Manual en

www.reveal-sound.
com
User Manual
© Reveal Sound, 2017

www.reveal-sound.com
Introduction
Founded in 2009 by musicians and programmers, Reveal Sound had the intention of creating first-
class audio plugins. The purpose of our company is to prove that soft-synths can sound amazing.
We are constantly improving our algorithms to achieve the perfect result. Our first product is a
synthesizer called Spire. Spire is a software polyphonic synthesizer that combines powerful sound
engine modulation, flexible architecture and a graphical interface that provides unparalleled
usability. Spire embodies the best of both software and hardware synthesizers. This guide will
show you how to use the Spire.
Activation
To activate the licensed copy of the Spire, press MENU,
Register, and then specify the path to the activation file
spire.lic, that was sent to you by e-mail.
Deactivation
To deactivate, press MENU, Unregister.
The license file will be moved to the Trash.
Alternatively, you can manually delete the license file

comm_spire.lic. File is located in the folder:
For Mac OS:

/Users/<username>/Library/Application Support/
RevealSound/
For Windows:
\Users\<username>\AppData\Roaming\RevealSound\
Usage tips
Use shift + mouse left click on a knob or slider to fine adjust values;
Use mouse double click or command/ctrl + mouse left click on a knob or slider to set default
position.

Preset Manager
Pressing the left and right buttons cycles through the presets; clicking on the current preset name
opens a drop down menu which displays all the presets in the current bank.
Click on the circle to the left of the preset to rename it then press enter to save the new preset
name.
INIT – initiliazes the synth;

MENU – opens the menu where you can select the following options:
• Select Bank - click to select factory or imported bank;

• Import Bank - click to import bank. Available multi-selection;
• Remove Bank - click to remove imported bank;
• Open Bank Folder - click to open folder with imported sound banks and "scl" tuning files;
• Load Bank – click to load a user bank;
• Save Bank – click to save the current bank;
• Load Preset – click to load a user preset. Available multi-selection;
• Save Preset – click to save the current preset;
• Copy Preset – click to copy the current preset to the clipboard;
• Paste Preset – click to paste the preset saved to the clipboard, overwriting the current preset;
! You can copy presets between several instances of Spire open in your project.
This is useful to reproduce your favorite user preset bank(s).
• Restore Preset - click to restore the preset to its default state. This way you can undo all
parameter changes you made to the selected preset;
• Insert Preset - click to paste the preset saved to the clipboard; this creates a new preset in the
drop down list WITHOUT overwriting the current preset;
• Remove Backup Preset - click to remove the preset from its current slot and add it to 128 slot;
• Check for Update - click to check if there are updates available;
• Spire Web Site - go to website;
• GUI Options - provides selectable skins. UI Scaling 100%, 150%, 200% (scaling not available
for AAX Pro Tools);
• Undo - click to undo the last change, Spire stores up to 10 of the lastest changes in memory that
can be undone sequentially.

Polyphonic modes and Midi Learn
Mono 1 – mono mode.

The pitch glides up to the selected note instead of starting immediately on the pressed note.
(Portamento).
Envelopes are retrigged on each new note.

When two notes are held down at the same time the pitch glides to the last pressed note (Legato).
Envelopes are retrigged on each new note.

The pitch glides up to the selected note instead of starting immediately on the pressed note.
(Portamento).
Envelopes are triggered when a note is first pressed and only retrigged when the note has been
released and a new note is pressed.
notes.

Envelopes are triggered when a note is first pressed and only retrigged when the note has been
released and a new note is pressed.
Poly 1 – polyphonic mode.

The pitch glides up to the selected note instead of starting immediately on the pressed note
(Portamento).
Poly 2 – polyphonic mode.

Voices – set the number of voices for the polyphonic modes.
MIDI – MIDI learn – allows you to assign parameters of Spire to an external MIDI controller.
• Midi learn - click the MIDI ‘learn’ button, click on the synth parameter that’s going to be linked
then press control on your external MIDI controller.;
• Midi unlearn - click the MIDI ‘learn’ button then click the control on your external MIDI controller
that you want to be unlinked.

Oscillator
Spire features 4 completely identical oscillators.
Mixer
Use the knobs labelled OSC1, OSC2, OSC3, OSC4 to adjust the volume of each oscillator.
When the knob is set all the way to the left the oscillator is completely shut off and the LED light
immediately to the left is unlit. Knob position within a 1-30 (yellow LED)
Knob values between 1 - 30 (as indicated by a yellow LED light) add the oscillator into the
rendering but pass no sound. This is useful when you are only want to use an oscillator as a
modulator.
Module
OSC1, OSC2, OSC3, OSC4 – Switches between individual oscillators.

CPY/PST – copy / paste oscillator settings.
Octave, Note, Fine knobs set the pitch of the oscillator.
CtrlA, CtrlB – multifunctional knobs, their tasks change depending on the oscillator mode.
Each oscillator has four available modes: Classic, Noise, FM, AMSync and SawPWM.

Phase – controls the position of the phase. Selecting a value between 0 – 29 means the
oscillator will be “free-running” or "random", in whichever "ANA" mode activated or not,
respectively.
Selecting a value between 30 – 1000 will make the oscillator restart its phase at the position shown
on the display.
Wave + WT Mix – select any of the 49 available waveforms and mixes it with the signal at a level
set by the ‘WT Mix’.
"Classic" Mode
In this mode, you can crossfade between a saw and a square waveform (the square can have its
pulse width adjusted) and mix this with the wavetable waveforms.
CtrlA – crossfades the signal between Saw and Square (Pulse);
CtrlB – controls the width of the Pulse. In addition, this knob allows you to change the
Waveform’s starting point (not the same as the Phase knob), expanding the palette of the sounds
that can be created.
"Noise" Mode
Noise generation that can be shaped by filters.
CtrlA – controls the filter cutoff frequency. Values between 0 – 500 engage the Low-Pass filter
while values between 501 – 1000 engage the High-Pass filter.
CtrlB – controls the filter Resonance.
Enabling KEY follow mode means the cutoff frequency corresponds to the note’s frequency.
"FM" Mode
Frequency modulation mode.
This uses the same phase modulation mode that was in the DX7 synthesizer.
You can modulate any waveform from the Wave list. The modulator signal is a Sine wave.
CtrlA – modulation intensity;
CtrlB – modulation frequency.
The WT MIX knob allows you to mix in a copy of the selected wave with its pitch corresponding
to the frequency modulator’s pitch.
"AMSync" Mode
This combines oscillator sync with amplitude modulation.
CtrlA – crossfades the signal between Saw and Square (Pulse);
CtrlB – modulation frequency.
"SawPWM" Mode
Sawtooth Pulse Width Modulation
CtrlA – switches SawPW waveform between 4 different types.
CtrlB – controls the width of the Pulse. In addition, this knob allows you to change the
Waveform’s starting point (not the same as the Phase knob), expanding the palette of the sounds
that can be created.

"HardFM" Mode
It is a phase modulation mode. HardFM mode uses integrated

solutions to create more expressive sound, which becomes
saturated with a lot of harmonics and wide range of timbres. You
can modulate any wave from "Wave" list. Selected wave acts as
the source and the modulator at the same time.
CtrlA - Intensity of the modulation.

CtrlB - Frequency of modulator's note. It acts in a stepwise
manner, as shown in the diagram. Steps have their area of
detuning.
WT Mix - Slowly morphs (transforms) the current wave into the

next wave from "Wave" list, which has a frequency of the note
lower by the one octave (a kind of sub-oscillator).
Unison
Spire has a very powerful unison with several advanced settings.

Each oscillator can have its own unison. Choose the number of voices (up to 9), its spread and one
of the following modes:
1, 2, 3 Octaves; Major 3rd; Minor 3rd; Major 7th; Dominant 7th; Minor-Major 7th; Minor 7th;
Minor 9th; Major 9th; Dominant 9th; Half-Diminished 7th; Diminished 7th; Suspended 2;
Suspended 4; Perfect 5th; Perfect 4th.

Detune – detunes the voices.
Density – this is a unique parameter. This allows you to detune the voices in an irregular way;
experiment with it to achieve unique unison sounds.
• You can simulate a "Supersaw" - turn the Density knob to the far right and set the
unison to 7 voices (using 9 voices makes the sound more dense and delicious!).
• Simulate a "Hypersaw" by turning the Density knob to the center (double mouse
click). ANA button must be turned off (oscillator starts with a random phase
position).
All other Density positions result in a unique grouping of voices.

Also, by changing the number of voices, their spread and their pitch distribution you can achieve
quite unusual results. The results are interesting, try experimenting with it!
Signal control and settings
ANA – switches between phase behavior:
• Enabled - the oscillator is “free-running” (as in analog synthesizers);

• Disabled - the oscillator starts with a random phase position.
Wide – distributes unison voices throughout the stereo field;

Pan – controls the panning position of the sound;
Filter input – determines the amount of sound that’s sent into each filter,
the middle position passes an equal amount of sound through both filters;
INV – inverts the oscillator’s output;
KEY – if enabled the oscillator tracks its pitch depending on the note
pressed. If not enabled the pitch does not follow the notes pressed.

Filters
There are two filters; both can be set to different modes independently. Each mode has different
filter types. The filters can be routed in parallel or serial.
These are the filter modes and their respective types:
• Perfecto a unique algorithm that combines the best characteristics of analog anddigital filter
types. Great for a broad spectrum of sounds. Modes: LP4, BP4, HP4, Peak
• Acido type does not repeat at 100%, but good for simulating TB-303 sounds and not only.
Modes: LP1, LP2, LP3, LP4
• Infecto type does not repeat at 100%, but simulates the filter sound of a Virus TI synthesizer.
Modes: LP2, BP2, HP2, Notch
• Scorpio another unique algorithm by our team that combines the best characteristics of analog
and digital filter types. Great for a broad spectrum of sounds. Modes: RedLP2, RedLP4,
BlackLP2, BlackLP4, BlackHP, BlackBP
• Combo filter consists of a series of regularly spaced spikes, giving the appearance of a comb.
Modes: Mono +, Mono -, Stereo +, Stereo -
Cut 1,2 – cutoff frequency;

Res 1,2 – resonance amount;
Keytrack – when enabled the filter cutoff frequency follows the midi note, both in positive or
negative values;
Filter Balance – this controls the filters balance. If the knob at zero you hear the first filter, when
the knob in the middle, you can hear both, and when the knob in the right position, you will hear
only the second filter;
LINK – when enabled both filter’s cutoffs are linked. If enabled, set the second filter’s cutoff to the
middle position and it will follow the first filter cutoff. When the second filter is set to positions other
than center the cutoff frequency will be offset to a higher or lower value than the first filter cutoff;
PAR – switches between parallel or serial filter modes. When the button active the filter is in
parallel mode, when the button in inactive the filter is in serial mode.
Setting filters in serial mode:
1. Make sure that both filters are used;

2. PAR button should be disable;
3. Filter Input set to the far left position (this passes the signal through the first filter only);
4. Set the Balance to the far right position (only the second filter is audible).
Setting filters in parallel mode:
1. Make sure that both filters are in use;

2. PAR button should be enable;
3. Filter Input set to the center position (passes the signal to both filters);
4. Set the Balance to the center position (both filters are audible).
Modulators
The modulation section consists of
4x Envelopes 4x LFOs 2x Steppers
Macro Control Matrix
PitchWheel ModWheel

Envelope
ENV1, ENV2, ENV3, ENV4 – switches between envelopes;

CPY/PST – copy / paste the settings of the envelope;
ATT (Attack) – time it takes the envelope to rise from 0 to 1000;
DEC (Decay) – time it takes the envelope to fall from the attack level to sustain level;
SUS (Sustain) – the level the sound sustains at after the decay envelope has ended;
SLT (Slope Time) – time it takes the envelope to fall from the sustain level to the slope level;
SLL (Slope Level) – the level the sound sustains at after the sustain envelope has ended;
REL (Release) – time it takes the envelope to drop to 0 after the note has been released.
You can choose the curve type for each envelope stage by clicking on the graphic display:
ATT – Lin, Exp, Pow;
DEC – Exp1, Exp2, Pow;
SLT – Lin, Exp, Pow;
REL – Exp1, Exp2, Pow.
To the right of the sliders are controls for linking the envelopes to sound sources and adjusting their
velocity sensitivity:
AMT 1+2 (Amount) – the intensity of the envelope on its respective sound source;
VEL 1+2 (Velocity) – the intensity of velocity sensitivity which determines the strength of the
envelope.
! Note: Envelope 1 controls the output amplitude of the all 4 Oscillators.
In order to assign, for example, the second envelope to the amplitude of the second oscillator, set
the volume of OSC2 to 30 (the minimum audible value). Then in envelope 2 assign one of the
modulation sources to Osc2 Amp (OscMixer) and adjust the amount.

LFO
Rate – LFO rate;

SYNC – LFO rate is synchronized with the host’s tempo;
Time – sets the time synchronization when SYNC is activated;
Sym (Symmetry) – shifts the LFO signal upwards or downwards;
Phase – controls the position of the phase. Selecting a value between 0 – 29 means the phase
will be “free-running”. Selecting a value between 30 – 1000 will make the phase restart at the
position shown on the display;;
Form (dropdown menu) – select a waveform for the LFO;
Form (slider) – transforms the shape of the waveform;
Amp (Amplitude) – amplitude level of the LFO;
MONO – switches monaural LFO mode off / on;
Fade in – gradually fades in the LFO amplitude level. To adjust the fade in, hold the
mouse down on the LFO display and drag up or down;
Amt 1+2 (Amount) – the intensity of the LFO on its respective sound source;
Vel 1+2 (Velocity) – the intensity of velocity sensitivity which determines the strength of the LFO.

Stepper
Stepper is an advanced step sequencer with a flexible waveform editor. For each step, you can
assign a unique waveform. The individual waveforms combine to form sequences that range from
simple to intricate patterns.
Each step is divided into three zones: the “Start” (1), the “Center” (2) and the “End” (3) with its own
editor (4). Editing is done by holding the mouse on the display and moving it.
Cmd / Ctrl + click on the “Start” make the amplitude equal to the amplitude of the “End” of the
previous step.
Cmd / Ctrl + click on the “End” make the amplitude equal to the amplitude start of the next step.
Knob Rate – sets modulation rate;

Time – sets the synchronization rate;
MONO – switches monaural LFO mode off / on;
Mode – synchronization mode:
• Free – the position and speed of the step sequencer are “free-running”;
• Sync – the step sequencer’s speed is synchronized;
• Spos – the step sequencer’s speed and position are synchronized.
RTRG – retriggers the step sequencer when a new midi note is triggered.
Start – loop start position.
End – loop end position.
LOOP – on / off of the loop mode.
For example, if the loop mode is set to retrigger, the loop mode is engaged, 'start' is set to 4 and
'end' is set to 6 the stepper will start from step 1 and then enter the loop once its reached step 4.
1-2-3 “4-5-6” “4-5-6” “4-5-6”…
If you choose the same settings but Retrig is turned off, the stepper will play directly from the start
of the loop. “4-5-6” “4-5-6” “4-5-6”… It will NOT begin at step 1.
X1, X2, X3, X4 – amount of time divisions in each step.

C – copy settings from the selected step.
P – paste settings from the clipboard to the selected step.
R – reverses the selected step.
H – switches the editing mode between curve or rectangular.

CPY/PST – copy / paste the stepper settings. You can also copy and paste settings from one
preset to another.
Matrix
The matrix consists of 15 slots, each of which have 2 sources and 4 targets. Potential sources
Include: oscillators, LFO, envelopes, steppers, MIDI signals and MIDI controllers.
Almost every parameter can be modulated in spire! This allows for virtually unlimited signal routing
possibilities!
PG1,2,3,4,5 – switches between matrix pages;

Src 1,2 – modulation sources;
Trg 1,2,3,4 – modulation targets.
Macro Control
The Macro control consists of 4 modulation knobs, each of which can be
modulated, also be a source of modulation.

Drift, Portamento, Pitch Bender, Global Transpose
DRIFT – Toggles the drift function on / off. When enabled this randomly changes
the pitch within a range of +/-3 cent. The LFOs' frequencies also drift;
Glide – adjusts the time it takes for the pitch to glide to its destination;
LOG – switches between linear and logarithmic sliding curves;
Bender Up / Down – defines pitch bend range for the pitch wheel.
Transpose - Set the global pitch of the synth.
Microtuning
An interesting feature of Spire is that it can be tuned
using different temperaments using Scala tuning
files. By default, Spire is set to Equal Tempered
scale.
Also Spire can be tuned an A4=432 Hz, known as
Verdi’s ‘A’ / Pythagorean Tuning.
Select scale - click to select imported tuning file;

Import (.scl) - click to import Scala tuning file;
Remove scale - click to remove imported tuning file;
Reference note - click to set reference note. By
default, reference note is A4;
A4 frequency - click to set frequency A4 note . By
default, frequency is 440 Hz.
Available frequencies from 432 Hz to 446 Hz in

steps of 2 Hz.

FX section
Shaper
Available modes:
Soft, Warm, Hard, Clip, Tube1, Tube2, Tube3, FBsin, FBtri, Flt
+dcm (filter+decimator), dcm (only decimator).
Band – if enabled, only the distorted signal within the low cut and
high cut value will be audible;
HQ - enable the 8x oversampling mode;
Drive – distortion strength;
Bit – bit depth reduction knob;
S.Rate – sample rate reduction knob;
Low Cut – determines the frequency of the low cut (high pass) filter;
Hi Cut – determines the frequency of the hi cut (low pass) filter;
Dry/Wet – crossfades between the dry and wet signal.
Phaser and Vowel

Stages – mode selection: 1-6 Stages, Vowel Low-Mid-Hi;
Pre – if it is enabled, the effect will be before the shaper in the signal
chain;
Freq – base frequency;
F.Back – feedback;
Spread – stereo widening;
Rate – modulation rate;
Depth – modulation depth;
Chorus and Flanger

Mode – the first mode is Flanger. Other modes (2 - 6) activate
different Chorus algorithms;
Delay – delay;
Depth – modulation depth;
Wide – stereo widening;


Delay
Ping-Pong – switches on the ping pong feedback mode;
SYNC – synchronizes the delay time to host’s tempo;
Delay L – delay length of the Left (First) channel;
Delay R – delay length of the Right (Second) channel;
Modulate – modulation intensity;
Wide – stereo widening:
• When the knob is set right of center (501 - 1000) the normal delay
mode is engaged;
• When the knob is set left of center (0 - 500) the left and right delay
channels are swapped;
• When the knob is set to its center position (500) – the delay output
is in mono;
• When the Ping-Pong button enabled:

• When the knob is set left of center (0 – 500) the cross feedback mode is engaged;
• When the knob is set right of center (501 - 1000) the pingpong mode is engaged;
Reverb
Mode – reverb modes: Plate1, Plate2;
SYNC – syncs the predelay time with the host’s tempo;
Predelay – time delay before reverb triggering;
Damp – determines how much high frequencies are dampened;
Wide – stereo widening;
Decay – reverb decay time;
Color – low pass and high pass filter;

Master Out
X-Comp – multiband upward/downward compressor.

It’s disabled when the knob is in it's leftmost position;
Velocity – determines the amount of velocity sensitivity;
Volume – overall level.
Three-band EQ
Warm - normal or warm character;
Soft - clear or soft character;
Boost - boost the overall level.
EQ – on/off button of the equalizer;

LowShelf, Peak, HiShelf – band selection buttons;
Frq – determines the frequency of the eq band;
Q – resonance of the selected band;
Level – attenuation or gain of the selected band.

Arpeggiator
The arpeggiator functions as an automatic arpeggio or sequence performance depending on the

selected mode.
Modes:
• Up – ascending notes order, starting with the lowest note;

• Down – descending notes order, starting with the highest note;
• Up/Down – ascending then descending note order. Lower and upper notes are not restarted
when a change of direction occurs;
• Up/Down2 – ascending then descending notes order. Lower and upper notes are restarted when
a change of direction occurs;
• Down/Up – descending then ascending notes order. Lower and upper notes are not restarted
when a change of direction occurs ;
• Down/Up2 – descending then ascending notes order. Lower and upper notes are restarted when
a change of direction occurs;
• Random – random notes order;
• Ordered – order in which the notes were pressed;
• Step – plays a sequence of note defined in the step sequencer;
• Chord – plays all held notes using the step sequencer.
On/Off – engages or disengages the arpeggiator;

Gate – length adjustment for the note;
Time – sets the synchronization rate;
Swing – affects the time position of each odd note (step). The swing factor can be either positive
or negative. Thus, the Swing affects the Steppers’ modules as long as the synchronization time of
the Stepper and Arp are identical.
Octave – each arpeggio cycle can be transposed up to 4 octaves. Transposition does not occur
when one octave is selected.
End – the sequence can be looped by setting an ‘end’ value. By default it is set to “No” and does
not loop.
To use the sequence, switch the arpeggiator mode to Step or Chord.
Transpose determines the pitch of each note in sequence determined by the MIDI notes triggered.

Velocity – determines velocity value of each note in sequence. If the velocity is set to zero, the
note is silent. The length of each note can be extended by using the Hold button (right arrow
symbol). This is useful for making slide effects.
Velocity Modes:
Key – each note in the arpeggio uses its own velocity value, determined by the current MIDI note.
Hold – all notes have the same velocity value as the first played MIDI note (until released).
Step – takes the velocity value from the step sequencer.
Step+Key – takes into account both the step sequencer and MIDI note’s velocities.
Step+Hold – takes into account both the step sequencer and the first played MIDI note’s (until
released) velocities.
Themes
1. Press MENU / GUI Options
2. Select Original, Dark, Legacy, Light Gray, Navy Gray Theme

Appendix A. Third-party materials and licenses
Spire incorporates materials from several Open Source software projects. Therefore the use of these
materials by Spire is governed by different Open Source licenses. This document reproduces these licenses
and provides a list of the materials used and their respective licensing conditions. Section 1 contains a list of
the materials used. Section 2 reproduces the applicable Open Source licenses. For each material, a
reference to its license is provided.
Materials
•Spire contains code of Symbiosis which is governed by New Simplified BSD License and Copyright
(c) 2009-2013, NuEdge Development / Magnus Lidström. All rights reserved.
•Spire contains cJSON library which is governed by license and Copyright (c) 2009 Dave Gamble.
•Spire contains zlib library which is governed by the license in A and Copyright (C) 1995-2003 Jean-
loup Gailly and Mark Adler.
•Spire contains the libpng library which is governed by libpng license and Copyright (c) 2004,
2006-2009 Glenn Randers-Pehrson.
•Apple, Audio Units and OS X are trademarks of Apple Inc., registered in the U.S. and other
countries. VST is a trademark of Steinberg Media Technologies GmbH. All other trademarks and
brand identities are used for descriptive purposes only and remain the property of their respective
owners.
Licenses
New Simplified BSD License for Symbiosis
Symbiosis is released under the "New Simplified BSD License".

http://www.opensource.org/licenses/bsd-license.php
Copyright (c) 2009-2013, NuEdge Development / Magnus Lidström. All rights reserved.
*) Redistribution and use in source and binary forms, with or without modification, are permitted provided
that the following conditions are met:
*) Redistributions of source code must retain the above copyright notice, this list of conditions and the
following disclaimer.
*) Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the
following disclaimer in the documentation and/or other materials provided with the distribution.
*) Neither the name of the NuEdge Development nor the names of its contributors may be used to endorse
or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND
ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR
ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES
(INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED
AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
CJSON license
Copyright (c) 2009 Dave Gamble
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated
documentation files (the "Software"), to deal in the Software without restriction, including without limitation
the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and
to permit persons to whom the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial portions
of the Software.
THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A
PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR
COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN
AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION
WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
libpng license
This copy of the libpng notices is provided for your convenience. In case of any discrepancy between this
copy and the notices in the file png.h that is included in the libpng distribution, the latter shall prevail.
COPYRIGHT NOTICE, DISCLAIMER, and LICENSE:
If you modify libpng you may insert additional notices immediately following this sentence.
libpng versions 1.2.6, August 15, 2004, through 1.2.36, May 7, 2009, are
Copyright (c) 2004, 2006-2009 Glenn Randers-Pehrson, and are distributed according to the same
disclaimer and license as libpng-1.2.5 with the following individual added to the list of Contributing Authors
Cosmin Truta
libpng versions 1.0.7, July 1, 2000, through 1.2.5 - October 3, 2002, are
Copyright (c) 2000-2002 Glenn Randers-Pehrson, and are distributed according to the same disclaimer and
license as libpng-1.0.6 with the following individuals added to the list of Contributing Authors
Simon-Pierre Cadieux
Eric S. Raymond
Gilles Vollant
and with the following additions to the disclaimer:
There is no warranty against interference with your enjoyment of the library or against infringement. There is
no warranty that our efforts or the library will fulfill any of your particular purposesor needs. This library is

provided with all faults, and the entire risk of satisfactory quality, performance, accuracy, and effort is with the
user.
libpng versions 0.97, January 1998, through 1.0.6, March 20, 2000, are Copyright (c) 1998, 1999 Glenn
Randers-Pehrson, and are distributed according to the same disclaimer and license as libpng-0.96, with the
following individuals added to the list of Contributing Authors:
Tom Lane
Glenn Randers-Pehrson
Willem van Schaik
libpng versions 0.89, June 1996, through 0.96, May 1997, are Copyright (c) 1996, 1997 Andreas Dilger.
Distributed according to the same disclaimer and license as libpng-0.88, with the following individuals added
to the list of Contributing Authors:
John Bowler
Kevin Bracey
Sam Bushell
Magnus Holmgren
Greg Roelofs
Tom Tanner
libpng versions 0.5, May 1995, through 0.88, January 1996, are Copyright (c) 1995, 1996 Guy Eric Schalnat,
Group 42, Inc.
For the purposes of this copyright and license, "Contributing Authors" is defined as the following set of
individuals:
Andreas Dilger
Dave Martindale
Guy Eric Schalnat
Paul Schmidt
Tim Wegner
The PNG Reference Library is supplied "AS IS". The Contributing Authors and Group 42, Inc. disclaim all
warranties, expressed or implied, including, without limitation, the warranties of merchantability and of fitness
for any purpose. The Contributing Authors and Group 42, Inc. assume no liability for direct, indirect,
incidental, special, exemplary, or consequential damages, which may result from the use of the PNG
Reference Library, even if advised of the possibility of such damage.
Permission is hereby granted to use, copy, modify, and distribute this source code, or portions hereof, for any
purpose, without fee, subject to the following restrictions:
1. The origin of this source code must not be misrepresented.
2. Altered versions must be plainly marked as such and must not

be misrepresented as being the original source.
3. This Copyright notice may not be removed or altered from any

source or altered source distribution.
The Contributing Authors and Group 42, Inc. specifically permit, without fee, and encourage the use of this
source code as a component to supporting the PNG file format in commercial products. If you use this
source code in a product, acknowledgment is not required but would be appreciated.
A "png_get_copyright" function is available, for convenient use in "about" boxes and the like:
printf("%s",png_get_copyright(NULL));

Also, the PNG logo (in PNG format, of course) is supplied in the files "pngbar.png" and "pngbar.jpg (88x31)
and "pngnow.png" (98x31).
Libpng is OSI Certified Open Source Software. OSI Certified Open Source is a certification mark of the
Open Source Initiative.
Glenn Randers-Pehrson
glennrp at users.sourceforge.net
May 7, 2009
. zlib license
This software is provided 'as-is', without any express or implied warranty. In no event will the authors be held
liable for any damages arising from the use of this software. Permission is granted to anyone to use this
software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject
to the following restrictions:
1. The origin of this software must not be misrepresented; you must not claim that you wrote the original
software. If you use this software in a product, an acknowledgment in the product documentation would be
appreciated but is not required.
2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the
original software.
3. This notice may not be removed or altered from any source distribution.
Jean-loup Gailly Mark Adler

jloup@gzip.org madler@alumni.caltech.edu

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www.reveal-sound.

© Reveal Sound, 2017

Alternatively, you can manually delete the license file

For Mac OS:

© Reveal Sound, 2017

INIT – initiliazes the synth;

• Select Bank - click to select factory or imported bank;

© Reveal Sound, 2017

Polyphonic modes and Midi Learn

Mono 1 – mono mode.

Mono 2 – mono mode.

Mono 3 – mono mode.

Mono 4 – mono mode.

Poly 1 – polyphonic mode.

Poly 2 – polyphonic mode.

Voices – set the number of voices for the polyphonic modes.

© Reveal Sound, 2017

OSC1, OSC2, OSC3, OSC4 – Switches between individual oscillators.

© Reveal Sound, 2017

© Reveal Sound, 2017

It is a phase modulation mode. HardFM mode uses integrated

CtrlA - Intensity of the modulation.

WT Mix - Slowly morphs (transforms) the current wave into the

Spire has a very powerful unison with several advanced settings.

© Reveal Sound, 2017

Detune – detunes the voices.

All other Density positions result in a unique grouping of voices.

Signal control and settings

ANA – switches between phase behavior:

• Enabled - the oscillator is “free-running” (as in analog synthesizers);

Wide – distributes unison voices throughout the stereo field;

© Reveal Sound, 2017

These are the filter modes and their respective types:

Cut 1,2 – cutoff frequency;

Setting filters in serial mode:

1. Make sure that both filters are used;

Setting filters in parallel mode:

1. Make sure that both filters are in use;

4x Envelopes 4x LFOs 2x Steppers

Macro Control Matrix

© Reveal Sound, 2017

ENV1, ENV2, ENV3, ENV4 – switches between envelopes;

! Note: Envelope 1 controls the output amplitude of the all 4 Oscillators.

© Reveal Sound, 2017

Rate – LFO rate;

© Reveal Sound, 2017

Knob Rate – sets modulation rate;

X1, X2, X3, X4 – amount of time divisions in each step.

H – switches the editing mode between curve or rectangular.

PG1,2,3,4,5 – switches between matrix pages;

© Reveal Sound, 2017

Drift, Portamento, Pitch Bender, Global Transpose

Select scale - click to select imported tuning file;

Available frequencies from 432 Hz to 446 Hz in

© Reveal Sound, 2017

Phaser and Vowel

Chorus and Flanger

Hi Cut – determines the frequency of the hi cut (low pass) filter;

© Reveal Sound, 2017