this button if you want to save
the currently selected sample to your
hard disk. This button opens the standard
dialog for saving files.

Envelopes
Envelope generators are required to An envelope is triggered by a Gate On
produce the dynamic changes in signal. It starts, and proceeds through
amplitude and tone that help create the several segments of varying pre-
essential characteristics of an instrument. determined lengths. When it receives a
Essentially, an envelope instructs a Gate Off signal, the envelope generator
parameter how to behave over time. jumps to the final ‘release’ segment.
Envelope generators, combined with
filters and amplifiers, are essential Most of the envelopes have an adjustable
defining elements of an instrument patch. Slope parameter to further define the
envelope shape. Depending on the
Most of SCOPE 5’s envelopes are envelope generator, one of linear,
suitable for any purpose - amplitude, logarithmic or exponential curves can be
filter, or pitch control. They feature selected (see the figure beside).
‘Envelope Synchronization’ (Esync),
which makes them particularly accurate. In a patch you usually use the standard
A few were designed specifically to envelopes that include the Esync
feature. If you need an envelope
provide envelope control over filter or generator only to control a single filter,
pitch only, and are named with the or the pitch, then select one of the ‘Mo-
designation ‘Modulation Envelope’. The- dulation’ envelope generators, since
se do not include the Esync capability, Esync is not required in this case. An
and are therefore very efficient. amplifier, however, must always be
controlled using an Esync-capable
envelope generator.

ADSR
A Standard, four segment, Attack, Decay, Sustain, Release envelope generator. The
slopes are adjustable, and the times and levels can be modulated simultaneously.
Controls Tmod1
Adjusts the times of all segments of the
Slope
envelope. Both the intensity and direction
You can adjust the curves for the attack, of the modulation effect of the signal at
decay and release slopes. The curve is Tmod1 is set by this value. Negative
continuously adjustable from linear to values shorten times, and positive values
logarithmic. lengthen them.
S
A Tmod2
The sustain level. This is the level at
The attack time. When a gate signal is which the modulation signal will be held Adjusts the times of all segments of the
received, the attack segment starts, and as long as the gate is open. When the envelope. Both the intensity and direction
continues for the maximum time duration gate closes, the release segment of the modulation effect of the signal at
at which point the maximum modulation immediately follows. Tmod2 is set by this value. Negative
level is reached. values shorten times, and positive values
R lengthen them.
D
The release time. When the envelope
The decay time. The envelope enters the Lmod
generator receives a gate-off signal, it
decay segment when the attack phase Adjusts the levels of all segments of the
jumps immediately from its current phase
completes. At this point, the modulation envelope. The value here (0..max)
to the release segment. When the
falls back to the sustain level. The time controls the intensity of the modulation
change from one segment to another
needed for this is the Decay time. A decay of the levels by the modulation signal.
takes place, the release time will be
will not be heard if the sustain level is set
adjusted to account for the volume level
to maximum.
at that time.

Connections ADSR B Additonal Connections
Gate Similar to the standard ADSR envelope, Inv
Connect the gate signal from, for but lacks the Esync output, and is This additional connection produces an
example, an MVC or a sequencer here. therefore slightly more economical in inverted version of the envelope signal.
terms of DSP power usage. This
Esync envelope should always be used in The Out and Inv ouputs can be used
situations where it is not important that simultaneously.
Connection for the Esync feedback to an
the envelope output value returns
MVC or sequencer module.
completely to zero before the envelope
is restarted.
Tmod1
envelope times.
Tmod2
envelope times.
Lmod
envelope levels.
Out
Output for the envelope signal.

AD (& Mod) Vintage
This envelope generator provides only two segments - Attack and Decay. Once it has
started, it runs through both segments until it is finished according to the times set
under Attack and Decay. It features adjustable slope for both segments, and is suitable
for all kinds of modulation. There are two versions of this envelope generator. The one
with the ‘& Mod’ designation in its name includes time modulation inputs and controls.
The other does not.
Controls Tmod2
ASlope Adjusts the times of the two envelope
segments. Both the intensity and
Adjusts the slope curve for the attack
direction of the modulation effect of the
phase. The curve is continuously
signal at Tmod2 is set by this value. Ne-
adjustable from linear to logarithmic .
gative values shorten times, and positi-
D ve values lengthen them. This parameter
DSlope is missing on the Vintage AD & Mod
The decay time. The envelope enters the
Adjusts the slope curve for the decay version.
decay segment when the attack phase
phase. The curve is continuously
completes, and lasts for the decay slope
adjustable from a linear to a exponential Lmod
time at which point the level reaches 0.
fade out.
Adjusts the levels of all segments of the
Tmod1 envelope. The value here (0..max)
A controls the intensity of the modulation
Adjusts the times of the two segments of
The attack time. When a gate signal is of the levels by the modulation signal.
the envelope. Both the intensity and
received, the attack segment starts, and
continues for the slope time at which point
signal at Tmod1 is set by this value. Ne-
the maximum level is reached.
gative values shorten times, and positi-
ve values lengthen them. This parameter
is missing on the Vintage AD & Mod
version.

Connections
Gate Amod (Not on the AD version)
Connect the gate signal from, for Input for a modulation signal to control
example, an MVC or a sequencer here. attack time.
Esync Dmod (Not on the AD version)

Amod (Only on the AD & Mod version)
Connection for the Esync feedback to an Input for a modulation signal to control
Adjusts the time of the attack segment
MVC or sequencer module. decay time.
of the envelope. Both the intensity and
Tmod1 (Not on the AD & Mod version) Out
signal is set by this value. Negative
values shorten times, and positive values Input for a modulation signal to control The envelope’s output signal.
lengthen them. envelope times.
Dmod (Only on the AD & Mod version) Tmod2 (Not on the AD & Mod version)
Adjusts the time of the decay segment. Input for a modulation signal to control
Both the intensity and direction of the envelope times.
modulation effect of the signal is set by
this value. Negative values shorten Lmod
times, and positive values lengthen them. Input for a modulation signal to control
envelope levels.

AHD (& Mod) Vintage
This three stage envelope generator provides Attack, Hold, and Decay times. Once Tmod1 (Not on the AHD & Mod version)
started, the envelope cycle progresses through all three stages according to the times Adjusts the times of the three segments
set for attack, hold and decay. It features adjustable slope parameters for attack and of the envelope. Both the intensity and
decay, and is suitable for any kind of modulation. There are two versions of this envelope direction of the modulation effect of the
generator - one in which each segment time can be modulated individually, as denoted signal at Tmod1 is set by this value. Ne-
by including ‘& Mod’ in its name. gative values shorten times, and positi-
ve values lengthen them. This parameter
is missing on the Vintage AHD & Mod
Controls
version.
ASlope
Adjusts the slope curve for the attack Tmod2 (Not on the AHD & Mod version)
phase. The curve is continuously Adjusts the times of the three envelope
adjustable from linear to logarithmic . segments. Both the intensity and
DSlope signal at Tmod2 is set by this value. Ne-
H
Adjusts the slope curve for the decay gative values shorten times, and positi-
The length of time to maintain the
phase. The curve is continuously ve values lengthen them.
maximum level. After the attack phase
adjustable from a linear to a exponential
has completed, the maximum level is
fade out. Lmod
held for the duration set here.
Adjusts the levels of all segments of the
A envelope. The value here (0..max)
D
The attack time. When a gate signal is controls the intensity of the modulation
The decay time. The envelope enters the
received, the attack segment starts, and of the levels by the modulation signal.
decay segment when the hold phase
continues for the slope time at which point
completes, and lasts for the decay slope
the maximum level is reached.
time at which point the level reaches 0.

Connections
Gate Hmod (Not on AHD version)
Connect the gate signal from, for Input for a modulation signal to control
example, an MVC or a sequencer here. hold time.
Esync Dmod (Not on the AHD version)

Connection for the Esync feedback to an Input for a modulation signal to control
Amod (Only on the AHD & Mod version) MVC or sequencer module. decay time.
Adjusts the time of the attack segment
Tmod1 (Not on the AHD & Mod version) Out
direction of the modulation effect of the Input for a modulation signal to control The envelope’s output signal.
signal is set by this value. Negative envelope times.
values shorten times, and positive values
lengthen them. Tmod2 (Not on the AHD & Mod version)
Dmod (Only on the AHD & Mod version) envelope times.
Adjusts the time of the decay segment.
Both the intensity and direction of the Lmod
modulation effect of the signal is set by Input for a modulation signal to control
this value. Negative values shorten envelope levels.
times, and positive values lengthen them.
Amod (Not on the AHD version)
Hmod (Only on the AHD & Mod version) Input for a modulation signal to control
Adjusts the time of the attack segment attack time.
signal is set by this value. Negative
values shorten times, and positive values
lengthen them.

ADSR (& Mod) Vintage
A classic four-stage envelope generator with Attack, Decay, Sustain, and Release jumps immediately from its current phase
segments. It features separate slope parameters for Attack, and Decay/Release, and to the release stage. When the change
is suitable for any modulation purpose. This envelope generator is available in two from one segment to another takes place,
versions, one of which features independent individual time and sustain level modulation the release time will be adjusted to
(designated by including ‘& Mod’ in its name). account for the volume level at that time.
Controls Tmod1 (Not on the ADSR & Mod version)

Adjusts the times of all segments of the
ASlope
envelope. Both the intensity and direction
Adjusts the slope curve for the attack of the modulation effect of the signal at
phase. The curve is continuously Tmod1 is set by this value. Negative
adjustable from linear to logarithmic. values shorten times, and positive values
completes, and the modulation falls back lengthen them.
DSlope to the sustain level. The time needed for
Adjusts the slope curve for the decay/ this is the decay time. A decay will not be Tmod2 (Not on the ADSR & Mod version)
release phases. The curve is heard if the sustain level is set to Adjusts the times of the three envelope
continuously adjustable from a linear to maximum. segments. Both the intensity and
a exponential fade out. direction of the modulation effect of the
S signal at Tmod2 is set by this value. Ne-
A The sustain level. This is the level at gative values shorten times, and positi-
The attack time. When a gate signal is which the modulation signal will be held ve values lengthen them.
received, the attack segment starts, and as long as the gate is open. When the
continues for the slope time at which point gate closes, the release segment Lmod
the maximum level is reached. immediately follows. Adjusts the levels of all segments of the
envelope. The value here (0..max)
D R controls the intensity of the modulation
The decay time. The envelope enters the The release time. When the envelope of the levels by the modulation signal.
decay segment when the attack phase generator receives a gate-off signal, it

Rmod (Only on the ADSR & Mod version) Amod (Not on the ADSR version)
Adjusts the time of the release segment. Input for a modulation signal to control
Both the intensity and direction of the attack time.
modulation effect of the signal is set by
this value. Negative values shorten Dmod (Not on the ADSR version)
times, and positive values lengthen them. Input for a modulation signal to control
decay time.
Connections
Amod (Only on the ADSR & Mod version) Smod (Not on the ADSR version)
Adjusts the time of the attack segment Gate
of the envelope. Both the intensity and Connect the gate signal from, for the sustain level.
direction of the modulation effect of the example, an MVC or a sequencer here.
signal is set by this value. Negative Rmod (Not on the ADSR version)
values shorten times, and positive values Esync
lengthen them. Connection for the Esync feedback to an release time.
MVC or sequencer module.
Dmod (Only on the ADSR & Mod version)
Out
Adjusts the time of the decay segment. Tmod1 (Not on the ADSR & Mod version)
The envelope’s output signal.
Both the intensity and direction of the Input for a modulation signal to control
modulation effect of the signal is set by envelope times.
this value. Negative values shorten
times, and positive values lengthen them. Tmod2 (Not on the ADSR & Mod version)
Smod (Only on the ADSR & Mod version) envelope times.
Adjusts the intensity of influence of the
modulation signal over the sustain level. Lmod
Depending on this value, the sustain level Input for a modulation signal to control
will be modulated from 0 to the amount envelope levels.
adjusted.

Multisegment Envelopes
The Multisegment envelope generators Time/Note Off segments terminate and
offer the greatest degree of freedom the envelope proceeds to the next
when working with envelopes. Two segment (if available) when a MIDI Note
versions are provided - one with Esync, Off message is received. These
and one without (which should only be segments are terminated by a red node.
used to control pitch or filters). Otherwise As you would use a Time segment for
the two are identical. the release phase of a traditional ADSR
envelope, use Time/Note Off segments
Up to 128 fully editable segments are in attack and decay phases.
available. Segments are separated by
colored nodes, whereby each node The third type of segment is the Sustain The range of possibilities these envelope
marks the end of the segment behind it. segment. When a sustain segment is generators offer may appear intimidating
The colors represent different functions. reached, the envelope remains at the at first. However, when you become
The function of a segment is not pre- sustain level until a Note Off message is familiar with their usage, you will
defined - any segment can be defined received, or until a gate signal closes. appreciate the freedom they give you.
as a Time, Time/Note Off, or Sustain When either signal is received, the
segment. envelope proceeds to the next segment, The times and levels of each envelope
if present. can be modulated, and the version with
Time segments always continue for the Esync also includes a variable Slope
prescribed time duration, regardless of Two arbitrary points of a segment can be parameter.
whether a Note Off message is received. used to define a loop, as marked by two
These are terminated by a blue node. arrows. The number of loop iterations can
Time segments are used, for example, be set from 1 to 256, or to Infinite. The
in the release phase, or to build ‘one-shot’ loop will repeat while the gate is open
envelopes. and/or until the number of loop iterations
has been reached.

Controls
Inserting and Deleting Segments Adjusting Times and Levels Loops
Insert a new segment by double clicking Change the time or level value of a Set the number of loop repeats here. The
at the desired location in the envelope segment by clicking on its node and range is from 1 to 256 repeats, or the
graphic before which you want to insert dragging it. Dragging along the y axis value can be set to Infinite. A loop will
a new segment. You can double click adjusts the time, and dragging along the repeat as long as a gate signal is open,
anywhere in the envelope - at the x axis adjusts the level. Two text fields to and the number of repeats has not been
beginning, between two segments, or at the left of the envelope graphic maintain exceeded. When the gate signal closes,
the end. A maximum of 128 segments are a display of the current time and level of the loop is exited and the envelope
available. Delete a segment by double the selected envelope. You can also enter immediately proceeds to the next
clicking on the node that identifies it. time and level values directly into the text segment.
fields.
Selecting a Node and Changing the Tip: By using a segment of type Time,
you can avoid having a MIDI Note Off
Mode Defining a Loop message force an exit from the loop.
To select a segment node simply click In order to define a loop, at least two
on it. The node and the segment line will envelope segments must be present.
show as ‘selected’. You can now change Enable Loop Set mode by clicking on the
the mode of this segment by using the Set button. Click on the location where
Mode button. Repeated clicking on the the loop is to start and a small arrow
button walks through the modes. pointing right will appear to mark the
Continue clicking until the desired mode beginning. Now click on the point where
color shows. the loop is to end. Another small arrow,
this one pointing left, will mark the end.
Your loop is now defined. Delete a loop
by deleting one of its markers (as above)
or by using the Delete button.

Slope Connections
(Not on the Modulation Multisegment Env)
Gate
You can adjust the curves for the attack, Connect the gate signal from, for
decay and release slopes. The curve is example, an MVC or a sequencer here.
continuously adjustable from linear to
logarithmic.
Esync
Tmod1 (Not on the Modulation Multisegment Env)
Adjusts the modulation depth of the times Connection for the Esync feedback to an
of all segments of the envelope. Both the MVC or sequencer module.
intensity and direction of the modulation
signal at Tmod1 is set by this value. Ne- Tmod1
gative values shorten times, and positi- Input for a modulation signal to control
ve values lengthen them. envelope times.
Tmod2 Tmod2
Adjusts the modulation depth of the times Input for a modulation signal to control
of all segments of the envelope. Both the envelope times.
intensity and direction of the modulation
signal at Tmod2 is set by this value. Ne- Lmod
gative values shorten times, and positi- Input for a modulation signal to control
ve values lengthen them. envelope levels.
Lmod Out
Adjusts the levels of all segments of the Output for the envelope signal.
envelope. The value here (0..max)
controls the intensity of the modulation
of the levels by the modulation signal.

Envelope Follower
An envelope follower tracks a dynamically changing audio signal and derives an
envelope signal from it. The response time for rising levels is adjusted under Attack,
and the time for falling signals under Decay. For increased control, both input and
output gain are individually adjustable. A Hold function terminates analysis and freezes
the signal at its current level.
Input Gain In
Some signal levels are too low or too high Input for the audio signal to be processed.
to be processed effectively. Adjust the In-
put Gain value up or down to optimize Out
the signal level. Output for the generated envelope signal.
Output Gain
Attack Controls the output level of the generated
Controls the response time of the envelope signal.
envelope follower to rising levels of the
audio signal. Hold
Click on this button to terminate analysis
Decay and hold the envelope output at its current
Controls the response time of the level.
envelope follower to falling levels of the
audio signal.

Mix & Gain
This section describes the various modules used for signal mixing, switching,
amplification and attenuation. Also related, and described in this group, are the VCAs
for use with envelope generators and the PolyOut modules for use in polyphonic
patches.
PolyOut 1 & 2
The PolyOut modules are extremely
important, as they are required in any
polyphonic patch. You can think of the
PolyOut as a kind of ‘Master Volume’ for
the patch. Since a polyphonic patch Controls Connections
consists of multiple voices, something
akin to a mixer is required to combine Gain In
them. This is exactly what the PolyOut Controls the overall level of the patch. If Input for the audio signal.
modules are for. distortion occurs, reduce the level until it
is eliminated. Out
The Gain control of these modules can The audio signal output.
actually serve as a master volume control
for the patch. PolyOut 1 has a single input
and a single output, and is suitable for
monophonic patches. PolyOut 2 has two
ins and outs, and is suitable for stereo
patches. PolyOut modules are usually
placed after the synthesis modules and
before the effects modules in a patch.

Linear und Exponential VCA
Volume control processes, such as level control using envelopes, require a VCA
(Voltage Controlled Amplifier). Any audio signal can be input to the VCA. The control
signal at the modulation input then controls the level of the audio signal at the output.
The Modular has the equivalent of two VCAs - linear and exponential. In the linear
VCA, the level of the output is influenced by the signal at the modulation input at a
ratio of 1:1. The exponential VCA takes the signal at the modulation input and processes
it to produce an exponential response. A linear envelope signal becomes exponential,
and the audio output level will change exponentially.
Controls
Slope (Exponential VCA only)
Controls how strongly the linear
modulation signal is given an exponential Connections
characteristic. The curve can adjusted
In
continuously from linear to exponential.
Input for the audio signal.
Mod
Input for the modulation signal.
Out
Audio output.

Slope Mod VCA
Basically this module corresponds to an exponential VCA, but it adds the capability to
modulate the Slope setting. This is especially interesting when using arpeggio-like
sequences: The slopes of the envelopes of the sounds used for the arpeggio can be
varied with the help of an LFO synchronized to the tempo, thereby varying the sound
character.
Slope In
Controls the slope curve characteristic Input for the audio signal.
of the incoming modulation signal. It can
vary smoothly from linear to exponential. Mod
Input for the VCA modulation signal.
Smod (Slope Modulation)
Controls the strenght of the modulation Smod
signal over the slope. Input for the Slope modulation signal.
Out
Audio signal output.

6dB/12dB Gain Volume Attenuator
The 6dB and 12dB Gain modules amplify The Volume Attenuator can only reduce
a signal by up to 6dB or 12dB (attenuate) the signal level. To increase
respectively. Amplification can lead to the level, use one of the Gain modules.
clipping, or distortion, which can be used
as an effect if desired.
Controls Controls
Gain Att
Controls the amplification level of the Adjusts the degree of signal attenuation
audio signal. (volume cut).
In In
Input for the audio signal. Input for the audio signal.
Out Out
Output for the amplified audio signal. Output for the attenuated audio signal.

Micro Mixer
This mixer has four input channels with level and pan controls per channel and a
stereo output with master level control. Each input features an editable text field for
labelling purposes.
Note: The Micro Mixer is a monophonic module, as its green color indicates. Therefore,
as with monophonic effects, it should be only used following the PolyOut module.
Pan 1- 4 In 1- 4
Sets pan position for each of input signals Audio inputs.
1-4 in the stereo output.
Master Out
Level 1- 4 Master Stereo (mix) output.s.
Sets the level for each of input signals 1- Controls output level (left and right
4 in the stereo output. outputs in tandem).
In Name
A freely editable label field – typically,
enter the name of the signal connected
to each channel here.

Mix 2/4/8 Static Crossfade
These modules are simple mixers, with the number of inputs designated in their names. Mixes two input signals to a single output.
All inputs are mixed to a single output. All input and output levels are adjustable. The mix ratio of the two signals is
adjustable.
Controls
X-Fade 1/2
Controls the relative levels of signal 1 and
signal 2.
Connections
In 1
In In Input for audio signal 1.
The number of input potentiometers will Depending on the mixer, there will be 2,
depend on which mixer you are using. 4, or 8 inputs for audio signals. In 2
Each one controls its respective input Input for audio signal 2.
signal level. Out
The mixer’s audio output. Out
Internal distortion can occur in the
mixer. If this happens, pull back on the The audio output.
levels a bit.
Out
Controls the mixer’s output level.

Static Pan Crossfade Modulator
Distributes a single audio signal to two This module mixes two input signals to a
outputs (L and R). The L/R balance is single audio output. The signal ratio can
adjustable. be adjusted manually, or by using a
modulation source.
Controls
Pan L/R Controls Connections
Adjusts the apportioning of the input In 1
signal to the left and right outputs. X-Fade 1/2 (Crossfade)
Controls the relative levels of signal 1 and Input for audio signal 1.
Connections signal 2.
In 2
In Input for audio signal 2.
Mod
Input for the audio signal to be panned.
Controls the crossfade modulation depth.
Mod
Out L Input for the modulation signal.
The left audio output.
Out
Out R The audio output.
The right audio output.

Pan Modulator
Distributes a single audio signal to two outputs (L and R). The L/R balance is adjustable
either manually, or by using a modulation signal.
Pan L/R (Crossfade) In
Adjusts the apportioning of the input Input for the audio signal to be panned.
signal to the left and right outputs.
Mod
Mod Input for the modulation signal.
Controls the depth of Pan modulation
Out L
The left audio output.
Out R
The right audio output.

Amplitude Modulator
Use the Amplitude Modulator on any audio signal. Slow modulation results in a tremolo
effect, while very fast modulation can result in spectral effects. An offset is available to
add a fixed amplitude component to the modulation.
Mod1 In
Controls the modulation depth of the Input for the audio signal.
signal at the first modulation input.
Mod1
Mod2 Input for the first modulation signal.
Controls the modulation depth of the
signal at the second modulation input. Mod2
Input for the second modulation signal.
Offset
Adds a constant value to the amplitude Out
modulation (affecting the resulting Audio output.
modulation level).
If there is no signal at the Mod1/2 inputs,

you must raise the offset in order to hear
the (unmodulated) signal.

Granu Gater
This module cycles through the signals connected to audio inputs 1-4 routing them LFO frequency applies. At 100%, the
sequentially through to the audio output. During each cycle of the integrated LFO, LFO frequency changes in proportion to
each of the input signals is sent once to the output. A Crossfade parameter lets you the note being played, following the pitch.
apply an adjustable crossfade from one input signal to the next. At the minimum cross- A setting of 50% means that from E3 up,
fade time the input signals are not mixed, but switched. You can modulate the cross- the LFO original (E3) frequency is
fade time to implement a simple form of granular synthesis. By leaving one or more of reduced by 50% per octave, and
the inputs unconnected to a signal source, the module can also be used as a gater. increased by 50% per octave below E3.
A value of 0% indicates zero Keyfollow
modulation (keyboard position has no
Controls effect on the LFO rate).
Rate
CFade (Crossfade )
Adjusts the frequency of the integrated
Determines how quickly the signal from
LFO. During a single cycle each of the
one input fades into the next. A very fast
inputs is routed once to the output. The
speed essentially corresponds to
crossfade control determines how quickly
switching directly from one input to the
one signal fades into the next. The rate
next. This parameter does not affect the
parameter therefore determines the
RMod rate at which the individual inputs appear
period of repetition at which each input
Controls the intensity of the modulation repeatedly at the output.
signal is sent to the output.
of the rate (frequency) of the LFO.
Ext
Switches on the Freq input. The LFO now Keyf
operates at the frequency governed by Controls the degree of influence the Note
the signal at the Freq input, and the Rate signal of the MVC has over the LFO rate
control is disabled. (frequency). The center keyboard
position for Keyfollow is fixed at MIDI
note #64 (E3). At this position, Keyfollow
does not modulate the rate - the original

Connections
CFadeM (Crossfade Modulation ) Freq
Controls the intensity of the modulation Input for a frequency signal. External
of the crossfade parameter. must be switched on to use this signal.
Modulating the crossfade time results in Input 1-4

an effect resembling a change of the grain
size in granular synthesis. Inputs for the 4 audio signals.
RMod
the LFO rate.
Keyf
Input for the Note signal of the MVC.
CFm
crossfade time.
Out
Audio output of the resulting signal.

On/Off Switch 1x4 Switch (Gain)
This provides a button in the patch with This switch accepts an audio signal and routes it through to one of four outputs. It is
which you can interrupt (switch on and also available in a version that includes a gain control for each of the outputs.
off) a signal.
Controls
On/Off
This switch either allows the signal to
pass through to the output or not, Controls Connections
depending on its state. When the switch
is lit, it is ‘on’, and the signal is routed to Switch 1 - 4 In
the output. When it is not lit, it is ‘off’, and The signal will be routed to the output Input for the audio signal
the signal is not passed to the output. selected.
Out 1- 4
Connections Gain 1 - 4 (1X4 Switch Gain only) Possible outputs to which the signal can
In Controls the levels of the respective be routed.
Input for the audio signal. outputs.
Out
Audio output.

4x1 Switch (Gain)
This switch selects one of four audio inputs and routes it through to the output. It is
also available in a version that includes a gain control for each of the inputs.
Switch 1 - 4 In 1- 4
Selects the input signal to be routed to Inputs for up to four audio signals.
the output.
Out
Gain 1 - 4 (4X1 Switch Gain only) Audio output.
Controls the levels of the respective
inputs.

1x6 Switch (Gain) 6x1 Switch (Gain)
This switch routes the audio input signal This switch routes one of 6 possible
to 1 of 6 outputs. It is also available in a inputs to the output. It is also available in
variation that includes adjustable gain for a variation that includes adjustable gain
each output. for each input.
Controls Controls
Switch 1 - 6 Switch 1 - 6
Selects the output to route the input signal Selects the input to be routed to the
to. output.
Gain 1 - 6 (1x6 Switch (Gain) only) Gain 1 - 6 (6x1 Switch (Gain) only)
Controls the individual level of each Controls the gain for each individual
output. input.
In In 1- 6
Audio signal input. Inputs for 6 audio signals.
Out 1- 6 Out
Audio outputs to which the input signal Output for the currently connected input
may be routed. signal.

1x8 Switch (Gain) 8x1 Switch (Gain)
This switch routes the audio input signal This switch routes one of 8 possible
to 1 of 8 outputs. It is also available in a inputs to the output. It is also available in
variation that includes adjustable gain for a variation that includes adjustable gain
each output. for each input.
Controls Controls
Switch 1 - 8 Switch 1 - 8
Selects the output to route the input signal Selects the input to be routed to the
to. output.
Gain 1 - 8 (1x8 Switch (Gain) only) Gain 1 - 8 (8x1 Switch (Gain) only)
Controls the individual level of each Controls the gain for each individual
output. input.
In In 1- 8
Audio signal input. Inputs for 8 audio signals.
Out 1- 8 Out
Audio outputs to which the input signal Output for the currently connected input
may be routed. signal.

Add 2/3/4/5 Inverter
These modules add synchronous signals together. Use them, for example, to mix This module alters the phase of an input
several audio signals to a single output, or to combine several modulation signals signal by 180 degrees and outputs the
together to send to a single modulation input. Before the signals are added, they are result. Changing the phase by 180
normalized. This means that as long as the individual inputs of the adder are not degrees is equivalent to inverting the
overloaded, the output will not be overdriven. signal.
In In
Inputs for audio or modulation signals. Input for an audio or modulation signal.
Out Out
Combined signal output. Inverted signal output.

Peak Meter
This module allows you to easily measure an audio signal. It contains a signal level
LED, a peak LED, and a text display, with reset, of the last peak level.
Signal-LED In
This LED lights up when the audio signal Reset Input for an audio signal to measure.
reaches or exceeds -60dB.
The reset button clears the peak level text
display so you can continue to monitor
Peak-LED the peak levels. You would use this, for
This LED lights up when the signal example, when the last peak reads 0dB,
reaches or exceeds 0dB. and you make adjustments to reduce the
signal to a safe level. Click on Reset to
Peak Textfeld resume monitoring the peaks.
Displays the last peak level reached.

DC Blocking Filter
Removes the DC component of an
incoming signal (if it contains one). A
signal containing a DC component is not
symmetrical around the zero line (y axis).
When viewed, it is shifted either up or
down. The DC blocking filter corrects this
so that the waveform lies symmetrically
above and below the zero line. After this
correction the signal requires some
amplification to restore its amplitude. Use
one of the amplifier modules for this.
Connections
In
Input for the audio or modulation signal
to be corrected.
Out
Output for the corrected signal.

Filter
The Modular includes a number of filter Also in connection with filters you will As with other modules, filters are
modules to manipulate the frequency encounter the term ‘Slope’, expressed in supplied in different versions. Some
characteristics of audio signals. Most dB per octave. The slope of a filter have resonance, others only cutoff.
filters have, in addition to others, two determines how strongly it will act on the Some can be controlled by
important parameters: cutoff and frequencies beyond the cutoff. A filter modulation signals, others only by
resonance. Since they are so important, slope of -12dB/Octave means that manual controls. As mentioned
we’ll discuss them first, along with some frequencies at each octave above (and/ before, using more basic modules
other important terms. or below) the cutoff are attenuated by an means a savings in DSP resources.
additional 12dB. The higher the dB value, Use the smallest version of a filter
The filter cutoff frequency determines the the steeper the slope, and the greater the that fulfills your needs in a patch. You
frequencies which the filter will process, attenuation. will be rewarded with more available
and which it will leave alone. In other voices.
words, the cutoff frequency is the point After cutoff, resonance is the next most
at which the filter begins to have an effect. important parameter to consider. By
Depending on the type of filter, the feeding back a portion of the filtered
unaffected range can lie above or below signal, frequencies around the cutoff are
(or both) the cutoff point. The range of reinforced. At high resonance values, the
unaffected frequencies determines filter will begin to oscillate at the cutoff
whether the filter is referred to as a high- frequency, as that is the frequency most
pass, band-pass, or low-pass filter. If you strongly reinforced. This is known as
modulate the cutoff with, for example, an periodic resonance. This effect has come
LFO or an envelope generator, the tone to be known as ‘chirping’, or, at really high
quality changes in response. levels, ‘screeching’.
Along with the classic low/band/high-

pass filter types, the Modular includes
some additional filters, among them the
comb filter and the vocal filter (to be
described later in their own sections).

6dB Highpass 6dB Lowpass 12dB Multimode Filter
This is a very small and economical This is a very small and economical This filter has a 12dB slope, cutoff and
highpass filter without resonance or lowpass filter without resonance or resonance, and three parallel outputs,
modulation capabilities. modulation capabilities. one for each of the basic filter types -
high, band, and low pass. There is no
modulation input.
Controls Controls
Cutoff Cutoff
Adjusts the cutoff frequency. Adjusts the cutoff frequency.
Controls
Connections Connections Cutoff
In In Adjusts the cutoff frequency.
Input for the audio signal. Input for the audio signal.
Resonance
Out Out Controls the strength of the resonance.
Audio output of the filter. Audio output of the filter.
Connections
In
Out
Audio output of the filter.

18dB Lowpass
This lowpass filter has a slope of -18dB/octave, and modulation inputs. Resonance is
not implemented in this filter.
Cutoff In
Adjusts the cutoff relative to a range of Input for the audio signal.
0..127.
Keyf
CFm1 Input to receive the Note signal from the
Controls the depth of the first cutoff When keyfollow is set to 100%, the cut- MVC.
frequency modulation signal. off frequency will adjust to maintain its
frequency relationship to the pitch across CFm1
CFm2 the entire keyboard. At a setting of 50%, Input to receive a cutoff frequency
Controls the depth of the second cutoff the cutoff frequency ratio will be lowered modulation signal.
frequency modulation signal. by 50% per octave above E3, and raised
50% per octave below E3. A value of 0% CFm2
means there is no keyfollow modulation,
Keyf Input to receive a cutoff frequency
and the cutoff frequency remains fixed.
This parameter allows the filter cutoff to modulation signal.
track the keyboard through the MVC. The
keyfollow mid-point is fixed at MIDI note Out
#64 (E3). At this note, the cutoff frequency The filter’s audio output.
will always stand at its original value,
regardless of the key follow setting.

24dB Lowpass Filter
This low-pass filter with 24dB/octave slope behaves differently with respect to In
resonance. As the resonance setting is increased, the level of the original signal drops, Input for the audio signal.
ultimately to the point of vanishing altogether. The filter also has multiple cutoff-frequency
modulation inputs. ResM
Input for the modulation signal to control
Controls resonance.
Cutoff Keyf
Adjusts the cutoff frequency relative to a Input to receive the Note signal from the
range of 0..127. MVC.
Resonance 50% per octave below E3. A value of 0% CFm1

Adjusts the resonance relative to a range means there is no keyfollow modulation, Input to receive a cutoff frequency
of 0..127. and the cutoff frequency remains fixed. modulation signal.
Keyf CFm1 CFm2

This parameter allows the filter cutoff to Controls the depth of the first cutoff Input to receive a cutoff frequency
track the keyboard through the MVC. The frequency modulation signal. modulation signal.
keyfollow mid-point is fixed at MIDI note
#64 (E3). At this note, the cutoff frequency CFm2 Out
Controls the depth of the second cutoff The filter’s audio output.
frequency modulation signal.
When keyfollow is set to 100%, the cut-
off frequency will adjust to maintain its
frequency relationship to the pitch across Connections
the entire keyboard. At a setting of 50%,
the cutoff frequency ratio will be lowered
by 50% per octave above E3, and raised

24dB Highpass Filter
This high-pass filter with 24dB/octave slope behaves differently with respect to Connections
resonance. As the resonance setting is increased, the level of the original signal drops,
In
ultimately to the point of vanishing altogether. The filter also has multiple cutoff-frequency
modulation inputs. Input for the audio signal.
ResM
Controls Input for the modulation signal to control
Cutoff resonance.
Adjusts the cutoff frequency relative to a
range of 0..127. Keyf
Input to receive the Note signal from the
Resonance MVC.
Adjusts the resonance relative to a range by 50% per octave above E3, and raised
of 0..127. CFm1
50% per octave below E3. A value of 0%
means there is no keyfollow modulation, Input to receive a cutoff frequency
Keyf and the cutoff frequency remains fixed. modulation signal.
This parameter allows the filter cutoff to
track the keyboard through the MVC. The CFm1 CFm2
keyfollow mid-point is fixed at MIDI note Controls the depth of the first cutoff Input to receive a cutoff frequency
#64 (E3). At this note, the cutoff frequency frequency modulation signal. modulation signal.
regardless of the key follow setting. CFm2 Out
When keyfollow is set to 100%, the cut- Controls the depth of the second cutoff The filter’s audio output.
off frequency will adjust to maintain its frequency modulation signal.
frequency relationship to the pitch across
the cutoff frequency ratio will be lowered

24dB Lowpass Filter V
The "V" in the name stands for "vintage". This is a "classical" 24dB/octave low-pass Connections
filter in which the level of the original signal remains largely unchanged, even at high
resonance settings. The filter has cutoff, resonance and various modulation inputs. In
Controls ResM
Cutoff Input for the modulation signal to control
Adjusts the cutoff frequency relative to a resonance.
range of 0..127.
Keyf
Resonance Input to receive the Note signal from the
Adjusts the resonance relative to a range frequency relationship to the pitch across MVC.
of 0..127. the entire keyboard. At a setting of 50%,
the cutoff frequency ratio will be lowered CFm1
ResM by 50% per octave above E3, and raised Input to receive a cutoff frequency
Controls the depth of resonance 50% per octave below E3. A value of 0% modulation signal.
modulation. means there is no keyfollow modulation,
and the cutoff frequency remains fixed. CFm2
CFm1 modulation signal.
track the keyboard through the MVC. The Controls the depth of the first cutoff
keyfollow mid-point is fixed at MIDI note frequency modulation signal. Out
will always stand at its original value, CFm2
regardless of the key follow setting. Controls the depth of the second cutoff
When keyfollow is set to 100%, the cut- frequency modulation signal.

24dB Lowpass Filter R
This low-pass filter emulates the characteristics of the filters typically found in large Connections
(and old) modular systems – hence the designation "R" (for "retro"). Its special property
In
is that it can go into self-oscillation at high resonance settings, even in the absence of
an input signal. Several modulation inputs are provided. Input for the audio signal.
ResM
Controls Input for the modulation signal to control
Cutoff resonance.
range of 0..127. Keyf
Resonance MVC.
Adjusts the resonance relative to a range frequency relationship to the pitch across
of 0..127. CFm1
the cutoff frequency ratio will be lowered Input to receive a cutoff frequency
ResM by 50% per octave above E3, and raised modulation signal.
Controls the depth of resonance 50% per octave below E3. A value of 0%
modulation. means there is no keyfollow modulation, CFm2
and the cutoff frequency remains fixed. Input to receive a cutoff frequency
Keyf modulation signal.
CFm1
track the keyboard through the MVC. The Controls the depth of the first cutoff Out
keyfollow mid-point is fixed at MIDI note frequency modulation signal. The filter’s audio output.
#64 (E3). At this note, the cutoff frequency

24dB Highpass Filter R
This high-pass filter emulates the characteristics of the filters typically found in large Connections
is that it can go into self-oscillation at high resonance settings, even in the absence of In
Controls ResM
range of 0..127.
Keyf
Adjusts the resonance relative to a range frequency relationship to the pitch across MVC.
of 0..127. the entire keyboard. At a setting of 50%,
the cutoff frequency ratio will be lowered CFm1
ResM by 50% per octave above E3, and raised Input to receive a cutoff frequency
Controls the depth of resonance 50% per octave below E3. A value of 0% modulation signal.
modulation. means there is no keyfollow modulation,
and the cutoff frequency remains fixed. CFm2
CFm1 modulation signal.
track the keyboard through the MVC. The Controls the depth of the first cutoff
keyfollow mid-point is fixed at MIDI note frequency modulation signal. Out

24dB Bandpass Filter R
This band-pass filter emulates the characteristics of the filters typically found in large Connections
is that it can go into self-oscillation at high resonance settings, even in the absence of In
Controls ResM
range of 0..127.
Keyf
Adjusts the resonance relative to a range MVC.
of 0..127. frequency relationship to the pitch across
the entire keyboard. At a setting of 50%, CFm1
ResM the cutoff frequency ratio will be lowered Input to receive a cutoff frequency
by 50% per octave above E3, and raised modulation signal.
Controls the depth of resonance
50% per octave below E3. A value of 0%
modulation.
means there is no keyfollow modulation, CFm2
and the cutoff frequency remains fixed. Input to receive a cutoff frequency
Keyf
This parameter allows the filter cutoff to modulation signal.
CFm1
Controls the depth of the first cutoff Out
frequency modulation signal. The filter’s audio output.
regardless of the key follow setting. CFm2
When keyfollow is set to 100%, the cut- Controls the depth of the second cutoff
off frequency will adjust to maintain its frequency modulation signal.

Multimode Filter A
This filter can perform with a slope of either 12 or 24 dB/octave. It is switchable to
operate as a highpass, bandpass, or lowpass filter. This filter includes cutoff and
resonance parameters, as well as several modulation inputs.
Controls
Cutoff
range of 0..127.
Resonance
Adjusts the resonance relative to a range frequency relationship to the pitch CFm2
of 0..127. across the entire keyboard. At a setting Controls the depth of the second cutoff
of 50%, the cutoff frequency ratio will frequency modulation signal.
ResM be lowered by 50% per octave above
Controls the depth of resonance E3, and raised 50% per octave below Mode
modulation. E3. A value of 0% means there is no
Switches among highpass, bandpass,
keyfollow modulation, and the cutoff
and lowpass modes. Both the knob and
Keyf frequency remains fixed.
text field respond to user input.
track the keyboard through the MVC. The db/Oct
keyfollow mid-point is fixed at MIDI note CFm1 Alternates between a filter slope of 12dB
#64 (E3). At this note, the cutoff frequency Controls the depth of the first cutoff and 24dB. When the button is lit, the
will always stand at its original value, frequency modulation signal. slope is set to -24dB/Oct.

Connections
In
ResM
resonance.
Keyf
MVC.
CFm1
Input to receive a cutoff frequency
modulation signal.
CFm2
modulation signal.
Out
The filter’s audio output.

Multimode Filter B
Multimode Filter B has a slope of 12dB/octave. It has three parallel outputs - one for Connections
each of the three basic filter types - high, band, and low pass. This filter includes cutoff
and resonance parameters, as well as modulation inputs. In
Controls Keyf
Cutoff Input to receive the Note signal from the
Adjusts the cutoff frequency relative to a MVC.
range of 0..127.
CFm1
Resonance Input to receive a cutoff frequency
Adjusts the resonance relative to a range modulation signal.
#64 (E3). At this note, the cutoff
of 0..127. frequency will always stand at its origi- CFm2
nal value, regardless of the key follow
CFm1 Input to receive a cutoff frequency
setting. When keyfollow is set to 100%,
Controls the depth of the first cutoff modulation signal.
the cutoff frequency will adjust to
frequency modulation signal. maintain its frequency relationship to the
pitch across the entire keyboard. At a Out
CFm2 setting of 50%, the cutoff frequency ratio The filter’s audio output.
Controls the depth of the second cutoff will be lowered by 50% per octave above
frequency modulation signal. E3, and raised 50% per octave below E3.
A value of 0% means there is no
Keyf keyfollow modulation, and the cutoff
frequency remains fixed.

Uknow Filter
This is one of the most complex and at the same time one of the most flexible filter in HPF
the Modular filter collection. It combines a 12dB/octave lowpass filter with a simple
Adjusts the cutoff frequency of the
highpass filter in a single module. The lowpass filter includes cutoff and resonance,
highpass filter.
and can be controlled with a modulation signal. The highpass filter has an adjustable
cutoff frequency.
Connections
Controls
In
Cutoff Input for the audio signal.
range of 0..127. ResM
Resonance frequency relationship to the pitch across resonance.
Adjusts the resonance relative to a range the entire keyboard. At a setting of 50%,
of 0..127. the cutoff frequency ratio will be lowered Keyf
by 50% per octave above E3, and raised Input to receive the Note signal from the
ResM 50% per octave below E3. A value of 0% MVC.
Controls the depth of resonance means there is no keyfollow modulation,
modulation. and the cutoff frequency remains fixed. CFm1
Keyf CFm1 modulation signal.
This parameter allows the filter cutoff to Controls the depth of the first cutoff
track the keyboard through the MVC. The frequency modulation signal. CFm2
keyfollow mid-point is fixed at MIDI note Input to receive a cutoff frequency
#64 (E3). At this note, the cutoff frequency CFm2 modulation signal.
will always stand at its original value, Controls the depth of the second cutoff
regardless of the key follow setting. frequency modulation signal. Out
off frequency will adjust to maintain its The filter’s audio output.

Combfilter A/B
The comb filter gets its name from the way it filters an audio signal. A comb filter Controls
attenuates frequencies at several regular frequency intervals. If you look at a signal
that has been processed by a comb filter in a spectrum analyzer, you will notice several Cutoff
‘notches’ where the signal has been cut. A graphic of the frequency response strongly Adjusts the cutoff frequency.
resembles a comb, hence the name.
Resonance
Adjusts the resonance level. Increasing
this value increases the filter effect.
The Modular provides two versions of the
comb filter. Comb Filter A cuts large
RmA
swaths into the frequency spectrum,
allowing rather narrow frequency bands Controls the depth of resonance
to emerge after filtering. Comb Filter B modulation.
cuts steep notches into the spectrum,
allowing more frequencies to pass Damp
through. Even so, the two filters sound The resonance of the filter is created
quite similar. using feedback. By adjusting the Damp
parameter, you control the depth of the
feedback loop. This provides an additio-
Important: To hear the effect of the
comb filter, you must use resonance.
nal way to control the behavior of the
comb filter.
DampMod
Controls the depth of the modulation
signal for Damp modulation.

Keyf Connections
In
keyfollow mid-point is fixed at MIDI note Input for the audio signal.
will always stand at its original value, Keyf
regardless of the key follow setting. Input to receive the Note signal from the
When keyfollow is set to 100%, the cut- MVC.
frequency relationship to the pitch across CFm1
the entire keyboard. At a setting of 50%, Input to receive a cutoff frequency
the cutoff frequency ratio will be lowered modulation signal.
by 50% per octave above E3, and raised
50% per octave below E3. A value of 0% CFm2
means there is no keyfollow modulation,
and the cutoff frequency remains fixed.
modulation signal.
CFm1
Out
Controls the depth of the first cutoff
The filter’s audio output.
CFm2
Controls the depth of the second cutoff

Vocal Filter
This module filters signals such that the formants for the vowels A, E, 0 - and many To distribute the five possible vowels over
others - are applied. You can select from among 10 vowel sounds distributed over 5 the entire MIDI note range (C-2 to G8),
positions. By stepping through the positions (selected vowels), which can be done via you must set the Vocal Position control
modulation, the filter begins to ‘speak’. The vocal filter also offers adjustable resonance, to vowel 3, and adjust VPKeyf to +100%.
and a frequency offset for shifting the formants. When VPKeyf is adjusted to +50%, only
three vowels are distributed over the MIDI
range. At 0% there is no modulation, and
Controls the vowel pointed to by the Vocal Positi-
Vocal on control will apply to the entire note
range.
The most important settings, the five
Vocal Positions, are found on the light
VPm1
blue field. Each of the five positions can
be adjusted to one of the 10 vowel Adjusts the strength of the effect of the
sounds using the text fader. The rotary modulation signal over the Vocal Positi-
control in the center sets which vowel is on.
VPKeyf (Vocal Position Keyfollow)
current, and/or the starting position for
Controls the influence of the MVC note VPm2
modulation. The vowel the white line on
signal on the Vocal Position. The center
the control points to is produced by Adjusts the strength of the effect of a se-
key is fixed at MIDI note number 64 (E3).
filtering. cond modulation signal over the Vocal
At this note there is no keyfollow
Position.
modulation, and the vowel indicated by
The following vowel sounds are
the white line on the Vocal Position rotary
available: A, E, I, O, U, Y, AA, AE, OE, It is important to differentiate between
control will be heard. The intensity and the modulation signals coming from
and UE.
direction of the keyfollow modulation is envelope generators, and those from
adjustable from -200% to +200%. LFOs, which are connected to the
Resonance VPm1/2 inputs.
Resonance adds and strengthens the
formant for the vowel sound.

Connections
In
Audio signal input.
VPKeyf
Input for the Note signal from an MVC.
VPm1
Input for a Vocal Position modulation
signal.
VPm2
Input for a second Vocal Position
Envelopes are unipolar modulation Freq Offset modulation signal.
signals. The modulation starts at the
The Frequency Offset shifts the formant
vowel adjusted with the Vocal Position
control and proceeds to step through higher on the frequency scale. The result FM
the vowels depending on the adjusted is a sonic change from a dark to a brighter
intensity. sounding vowel. Input for a Frequency Offset modulation
signal.
LFOs deliver bipolar modulation
FM
signals. When the wave is in the positi- Out
ve range, the signal is processed like Controls the strength of the modulation
an envelope - it starts at the current signals over the Frequency Offset. Output for the filtered signal.
vowel position and proceeds through
following vowels depending on the
modulation intensity. When the wave
enters the negative range, however, the
modulation steps through the vowels
in reflected, or reverse, order.

12dB Lowshelf EQ Parametric EQ
This filter cuts or boosts frequencies With the Parametric EQ you can boost or cut frequencies in a range surrounding the
below the cutoff frequency. The slope is cutoff frequency. The slope is the equivalent of 12dB, and the curve is bell-shaped. A
equivalent to 12dB, but the curve Q-factor controls the ‘quality’ of the filter - i.e. the frequency range over which the filter
resembles a ‘cow’s tail’. works.
Controls
Freq
Adjusts the cutoff frequency.
Controls
Freq Gain Connections
Adjusts the cutoff frequency. Controls the amount of cut or boost of
In
the frequencies around the cutoff
frequency. Input for the audio signal.
Gain
Controls the degree of cut or boost of the Out
Q
frequencies below the cutoff. Output for the filtered signal.
Increasing this value reduces the range
of frequencies around the cutoff
Bypass
frequency to be filtered. Low values
Sends the input signal directly to the create a gentle slope, but affect more
output, bypassing the EQ. frequencies. Use a high ‘Q’ to ‘notch out’
unwanted frequencies.
Connections
Bypass
In
Sends the input signal directly to the
output, bypassing the EQ.
Out
Output for the filtered signal.

12dB Highshelf EQ
This filter cuts or boosts frequencies above the cutoff frequency. The slope is equivalent
to 12dB, but the curve resembles a ‘cow’s tail’.
Freq In
Adjusts the cutoff frequency. Input for the audio signal.
Gain Out
Controls the degree of cut or boost of Output for the filtered signal.
the frequencies above the cutoff.
Bypass
output, bypassing the EQ.

Free Filter Bank A/B
These permit individual frequency bands to be boosted or cut. The frequency of each
filter can be freely set, hence the name. Version A has twelve bands, version B only
five. Both feature Q controls affecting all bands and output gain controls as well as a
separate built-in preset list.
Freq text fields In
Enter frequency values for each band via Audio signal input.
these fields.
Out
Freq Gains Audio signal output.
Sets the boost or cut for each band.
Filter Q
Adjusts the Q (filter sharpness) of all
bands in common.
Gain
Adjusts output level.
Bypass
output, bypassing the filters.

LFO Single/Poly und LFOs
Along with envelope generators, LFOs Most modulation techniques produce When using LFOs it is particularly worth
(Low Frequency Oszillatoren) are the characteristic effects such as tremolo considering whether to use a
most important modules available to (amplitude modulation), vibrato (pitch monophonic or polyphonic module.
control sound parameters in a patch. modulation) and ‘wah-wah’ (filter cutoff When a polyphonic LFO is loaded, it is
LFOs are special oscillators - they modulation). SCOPE 5’s LFOs can do all loaded into the DSPs once for each
operate at very low frequencies. Their these, but there’s more. Some of the voice. Modulation settings are thus
signals are used for periodic modulation LFOs use small, internal envelope implemented per voice. If the LFOs are
of various parameters. The final generators to fade the modulation in or not synchronized to the keyboard, rich
modulation effect depends on the out - synchronously. And a key follow modulations can develop as the various
waveform used. Sine and triangle waves feature allows an LFO’s frequency to LFOs vary in phase.
produce smooth, flowing modulation. On track the keyboard. LFOs with an
the other hand, rectangle or sample & External In can be used to simulate an If you are looking for a more traditional,
hold settings produce a ‘jumpy’ effect. ordinary, audio oscillator. simple modulation effect, load a
monophonic LFO. This will load into the
A Random Signal Generator and a DSPs only once, and will serve to
Sample & Hold are also included in this modulate all targets simulatneously. This
section. also saves significant DSP overhead,
leaving more room for additional voices
or modules.

Multi LFO A
Of all SCOPE 5’s LFOs, this is the most complex. Available waveforms are sine, Fade In
triangle, square, saw up, saw down, and sample & hold. The frequency can be furnished When a gate signal is received, the
either internally or externally, and can be modulated. The waveform can be retriggered, modulation will gradually build to
and the modulation can be controlled by a simple internal envelope generator. maximum at the time set here. A gate
signal must be connected. The range is
from 0 to 20 seconds.
Controls Between the fade in and the fade out,

the modulation remains at maximum.
Rate
The frequency/rate of the modulation. Fade Out
The frequency, in cycles per second, is When a gate off signal is received, the
displayed in an associated text field. modulation will gradually fade to 0 at the
time set here. A gate signal must be
Ext connected. The range is from 0 to 20
Switches on the Freq input. The Init Phase seconds.
frequency is now controlled by the signal
Determines the position within the
at the Freq input, and the Rate control is Rmod1
waveform (phase) at which the signal will
no longer active. Controls the modulation depth of the Rate
start when a gate signal is received.
Retrigger must be enabled for this to take (frequency) of the LFO.
Waveform
effect.
Selects the desired waveform. Rmod2
Delay Controls the modulation depth of a se-
Retrig cond signal providing Rate (frequency).
Delays the onset of the modulation. A
This switch determines whether the gate signal must be connected. The range
signal will run continuously, or be is from 0 to 20 seconds.
restarted at its initial phase setting each
time a new note is played. Retrigger is
activ when the button is lit.

Connections
Keyf Freq
This parameter allows the Rate Input for a frequency signal. External
(frequency) to track the keyboard through mode must be enabled to use this input.
the MVC. The keyfollow mid-point is fixed
at MIDI note #64 (E3). At this note, the Gate
cutoff frequency will always stand at its Connect a gate signal for use with
original value, regardless of the key Retrigger, Delay, Fade In and Fade Out.
follow setting. When keyfollow is set to
100%, the LFO frequency adjusts to Rmod1
maintain its relationship to the pitch
Input for a modulation signal (Rate).
across the entire keyboard as it follows
the pitch. At a setting of 50%, the
frequency ratio will be lowered by 50% Rmod2
per octave above E3, and raised 50% per Input for a second modulation signal
octave below E3. A value of 0% means (Rate).
there is no keyfollow modulation, and the
LFO rate remains fixed. Keyf
Input for a Note signal from the MVC.
Out
LFO signal output.

Multi LFO B
This LFO is similar to Multi LFO A. Like Multi LFO A, available waveforms are sine, maximum at the time set here. A gate
triangle, square, saw up, saw down, and sample & hold. The frequency can be furnished signal must be connected. The range is
either internally or externally. The waveform can be retriggered, and the modulation from 0 to 20 seconds.
can be controlled by a simple internal envelope generator. Because this LFO does not
have Rate Modulation, it is somewhat more economical to use than Multi LFO A. Between the fade in and the fade out,
the modulation remains at maximum.
Controls
Fade Out
Rate When a gate off signal is received, the
The frequency/rate of the modulation. modulation will gradually fade to 0 at the
The frequency, in Hz, is displayed in an time set here. A gate signal must be
associated text field. connected. The range is from 0 to 20
Init Phase seconds.
Ext Determines the position within the
Switches on the Freq input. The waveform (phase) at which the signal will Connections
frequency is now controlled by the signal start when a gate signal is received.
at the Freq input, and the Rate control is Retrigger must be enabled for this to take Freq
no longer active. effect. Input for a frequency signal. External
mode must be enabled to use this input.
Waveform Delay
Selects the desired waveform. Delays the onset of the modulation. A Gate
gate signal must be connected. The Connect a gate signal for use with
Retrig range is from 0 to 20 seconds. Retrigger, Delay, Fade In and Fade Out.
This switch determines whether the
signal will run continuously, or be Fade In Out
restarted at its initial phase setting each When a gate signal is received, the LFO signal output.
time a new note is played. Retrigger is modulation will gradually build to
enabled when the button is lit.

MW LFO
This LFO produces very simple modulations. It uses only one waveform (triangle) and
includes retrigger, delay, and fade in capabilities. Since it conforms to modulation
wheel standards, it is best used to provide vibrato to a synthesizer sound.
Rate Gate
The frequency/rate of the modulation. Connect a gate signal for use with
The frequency, in cycles per second, is Retrigger, Delay, and Fade in.
displayed in an associated text field..
Out
Retrig LFO signal output.
Delay
This switch determines whether the
signal will run continuously, or be Delays the onset of the modulation. A
restarted at its initial phase setting each gate signal must be connected. The
time a new note is played. Retrigger is range is from 0 to 20 seconds.
enabled when the button is lit.
Fade In
Init Phase When a gate signal is received, the
Determines the position within the modulation will gradually build to
waveform (phase) at which the signal will maximum at the time set here. A gate
start when a gate signal is received. signal must be connected. The range is
Retrigger must be enabled for this to take from 0 to 20 seconds.
effect.

Pulse LFO
This is another rather complex LFO. It produces pulse wave modulation, so it is useful
for trill and doubling effects. The pulse width can be set manually, or modulated. The
frequency can be furnished either internally or externally, and can also be modulated.
Retriggering by a gate signal is also implemented.
Controls
Rate PwmA
Sets the rate (frequency) of the LFO. The Controls the modulation depth of the
value in cycles per second is displayed signal connected to the Pwm input to
in the associated text field. modulate the pulse width.
Ext Init Phase Rmod1

Switches the Freq input on. The Input for a modulation signal (Rate/
Determines the position within the
frequency is now taken form the signal frequency).
waveform (phase) at which the signal will
connected to the Freq input. The Rate start when a gate signal is received.
control is disabled when Ext is switched Retrigger must be enabled, and a gate Rmod2
on. signal connected, for this to take effect. Input for a second modulation signal
(Rate/frequency).
Retrig PWidth
Makes synchronization and/or waveform Control to manually adjust the pulse
restarting with each keystroke possible width.
when enabled (button is lit).

Keyf Connections
This parameter allows the Rate
Freq
(frequency) to track the keyboard through
the MVC. The keyfollow mid-point is fixed Input for a frequency signal. External
at MIDI note #64 (E3). At this note, the mode must be enabled to use this input.
cutoff frequency will always stand at its
original value, regardless of the key Gate
follow setting. When keyfollow is set to Connect a gate signal for use with
100%, the LFO frequency adjusts to retrigger.
maintain its relationship to the pitch
across the entire keyboard as it follows Rmod1
the pitch. At a setting of 50%, the Input for a modulation signal (Rate).
frequency ratio will be lowered by 50%
per octave above E3, and raised 50% per Rmod2
octave below E3. A value of 0% means
Input for a second modulation signal
there is no keyfollow modulation, and the
(Rate).
LFO rate remains fixed.
Keyf
Input for a Note signal from the MVC.
Out
LFO signal output.

Shape LFO
This module provides two LFOs in one module. LFO1 provides the basic operating
frequency for both LFOs. With the Ratio control, LFO2 can be adjusted to a multiple of
the basic frequency. LFO2 also has an adjustable phase offset relative to LFO1. The
LFOs can be adjusted to produce a sine or triangle wave output. With the Shape
parameter you can „bend“ the selected waveform to produce variations of the classic
sine and triangle wave shapes.
Rate Freq
Sets the basic frequency, or speed of the Input for a frequency signal. External
LFOs. A text field displays the value in must be switched on.
Hertz. Shape
Varies the shape of the selected Out1
Ext waveform. For both the sine and triangle LFO1 signal output.
Switches on the Freq input. The LFOs wave shapes, the peaks become
now operate at the basic frequency narrower and more pointed, and the Out2
governed by the signal at the Freq input, troughs are broadened, as the Shape LFO2 signal output.
and the Rate control is disabled. value increases.
Waveform Ratio LFO2

For both LFOs, selects the basic Sets LFO2 to produce output at multiples
waveform–sine or triangle–for output. of the basic frequency of LFO1. The
range is from 1X to 10X in integer steps.
Phase LFO2
Sets a phase offset for LFO2 with respect
to LFO1.

Biphase LFO
This module provides two sine LFOs. LFO1 determines the basic operating frequency
for both LFOs. With the Ratio control, LFO2 can be adjusted to a multiple of the basic
frequency, and also has an adjustable phase offset relative to LFO1. Outputs provide
four simultaneous modulation signals: LFO1, LFO2, LFO1 + LFO2, LFO1 X LFO2.
Adding and multiplying the LFO signals together results in some interesting variations
on the usual sine wave.
Rate Freq
Sets the basic frequency, or speed of the Input for a frequency signal. External
LFOs. A text field displays the value in must be switched on.
Hertz.
Out1
Ext Phase LFO2 LFO1 signal output.
Switches on the Freq input. The LFOs Sets a phase offset for LFO2 with respect
now operate at the basic frequency to LFO1. Out2
governed by the signal at the Freq input, LFO2 signal output.
and the Rate control is disabled.
Out1+2
Ratio LFO2 Combined LFO signal output.
Sets LFO2 to produce output at multiples
of the basic frequency of LFO1. The Out2
range is from 1X to 10X in integer steps.
Multiplied LFO signal output.

Saw Down LFO Saw Up LFO Sinus LFO
A descending sawtooth LFO in which only An ascending sawtooth LFO in which A sine wave LFO in which only the rate
the rate can be adjusted. only the rate can be adjusted. can be adjusted.
Controls Controls Controls

Rate Rate Rate
Adjusts the rate (frequency) of the LFO. Adjusts the rate (frequency) of the LFO. Adjusts the rate (frequency) of the LFO.
Connections Connections Connections

Out Out Out
LFO output. The LFO output. The LFO output.

Square LFO Triangle LFO
A square wave LFO in which only the rate A triangle wave LFO in which only the
can be adjusted. rate can be adjusted.
Controls Controls
Rate Rate
Adjusts the rate (frequency) of the LFO. Adjusts the rate (frequency) of the LFO.
Out Out
The LFO output. The LFO output.

Random Signal Generator
This signal generator produces three random signals. Sine is sinusoidal, Tri is triangular,
and Step is a well-behaved ‘Sample & Hold’ signal. Each signal varies in amplitude
and frequency. The level of amplitude variation is adjustable. The basic frequency
used to produce the random values can be supplied internally or externally.
Rate Freq
Adjusts the basic frequency from which Input for a frequency signal. Ext must be
random values are derived. switched on.
Ext Sine
Switches on the Freq input. When Output for the sinusoid generated signal.
enabled, the basic frequency is controlled
by the signal at Freq, and the Rate control Tri
no longer has any effect. Output for the triangle generated signal.
Level Step
Controls the amplitude of the Sine, Tri, Output for the ‘sample & hold’ generated
or Step waves. signal.

Sample & Hold
This module ‘probes’ (samples) the signal connected to the audio input to determine Connections
the amplitude, and holds the value until the next sample. The master clock for sampling
the amplitude can be an LFO, or a gate, etc. If the source signal is noise, then this In
becomes a random number generator which generates a random level with each gate Input for an audio signal from which the
event or LFO period. instantaneous value of the amplitude will
be sampled, and held. You can use white
noise for random effects, or for interesting
patterns use a sine or triangle wave (in
Controls conjunction with an LFO master clock).
Gate/Trigger
Input for the signal to be used as a master Gate
clock. Connect the gate signal from an MVC or
a sequencer here to use it as a master
Threshold clock for sampling the input waveform.
Here you can adjust a threshold level for
Audio Trig
the signal at the Audio-Trig input. When
the signal exceeds the threshold, a clock Connect a modulation signal here to use
pulse is generated to capture a new it as a master clock. The sample probing
sample. will be triggered depending on the nature
of the signal and the threshold setting.
Tip: Use the threshold setting, for
example, to trigger a new sample from Out
a certain level in the attack phase of an
envelope. Output for the Sample & Hold signal.

Modifiers
The modules in the Modifier group are
used mainly with frequency and
modulation signals. For example, several
pitch modifiers are available which you
can insert between the MVC and an
oscillator. You can then connect a
modulation signal to the modifier to
control the intensity of the pitch
modulation.
If you want to modulate several

oscillators at the same time, simply
connect them all to a single modifier (see
the figure beside).
If you need to provide an oscillator with

a fixed frequency, or a frequency offset,
use one of the ‘Constant Value’ modules
available for the different signal classes.
These modules can also be used to
change patch values via MIDI-Ctrl.

Pitch Modifier A
This is the most versatile of the pitch modifiers. It features Coarse and Fine tuning
controls, and three modulation inputs for pitch modulation.
Coarse/Fine Freq In
Controls the pitch of the connected Input for a frequency signal (as from an
frequency signal. Coarse adjusts the MVC).
pitch in semitones; Fine adjusts it in cents
(1/100 of a semitone). Keyf PMod1
Controls the influence of the value of the Input for the first pitch modulation signal.
PMod1 Note signal from an MVC over the
Controls the modulation depth of the frequency of the connected oscillator(s). PMod2
signal at the first pitch modulation input. The MIDI note number at which there is Input for the second pitch modulation
The source could be an envelope no modulation (i.e. the center value) is signal.
generator, LFO etc. fixed at #64 (E3). If key follow is adjusted
to 100%, then the oscillator frequency will Keyf
PMod2 correspond to the played note. When
Input for the Note signal from an MVC.
Controls the modulation depth of the adjusted to 50%, the frequency of the
signal at the second pitch modulation oscillator will be reduced by 50% per
Freq Out
input. The source could be an envelope octave of the original frequency. For notes
below E3, the frequency will be raised Not ‘freak out’. Output for the modifier’s
generator, LFO etc. frequency signal.
by 50% per octave. If adjusted to 0% the
pitch will be the same across the entire
keyboard.

Pitch Modifier B
This modifier has only two modulation inputs, but is sufficient for most pitch modulation
purposes.
PMod1 Freq In
Controls the modulation depth of the Input for a frequency signal (as from an
signal at the first pitch modulation input. MVC).
The source could be an envelope
generator, LFO etc. PMod1
Input for the first pitch modulation signal.
PMod2
Controls the modulation depth of the PMod2
signal at the second pitch modulation Input for the second pitch modulation
input. The source could be an envelope signal.
generator, LFO etc.
Freq Out
Output for the modifier’s frequency
signal.

Pitch Modifier C
This modifier features two modulation inputs with special characteristics. One input is
linear, and the other, exponential. The signal at the linear input adds modulation to the
frequency signal. The signal at the exponential input by its nature is limited to +/- 36
semitones. You must limit the input signal to this fixed range.
LinM Freq In
Controls the modulation depth of the li- Input for a frequency signal (e.g. from an
near pitch modulation signal. Possible MVC).
Example: The modulation always
modulation sources include envelope influences the original frequency value
generators, LFOs, etc. as a center frequency. A setting of 12, LinM
for example, implies that modulation of Input for a modulation signal.
ExpM +/-12 semitones is in effect. This equals
24 semitones. If you now set the value
Controls the modulation depth of the to -12 (note that the sign has changed), ExpM
exponential modulation signal. Possible the range is still 24 semitones, but the Input for a modulation signal.
sources include envelope generator’s, phase of the modulation has been
LFOs, etc. The text field displays the adjusted by 180 degrees.
Freq Out
modulation amount in semitones, and is
Output for the modulated frequency
limited to a range of +/- 36 semitones.
signal.

Pitch Modifier D
This module provides four modulation inputs making complex pitch modulation
techniques possible.
PMod1 Freq In
Controls the depth of the pitch Input for a Frequency signal, as from the
modulation. Modulation sources can be MVC.
envelopes, LFOs, or other sources, and
this control adjusts the intensity of the PMod1
respective source signal. Input for a modulation source signal.
PMod2 PMod4 PMod2

Controls the depth of the pitch modulation Controls the depth of the pitch modulation Input for a modulation source signal.
from a second source. Modulation from a fourth source. Modulation sources
sources can be envelopes, LFOs, or can be envelopes, LFOs, or other PMod3
other sources, and this control adjusts the sources, and this control adjusts the
Input for a modulation source signal.
intensity of the respective source signal. intensity of the respective source signal.
PMod4
PMod3
Input for a modulation source signal.
Controls the depth of the pitch modulation
from a third source. Modulation sources
can be envelopes, LFOs, or other Freq Out
sources, and this control adjusts the Modulated frequency signal output.
intensity of the respective source signal.

Constant Value Constant Value bipolar Constant Freq
Use this module to provide control values Use this module to provide control values This module produces a constant
for modulation inputs. It is normally used for modulation inputs. It is normally used frequency signal which can be connected
with unipolar (positive value) inputs but with biipolar (positive and negative value) to an oscillator, or a frequency divider.
can also be used with bipolar modulation inputs but can also be used with unipolar
inputs. However, only the positive modulation inputs. However, only the po-
component of the modulation will be sitive component of the modulation will
regulated, as the Constant Value module be regulated, as the unipolar input treats
does not produce negative values. negative values as positive values.
Constant Value can also be used with a Constant Value Bipolar can also be used Controls
MIDI controller to produce modulation with a MIDI controller to produce Freq
values via MIDI. modulation values via MIDI.
Adjusts the value of the frequency signal.
The text field displays the value in Herz.
Connections
Controls Controls Out
The output of the frequency signal.
Val Val
Specify the modulation factor relative to Specify the modulation factor relative to
a scale in the range of 0..127. a scale in the range of -64..+63.
Out Out
The output of the unipolar signal. The output of the bipolar signal.

Constant Partial Positive to Bipolar
This module produces an adjustable This module converts a unipolar signal
frequency value. On output, the (positive values only) into a bipolar signal
frequency can be set to the value of a (positive and negative values). An
specified overtone (partial). The output example of a unipolar signal is the output
of this module can then be connected, of an envelope generator which varies
for example, to the frequency inputs of from 0 to maximum. Other examples
oscillators or frequency dividers. include Velocity and Aftertouch. To stay
with the envelope generator example: By
inserting this module, the envelope signal
no longer ranges from 0 to maximum, but
from -Max to +Max. Velocity and After-
touch values would be transformed
similarly.
Freq Out
The basic frequency. Edit the value in this Frequency signal output. Connections
text field to set the basic frequency.
In
Partial Input for a unipolar signal.
The desired overtone to produce. Use a
Out
value in the overtone series in which 1.0
is the fundamental pitch. The easiest way Bipolar signal output.
to set the overtone number is to enter it
in the text field.

Curve Table
The Curve Table graphic represents the 128 possible values of the MVC’s Note, Vel,
and At outputs. ‘Massaged’ values are output according to the curve in the graphic
representation. Using the Curve, Sensitivity and Offset settings, you can adapt the
behavior of incoming values as you desire. Seven curves determine the fundamental
behavior - e.g. Linear (curve 1), Fixed (curve 3), Exponential (curve 4), or logarithmic
(curve 6). The Sensitivity parameter will fit the curve to achieve the desired result, and
the Offset will add or subtract a constant.
Connections
Controls
Val
Curve
Input for the MVC’s Note, Vel, or At
Select one of the curves in the graphic to outputs.
define the basic behavior.
Sensitivity Out
Adjusts the upward slope of the curve, The modulation signal output.
and the resulting output values as
displayed in the graphic.
Offset
Adds or subtracts the value set here.

Linear Scale
This module processes the values of the Note, Vel and AT outputs of the MVC. Its
functionality corresponds to that of a classic Keyfollow, except that in this module an
offset can be entered if desired (see digram). Use this module for modulating Pan,
Crossfade or Filter Cutoff using Note or Velocity signals.
Controls
Scale
Controls the modulation response to
incoming Note, Vel or AT MVC signals Example: You are modulating Pan
relative to their numeric value. The center using Note values. Linear Scale is set
value for scaling is MIDI value 64 to +100%. If you have a keyboard with
(Note=E3). This value produces no 128 keys, the lowest note will sound at
scaling modulation. If the value is above the far left, and the highest note at the
far right. Now, if you adjust Scale to -
or below this center value, a number will
100%, the reverse is true.
be added or subtracted to the modulation
signal, depending on the Scale setting.
Offset
If Scale is adjusted to 100%, an incoming
signal is output at the Note, Vel and AT Use this parameter to shift the center
outputs at full modulation when the input position for scaling by -64 to +64. The
is at its maximum value. A setting of 50% resulting modulation shifts
means that the degree of modulation will correspondingly.
be scaled to produce only up to 50% of
the original modulation. A value of 0%
means that Scale reduces the modulation
signal to nothing. Negative values
reverse the direction of the modulation.

Frequency Divider
With this module you can derive multiples or divisions of an input frequency. It provides Example:
an input for the basic frequency, and four outputs for multiples or divisions of the basic
frequency. Although the module is intended to operate with the MIDI clock, at can also You have a MIDI Clock, a Frequency
Divider, and two LFOs. The Freq output
work alone. With a MIDI clock you could, for example, derive several different
of the MIDI Clock supplies a value of
frequencies and send them in parallel to several LFOs. You could also use the Constant 2.00 cycles per second at 120 BPM
Freq module and similarly output several frequencies to the LFOs. which we will take to be half the period
of a quarter note. You want the first LFO
to correspond to a quarter note, and
Controls Connections the second to a half note triplet. Adjust
Out 1 to read 24/12, and Out 2 to read
Freq Divide Clock 24/8. Out 1 will now produce a
Input for the frequency signal from a MIDI frequency equal to a quarter note as
For each of the four outputs there is a
24/12 equals twice the original
text fader to adjust the multiplication or clock or another module. frequency, or 4.00 cycles per second,
division factors (see the exaple beside). or four oscillations per clock. Out 2
Out 1 produces half note triplets, because 24/
8 = 3.00 cycles per second, or 3
Frequency output for the first frequency
oscillations per clock. The following
division. table contains other clock values and
the corresponding se
Out 2
24/96 = 1/1 note 24/8 = 1/8 triplets
Frequency output for the second
frequency division. 24/48 = 1/2 note 24/6 = 1/16 note
Out 3 24/24 = 1/4 note 24/4 = 1/16 triplets

Frequency output for the third frequency 24/16 = 1/4 triplets 24/3 = 1/32 note
division.
24/12 = 1/8 note
Out 4
Frequency output for the fourth frequency
division.

Frequency Multiply
Use this module with oscillators, etc. to produce harmonics of the fundamantal
frequency. Harmonics are integral multiples of a fundamental frequency, and are
required for additive synthesis. This module allows for non-integral decimal factors,
which produce non-harmonic frequencies.
Partial Freq In
This is the factor by which the basic Input for a frequency signal, as from an
frequency at Freq In is multiplied. By MVC.
adjusting this value to integer (whole
number) values, harmonics are
Freq Out
produced: A factor of 1.000x produces the
basic frequency, or first harmonic. A factor Output for the multiplied frequency signal.
of 2.000x produces the octave above the
basic frequency, or the second harmonic,
etc.
Since using the rotary control to adjust

this value is a little clumsy, it is better to
simply enter the desired harmonic number
in the text field directly. For example, enter
<3> + <Enter> to adjust the oscillator to
the third harmonic.

Pitch Quantizer
This module allows you to derive discrete pitch values from a continuous modulation
signal. You can choose the desired interval and range to use for quantizing.
Range In
Specify the range, in semitones, within Input for the modulation signal to
which the signal will be quantized. quantize.
Quant Out
Adjusts the quantization interval in Output for the quantized signal.
semitones. A value of 1 equals a
semitone, 2, a whole tone, 3, a minor third
etc. The maximum allowable value
depends on the range setting. If the range
is adjusted to +/-24 semitones, then the
maximum interval is 24 semitones.

Xmod & Feedback Connector
It can sometimes happen in a patch that you will create a feedback loop (recursive
connection). This could happen, for instance, when crossmodulating oscillators.
However, even if the signals are compatible, SCOPE 5 does not allow for direct
connection of signals if it creates a loop. If you are designing a patch in which modules
are to modulate each other mutually, and you get an error message, try inserting this
module between the modules. It should now work.
Connections
In
Input for a modulation signal.
Out
Output for a modulation signal.

Drum
The Drum oscillators permit the Drum Synth
production of analog-style drum sounds
with the Modular. Since you can load The Drum Synth is the most versatile of the drum oscillators. It is designed in three
each module several times, entire drum parts: Sine1, Sine2, and Noise. Sine1 is the Master over Sine2. In other words, Sine1
kits are possible. Each module offers an determines the pitch of both oscillators. The Noise section features a filter to produce,
abundance of parameters with which to in addition to analog hi-hat sounds, varieties of ‘Bips’ and ‘Bleeps’ that may come in
create a great variety of sounds. In order handy at times.
that you do not loose the sounds you
This module is quite resource hungry, and you should use it only for very complex
create with the many new parameters,
drum sounds. For straightforward sounds, the Modular offers the Drum Oscillator and
we have supplied the most important
the Percussion Oscillator (see later).
modules with their own Preset lists. With
the self-contained Presets, you can store This module offers its own Preset list in addition to the Modular’s Preset list. Use the
your sounds immediately. With the Event existing presets, or store your own collection.
Sequencer MDS8 you can create drum
grooves of up to eight instruments.
Controls
Presets
Opens the module’s Preset list.
Note: Presets can play back at

substantially high volumes. Therefore
use a moderate volume level when
auditioning them. Otherwise damage to
your audio gear and/or your hearing
could occur.

Note No. Sine 1 809 Sine 1 PDec
Assigns the MIDI note number to which Adjusts smoothly from a normal decay Sets the duration of the pitch modulation.
the oscillator will respond. envelope to a hold-decay envelope. Depending on the PMod and PDec
Turning the control to the right increases settings, you can add character to the
Note: This setting is not saved with a the ‘hold’ part of the envelope while sound anywhere from ‘boomy’ to
preset, but only with the patch. This
reducing the ‘decay’ portion. The ‘scratchy’.
way when you develop a drum map
with several oscillators, and you want envelope time remains unchanged.
to change sounds, the key Sine 2 Decay
assignments remain appropriate for Sine 1 Snap Sets the time it takes for Sine 2 to fade
the song.
Adds an additional ‘click’ to the attack to to silence after being triggered.
further define the striking of a drum.
FVel
Sine 2 Detune
Assigns a velocity value to use when the Sine 1Tune Detunes Sine 2 relative to Sine 1. Since
sound is triggered by a gate signal.
Tunes the basic pitch of the instrument. Sine 1 is the ‘master’ oscillator, the
This value is effective only when the
Sine 1 is the master of Sine 2, so Sine 2 overall tuning of the instrument is
DrumSynth is triggered by Gate. When does not have a tuning capability, except governed by Sine 1 alone.
it is triggered via MIDI, the MIDI note- Detune. This detunes it from Sine 1.
on velocity is used instead. Tip: This is especially interesting to use
with tom toms. Subtle detuning can
Sine 1 PMod significantly enhance the realism of the
Sine 1 Decay Adjusts the pitch modulation depth. sound.
Sets the time it takes for Sine 1 to fade
to silence after being triggered.

Sine 2 Slope Noise Cf Noise LPF/HPF/BPF
Adjusts the decay characteristic of Sine Adjusts the cutoff frequency of the noise Switches between lowpass, highpass
2. When set to the left, the decay is line- filter, and hence the tone of the noise. At and bandpass noise filters. Lowpass and
ar (slower fadeout). When set to the right, high resonance you can use the cutoff bandpass are suitable (with high
the fade is exponential (relatively quick). control to determine the basic pitch of, resonance) for effects such as filter
Percussive sounds naturally fade for example, a bass drum. snaps, while highpass is suitable for
exponentially, so set the control towards sounds such as high hats.
the right for percussive sounds. Noise Res
Adds filter resonance. Using this control Sine 1 Level
Noise Attack alone you can generate filtersnaps or Specifies the relative level of Sine 1.
Controls the transient noise. Longer bass drums! Moving the control beyond the center
attack times allow the tone to carry position can result in distortion.
through a little more. Only when the Noise Cf Mod
attack phase has completed will the Adjusts the cutoff frequency modulation Sine 2 Level
decay phase begin. depth. Specifies the relative level of Sine 2.
Moving the control beyond the center
Noise Decay position can result in distortion.
Controls the time it takes the noise to fade
out after the attack phase. Noise Level
Specifies the relative level of Noise.
Moving the control beyond the center
position can result in distortion.

Connections
MIDI In MIn (Mute In) Out
Input for a MIDI signal, as from the MIDI Connect the Mute Out of another drum The oscillator’s audio output. You can
Out of the MVC. You can also connect synth or DVC (Drum Voice Control, see connect this to one of the four Modular
the MDS8 sequencer here, which was later) to this input. The Mute Outs of drum patch outputs.
specifically designed for use with the synths or DVCs transmit a message each
drum oscillators. time they are triggered. When the signal
is received at Mute In, the current sound’s Tip: Use the Patch outputs 1-4 as inde-
pendent outputs when using several
Gate envelope is cut off. This is useful to close drum oscillators.
Input for a gate signal, as from an MVC an open hi-hat, for example. By
or the gate of a sequencer. connecting several outs to a Mute Adder
(see later) mute groups can be
implemented.
MOut (Mute Out)

Connect this output to the Mute In of
another drum synth or DVC. Mute Out
transmits a signal whenever the drum
synth is triggered.

Drum Oscillator
The Drum Oscillator is comprised of two sections: Sine and Noise. Sine produces the FVel
tonal component of the percussion instrument, while Noise provides the noise. With Assigns a velocity value to use when
the two components, the Drum Oscillator is well suited to creating snare drum sounds. the sound is triggered by a gate signal.
Electronic bass drums, with a noise attack, are also easy to create. An integrated
Preset list lets you save sounds independent of the patches. This value is effective only when the
DrumSynth is triggered by Gate.
When it is triggered via MIDI, the MIDI
note-on velocity is used instead.
Controls Sine Level

Presets Specifies the relative level of sine
Opens the oscillator’s Preset list. component. Moving the control beyond
the center position can result in
Note: Presets can play back at distortion.
substantially high volumes. Therefore
use a moderate volume level when Sine Decay
auditioning them. Otherwise damage
to your audio gear and/or your Sets the time it takes for sine
hearing could occur.
Note No. component to fade to silence after
Assigns the MIDI note number to which being triggered.
the oscillator will respond.
Sine 809
Note: This setting is not saved with a
preset, but only with the patch. This Adjusts smoothly from a normal decay
way when you develop a drum map with envelope to a hold-decay envelope.
several oscillators, and you want to Turning the control to the right
change sounds, the key assignments increases the ‘hold’ part of the envelope
remain appropriate for the song.
while reducing the ‘decay’ portion. The
envelope time remains unchanged.

NoiseL TTune Out
Sets the volume level of the noise Adjusts the basic pitch of the instrument. The oscillator’s audio output. You can
component. Moving the control beyond connect this to one of the four Modular
the center position can result in distortion. PMod patch outputs.
Adjusts the pitch modulation depth.
Noise Color Tip: Use the Patch outputs 1-4 as inde-
Adjusts the basic tone color of the noise PDec drum oscillators.
component of your percussion Sets the duration of the pitch modulation.
instrument. Depending on the PMod and PDec
settings, you can add character to the
Noise Decay sound anywhere from ‘boomy’ to MIn (Mute In)
Sets the time it takes for noise component ‘scratchy’. Connect the Mute Out of another drum
to fade to silence. synth or DVC (Drum Voice Control, see
Connections later) to this input. The Mute Outs of drum
Noise Slope synths or DVCs transmit a message each
Adjusts the decay characteristic of the MIDI In time they are triggered. When the signal
noise component. When set to the left, Input for a MIDI signal, as from the MIDI is received at Mute In, the current sound’s
the decay is exponential (slower fade- Out of the MVC. You can also connect envelope is cut off. This is useful to close
out). When set to the right, the fade is the MDS8 sequencer here, which was an open hi-hat, for example. By
exponential (relatively quick). Percussive specifically designed for use with the connecting several outs to a Mute Adder
sounds naturally fade exponentially, so drum oscillators. (see later) mute groups can be
set the control towards the right for implemented.
percussive sounds. Gate
Input for a gate signal, as from an MVC MOut (Mute Out)
Snap or the gate of a sequencer. Connect this output to the Mute In of
Adds an additional ‘click’ to the attack to another drum synth or DVC. Mute Out
further define a percussive ‘strike’.. transmits a signal whenever the drum
synth is triggered.

Percussion Oscillator
The Percussion Oscillator is the most basic of the drum oscillators. It includes only a
single sine section with the typical drum parameters available. The Drum oscillator is
suitable for bass drum, tom tom, and electronic drums. As with the other oscillators,
this module has its own integrated Preset list.
Controls PMod
Controls Adjusts the pitch modulation depth.
Presets
PDec
Opens the oscillator’s Preset list.
Sets the duration of the pitch modulation.
Note: Presets can play back at Depending on the PMod and PDec
substantially high volumes. Therefore settings, you can add character to the
use a moderate volume level when FVel sound anywhere from ‘boomy’ to
auditioning them. Otherwise damage to ‘scratchy’.
your audio gear and/or your hearing
Assigns a velocity value to use when the
could occur. sound is triggered by a gate signal.
Note No. Tune

Assigns the MIDI note number to which Adjusts the basic pitch of the instrument.
Decay
Note: This setting is not saved with a Sets the time it takes for the instrument
preset, but only with the patch. This
to fade to silence after being triggered.
way when you develop a drum map with
several oscillators, and you want to
change sounds, the key assignments
remain appropriate for the song.

Connections
809 MIDI In MIn (Mute In)
Adjusts smoothly from a normal decay Input for a MIDI signal, as from the MIDI Connect the Mute Out of another drum
envelope to a hold-decay envelope. Out of the MVC. You can also connect synth or DVC (Drum Voice Control, see
Turning the control to the right increases the MDS8 sequencer here, which was later) to this input. The Mute Outs of drum
the ‘hold’ part of the envelope while specifically designed for use with the synths or DVCs transmit a message each
reducing the ‘decay’ portion. The drum oscillators. time they are triggered. When the signal
envelope time remains unchanged. is received at Mute In, the current sound’s
Gate envelope is cut off. This is useful to close
Snap an open hi-hat, for example. By connecting
Input for a gate signal, as from an MVC
several outs to a Mute Adder (see later)
Adds an additional ‘click’ to the attack to or the gate of a sequencer.
mute groups can be implemented.
further define a percussive ‘strike’.
Connect the Mute Out of another drum
synth or DVC (Drum Voice Control, see MOut (Mute Out)
Output
later) to this input. The Mute Outs of drum Connect this output to the Mute In of
Controls the output level of the another drum synth or DVC. Mute Out
synths or DVCs transmit a message each
instrument. Moving the control past the transmits a signal whenever the drum synth
time they are triggered. When the signal
mid-point may result in distortion. is triggered.
is received at Mute In, the current sound’s
envelope is cut off. This is useful to close
an open hi-hat, for example. By Out
connecting several outs to a Mute Adder The oscillator’s audio output. You can
(see later) mute groups can be connect this to one of the four Modular
implemented. patch outputs.
Tip: Use the Patch outputs 1-4 as inde-

drum oscillators.

Drum Voice Control
You need the DVC when you want to design sophisticated drum circuits in the Modu- Vel
lar. It allows envelope generators and amplifiers to be used with the Hihat Source (see Output for the MIDI velocity value. This
later) or other oscillators, and basically provides connections to control these modules. can be either the value that arrived with
A typical use would be to include a few DVCs in a patch, along with a Hihat Source, to the MIDI data, or the value set by the
simulate the various hi-hat states - open, closed, half open, etc. Vel control to be sent when a gate signal
is received.
Connecting the DVC is similar to connecting the MVC within a patch. Using the DVC is
not necessarily simple, so several example Presets (hihat.mdl etc.) have been included. MIn (Mute In)
After examining these, however, you should have no trouble making creative use of
Connect the Mute Out of another drum
the DVC.
synth or DVC (Drum Voice Control, see
later) to this input. The Mute Outs of
Controls drum synths or DVCs transmit a
message each time they are triggered.
Note No.
When the signal is received at Mute In,
Assigns a MIDI note number to the MVC. the current sound’s envelope is cut off.
Connections This is useful to close an open hi-hat,
Vel for example. By connecting several outs
Assigns a default velocity value to use MIDI In to a Mute Adder (see later) mute groups
when the sound is triggered by a gate Input for a MIDI signal, as from the MIDI can be implemented.
signal. Out of the MVC. You can also connect
the MDS8 sequencer here, which was MOut (Mute Out)
specifically designed for use with the Connect this output to the Mute In of
drum oscillators. another drum synth or DVC. Mute Out
transmits a signal whenever the drum
Gate synth is triggered.
Input for a gate signal, as from an MVC
or the gate of a sequencer.

Gate Out
The DVC sends a gate signal to trigger
modules such as an envelope generator.
The gate signal is output when a MIDI
Note On is received, or when a gate
signal is received at the DVC’s Gate
input.
Esync
Feedback containing envelope status
information. Connect this to the port of
the same name on an envelope
generator. If you are using several
envelope generators, combine the Esync
connections using the Esync Adder.

Mute Adder 2
The Adder is required when you want to build groups of percussion instruments. This
is the case when you want to connect more than to drum synths and/or DVCs. Two
DVCs or drum synths can be connected together directly using their Mute Out and
Mute In connections. With three drum synths/DCVs, however, you must use an adder.
Connect two of the Mute Outs to the Ins in the Adder, and the Out of the Adder to the
other synth or DVC to complete the group.
Connections
In 1
Connect the Mute Out of the first drum
synth or DVC you wish to merge into the
group here.
In 2
Connect the Mute Out of the second drum
synth or DVC you wish to merge into the
group here.
Out
Provides a ‘mixed’ signal of the Mute
Outs of the first two synths or DVCs.
Connect this to the Mute In of the third
synth/DVC.

Hihat Source
The Hihat Source provides waveforms and spectra suitable for developing effective
hi-hat sounds. Since this module uses several oscillators and a noise source to produce
the spectra, and is thus resource hungry, it is best to load it only once. For other
cymbal or hi-hat effects, use other modules from the Modular’s module library. To
illustrate the use of this module we have supplied an example patch, ‘Hihat.mdl’, along
with the Modular tutorials. This also illustrates the use of the DVC to create groups.
The HH Sound Source has its own Preset List, with which you can store the current Noise Level
settings. Controls the level of the noise
component. This affects only the signal
Controls at the Out connection. Out is the Hihat
Source’s final mix output.
Tune 1-3
These controls alter the spectrum of the
hi-hat waveform. Adjust these until you Connections
find a sound that is suitable for your Osc
purposes. Do not be surprised that
Nz BPF (Noise BPF) The direct audio output of oscillators 1-
adjusting these controls seems to be a
3. Usually this is a very metallic sound,
chaotic procedure with rather Nz BPF can be added to help achieve a
suitable for cymbal sounds etc.
unpredictable results - this is intended in metallic-sounding spectrum. This control
order to create complex hi-hat and filters the noise to ‘tune’ it to the overall
Noise
cymbal effects. sound. In other words, this control lets
you adjust the color of the noise before The direct audio output of the noise
HPF adding it to the overall signal. component. This is useful for sounds
such as electronic hi-hats.
This High Pass Filter lies downstream
from the oscillators controlled by Tune OSC Level
Out
1-3. If you find the spectrum is too Controls the level of oscillators 1-3. This
pitched, or tonal, use this filter. Increase affects only the signal at the Out The audio mix output of the Hihat Source.
the value of the high pass filter until the connection. Out is the Hihat Source’s fi- The controls Osc Level and Noise Level
tonality disappears. nal mix output. affect the mix at this output.

SampleDrum Oscillator A
This is a monophonic sample-playback oscillator which is especially suited for use Sets the attack time. When the envelope
with drum and sound-effects samples. It can be assigned to a specific MIDI note number generator receives a gate signal, it starts
and played from a keyboard – it also works quite nicely with the MDS8 Drum Sequencer the attack phase, and the modulation
module. An integrated volume envelope permits tailoring of the playback of longer signal rises to the maximum value in the
sounds, including sound cut-off in response to note-off events. time set here.
H
Load Sets the Hold time. When the attack
phase has completed, the level of the
envelope signal is held at maximum for
Press this button to load a sample, the the duration set here.
standard dialog for loading a file appears.
D
The oscillator can only load individual
samples, not complete Akai programs. Sets the decay time. After the hold phase
has finished, the modulation signal falls
Coarse to zero according to the time and
Permits coarse tuning of the sample in characteristic settings.
Vel
semitones.
Controls the amount of influence of note
Note that sample tuning is accomplished velocity on sample loudness.
via alteration of the effective sample
playback "speed".
Note
Specifies the MIDI note number to which
Fine
Permits fine-tuning of sample pitch.

Connections Utilizing Samples
ASlope MIDI Once you’ve loaded a sample and then
Adjusts the slope curve for the attack Input for a MIDI signal, as from the MIDI save a patch preset, the same sample
phase. The curve is continuously Out of the MVC. You can also connect will later be reloaded whenever you recall
adjustable from linear to exponential. the MDS8 sequencer here, which was this preset. Keep in mind that the
specifically designed for use with the SampleDrum Oscillator does not store
drum oscillators. the sample itself within the preset, but
DSlope
merely records its name and its location.
Adjusts the slope curve for the decay If you subsequently delete this sample,
phases. The curve is continuously MOut (Mute Out)
rename it or move it to a different location
adjustable from a linear to a logarithmic When this output is connected to the (or if the sample was loaded from a CD-
fade out. Mute In jack of another Drum Oscillator, ROM which is not inserted in the CD-
triggering of sample playback will cause ROM drive), the SampleDrum Oscillator
playback in the connected oscillator to will not be able to find it and therefore
be immediately stopped. not be able to load it.
MIn (Mute In) In particular, note that when

When this input is connected to the Mute transferring a patch which uses
samples to a different computer, it is
Out jack of another Drum Oscillator, also necessary to transfer the samples
sample playback will be immediately being used.
stopped whenever playback in the
connected oscillator is triggered. To get around this problem, read the
chapter OSC in the section, Sample
The Mute In/Out jacks of two SampleDrum Pool.
oscillators can be cross-connected so that
each oscillators stops the other. This
would be a typical setup for playback of
open and closed hi-hat samples.
Out
The audio signal from the oscillator.

MDS 8
The MDS8 (MIDI Drum Sequencer) is designed especially for use with the Drum
Oscillator/Synthesizer modules. It has 8 independent tracks, each of which is assigned
to its own MIDI output. With the MDS8, you can program complete drum patterns and
transform your patch into a true groove machine. In connection with the pattern
sequencer, you can program complete rhythm tracks, just as you’re used to doing with
hardware drum machines. Rhythms are programmed easily via the built-in pattern
matrix, and the free accent per step permits the creation of highly dynamic rhythms.
Opens the Preset List
Track
names
Options
Matrix

No. 2.) Use the arrow keys to navigate Copy
Use this text fader to set the pattern to through the matrix, and repeated strokes Click here to copy the current sequence
be played. on the <Space> bar to set a step, set an into the clipboard.
accented step, or clear the step.
Note: this control is disabled by a PSQ Paste
connection to the pattern sequencer. 3.) Same as 2) above, but type 1 to
Click here to replace the current
clear a step, 2 to set it, and 3 to accent it.
Matrix sequence with a sequence previously
copied into the clipboard. This exchange
Here, you set the steps at which MIDI Steps
is possible only within a single sequencer
triggers are to occur. Sets the desired length for the pattern. module.
Navigating in the Matrix When you are controlling the MDS8 You can also paste a copied sequence
remotely over PSQ connection using after switching to a new preset, which
Once you’ve clicked inside the matrix – the Pattern Sequencer, this parameter permits transfer of sequences from one
e.g., to set a step – you can use the arrow can no longer be adjusted here. preset to another.
keys on your computer keyboard to move
around within it. Swing
Controls the amoung of rhythmic "swing".
Setting steps
There are three ways to set and clear Loop

steps: Activating this option causes the current
song or pattern-chain to repeat
1.) Click with the mouse on the step you indefinitely.
wish to set. A second click on the same
step sets an accent for the step, a third If you want to control the MDS 8 with
the Pattern SEQ Loop must be On.
clears the step.

Break Options Connections
Clicking on this button stops the Click Options to open the following Sync
sequencer. dialog: Triggers advance to the next step in the
pattern list. A typical connection would
Reset be to the Sync output of the MDS8
Click on Reset to restart the pattern from sequencer, which sends a sync signal
step 1. This can also be done from upon reaching the end of its current
outside via the Reset input – permitting pattern.
restart to be triggered by notes played
on a keyboard, for example. (see also Gate Clock In
SEQ) Connect the clock output of the MIDI
Clock module here – or better still, the
Preset output of a Clock Divider.
Mute
Click the P button to open the module’s
preset list. Each preset contains 32 in- Click Mute to mute the corresponding
Reset
dependent sequences. track.
Connect this signal to other step
sequencers in order to have them
Solo
simultaneously reset when the pattern
Click Solo to hear only the corresponding sequencer sends a stop signal.
track.
PSQ
Velocity Low
For connection to the input of the same
Sets the MIDI note velocity for normal name on a step sequencer, so that its
steps. pattern length and number of steps can
be remote-controlled by the pattern
Velocity High sequencer.
Sets the MIDI note velocity for accented
steps.

Out 1-8
Connect these MIDI outputs to the MIDI
inputs of Drum Oscillators or the Drum
Synthesizer.
Don’t forget to set the MDS8 and the

Drum Module to the same MIDI note
number.
PNr.
Connect the PS32 pattern switcher here,
for example, to permit live selection of
patterns from the keyboard. Note that this
is possible only when the PSQ input is
not connected.
Link
Use this signal to supply clocks to addi-
tional sequencer modules. Note that
swing settings may affect this signal.

Effects
The SCOPE 5 provides a complete assortment of effects modules. The modules can
be divided into two groups: standard effects, which can be loaded only monophonically,
and synthesis effects, which can be loaded either monophonically or polyphonically.
Standard effects include delays, choruses, compressors etc. Synthesis effects include
other effects such as the Bit Quantizer and the Distortion module. Since standard
effects are capable only of monophonic operation, they should always be wired into a
patch following the Poly Out module, which constitutes the boundary between the
polyphonic and monophonic portions of a patch. These modules are therefore always
green, which serves as the visual indication of a monophonic module. The synthesis
effects can be used just like all other normal synthesis modules – either before the
Poly Out module, in which case they should be set for polyphonic operation, or after it,
where they should be set to monophonic (single) mode to minimize DSP power
consumption.

Compressor
Standard effect, always monophonic
This effect modifies the dynamics of a sound. The level of louder passages is decreased. Gain
This means that the overall level of the sound can be set higher, with the net result that A compressor reduces the transient
the level of softer sections is increased. The compressor operates by monitoring the levels of a signal so that the overall signal
level of the input signal. An adjustable threshold level determines the point at which can be increased later without danger of
compression begins. Attack and release controls determine how quickly the compressor distortion. This increases the average
responds when the threshold is exceeded and when the input signal level falls back level of the music, resulting in a fuller
below the threshold, respectively. The ratio control determines the intensity of the sound. Adjust the volume increase with
compression – i.e., the ration of input level change to output level change. The gain the Gain control.
control adjusts the level of the compressed signal.
Bypass
Controls output, bypassing the effect.
Attack
The Attack time (in milleseconds) is the Connections
compressor’s reaction time - the time it
takes it to respond to a level spike. In
The audio input of the compressor.
Release Ratio
This is the time (in milliseconds) after the Out
The Ratio adjusts the compression rate
signal falls back under the threshold that for signals that exceed the threshold The audio output of the compressor .
compression is no longer active. level. The compression is displayed as
a relation value. 1:1 means that there is
Threshold no compression. 3:1e.g. means that a
Sets the input signal level above which an amplification of +3dB of the input
compression begins. signal results only in +1dB at the output.

Limiter
This effect is related to compression and likewise modifies the dynamics of a sound. Gain
The level of louder passages is decreased. This means that the overall level of the A limiter reduces the transient levels of a
sound can be set higher, with the net result that the level of softer sections is increased. signal so that the overall signal can be
The limiter operates by monitoring the level of the input signal. An adjustable threshold increased later without danger of
level determines the point at which limiting begins. Attack and release controls distortion. This increases the average
determine how quickly the limiter responds when the threshold is exceeded and when level of the music, resulting in a fuller
the input signal level falls back below the threshold, respectively. The ratio control sound. Adjust the volume increase with
determines the intensity of the limiting – i.e., the ration of input level change to output the Gain control.
level change. The gain control adjusts the level of the limited signal.
Bypass
Controls output, bypassing the effect.
Attack
The Attack time (in milleseconds) is the Connections
limiter’s reaction time - the time it takes
In
it to respond to a level spike.
The audio input of the limiter.
Release
Out
This is the time (in milliseconds) after the Ratio
signal falls back under the threshold that The audio output of the limiter .
The Ratio adjusts the limitting rate for
limitting is no longer active. signals that exceed the threshold level.
The limitting is displayed as a relation
Threshold value. 1:1 means that there is no
Sets the input signal level above which compression. 3:1e.g. means that a an
limitting begins. amplification of +3dB of the input signal
results only in +1dB at the output.

Expander
Standard effect, monophonic only
The Expander alters the dynamics of an audio signal by attenuating the quieter passages
while leaving the louder passages alone. This increases the overall dynamic range of
the signal. You can use this to alter the way an instrument sound dies out, or possibly
to change the feel of a drum loop. Or you could use it to reduce unwanted room noise
for a lower noise floor. The expander is provided in both mono and stereo versions.
The Threshold control sets the level at which expander begins to process the signal.
The speed with which the expander responds after the level crosses the threshold is
controlled by the Attack and Release parameters. Ratio determines how much the
level changes. The Ratio is the relationship of the original signal to the expanded
signal.
Attack Gain
Adjusts the attack time; that is, how Controls the overall level. The signal is
quickly the expander begins to work after amplified or attenuated by the indicated
the threshold is crossed. amount.
Release Bypass
Adjusts the release time; that is, how Routes the signal directly from the input
quickly the expander stops processing Ratio to the output, bypassing the effect.
the signal after the threshold level has Ratio controls the amount of expansion.
been crossed. The expanded signal is expressed in Connections
relation to the unprocessed (original)
Threshold signal. 1:1 means no expansion. 3:1 In
The level at which the expander is means that a normal 1dB drop in output Audio signal input.
triggered to begin processing the signal. after processing drops by about 3dB. The
maximum ratio value is 10:1. Out
Output for the expanded signal.

Noise Gate
Briefly stated, a gate either lets a signal pass, or not, as a function of an input signal’s
volume level. In contrast to a simpler gate, which opens or closes completely, this
gate can be adjusted to reduce the output to a specified level rather than block it
altogether. For example, a gate can be used to automatically mute the signal (as in a
noise gate, or to separate drums, etc.) or to change the quality of the ending phase of
an instrument’s sound.
Gain
Attack Amplifies the gate’s output by up to 18dB.
Adjusts the attack time; that is, how
quickly the gate opens when the Bypass
threshold has been exceeded. Routes the signal directly from the input
to the output, bypassing the effect.
Release
Adjusts the release time; that is, how Connections
quickly the gate closes when the signal Floor
falls below the threshold. In
When the gate closes, the output level
falls to the value specified by Floor. Input for the audio signal.
Threshold Therefore, the gate does not necessarily
This is the value at which the gate opens block the signal completely, but lowers it Out
or closes when the input signal level to this level. Gated signal output.
crosses it.

Delay
The Delay or Echo delays the signal in simple or more complex ways producing
individual or repeated echos. Repeated echos are created using a feedback. The
feedback chain contains a filter which allows a damping of high frequencies.
Time In
Adjusts the delay time in milliseconds. The audio input of the delay.
FB Out
Sets the strength of the feedback - the Dry The audio output of the delay .
portion of the delayed signal that is routed
back to the input to create multiple The level of the original signal.
receding echos. The degree of feedback
determines the fade out time of the Wet
repeated echos. The level of the effect signal.
HiDamp Bypass
Controls the amount of high frequency Sends the input signal directly to the
damping in the feedback signal. Damping output, bypassing the effect.
degrades the signal with each repeat,
creating a natural sounding fade.

Tempo Delay
This module is actually a Stereo Delay with optional cross feedback. The reason the
word ‘tempo’ appears in its name is to signify that it can be synchronized to the MIDI
clock.
Controls
Dry
TimeL/R Controls the level of the original signal in
Adjusts the delay time, in milliseconds, the output.
for the left and/or right channels.
Wet
External Controls the level of the delayed signal
When this is enabled (the button is lit) in the output.
you can control the Delay times Cross
externally. Connect the MIDI clock This switch changes the feedback loop
Bypass
through a Frequency Divider to the FL to a Cross Feedback loop: The output of
the left channel is fed back to the right Routes the signal directly from the input
and FR inputs. The delay times are
channel input, and the right channel to the output, bypassing the effect.
determined by the Tempo and and
settings in the Frequency Divider. output is routed to the left input channel.
FB HiDamp
Controls how much of the delayed signal Adjusts the amount of high frequency
is fed back to the inputs to be delayed filtering applied to each cycle of the signal
once again. in the feedback loop.

Connections
In L/m Out L
Input for the left channel audio signal. Left channel output.
This is also the input for a mono signal.
Out R
In R Right channel output.
Input for the right channel audio signal.
When you connect a signal here, the
effect switches automatically to stereo
mode.
FL (Frequency Left)
Input for a MIDI Clock, or, better yet, a
Frequency Divider to control the effect’s
left channel delay time.
FR (Frequency Right)
Input for a MIDI Clock, or, better yet, a
Frequency Divider to control the effect’s
left channel delay time.

Modulation Delay
Synthesis effect, monophonic and polyphonic
This Delay is special for two reasons: it is capable of being used polyphonically, and
the delay times can be modulated. This is possible because this delay uses the onboard
memory of the DSP modules. However, because this memory is limited, the delay
time is very short - on the order of 20 ms. But it’s enough to create perfect chorus
effects, or, with feedback, flanger effects. And because the module can be loaded
ahead of the Poly Outs, it can serve as a polyphonic chorus or flanger for each inde-
pendent voice.
Controls Bypass
Routes the signal directly from the input
Time to the output, bypassing the effect.
Sets the delay in milliseconds.
Connections
Tmod (Time modulation)
Controls the intensity of the time In
modulation. This setting corresponds to Input for an audio signal.
Dry/Wet
the Depth control on a chorus or flanger.
Determines the relative proportions of the Mod
FB original signal and the effect signal in the
Input for a modulation signal.
output. Because a chorus or flanger effect
Controls the proportion of the delayed
can only occur with some of the original As well as connecting an LFO signal to
signal that is fed back to the input to be
signal present, you should always include produce chorus and flanger effects,
delayed again. If the Time value is
some of the unprocessed signal. To you can use any other arbitrary signal
sufficiently short, this results in a typical here.
produce the strongest effects, a setting
flanger effect.
that produces equal proportions is opti-
mal (both controllers in the center Out
position). Effect signal output.

Chorus
The name „chorus“ hints at the sound produced by this effect. It spreads and thickens Connections
the sound passed through it, simulating the sound of multiple instruments of the same
type playing together – in other words, a chorus. This effect is achieved by means of a In L/m
short delay line whose delay time is periodically modulated. Mixing of this delayed The left audio input. This input also is
signal with the original produces the chorus effect. The intensity of the effect depends used for monophonic signals
upon the modulation rate, depth and phase settings as well as the dry/wet (original/
delayed) mix. The effect is also useful for creating a stereo sound from a monaural In R
signal. The right audio input. The Chorus is
automatically switched to stereo input
Controls mode once a signal is connected to this
jack.
Rate
Controls the frequency of the pitch Out L
modulation. The left channel of the audio output.
Dry/Wet
Depth Determines the relation between the Out R
Adjusts the modulation depth - the level of the original and the effect signal. The right channel of the audio output.
strength of the pitch modulation.
Bypass
Phase Sends the input signal directly to the
Adjusts the phase difference of the output, bypassing the effect.
modulation signal between the left and
right channels. This influences the ‘width’
of the stereo field.

Flanger
This effect is similar to the chorus. Like the chorus, a flanger is based on a delay line Connections
whose delay time is periodically modulated. However, the delay times in a flanger
are substantially shorter than those of a chorus. In addition, the flanger utilizes In L/m
feedback of the delayed signal back to the delay line input. Therefore, it not only The left audio input. This input also is
thickens the sound but can add noticeable coloration owing to the comb-filter effect used for monophonic signals
which results from the feedback. The intensity of the effect depends upon the
modulation rate, depth and phase settings as well as the dry/wet (original/delayed) In R
mix. The effect is also useful for creating a stereo sound from a monaural signal. The right audio input. The Flanger is
automatically switched to stereo input
mode once a signal is connected to this
jack.
Controls
Out L
Rate The left channel of the audio output.
Controls the frequency of the delay
modulation of the flanger. Dry/Wet Out R
Determines the relation between the The right channel of the audio output.
Depth level of the original and the effect signal.
Adjusts the modulation depth - the
strength of the delay modulation. Bypass
FB output, bypassing the effect.
Adjusts the feedback depth, or the
amount of processed signal fed back into
the input.

Tempo Flanger
This is a Flanger module in which the modulation speed can be synchronized to a

MIDI Clock. For information on what a flanger does, and how to control it, read the
previous section. This section explains only the added parameters and connections.
Additional Parameter Additional Connections

External Ext Freq
By enabling this option (button is lit) you Connection for a frequency signal, or,
can control the modulation speed better, a signal from a Frequency Divider,
externally. Connect a MIDI Clock to set the modulation rate.
through a Frequency Divider to the Ext
Freq input. The modulation speed is now
derived from the tempo, and the settings
in the Frequency Divider. The Rate
button is disabled when in external
mode.

Phaser
The phaser or phase-shifter is similar to the flanger and chorus, but instead of using a Connections
delay line, it functions by introducing frequency-dependent phase shifts into the signal
which is passed through it. The key phase-shift frequencies, and therefore the amount In L/m
of phase shift, are periodically modulated. The phase-shifter effect results when this The left audio input. This input also is
phase-manipulated signal is mixed with the original signal. The effect is thus similar to used for monophonic signals
the flanger and chorus, but with a sound character of its own. The intensity of the effect
depends upon the modulation rate, depth and phase settings as well as the dry/wet In R
(original/phase-shifted) mix. The effect is also useful for creating a stereo sound from The right audio input. The Phaser is
a monaural signal. automatically switched to stereo input
mode once a signal is connected to this
jack.
Controls
Out L
Rate
The left channel of the audio output.
Controls the frequency of the phase
modulation of the Phaser. the input.
Out R
Depth Dry/Wet The right channel of the audio output.
Adjusts the modulation depth - the Determines the relation between the level
strength of the phase modulation. of the original and the effect signal.
FB Bypass
Adjusts the feedback depth, or the Sends the input signal directly to the
amount of processed signal fed back into output, bypassing the effect.

Tempo Phaser
This is a Phaser module in which the modulation speed can be synchronized to a MIDI
Clock. For information on what a phaser does, and how to control it, read the previous
section. This section explains only the added parameters and connections.
Additional Parameter Additional Connections

External Ext Freq
By enabling this option (button is lit) you Connection for a frequency signal, or,
can control the modulation speed better, a signal from a Frequency Divider,
externally. Connect a MIDI Clock through to set the modulation rate.
a Frequency Divider to the Ext Freq input.
The modulation speed is now derived
from the tempo, and the settings in the
Frequency Divider. The Rate button is
disabled when in external mode.

Pitch Shifter
This module changes the pitch of the input signal. The Coarse and Fine controls Dry/Wet
determine how much the pitch changes. Speed controls how quickly the shifter works Sets the relative proportions of the effect
(this helps even out the sonic change from the original signal to the shifted signal). The signal and the original signal in the
pitch shifter serves very well to thicken synthesizer voices. output. To thicken synthesizer voices,
both the original signal and the effect
signal must be present. To listen only to
the shifted signal, set the control all the
Controls way to Wet.
Coarse
Shifts the pitch in semitone steps. Bypass
Routes the signal directly from the input
Fine to the output, bypassing the effect.
Shifts the pitch in cents (hundredths of a
semitone). Connections
In
PMod (Pitch Modulation)
Adjusts the intensity of the pitch
modulation.
PMod
Speed Input for a modulation signal.
This value controls how often the pitch
shifter processes the pitch change (used Out
to even out the difference between the Effect signal output.
original sound and the shifted version).

Pitch Shift Delay
Like the pitch shifter, this module changes the pitch of the input signal. The Coarse HiDamp
and Fine controls determine how much the pitch changes. Speed controls how quickly Adjusts the amount of high frequency
the shifter works (helping to even out the sonic change from the original signal to the content absorbed (attenuated) during
shifted signal). Using a delay and a feedback loop, the pitch shifter can be adjusted in each cycle of the feedback loop.
such a way that the pitch rises or falls gradually.
Dry
Controls Sets the volume level of the original
signal.
Coarse
Shifts the pitch in semitone steps. Wet
Sets the volume level of the effect signal.
Fine
Shifts the pitch in cents (hundredths of a Bypass
semitone). Routes the signal directly from the input
Delay to the output, bypassing the effect.
PMod (Pitch Modulation) This control delays the effect signal within
Adjusts the strength of the pitch a range of 0 to 683 milliseconds. Connections
modulation.
Feedback In
Speed Controls how much of the delayed signal Input for the audio signal.
This value controls how often the pitch is fed back to the input for further
shifter processes the pitch change (used processing. With appropriate settings of Out
to even out the difference between the the delay, echoes develop that rise or fall Effect signal output.
original sound and the shifted version). in pitch.

Distortion
Synthese-Effekt, mono- und polyphon
This effect produces both „soft“ and „hard“ distortion. Soft distortion is comparable to
that which results when analog magnetic tape overload occurs – it comes on slowly
with increasing signal level and has a soft sound. Hard distortion is produced via
simple clipping. It appears more suddenly and has a harder, edgier sound. This module
can be used polyphonically as well as monophonically – thus both before and after the
Poly Out module.
Dist In
Controls the intensity of the distortion for Input for audio signals.
both the Soft and Hard output.
Soft
Output for the distorted signal.
Hard
Output for the strongly distorted signal.

Bit Quantizer Decimator
Synthesis effect, mono- und polyphonic Synthesis effect, mono- und polyphonic
In the SCOPE 5, signals are normally The Decimator lets you play a signal with a different bit resolution and sample rate as
computed with 32-bit precision. The Bit the rest of the system. In effect, the signal is internally resampled. Aliasing and
Quantizer lets you deliberately and quantization noise can be deliberately produced, depending upon the settings used.
radically decrease this precision to the This module can be used polyphonically as well as monophonically – thus both before
point where noticeable quantization and after the Poly Out module.
artifacts begin to appear – the
characteristic „digital trash“ sound and
Controls
limited dynamic range of quantization
noise. This module can be used Bit
polyphonically as well as monophonically Controls the number of bits which is used
– thus both before and after the Poly Out for the Bit reduction.
module.
Connections
Bit on/off
In
Turns on/off the bit reduction.
Input for audio signals.
Controls Sample Rate
Fmod
Bit Controls the sample rate which is used
for the conversion. Input for modulation signals.
Controls the number of bits which is used
for quantization.
FmA Out
Here, the sample rate can be modulated Output for the quantized signal.
Connections
– the potentiometer controls the intensity
In of modulation.
Input for audio signals.
Sample Rate on/off
Out Turns on/off the sample rate conversion.
Output for the quantized signal.
Ringmodulator
Synthese-Effekt, mono- und polyphon
The ring-modulation effect is often described as „bell-like“ or „inharmonic-sounding“

– fitting descriptions, when, for example, two audio oscillators are passed through
the ring modulator. In essence, however, the ring modulator simply outputs the
(multiplication) product of its two input signals, and therefore is also useful for
modulation of modulation signals. This module can be used polyphonically as well as
monophonically – thus both before and after the Poly Out module. As the ring modulator
offers only connections and no controls of its own, the intensity of the effect must be
controlled from outside, e.g., using mix modules.
Connections
In1
Input for audio and modulation signals.
In2
Input for audio and modulation signals.
Out
Output of the modulated signals.

Mono/Stereo Insert
With these modules you can integrate any SCOPE 5 effects into your Patch.
Connections
Mono Insert
In
Please take note of the following: When Wet Input for audio signals.
you exchange Modular patches with
other users, it is possible that you or Controls the level of the effect signal.
the other user may not have a copy of
Out
a effect offered by a third-party Note that the Dry and Wet settings Output of the audio signals.
provider. The effect slot of the insert apply only to the Insert module itself.
module will in that event remain empty The individual effects modules likewise
possess Dry and Wet controls of their Stereo Insert
– either it should be switched off, or
alternatively, one of the SCOPE 5 own, which must be set appropriately. InL/m
effects should be loaded.
Input for the left audio signal or a
Active monophonic signal.
Controls This button activates the effect in the
insert slot, which is active when the button InR
Insert Slot is illuminated. When the insert slot is
Input for the right audio signal.
Load any SCOPE 5 effect into this slot. deactivated, the effect is also unloaded
By double-clicking on the name in this from the DSPs and the audio input signal
slot you open the effects’s user surface. Out L
to the effect is passed directly to the
To remove the effect, select the textfield output. Output of the left audio signal.
in the slot and press the <Delete> or
<NumLock> key on your computer If the insert slot is activated with no Out R
keyboard. effect loaded, the signal in the insert Output of the right audio signal.
module is determined by the Dry level
control. If this is set to minimum, no
Dry signal will come through.
Controls the level of the original signal.

Sequencer Modules
The Modular2 offers a full assortment of These modules have some special-
sequencer modules which can be used purpose connections. For example, the
to produce rhythmic structures, note runs, PSQ jack is provided especially for
filter sweeps, drum patterns and much communication with the pattern
more. The various types of sequencer sequencer.
modules produce different types of output
signal as appropriate. For example, the The control sequencer modules are
pitch sequencer produces pitch control currently restricted to monophonic
operation. This means that they can
signals which can be used to control an modulate polyphonic sounds, but that the
oscillator in semitone increments, the modulation itself is the same for all voices.
gate sequencer produces signals for For example, if the pitch sequencer is
triggering of envelopes, and the various sending an offset of two semitones as you
control sequencers permit sequence- play a three-note chord, all three notes
will be shifted in pitch by two semitones.
driven control of filter, pan and other
However, polyphonic control sequencers
modules. are planned.
The pattern switcher lets you recall

patterns from a keyboard, while the
pattern sequencer permits the creation
of complete song structures.

Gate SEQ1 / SEQ2
The gate sequencers are used primarily for triggering envelopes. They output not only
values indicating On and Off, but by means of Esync communication can also notify an
envelope that it should "ramp down" to zero before being retriggered. SEQ1 puts out a
trigger signal on every 16th-note time interval, while SEQ2 permits note lengths to be
extended.
Gate On/Off Opens the Preset List
Step Hold

Copy Gate On/Off Steps
Click here to copy the current sequence These sixteen buttons determine whether Pattern length is independently variable
into the clipboard. or not a trigger signal will be sent in the for each pattern, up to a maximum of 16
corresponding time interval. The Step steps.
Paste Hold buttons extend note length by
suppressing new triggers (see following). If the sequencer module is being
Click here to replace the current remote-controlled by the Pattern
sequence with a sequence previously Sequencer, the Pattern and Steps
copied into the clipboard. This exchange Step Hold (Gate SEQ2 only) settings are ignored – in this case, the
is possible only within a single sequencer These buttons can be used to extend a Pattern Sequencer determines which
module. note over one or more steps. Normally, pattern will be played as well as the
pattern length.
a note-off is sent halfway through each
You can also paste a copied sequence step. If Step Hold is switched on for a
after switching to a new preset, which step, then no note-off occurs in that step, Swing
permits transfer of sequences from one Controls the amoung of rhythmic "swing".
preset to another. and no note-on occurs at the start of the
next step, with the result that the original
This setting applies in common to all of a
Preset note is stretched.
module’s patterns.
Click the P button to open the module’s
Pattern
preset list. Each preset contains 32 in- Loop
dependent sequences. Here, you specify which of the 32
Activate this function to cause the pattern
available patterns is to be played. This
to repeat continuously.
can also be controlled externally via the
PNr input. Use the PS32 pattern switcher Note that this option must be active when
module to select patterns from a the sequencer module is to be remote-
keyboard. controlled by the Pattern Sequencer.

Connections
Break Clock Link
Clicking on this button stops the Connect the clock output of the MIDI Here, connect other sequencer modules
sequencer. Clock module here – or better still, the which are to be strongly coupled to the
output of a Clock Divider. Gate SEQ module. A "swung" clock may
Reset also be output via Link.
Click on Reset to restart the pattern from Reset
For example, if you use the OnGate
step 1. This can also be done from Connect a trigger signal here to permit option in a pitch sequencer, you need
outside via the Reset input – permitting remote-actuated restarting of a pattern the clock signal from the Link output
restart to be triggered by notes played from step 1. in order to relay information regarding
on a keyboard, for example. whether or not a given step is set.
PSQ
If you want to trigger Reset from the Gate Out
keyboard, connect the GateOr module
For connection to the signal output of the
to the Gate output of the MVC, and same name on the Pattern Sequencer, Here, connect an envelope or other
connect the output of the GateOr which can then remote-control pattern module which is to be triggered on every
module to the Reset input of the Gate number and pattern length. step.
SEQ module. With this connection,
Reset will be triggered on every new Sync
note. If the connection is made directly
PNo.
rather than via the GateOr module, Connect the PS32 Pattern Switcher here Connect this output to the Sync input of
Reset will trigger less often – with a to permit selection of patterns from the the Pattern Sequencer, which thus
polyphony of four, for example, only on keyboard. receives a trigger signal when the end of
every fourth note. the current pattern is reached and in turn
E can call up the next pattern.
Connect the Esync output of an ADSR
envelope here. With this connection, the
GateSequencer can command full "ramp
down" of the envelope before retriggering
it.

Ctrl SEQ1 / SEQ2
The control sequencers are used for control of modulation signals. They produce
sequences of unipolar values in the range 0-127. Unipolar means that the modulation
works in only one direction – for example, the preset cutoff of a filter can only be
raised. At your option, the control value programmed for each step can either always
be sent or sent only when a gate occurs on that step. Finally, the slide buttons permit
step-by-step control over the change from one control value to the next, which can be
either an instantaneous change or a smooth glide.
Control-Wert Opens the Preset List
Slide-Switch

Copy Control Value Intensity (Ctrl SEQ2 only)
Click here to copy the current sequence Use these faders to set control values Controls the "steepness" or speed of the
into the clipboard. for each step in a pattern (or enter values exponential or logarithmic control-value
in the range 0-127 directly via the text glide in pattern steps for which the Slide
Paste field above each fader). function is active (all steps are affected
Click here to replace the current in common).
sequence with a sequence previously Slide (Ctrl SEQ2 only)
copied into the clipboard. This exchange These three-state buttons permit you to Curve (Ctrl SEQ2 only)
is possible only within a single sequencer activate a control-value glide function on Same as the Slide buttons described
module. a step-by-step basis. The glide can be above – but switches the states of these
either exponential (blue) or logarithmic buttons in common for all sixteen pattern
You can also paste a copied sequence (yellow). Which type is to be preferred steps at one time.
after switching to a new preset, which depends upon the parameter being
permits transfer of sequences from one
preset to another. modulated – for example, filters often
sound better with exponential control.
Preset
Depending upon the tempo and your own
Click the P button to open the module’s personal taste, you may also need to
preset list. Each preset contains 32 in- adjust the Intensity control (see below) to
dependent sequences. get the glide function to sound the way
you want.

Connections
Pattern Reset Clock
Here, you specify which of the 32 Click on Reset to restart the pattern from Connect the clock output of the MIDI
available patterns is to be played. (see also step 1. This can also be done from Clock module here – or better still, the
Gate SEQ) outside via the Reset input – permitting output of a Clock Divider.
Steps on a keyboard, for example. (see also Gate Reset
Pattern length is independently variable SEQ) Connect a trigger signal here to permit
for each pattern, up to a maximum of 16 remote-actuated restarting of a pattern
steps. (see also Gate SEQ) OnGate from step 1.
Activate this option to cause control
Swing values to be sent only on steps in which PSQ
Controls the amoung of rhythmic "swing". a gate event (note-on) occurs. For this to For connection to the signal output of the
(see also Gate SEQ) work, the Ctrl SEQ Clock must come from same name on the Pattern Sequencer,
the Gate SEQ module and not directly which can then remote-control pattern
Loop from the MIDI Clock module or Clock number and pattern length.
Divider module.
to repeat continuously. (see also Gate SEQ) PNo.
When this option is not active, control
values are sent on every step, regardless Connect the PS32 Pattern Switcher here
Break of whether a note-on occurs, meaning to permit selection of patterns from the
Clicking on this button stops the that new control values may change the keyboard.
sequencer. sound of an already-playing note from an
earlier step. Out
The unipolar modulation signal is output
here.

Ctrl SEQ B1 / SEQ B2
The "B" control sequencers are used for bipolar control of modulation signals. They
produce sequences of control values in the range -64 - +63. Bipolar means that the
modulation can work in both directions – for example, the preset cutoff of a filter can
be both raised and lowered. At your option, the control value programmed for each
step can either always be sent or sent only when a gate occurs on that step. Finally,
the slide buttons permit step-by-step control over the change from one control value to
the next, which can be either an instantaneous change or a smooth glide
Control-Wert Opens the Preset List
Slide-Switch

Copy Control Value Intensity (Ctrl SEQ B2 only)
in the range -63 to +63 directly via the glide in pattern steps for which the Slide
Paste text field above each fader). function is active (all steps are affected
Click here to replace the current in common).
sequence with a sequence previously Slide (Ctrl SEQ B2 only)
copied into the clipboard. This exchange These three-state buttons permit you to Curve (Ctrl SEQ B2 only)
is possible only within a single sequencer activate a control-value glide function on Same as the Slide buttons described
module. a step-by-step basis. The glide can be above – but switches the states of these
either exponential (blue) or logarithmic buttons in common for all sixteen pattern
You can also paste a copied sequence (yellow). Which type is to be preferred steps at one time.
after switching to a new preset, which depends upon the parameter being
preset to another. modulated – for example, filters often
sound better with exponential control.
Preset
Depending upon the tempo and your own
Click the P button to open the module’s personal taste, you may also need to
preset list. Each preset contains 32 in- adjust the Intensity control (see below) to
dependent sequences. get the glide function to sound the way
you want.

Connections
Pattern Reset Clock
Here, you specify which of the 32 Click on Reset to restart the pattern from Connect the clock output of the MIDI
available patterns is to be played. (see also step 1. This can also be done from Clock module here – or better still, the
Gate SEQ) outside via the Reset input – permitting output of a Clock Divider.
Steps on a keyboard, for example. (see also Gate Reset
Pattern length is independently variable SEQ) Connect a trigger signal here to permit
for each pattern, up to a maximum of 16 remote-actuated restarting of a pattern
steps. (see also Gate SEQ) OnGate from step 1.
Activate this option to cause control
Swing values to be sent only on steps in which PSQ
Controls the amoung of rhythmic "swing". a gate event (note-on) occurs. For this to For connection to the signal output of the
(see also Gate SEQ) work, the Ctrl SEQ Clock must come from same name on the Pattern Sequencer,
the Gate SEQ module and not directly which can then remote-control pattern
Loop from the MIDI Clock module or Clock number and pattern length.
Divider module.
to repeat continuously. (see also Gate SEQ) PNo.
When this option is not active, control
values are sent on every step, regardless Connect the PS32 Pattern Switcher here
Break of whether a note-on occurs, meaning to permit selection of patterns from the
Clicking on this button stops the that new control values may change the keyboard.
sequencer. sound of an already-playing note from an
earlier step. Out
The unipolar modulation signal is output
here.

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

Pitch Offset-values
Slide-Function

Copy Pitch Offset Values Intensity (Ctrl SEQ B2 only)
in the range -36 to +36 directly via the glide in pattern steps for which the Slide
Paste text field above each fader).Pitch Offset- function is active (all steps are affected
Click here to replace the current Wert in common).
sequence with a sequence previously
copied into the clipboard. This exchange Slide Curve (Ctrl SEQ B2 only)
is possible only within a single sequencer These three-state buttons permit you to Same as the Slide buttons described
module. activate a control-value glide function on above – but switches the states of these
a step-by-step basis. The glide can be buttons in common for all sixteen pattern
You can also paste a copied sequence either exponential (blue) or logarithmic steps at one time.
after switching to a new preset, which (yellow). Which type is to be preferred
preset to another. depends upon the parameter being
modulated – for example, filters often
Preset sound better with exponential control.
Click the P button to open the module’s Depending upon the tempo and your own
preset list. Each preset contains 32 in- personal taste, you may also need to
dependent sequences. adjust the Intensity control (see below) to
get the glide function to sound the way
you want.

Pattern OnGate Connections
Here, you specify which of the 32 Activate this option to cause control
Clock
available patterns is to be played. (see also values to be sent only on steps in which
Gate SEQ) a gate event (note-on) occurs. For this to Connect the clock output of the MIDI
work, the Ctrl SEQ Clock must come from Clock module here – or better still, the
Steps the Gate SEQ module and not directly output of a Clock Divider.
Pattern length is independently variable from the MIDI Clock module or Clock
Divider module. Reset
for each pattern, up to a maximum of 16
steps. (see also Gate SEQ) Connect a trigger signal here to permit
When this option is not active, control remote-actuated restarting of a pattern
values are sent on every step, regardless from step 1.
Swing
of whether a note-on occurs, meaning
Controls the amoung of rhythmic "swing". that new control values may change the PSQ
(see also Gate SEQ)
sound of an already-playing note from an For connection to the signal output of the
earlier step. same name on the Pattern Sequencer,
Loop
which can then remote-control pattern
number and pattern length.
to repeat continuously. (see also Gate SEQ)
PNo.
Break
Connect the PS32 Pattern Switcher here
Clicking on this button stops the
to permit selection of patterns from the
sequencer.
keyboard.
Reset
Out
Click on Reset to restart the pattern from
The bipolar modulation signal is output
step 1. This can also be done from
here.
outside via the Reset input – permitting
on a keyboard, for example. (see also Gate
SEQ)

Pattern SEQ
The pattern sequencer permits remote-control selection of the pattern to be played by To modify an entry in the Pattern List,
a step sequencer. Connection of the pattern sequencer overrides the local pattern- simply select it and enter the new value
select and number-of-steps controls, so that the pattern sequencer also directly controls directly from your computer keyboard. A
pattern length, regardless of the pre-programmed length of the pattern being played. selected entry in the list allows itself to
The pattern sequencer permits pre-programmed looping of a handful of patterns or the be overwritten directly – just start typing
creation of complete song structures. the new value.
As soon as the Pattern Sequencer

sends a pattern change command,
each connected sequencer pre-loads
Pattern List
its next pattern, switching to the new
pattern when the current pattern has
played through to the end. Note that
Start pre-loading does require a small
amount of time. In order to ensure that
the transition to the new pattern is
made correctly, you should avoid
Pause/Stop setting playback pattern length too
short. As a rule, this is a problem only
when the pattern length is set below
Loop Lenght four steps, and when the playback
tempo is high.
Scrollbar
When song mode is not active, the

connected step sequencers can also be
Pattern List made to switch to new patterns by
The Pattern List lets you control the Each entry in the Pattern List shows the clicking on the desired list entry. As
sequence of patterns to be played and song step number, the name and number always, the actual switch to the new
the actual playback length of each of the selected pattern and the playback sequence takes place when the current
pattern. length of the pattern in steps. pattern has played through to the end.

Song Mode Stop Pattern
Click this button to stop the pattern Specifies the pattern number which is to
Activate this option to cause the pattern sequencer, which ceases sending clocks. be sent to the connected step sequencer
sequencer to work its way through the If you now click the Start button, song for the currently-selected song step.
pattern list. When deactivated, only the playback will resume where it left off.
currently selected pattern plays. Clicking Stop a second time will reset the Alternatively, pattern numbers can be
entered directly into the pattern list. To
song to the beginning.
In song mode, switching to new do this, select the existing pattern
sequences by clicking on entries in the number at the desired song step and
Pattern List is not possible. In this case, Loop enter a new pattern number from the
the Pattern SEQ module exclusively Activating this option causes the current keyboard.
controls pattern transitions. To jump to
song or pattern-chain to repeat
a different position, first deactivate Steps
song mode, select the desired song indefinitely.
step and then reactivate song mode. Specifies the number of repetitions of the
Loop Length pattern at the current song step. As with
Song Step Sets the number of song steps (starting pattern numbers, these values can also
The pattern sequencer can handle songs with step 1) which are to be included in a be entered into the pattern list directly
consisting of up to 256 patterns. This field song loop. For example, if this is set to (when doing so, it’s a good idea to stop
shows which pattern of a song is currently 4, then the first four patterns of the song the pattern sequencer first!)
playing. will repeat indefinitely.
Start
Click this button to start the pattern
sequencer.
This applies also when you’re not

playing a song – it is nonetheless
necessary, so that the pattern
sequencer will send clocks to the
connected sequencer modules, which
otherwise won’t run.

Connections
Clock In PSQ
Connect the clock output of the MIDI For connection to the input of the same
Clock module here – or better still, the name on a step sequencer, so that its
output of a Clock Divider. pattern length and number of steps can
be remote-controlled by the pattern
Sync sequencer.
Triggers advance to the next step in the
pattern list. A typical connection would
be to the Sync output of the MDS8
sequencer, which sends a sync signal
upon reaching the end of its current
pattern.
Reset
Connect this signal to other step
sequencers in order to have them
simultaneously reset when the pattern
sequencer sends a stop signal.
Link
Connect the Link output of the pattern
sequener to the Link input of the MDS8
in order to transmit the clock signal. The
Start/Stop status of the pattern sequencer
is likewise taken into account.

PS32
This module permits you to call up new patterns without having to do so directly on the
sequencer module itself. More interestingly, however, it is also possible to remote-
control bank and pattern select on the PS32 from a MIDI keyboard. In combination
with a MIDI KeySplitter module, you can play normally in one part of the keyboard
while selecting patterns in another part.
Opens the settings dialog
MIDI LED
Bank Connections
Select the desired bank here.
MIDI
Bank A-C
1-4/5-8 MIDI input – connect it directly to a MIDI
source, or to one of the outputs of a Specify the desired MIDI note numbers
Here, select one of the eight patterns in here.
a bank. KeySplitter module.
Out Pattern 1-8

Set
Connect this signal to the PNr input of Specify the desired MIDI note numbers
Opens the Settings dialog, in which you here.
can assign MIDI note numbers to buttons one or more sequencer modules.
for remote-control purposes.

GateOr Start/Stop
For use in conjunction with the MVC module. A "gate collector" which permits derivation This is a simple module for starting and
of a trigger signal every time a new note is played on the keyboard – for example, to stopping the sequencer when, for
send a Reset to a step sequencer module whenever a new note is played, causing it to example, no pattern sequencer is
restart its current pattern. patched into the circuit. Connect the Out
of this module to the start/stop input of a
Clock Divider.
Gate In Controls
Connect the Gate output of the MVC
module here. Start/Stop
When this module is connected to a clock
Gate Out divider, this control starts and stops any
sequencer modules also connected to
Connect this signal to the Reset input of
the clock divider.
a step sequencer, for example, so that it
restarts its pattern whenever a new note
is played on the keyboard. Connections
Out
Start/Stop signal output.

Index
Coarse/Fine E G
2, 17, 19, 21, 22, 23, 24, 26, 28, 30, 98 EG 25 Gain 81, 82, 83, 129, 130
Symbols
Combfilter A/B 77 eight-note triplets 8 Gain 1 - 4 57
1x6 Switch 59 Compare AB 12 Envelope Follower 45 Gate
A Compare AX 13 Envelopes 33 35, 37, 39, 41, 86, 87, 90, 91, 92, 96, 113, 115, 117, 118
Compressor 129 EQ 81 Gate In 25
Active 147 Constant Partial 103
Add 2/3/4/5 61 Esync 4, 35, 37, 39, 41, 44, 119 Gate Out 119
Constant Value 102 Expander 131 Gate/Trigger 96
Adjusting Levels 43 Constant Value bipolar 102
Adjusting Times 43 ExpM 100 Glissando (G) 3
Controls 43 Exponential VCA 47 Granu Gater 55
ADSR 34 Crossfade 51, 53
Aftertouch 3 Ext 85, 87, 89, 91, 92, 95 H
Crossfade Modulator 52
Am 27 Curve 104 F
Hard 144
Amod 36, 37, 39, 41 Curve Table 104 Fade In 85, 88 HiDamp 133, 134
Amplitude Modulator 54 Cutoff Fade Out 87 High Key 6
ASlope 36, 38, 40, 123 65, 66, 67, 68, 69, 70, 71, 72, 73, 75, 76, 77 FB Hihat Source 121
Att 49, 50
D 133, 134, 136, 138, 140, 142 Hmod 39
Attack 45, 129, 130
Filter 64 HPF 76, 121
Audio-Trig 96 Damp 28, 77 Fine 15 I
B DampMod 28, 77 fingered Glissando (fG) 3
db/Oct 73 fingered Portamento (fP) 3 In 28, 96
Bedienelemente 43 Decay 116 Fixed 24, 26 In 1- 4 58, 59, 60, 61, 63
Biphase LFO 92 Decimator 145 Flanger 138 In L/m
Bit 145 Defining a Loop 43 Fm 1 25, 27 135, 136, 137, 138, 140, 142, 143
Bit on/off 145 Delay 87, 88, 133 Fm Operator 24 In R 135, 137, 138, 140
Bit Quantizer 145 Delete button 43 FmA1/2 24, 27, 31 Init Phase 85, 87, 88, 89
BPF 29 Deleting Segments 43 Freq InL/m 147
Bypass 134, 137, 138, 140, 143 Depth 137, 138, 140 81, 82, 83, 86, 87, 90, 91, 92, 102, 103 Input Gain 45
C Detune 25 Freq Divide 106 InR 147
CFm1 Dist 144 Freq In Insert-Slot 147
66, 69, 70, 71, 73, 75, 76, 78 Distortion 144 15, 17, 20, 21, 23, 25, 27, 28, 98, 99, 100, 101, 107 Inserting Segments 43
CFm2 Dmod 28, 37, 41 Freq Out 98, 99, 100, 101, 107 Internal/External 7
66, 67, 68, 69, 70, 71, 72, 76, 78 Drum 110 Frequency & Pitchmodulation 14 Inverter 61
Changing the Mode 43 Drum Oscillator 114 Frequency Divider 106
Chorus 137 Drum Synth 110
Clock 8, 106 Drum Voice Control 118
Coarse 15 Dry 147
Dry/Wet 138, 140
K Morphing Pulse 21 P R
Key Zone 6 Morphing Saw 22 P 19 Random Gate Generator 13
Keyf Multi LFO A 85 Pan L/R 52, 53 Random Signal Generator 95
67, 68, 69, 70, 71, 72, 73, 75, 76, 78, 86, 90, 98 Multi LFO B 87 Pan Modulator 53 Range 108
Multi OSC 15 Parametric EQ 81 Rate
L Multimode Filter A 73 PDec 116 85, 87, 88, 89, 91, 92, 93, 94, 95, 137, 138, 140, 142, 143
Level 95 Multimode Filter B 75 Peak Meter 62 Ratio 129, 130
LFO 88, 89, 93 Multisegment Envelopes 42 Peak Textfeld 62 Release 129, 130, 131
Limiter 130 Mute In 113, 118 Phase 26 ResM 73, 76
Linear VCA 47 MVC 2 Phaser 140 ResMod 28, 77
LinM 100 MW LFO 88 Pitch Modifier B 99 Resonanz 73, 75, 76, 77
Lmod 34, 38, 40 N Pitch Modifier C 100 Ret 31
Loops 43 Pitch Modifier D 101 Retrig 85, 88, 89
Low Key 5, 6 Noise 121
Pitch Quantizer 108 Ringmodulator 146
Lowpass 66 Noise Attack 112
Pitch Shift Delay 143 Rm 27
Noise Cf 112
M Pitch Shifter 142 Rmod 28, 41
Noise Cf Mod 112
Pitch Wheel Range 2 Rmod1 85, 89
Man/Mod 19 Noise Color 115
PMod 115 Rmod2 85, 86
MIDI 2 Noise Decay 112, 115
PMod1 98, 99, 101
MIDI High 5 Noise Gate 132 S
PMod2 98, 99, 101
MIDI In Noise Generator 29 S 19
Portamento (P) 3
4, 5, 9, 113, 115, 117, 118 Noise Level 112, 121 Sample & Hold 96
Positive to Bipolar 103
MIDI Low 5 Noise Res 112 Sample Rate 145
PP 19
MIDI Out 6 Noise Slope 115 Saw Down LFO 93
PPm 20
MIDI to Trigger 9 NoiseL 115 Saw down/up 17
Pulse LFO 89
Mit diesem Schalter können Sie Note No. 114 Saw Up LFO 93
Pulse OSC 16
einen Audioeingang 59, 60 O Saw/Pulse 23
PW 15, 19, 21
Mix & Gain 46 Schwellwert 96
Offset 104 PWidth 89
Mix 2/4/8 51 Selecting a Node 43
On/Off Switch 57 Pwm 15, 20, 21
Mod 52, 53 Sensitivity 104
OSC 14 PwmA 19, 21, 89
Mod1 54, 55 Set button 43
Osc 121 PWR 2
Mod2 54 Shape LFO 91
Mode 73 Out 15, 17 Q
Sine 1 809 111
Modifier 97 Out 1- 4 57, 59, 60
Quant 108 Sine 1 Level 112
Modulation Delay 136 Out L 52, 53
Sine 1 PDec 111
Modulation Synthesis OSC 26 Out R 52, 53
Sine 1 PMod 111
Mono/Stereo Insert 147 Output Gain 45

Sine 1 Snap 111 T
Sine 1Tune 111 Threshold 96
Sine 2 Decay 111 Time 133, 134, 136
Sine 2 Detune 111 Tmod1 34, 36, 37, 38, 39, 40, 41, 44
Sine 2 Level 112 Tmod2 34, 36, 37, 38, 39
Sine 2 Slope 112 Transpose 6
Sine 809 114 Triangle LFO 94
Sine Decay 114 Tube Resonator 28
Sine Level 114 Tune 115
Sine OSC 18 Tune 1-3 121
Sinus LFO 93
Slope 34, 44, 47, 48 U
Smod 41 Uknow Filter 76
Snap 117 Uknow OSC 19
Soft 144
V
SP 19
Spectral OSC 23 Val 102, 104
SPm 20 Vel 111, 114, 116, 118
Square LFO 94 Velocity/Aftertouch 3
Start 165 Volume Attenuator 49
Start/Stop 8, 165 W
Static Crossfade 51
Static Pan 52 Waveform 15, 85, 87
Stereo Insert 147 Wet 147
Stop 165 WF 21, 22
Sub 19 Wfm 21, 23
Switch 57 WfmA 22, 23
Switch 1 - 4 57, 58, 59, 60 White 29
Sync In 15, 17, 27 X
Sync Out 20 X-Fade 1/2 51, 52
SyncM 15 Xmod & Feedback Connector 109
SyncMaster 14
SyncS 15, 16
SyncSlave 14
Synthese-Effekt 144

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Modular Reference

MIDI Mix & Gain LFO Effects

Modular Synths Page Main table of contents Common Contents Index 1

MVC A/B - MIDI Voice Control Controls PWR

There are two versions: MVC A offers

Modular Contents Index 2

For more information, see the section

Modular Contents Index 3

Modular Contents Index 4

Modular Contents Index 5

Low Key MIDI In

Modular Contents Index 6

Modular Contents Index 7

24/6 = 1/16 note Out 2

24/3 = 1/32 note

Modular Contents Index 8

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

Modular Contents Index 9

Modular Contents Index 10

Gate2Sync Gate Switcher

Modular Contents Index 11

To compare for A<B it is only necessary

Modular Contents Index 12

Modular Contents Index 13

Modular Contents Index 14

Modular Contents Index 15

Modular Contents Index 16

Sync In (SyncSlave only)

Modular Contents Index 17

Since using the rotary control to adjust

Modular Contents Index 18

Modular Contents Index 19

Pwm Sync Out (SyncMaster only)

Modular Contents Index 20

Modular Contents Index 21

Modular Contents Index 22

Modular Contents Index 23

Modular Contents Index 24

Modular Contents Index 25

Modular Contents Index 26

Controls the intensity of the frequency Am

Modular Contents Index 27

Modular Contents Index 28

Modular Contents Index 29

Modular Contents Index 30

Modular Contents Index 31

Modular Contents Index 32

Modular Contents Index 33

Modular Contents Index 34

Modular Contents Index 35

Modular Contents Index 36

Esync Dmod (Not on the AD version)

Modular Contents Index 37

Modular Contents Index 38

Esync Dmod (Not on the AHD version)

Modular Contents Index 39

Controls Tmod1 (Not on the ADSR & Mod version)

Modular Contents Index 40

Modular Contents Index 41