Manual

Alicia's Electric Keys Manual
Table of Contents
1. Disclaimer ................................................................................................................... 1
2. Welcome to Alicia's Electric Keys .................................................................................... 2

Document conventions ................................................................................................ 2
3. Installation and setup .................................................................................................... 3

Installing Alicia's Electric Keys using Native Access .......................................................... 3
Loading Alicia's Electric Keys in Kontakt ......................................................................... 3
4. Alicia's Electric Keys overview ........................................................................................ 4
5. Preset Browser ............................................................................................................. 6
6. Snapshots ................................................................................................................... 8
Snapshots overview .................................................................................................... 8
Loading a Snapshot .................................................................................................... 8
Saving a User Snapshot ............................................................................................... 9
Deleting a User Snapshot ........................................................................................... 10
7. Instrument page ......................................................................................................... 11

Sources section ........................................................................................................ 11
Shape section .......................................................................................................... 13
Tone section ............................................................................................................ 14
Noise section ........................................................................................................... 15
8. Effect page ................................................................................................................ 17

Signal Flow .............................................................................................................. 17
Effect Chain Browser ................................................................................................. 19
Effect Browser ......................................................................................................... 20
Effect modules ......................................................................................................... 21
9. Settings page ............................................................................................................. 52

Tuning panel ............................................................................................................ 52
Response panel ........................................................................................................ 53
MIDI / Macro panel ................................................................................................... 54
10. Macros .................................................................................................................... 55

Macro basics ........................................................................................................... 55
Editing Macros ......................................................................................................... 55
11. Credits .................................................................................................................... 58

DISCLAIMER 1
1. Disclaimer
The information in this document is subject to change without notice and does not represent a
commitment on the part of Native Instruments GmbH. The software described by this document is
subject to a License Agreement and may not be copied to other media. No part of this publication
may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior
written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.
“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instruments
GmbH.
All other trademarks are the property of their respective owners and use of them does not imply
any affiliation with or endorsement by them.
Document authored by Nicolas Sidi, Native Instruments
Software version: 1.0 (07/2024)
WELCOME TO ALICIA'S ELECTRIC KEYS 2
2. Welcome to Alicia's Electric Keys

From the heart of her New York City studio to the world's biggest stages, Alicia Keys' CP-70
electric grand piano has been one of the cornerstones of her sound, featured in hits like Girl on
Fire. Now, you can bring this one-of-a-kind instrument into your own music with Alicia’s Electric
Keys. Sampled with stunning precision and processed with Alicia's own custom effect chains, this
signature release lets you experience her iconic sound from anywhere.
Alicia’s Electric Keys was created in collaboration with Alicia’s trusted, GRAMMY-winning engineer,
Ann Mincieli, as well as Galaxy Instruments, who have previously partnered with us in the creation
of Piano Colors, Noire, Una Corda, and more.
This document shows you how to install and setup Alicia's Electric Keys and describes all features
in detail, starting with the overview.
We hope you enjoy Electric Keys!
Document conventions
In this document the following formatting is used to highlight useful information:
Italics Indicates paths to locations on your hard disk or other storage devices.
Bold Highlights important names, concepts, and software interface elements.
[Brackets] References keys on the computer keyboard.
Denotes a single step instruction.
Denotes the expected result when following instructions.
The following three icons denote special types of information:
The light bulb icon indicates a useful tip, suggestion, or interesting fact.
The information icon highlights essential information in a given context.
The warning icon alerts you of potential risks and serious issues.
INSTALLATION AND SETUP 3
3. Installation and setup

Before making music with Alicia's Electric Keys, you must install and set up the necessary
software. Follow these instructions to get started.
Installing Alicia's Electric Keys using Native Access

Native Access is where you will install the software for Alicia's Electric Keys. If you are new to
Native Instruments, you will first have to create your Native ID. To learn more about Native Access,
visit our support page.
1. Download and install Native Access here.
2. Create a Native ID if you do not yet have one.
3. Login to Native Access using your Native ID.
4. Click the Available tab.
5. Click Install for the following products:
• Alicia's Electric Keys
• Kontakt or Kontakt Player
→ The software is installed automatically.
If the software is already installed, click the Updates tab and install available updates
before proceeding.
Loading Alicia's Electric Keys in Kontakt

Once installed, you can start using Alicia's Electric Keys in Kontakt. Alicia's Electric Keys is not an
independent plug-in, so you first need to open an instance of Kontakt or Kontakt Player:
1. Open Kontakt as a plug-in in your host software (DAW) or as a stand-alone application.
2. Locate Alicia's Electric Keys in the Browser, on the left side of the user interface.
3. Click Instruments to open the product's content.
4. Double-click the .nki file to load the instrument.
If you are new to Kontakt and want more information, visit Kontakt Player and
Kontakt.
ALICIA'S ELECTRIC KEYS OVERVIEW 4
4. Alicia's Electric Keys overview

This chapter introduces the main controls and areas of Alicia's Electric Keys.
When you first open Alicia's Electric Keys, you see the Main page along with a set of global
controls:
1. Preset: The name of the loaded preset is always visible. Presets contain values for all
parameters of the instrument: They correspond to Kontakt Snapshots. The name of the preset
currently loaded is displayed here. Click the left and right arrows to cycle through presets, or
click the name of the preset to open the Preset Browser and select another preset from the
Alicia's Electric Keys factory library.
2. About: Click the instrument name to open the About screen, which displays the credits for this
instrument.
3. MAIN: Opens the Main page, showing an artwork of the original instrument (depicted above).
This is the default page that appears when you load the instrument in Kontakt.
4. INSTRUMENT: Opens the Instrument page, which lets you adjust the sonic characteristics of
your instrument and its recording setup. For more information, refer to Instrument page.
5. FX: Opens the Effect page, where you can configure the effect chain(s) that will process the
sound of your instrument. The chain can include a preamplification stage, up to five creative
effects, as well as post processing modules including equalization, compression, reverb and
delay. For more information, refer to Effect page.
6. Settings: Opens the Settings page, which provides global controls related to tuning, response,
and MIDI/Macro behavior. For more information, refer to Settings page.
7. Central area: This is the biggest part of the instrument and it shows the various pages and
Browsers.
ALICIA'S ELECTRIC KEYS OVERVIEW 5
8. Macros: These controls are always visible at the bottom of the instrument. You can freely
assign them to various instrument or effect parameters for immediate tweaking of sounds.
For more information, refer to Macros.
PRESET BROWSER 6
5. Preset Browser
The Preset Browser lets you find and load presets from the Alicia's Electric Keys factory library.
▶ To open the Preset Browser, click the name of the current preset in the top left corner of the
instrument:
The Preset Browser follows this typical workflow:

• In the left part of the Browser, you can click the properties describing the type of sound that you
are looking for.
• In the right part of the Browser, the list shows the presets matching the properties that you
have selected. You can audition each of them in context before you choose one for loading and
close the Browser.
The Preset Browser provides the following controls:
1. Tag filter: You can click the tags describing the sound that you are looking for. The PRESETS
list on the right is updated accordingly. The Tag filter is organized into three columns, from
left to right: Type, Character, and Style. As you select tags, the color of the remaining tags
indicates whether or not some presets are available:
• Black tags are already selected. You can click them to deselect them and widen the scope
of your search.
• Gray tags are not selected but have matching presets in the current PRESETS list. You can
select them to further narrow your search.
• Light gray tags are not selected and do not have any matching presets in the current
PRESETS list. You cannot select them, unless you deselect other tags first.
PRESET BROWSER 7
2. Favorites: You can click the star icons to add or remove presets to/from your Favorites. The
star icons are lit for presets set as Favorites. This way, you can quickly create a custom
collection of your most beloved presets. You can then display only your Favorites by clicking
the topmost star icon next to the PRESETS header. Click the topmost star icon again to
display also non-Favorite presets.
3. PRESETS list: Shows the presets matching the tags selected in the Tag filter on the left. You
can click a preset to load it and try it directly on your keyboard or in your DAW. You can
double-click a preset to load it and close the Browser.
4. Preview: Switches the Preview function on or off. When Preview is on, clicking a preset in the
PRESETS list plays a short lick with the preset sound.
5. OK (check mark): Keeps the selected preset loaded and closes the Preset Browser. This is the
same as double-clicking the preset in the PRESETS list.
6. Cancel (cross): Closes the Preset Browser without changing anything. Your Kontakt
Instrument returns to its previous state.
SNAPSHOTS 8
6. Snapshots
Snapshots are Kontakt's underlying file format for instrument presets. They offer a quick and
convenient way of browsing for new sounds and saving custom presets. When a User Snapshot
is saved, all parameter adjustments and instrument settings are stored within the preset. Using
Snapshots, you can create your own preset sounds, save them in the .nksn file format and use
them in other projects, across computers or even share them with other users.
Snapshots overview
Snapshots contain the parameters and controls:
1. Load Snapshot: Opens the Snapshot menu where you can load a Snapshot from the Factory
or User library. For more information, refer to Loading a Snapshot.
2. Snapshot Name: Displays the name of the currently selected Snapshot.
3. Snapshot Previous/Next (<> icons): Allows you to quickly browse and load Snapshots.
Pressing an arrow icon will load the previous or next Snapshot in the selected category. If
no Snapshot is active, the first Snapshot on the list will be loaded. For more information, refer
to Loading a Snapshot.
4. Save Snapshot (floppy disk icon): Allows you to save changes made to a sound. When a User
Snapshot is saved, the macros settings, parameter controls, and sequence are stored within it
and can be accessed at any time via the User library. For more information, refer to Saving a
User Snapshot.
5. Delete Snapshot (bin icon): Deletes the currently selected Snapshot from the User library. You
can only delete User Snapshots and not Factory Snapshots. For more information, refer to
Deleting a User Snapshot.
6. Snapshot View (camera icon): Provides access to the Snapshot features described above;
saving, loading, browsing, and deleting. When Snapshot View is selected, configuration
settings and features relating to the Info View are replaced in the display.
Loading a Snapshot
Snapshots are loaded from the drop-down menu in the top header of the instrument. You can also
use the arrows to the left of the floppy disk icon to load the previous or next preset.
To load and browse Snapshots using the arrow icons:
1. Click the Snapshot View (camera icon) to open Snapshot view.
SNAPSHOTS 9
2. Click the arrow icons (<>) in the Snapshot header to browse through the Snapshots list.
→ The previous or next Snapshot will load immediately each time an arrow icon is clicked.
To load a Snapshot from the library:
1. Click the Snapshot View (camera icon) to open Snapshot view.
2. Click the arrow icon next to the Snapshot name field to open the Snapshot menu.
3. Select the Factory category to load a Factory preset, or select the User category to load one of
your own Snapshots.
4. Select an instrument category, if available.
5. Select a Snapshot to load it.
→ The loaded Snapshot is displayed in the instrument header.
The User category will not appear until you have first saved a Snapshot.
Saving a User Snapshot

Snapshots can be saved at any time while you are working on them. When a Snapshot is saved, all
parameters and controls are also saved.
To save a Snapshot:
1. Click the Snapshot View button (camera icon) to open Snapshot view.
2. Click the Save button (floppy disk icon).
3. Enter a name for your new Snapshot in the Save dialog box.
4. Click Save to finish the process and close the dialog box.
→ Your Snapshot .nksn file is saved to the User Snapshot Library. It appears in the User Snapshot
list.
To overwrite a Snapshot:
1. Click the Snapshot View button (camera icon) to open Snapshot view.
SNAPSHOTS 10
2. Click the Save button (floppy disk icon).

3. Click Overwrite to confirm the process.
→ Your Snapshot .nksn file is saved to the User Snapshot Library, in replace of the old file.
Deleting a User Snapshot

Snapshots can be deleted using the bin icon in the instrument header. To delete a User Snapshot:
1. Click the Snapshot view (camera icon) to open Snapshot view.
2. Load the User Snapshot you wish to delete.
3. Click the Delete button (bin icon).
4. Confirm deletion of the Snapshot by selecting Yes in the dialog box.
→ The User Snapshot .nksn file is deleted from the User Snapshot Library.
INSTRUMENT PAGE 11
7. Instrument page
The Instrument page lets you modify the sonic characteristics of your keyboard and adjust the mix
between the two sources used when sampling the original instrument.
▶ Click INSTRUMENT at the top right of the instrument to open the Instrument page.
The Instrument page is split into four sections:
1. Sources: Controls the mix between the two source signals being used (pickup and
microphone). For more information, refer to Sources section.
2. Shape: Provides parameters affecting the shape of the sound. For more information, refer to
Shape section.
3. Tone: Adjusts different components of the keyboard sound. For more information, refer to
Tone section.
4. Noise: Adds various noises to the sound. For more information, refer to Noise section.
Sources section
The Sources section of the Instrument page lets you adjust the mix between the two source
signals available in your instrument:
• The pickup signal (jack plug icon) has been recorded at the output of the pickups converting
the vibrations of the tines into electrical signals. This is the signal used on the real electric piano
in common setups, where it is sent to the preamp, amp and speaker.
INSTRUMENT PAGE 12
• The microphone signal (microphone icon) has been recorded by a microphone placed next
to the tone generators (tines + tone bars) of the piano. This signal contains many subtle
mechanical details naturally produced by the instrument.
By default, the Sources section contains the following controls:
• Pickup fader, meters, and button: On the left, you can move the fader vertically to adjust the
level of the pickup signal. The current pickup signal level is indicated by the meters near the
fader. Click the jack plug icon below the fader to mute or unmute the pickup signal (the icon
turns off when the signal is muted).
• Microphone fader, meters, and button: On the right, you can move the fader vertically to
adjust the level of the microphone signal. The current microphone signal level is indicated by
the meters near the fader. Click the microphone icon below the fader to mute or unmute the
microphone signal (the icon turns off when the signal is muted).
• Sources button: Opens or closes the mixer details.
Sources: mixer details

When the Sources button is on, the Sources section shows additional controls between the faders:
INSTRUMENT PAGE 13
• Main knob and On/Off switches: The Main knob adjusts the ratio between the pickup and
the microphone source signals. The On/Off switch on either side mutes or unmutes the
corresponding signal.
• Hammer knob and On/Off switches: The Hammer knob adjusts the relative levels of the
hammer samples (if active) in the pickup and microphone signals. Turning the knob to the left
will accentuate the hammer samples in the pickup signal compared to the microphone signal,
and inversely. The On/Off switch on either side mutes or unmutes the hammer samples in the
• Overtone knob and On/Off switches: The Overtone knob adjusts the relative levels of the
overtone samples (if active) in the pickup and microphone signals. Turning the knob to the left
will accentuate the overtone samples in the pickup signal compared to the microphone signal,
and inversely. The On/Off switch on either side mutes or unmutes the overtone samples in the
• Release knob and On/Off switches: The Release knob adjusts the relative levels of the release
samples (if active) in the pickup and microphone signals. Turning the knob to the left will
accentuate the release samples in the pickup signal compared to the microphone signal, and
inversely. The On/Off switch on either side mutes or unmutes the release samples in the
• Pedal knob and On/Off switches: The Pedal knob adjusts the relative levels of the pedal
accentuate the pedal samples in the pickup signal compared to the microphone signal, and
inversely. The On/Off switch on either side mutes or unmutes the pedal samples in the
• Resonance knob and On/Off switches: The Resonance knob adjusts the relative levels of the
resonance samples (if active) in the pickup and microphone signals. Turning the knob to the
left will accentuate the resonance samples in the pickup signal compared to the microphone
signal, and inversely. The On/Off switch on either side mutes or unmutes the resonance
samples in the corresponding signal.
• Punch knob and On/Off switches: The Punch knob adjusts the relative levels of the punch
accentuate the punch samples in the pickup signal compared to the microphone signal, and
inversely. The On/Off switch on either side mutes or unmutes the punch samples in the
Shape section
The Shape section of the Instrument page provides the following controls:
INSTRUMENT PAGE 14
• Color: Adjusts the tone from soft to hard by readjusting the sample mapping. Dragging the
slider right will make the instrument sound harder and crisper, with a more pronounced attack
phase. Dragging the slider left will achieve a warmer and softer sound, and the attack phase will
be less pronounced.
• Tonal Shift: Adjusts the playback speed of each sample, resulting in formant or character
changes. Dragging the slider right will make the instrument sound sharper, and dragging it to
the left will result in a deeper, darker sound with a less defined attack.
• Dynamic Range: Controls the dynamic range by adjusting the volume while still using all
velocity samples. Drag left to shrink or drag right to expand the dynamic range.
• Attack: Adjusts the attack time of the sound.
• Release: Adjusts the release phase of the sound depending on the state of the Sample button:
• If the Sample button is on, the Release knob adjusts the level of additional, dedicated
release samples.
• If the Sample button is off, the Release knob adjusts instead the release time of the sound.
You can adjust the level of the release samples for each source signal by using the Release
controls in the Sources section on the left.
All the parameters in the Shape section affect both the pickup and the microphone
signals.
Tone section
The Tone section of the Instrument page provides the following controls:
INSTRUMENT PAGE 15
• Punch controls: The so-called “punch” samples are additional samples recorded by hitting the
tone bars with a little hammer. They provide a metallic component to the sound. The Punch
controls affect only the pickup signal.
• Punch On/Off switch: Activates or deactivates the punch samples.
• Punch slider: Adjusts the volume of the punch samples.
• Sub controls: Add low-frequency samples to the sound. The Sub controls affect only the pickup
signal.
• Sub On/Off switch: Activates or deactivates the sub samples.
• Sub Key selector: Sets the split key below which the sub samples are being triggered.
• Sub slider: Adjusts the volume of the sub samples.
• Low Key: Adjusts the volume of the keys below middle C. Moving the slider to the left
decreases the volume of the lower keys. Moving the slider to the right will increase it. The
lower the key, the stronger the effect.
• Overtones controls: Add overtone samples to the sound. These overtones add liveliness to the
sound. The Overtones controls affect only the pickup signal.
• Overtones On/Off switch: Activates or deactivates the overtone samples.
• Overtones slider: Adjusts the volume of the overtone samples.
• Resonance controls: Adds resonance samples when pressing the sustain pedal. Pressing the
sustain pedal on the piano raises all the dampers at once, enabling all tines and tone bars to
resonate sympathetically. This adds a fuller and deeper sound to the note. The Resonance
• Resonance On/Off switch: Activates or deactivates the resonance samples.
• Resonance slider: Adjusts the volume of the resonance samples.
• Pedal indicator: The resonance samples are triggered only when using the sustain pedal,
which is indicated by this LED.
Noise section
The Noise section of the Instrument page provides the following controls:
INSTRUMENT PAGE 16
• Hammer controls: Add samples of the noises induced by the hammer mechanism (e.g., when
releasing the keys). The Hammer controls affect both the pickup and the microphone signals.
• Hammer On/Off switch: Activates or deactivates the hammer samples.
• Hammer slider: Adjusts the volume of the hammer samples.
You can adjust the level of the hammer samples for each source signal by using the Release
• Pedal controls: Add samples of the noises induced by the pedal mechanism. The Pedal
controls affect both the pickup and the microphone signals.
• Pedal On/Off switch: Activates or deactivates the pedal samples.
• Pedal slider: Adjusts the volume of the pedal samples.
You can adjust the level of the pedal samples for each source signal by using the Pedal
• Noise Loop controls: Add samples of the noises induced by the instrument’s electrical circuitry
as well as noises from other electronic gear and field-recording ambience. The Noise Loop
• Noise Loop On/Off switch: Activates or deactivates the noise loop samples.
• Noise Loop slider: Adjusts the volume of the noise loop samples.
• Noise Loop menu: Selects a noise loop from various types of circuitry. You can click the
current noise loop type and select the desired entry from the menu, or click the little left/
right arrows to select the previous/next noise loop type.
• Skip FX Chain: If this is on, the noise loop samples are sent directly to the instrument’s
output without passing through the modules on the Effect page.
• Stereo Spread controls: Adjust the width of both the DI and Mix signal by applying a stereo
spread effect.
• Stereo Spread On/Off switch: Activates or deactivates the stereo spread effect.
• Stereo Spread slider: Adjusts the width of the stereo spread effect. With the slider in the
middle (0 %), no spread happens. When moving the slider to the right, the stereo spread
effect is applied. If you move the slider to the left, the stereo spread is applied and the left
and right channels are swapped. The further your move the slider away from its middle
position, the stronger the panning effect will be.
EFFECT PAGE 17
8. Effect page
The Effect page lets you configure the signal flow from the two sources to the output and apply the
desired preamplification, creative effects, and post-processing in a flexible way.
▶ Click FX at the top right of the instrument to open the Effect page.
The Effect page contains two main areas:
1. Signal Flow: In the top part, the Signal Flow represents the path of the audio signal from left
to right, starting from the two sources on the left, going through various processing modules,
until it reaches the instrument’s output on the right. The Signal Flow lets you intuitively modify
parts of the signal path, and switch on/off, select, insert, move or remove individual effect
modules. You can also load factory presets for the entire effect chain at once. For more
information, refer to Signal Flow.
2. Effect area: In the bottom part, the Effect area displays by default the controls for the effect
module selected in the Signal Flow above. For a description of all available effects, refer to
Effect modules. The Effect area also hosts the Effect Browser and the Effect Chain Browser.
Signal Flow
Located in the upper part of the Effect page, the Signal Flow represents the chain of processing
effects applied to the sound. The Signal Flow lets you compose the desired signal path with your
mouse, from the pickup and microphone sources at the far left, up to the instrument’s output at the
far right. Inbetween, the Signal Flow includes three main stages: preamplification, creative effects,
and post-processing effects.
EFFECT PAGE 18
The Signal Flow provides the following elements and actions:
1. Microphone source: The signal path for the microphone source starts here.
2. Pickup source: The signal path for the pickup source starts here.
3. Preamplification stage: The preamplification is done by the Preamp module, which is inspired
from the preamplifier found on the original instrument.
4. Creative stage: You can insert up to five creative effects in series. You can also insert different
creative effects for the pickup and for the microphone signals on an adjustable portion of the
path by using the Parallel handle. For more information about all of the 27 available creative
effects, refer to Effect modules.
5. Effect chain preset: Shows the name of the current effect chain preset. Effect chain presets
contain settings for the entire effect chain including preamplification, creative effects and
post-processing effects. Click the left and right arrows to cycle through presets, or click the
preset name to open the Effect Chain Browser and select another effect chain from the
factory library.
6. Post-processing stage: Contains four fixed effects (Compressor, EQ, Delay, and Reverb) that
you can switch on or off and adjust to your needs.
7. Inactive effect: Inactive effects are grayed out and let the sound pass through without any
modification. You can activate or deactivate effects using the On/Off switch appearing when
you hover the effect with the mouse.
8. Hover controls: When you hover an effect with the mouse, up to three little buttons appear
nearby:
• On/Off switch (all effects): Activates or deactivates the effect. Inactive effects are grayed
out and don’t process the signal.
• Browser button (magnifying glass) (creative stage only): Opens the Effect Browser in
order to replace the effect with another one.
• Remove button (cross) (creative stage only): Removes the effect from the Signal Flow,
leaving the slot empty.
9. Selected effect: The selected effect is indicated by a thick black frame. The controls of the
selected effect are displayed in the Effect area below.
10. Parallel handle: Creates distinct, parallel paths on its left for the pickup and the microphone
signals in the creative stage. Drag the handle horizontally to adjust the size of the parallel
paths. With the handle at full left, both sources are processed by the same effects throughout
the creative stage. With the handle at full right, each source has its own path in the creative
stage including up to five creative effects each.
11. Empty slot: Empty slots display a + sign. Click an empty slot to open the Effect Browser and
load the desired effect into that slot.
12. Preamp Bypass buttons (arrows): Bypass the preamplification stage for either source. Click
an arrow button to switch the bypass on or off. When the button is on (lit arrow), the source
on its left is directly sent to the creative stage without being processed by the Preamp module,
which is visually indicated by the straight path line.
EFFECT PAGE 19
Moving creative effects

You can move effects within the creative stage using drag-and-drop. For example, this can be
useful to modify the order in which effects are applied, or to make room for another effect.
To move an effect within the creative stage, do the following:
1. Click the effect and hold the mouse button depressed.
2. Drag your mouse onto the desired slot.
→ The effect icon pops out of its slot and follows the cursor movements. On the way, the slots
that can accept your effect get highlighted as you hover them with the mouse.
3. When the mouse cursor is above the desired slot, release the mouse button to drop the effect
onto that slot.
→ The effect takes its new position. If an effect was already in that slot, the two effects change
places.
You can move effects only within the creative stage of the Signal Flow. The Preamp
module on the left as well as the last four effects (post-processing stage) cannot be
moved.
Effect Chain Browser

The Effect Chain Browser lets you find and load entire effect chains into the Signal Flow.
▶ To open the Effect Chain Browser, click the name of the effect chain preset at the top of the
Signal Flow in the Effect page.
The Effect Chain Browser follows the usual workflow:

• In the left part of the Browser, you can click the properties describing the effect chain that you
are looking for.
• In the right part of the Browser, the list shows the presets matching the properties that you
have selected. You can audition each of them in context before you choose one for loading and
close the Browser.
The Effect Chain Browser provides the following controls:
EFFECT PAGE 20
1. Stage Lock buttons: Lock or unlock the current settings in the corresponding stage of the
Signal Flow (from top to bottom: preamplification, creative, and post-processing stage). Click
the desired lock icon to turn the stage lock on or off. Locking settings in a stage allows you to
compare and load different effect chains while keeping your settings in that stage.
2. Tag filter: You can click the tags describing the sound that you are looking for. The Results list
on the right is updated accordingly. The Tag filter is organized into three columns, from left to
right: stages in use, effect type, and sonic flavor. As you select tags, the color of the remaining
tags indicates whether or not some presets are available:
• Black tags are already selected. You can click them to deselect them and widen the scope
of your search.
• Gray tags are not selected but have matching presets in the current Results list. You can
select them to further narrow your search.
• Light gray tags are not selected and do not have any matching presets in the current
Results list. You cannot select them, unless you deselect other tags first.
3. Results list: Shows the effect chain presets matching the tags selected in the Tag filter on the
left. You can click a preset to load the effect chain and try it directly in the Signal Flow. You can
double-click a preset to load the effect chain and close the Browser. On the right, the dark gray
or light gray PRE, FX, and POST labels indicate for each effect chain whether or not it contains
active effects in the preamplification, creative, and post-processing stage, respectively.
4. OK (check mark): Keeps the selected effect chain loaded and closes the Effect Chain Browser.
This is the same as double-clicking the preset in the Results list.
5. Cancel (cross): Closes the Effect Chain Browser without changing anything. The Signal Flow
returns to its previous state.
While you are navigating in the Effect Chain Browser, if you cannot find again the
current effect chain preset in the Results list, click its name again in the field at the
top of the Signal Flow above: This will reset the Tag filter and show you the selected
preset in the Results list.
Effect Browser
The Effect Browser lets you load effects into the creative stage of the Signal Flow.
▶ To open the Effect Browser, click an empty slot or click the magnifying glass that appears
above an effect when you hover it with the mouse.
The Effect Browser is available only in the creative stage of the Signal Flow, not in
the preamplification nor post-processing stages. For more information, refer to Signal
Flow.
The Effect Browser follows the usual workflow:

• In the left part of the Browser, you can choose a particular category of effects.
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• In the right part of the Browser, the grid shows the effects in the category that you have
selected. You can audition each of them in context before you choose one for loading and close
the Browser.
The Effect Browser provides the following controls:
1. Category filter: You can select an effect category to display only these effects in the Effect
grid on the right.
2. Effect grid: Shows icons for all effects corresponding to the category selected on the left, if
any. You can click an effect to load it and try it directly in the Signal Flow. You can double-click
an effect to load it and close the Browser.
3. OK (check mark): Keeps the selected effect loaded and closes the Effect Browser. This is the
same as double-clicking the effect in the Effect grid.
4. Cancel (cross): Closes the Effect Browser without changing anything. The Signal Flow returns
to its previous state.
For a description of the available effects, refer to Effect modules.
Effect modules
This chapter describes the various effects available in the Effect page.
Preamp module
The Preamp module is inspired by the original preamplifiers found in different variants of the
original keyboard.
The Preamp module contains the following parameters and controls:
• On/Off: Turns the effect on or off.

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• Preset selector: Selects from various predefined settings for the effect. You can select a preset
by clicking on the left and right arrows, or open the drop-down menu by clicking on the preset
name.
• DRIVE section: Controls the preamplification of the audio signals coming from the keybed.
• On/Off: Turns the preamplification circuit on or off.
• Amount: Adjusts the level of the signal fed into the preamplification circuit. Higher values
produce an overdrive saturation.
• Drive type selector: Selects from different types of drive emulation.
• TONE CIRCUIT section: Controls the tone of the preamplified audio signal.
• On/Off: Turns the tone circuit on or off.
• Bass: Adjusts the low-frequency content of the signal.
• Mid: Adjusts the mid-frequency content of the signal. This control is not available when the
Tone Circuit type selector is set to Electric Grand.
• Treble: Adjusts the high-frequency content of the signal. This control is not available when
the Tone Circuit type selector is set to Passive or Electric Grand.
• Tone Circuit type selector: Selects from different types of tone circuits.
• TREMOLO section: Controls the tremolo effect included in the preamplification stage.
• On/Off: Turns the tremolo circuit on or off.
• Sync mode selector: Selects between four modes that determine the behavior of the Speed
control. You can select the mode by clicking the left and right arrows next to the mode
name, or open the drop-down menu by clicking the mode name.
• Free: The value can bee freely adjusted in milliseconds.
• Straight: The value can be adjusted in even note divisions (1/16, 1/8, 1/4, etc.) relative to
the tempo of the Metronome.
• Dotted: The value can be adjusted in dotted note divisions (1/16d, 1/8d, 1/4d, etc.)
relative to the tempo of the Metronome.
• Triplets: The value can be adjusted in triplet note divisions (1/16t, 1/8t, 1/4t, etc.) relative
to the tempo of the Metronome.
• Speed: Adjusts the speed of the amplitude oscillation.
• Width: Adjusts the phase relationship between the stereo channels, progressively
transforming a mono tremolo effect (Width at full left) into a typical auto pan effect found
on the classic electric suitcase pianos (Width at full right).
• Intensity: Adjusts the depth of the amplitude oscillation. At full left, no tremolo can be heard.
At full right, the tremolo oscillates from the signal’s amplitude down to zero and back up.
• Tremolo type selector: Selects from different types of tremolo circuits.
• Waveform selector: Selects a waveform for the amplitude oscillation. This control is
available only when the Tremolo type selector is set to Synth.
• OUTPUT Volume: Adjusts the level of the output signal.
Compressor
The Compressor allows you to apply compression to the audio output of your instrument.
The Compressor module contains the following parameters and controls:
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name.
• Mix: Adjusts parallel compression. The uncompressed (dry) signal will be mixed with a
compressed version of the same signal. It gives the excitement of a compressed signal without
losing its dynamic and transients. If the Mix knob is at full right, you only hear the compressed
signal. With the Mix knob at full left, you only hear the dry signal. Every setting in-between is a
mix of both signals.
• Input: Adjusts the level of the input signal entering the compressor.
• Attack: Adjusts how fast the compressor reacts to incoming signals.
• Release: Adjusts the length of the compressor’s release phase, that is, the time it takes for the
compressor to return to its standby state.
• Compress: The more you turn the Compress knob clockwise, the more the compression will
be applied to the input signal while retaining an even loudness level. Note that in order to make
this work you need to set the input level correctly by adjusting the Input knob. The amount of
applied compression is indicated in real-time by the vertical bar right of the Compress knob.
• High-Pass Filter selector (above the Compress knob): You can prevent the compressor from
reacting primarily to low-frequency signal peaks by using the high-pass filter. When on, the high-
pass filter will cut the internal detector signal below the selected frequency. Switch between the
two cutoff frequencies (100 Hz or 300 Hz) to figure out which one works best.
• Character: Use the equalizer controlled by the Character knob to fatten signals lacking
substance or smoothen signals too aggressive due to heavy saturation.
• Character mode selector: Provides access to three character modes, with Fat mode
emphasizing low and high frequencies, and Warm mode rolling off some highs while enhancing
the lower frequency spectrum. Bright mode enhances the top end and attenuates the bottom
end of the signal, which is great for making boomy instruments stand out in the mix.
• Saturation: Adjusts the amount of saturation. Increase the Saturation value to add dirt, warmth
and loudness to your sound.
• Saturation mode selector: The compressor offers three different Saturation modes you can
use to shape your signals. Mild mode is a nice way of coloring signals while retaining a clean
sound, while Moderate mode will tastefully add more noticeable harmonics. Switch to Hot
mode for maximum saturation and audible distortion.
• Output slider: Adjusts the level of the output signal.
EQ (post-processing effect)
The EQ allows you to apply a 4-band equalization to the audio output of your instrument.
The EQ module contains the following parameters and controls:
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name.
• Link: If you have adjusted the Gain knobs in a certain way and switch on Link, all Gain knobs
will change proportionally as you adjust one of them, keeping the sound or style of your custom
EQ setting.
• Gain knobs: Adjust the levels of the four frequency bands. From left to right, the knobs control
lower to higher frequency bands. The frequency bands are described in musical terms, as
shown by the labels above the knobs. You can customize the frequency band of each gain knob
to your needs using the two controls below.
• Freq knobs: control the center frequency of each band. As you adjust the frequency, the
musical term of the Gain knob above changes accordingly.
• Q knobs: control the sharpness of the bandwidth for the middle two frequency bands: The
higher Q is, the narrower the band is.
• Bell buttons: switch the outer two frequency bands between shelf (button off) and bell (button
on).
Delay
The Delay allows you to apply a delay effect to the audio output of your instrument.
At the top of the Delay module, the Delay Engine menu lets you select the delay engine to use from
the two available: Replika and Twin. The other parameters of the Delay depend on the selected
engine.
Replika Delay
By selecting Replika in the Delay Engine menu, you activate the Replika delay. The Replika delay
is a full-featured delay unit based on the Native Instruments Replika XT delay plug-in. Notably, it
includes the five delay styles from Replika XT: Modern, Analog, Vintage, Tape and Diffusion, each
with its own unique sound and behavior.
The Replika delay contains the following parameters and controls:
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name.
• Type selector: Selects between five different delay styles that determine the basic sound
character. The last three controls of the delay are specific to each type.
• Modern: Clean and defined delay with adjustable, tube-like saturation. The built-in
modulation changes the delay time periodically. This shifts the timing and pitch of the delay
signal, adding depth and movement to the sound. Unlike the built-in modulation, manual
adjustments of the delay time do not alter the pitch of the delay signal.
• Analogue: Dark and hazy emulation of BBD (Bucket Brigade Device) delays, which include
old analogue studio effects as well as many contemporary guitar pedals. The sound of
the delay depends on the delay time: As the delay time is increased, the delay repeats will
become darker, with more noise and distortion being introduced to the signal. The built-in
modulation changes the delay time periodically. This shifts the timing and pitch of the delay
signal, adding depth and movement to the sound.
• Tape: Textured and lively emulation of classic tape delays. It gives you full control over their
unique properties, including the amount of saturation, the age of the tape, and the intensity
of flutter.
• Vintage: Warm and crunchy emulation of early digital delay effects. The sound of the delay
depends on the delay time. As the delay time is increased, the delay repeats will become
grittier, with more digital artifacts being introduced to the signal. The built-in modulation
changes the delay time periodically. This shifts the timing and pitch of the delay signal,
adding depth and movement to the sound.
• Diffusion: Clean delay combined with a unique reverb effect. It can be used to create a wide
range of different ambiences, from tight and resonant to unnaturally vast spaces.
• Amount: Adjusts the level of the signal sent to the effect.
• Time: Adjusts the delay time. Depending on the selected Sync mode, the delay time is
either synchronized to the tempo of the DAW and set in note divisions, or freely adjusted in
milliseconds.
• Sync mode selector: Selects between four modes that determine the behavior of the Time
control. You can select the mode by clicking on the left and right arrows next to the mode
name, or open the drop-down menu by clicking on the mode name.
• Free: The delay time can bee freely adjusted in milliseconds.
• Straight: The delay time can be adjusted in even note divisions (1/16, 1/8, 1/4, etc.) relative
• Dotted: The delay time can be adjusted in dotted note divisions (1/16d, 1/8d, 1/4d, etc.)
• Triplets: The delay time can be adjusted in triplet note divisions (1/16t, 1/8t, 1/4t, etc.)
• Feedback: Adjusts the level of the signal that is being fed back to the delay's input. Increasing
the feedback level creates more delay repeats that decay over time. Feedback levels of 100 %
and above are possible, allowing the delay repeats to build up until the point of self-oscillation.
• Low Cut: Attenuates low-frequency content in the feedback path of the delay using a low-cut
filter. Turned all the way to the left, the filter is off. Turning it to the right raises the cutoff
frequency of the filter, resulting in a brighter tone of the delay.
• High Cut: Attenuates high-frequency content in the feedback path of the delay using a high-cut
filter. Turned all the way to the right, the filter is off. Turning it to the left lowers the cutoff
frequency if the filter, resulting in a darker tone of the delay.
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• Ping Pong: Turns Ping Pong mode on or off. In Ping Pong mode, the delay repeats are panned
hard left and right in an alternating pattern.
The remaining controls depend on the delay type selected in the Type selector, as described below.
Type: Modern
• Depth: Adjusts the amount of built-in modulation applied to the delay time.
• Rate: Adjusts the speed of the built-in modulation.
• Stereo: Switches between stereo and mono operation for the built-in modulation. When
activated, the modulation between the left and the right stereo channels is offset in time,
resulting in a wide stereo effect. When deactivated, the modulation affects both the left and the
right stereo channels in the same way.
• Saturation: Adds tube-like saturation at the delay input. Turned all the way to the left, the knob
bypasses saturation, turning it to the right pushes the sound from subtle warmth to overdrive.
The amount of saturation is dependent on the input level.
Type: Analogue
• BBD Type: Selects one of four BBD delay models: Clean, Warm, Dark, Grunge. The character of
the four models ranges from subtle filtering and distortion (Clean, Warm) to a highly degraded
sound (Dark, Grunge).
Type: Tape
• Saturation: Adjusts the amount of tape saturation from a clean sound to overdrive.
• Tape Age: Enhances the characteristics of an aging tape, like limited high-frequency response
and hiss (depending on the Noise button’s state).
• Flutter: Increases the effects introduced by mechanical imperfections of the tape delay’s motor
and tape transport, resulting in pitch variations over time.
• Noise: Switches the tape hiss on or off. The amount of hiss depends on the Tape Age knob.
Type: Vintage
• Quality: Selects one of four quality settings for the delay: High, Medium, Low, Crunch. The High
setting has a bright, subtly textured sound. Medium and Low sound darker and grittier. Crunch
has a bright sound but also introduces a lot of digital artifacts to the signal.
Type: Diffusion
• Amount: Adjusts the amount of diffusion applied to the delay signal, resulting in a reverb effect.
High settings make the delay appear out of sync, so low settings are recommended if the
rhythmic timing of the delay is essential.
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• Size: Adjusts the swell, reflection pattern and decay of the reverb effect, giving the impression
of differently sized spaces.
• Dense: Switches between two density settings for the reflection pattern of the reverb effect.
When activated, the reflection pattern is dense and washed out. When deactivated, the
reflection pattern is sparse with a granular quality.
• Modulation: Adjusts the depth and speed of modulation applied to the diffusion, shifting the
timing and pitch of the reflections for a wide reverb effect.
Twin Delay
By selecting Twin in the Delay Engine menu, you activate the Twin delay. The Twin delay combines
two parallel delay channels for advanced stereo effects. The two delays are dedicated to the left
and right stereo channel, respectively. You can use them to create rhythmic echoes that bounce
through the stereo image.
The Twin delay contains the following parameters and controls:
The following controls act globally and affect both delay channels at the same time.
name.
The following controls are available for each of the two delay channels L and R independently.
• Sync mode selector: Selects between four modes that determine the behavior of the Time
control. You can select the mode by clicking on the left and right arrows next to the mode
name, or open the drop-down menu by clicking on the mode name.
• Free: The delay time can bee freely adjusted in milliseconds.
• Straight: The delay time can be adjusted in even note divisions (1/16, 1/8, 1/4, etc.) relative
• Dotted: The delay time can be adjusted in dotted note divisions (1/16d, 1/8d, 1/4d, etc.)
• Triplets: The delay time can be adjusted in triplet note divisions (1/16t, 1/8t, 1/4t, etc.)
• Time: Adjusts the delay time. Depending on the selected Sync mode, the delay time is
either synchronized to the tempo of the DAW and set in note divisions, or freely adjusted in
milliseconds.
• Predly: Adjusts the duration of the initial delay added to the channel. This predelay is
independent of the Time control and does not affect the delay repeats. To achieve classic
ping-pong echoes, set the same Time for both channels and increase the Predelay on one of
them.
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• Feed: Adjusts the amount of feedback. Turning Feed to the right increases the amount of delay
repetitions.
• Level: Adjusts the output level of the delay channel.
The following controls act globally and affect both delay channels at the same time.
• Cross FB: Adjusts the amount of cross-feedback, which feeds the left channel output back into
the right channel input and vice versa.
• Width: Adjusts the stereo image of the delay signal. At center position, the signal is mono.
Turning the control to the right increases the width of the stereo image. Turning the control to
the left increases the width of the stereo image and flips the left and right stereo channel.
Reverb
The Reverb allows you to apply a reverb effect to the audio output of your instrument.
At the top of the Reverb module, the Reverb Engine menu lets you select the Reverb engine to use
from the three available: Convolution, Algorithmic, and Plate. The other parameters of the reverb
depend on the selected engine.
Convolution Reverb
By selecting Convolution in the Reverb Engine menu, you activate the Convolution reverb. The
convolution reverb uses impulse responses of various vintage reverb units and concert halls,
churches and rooms to recreate those acoustic spaces.
The Convolution reverb contains the following parameters and controls:

• Category selector: Selects the category for the impulse response files. Available categories are
Room, Hall, and Vintage.
• IR selector: Selects an impulse response from the category selected above.
• Size: Adjusts the size of the reverb effect by lengthening or shortening the selected impulse
response.
• Pre Delay: Adjusts the delay before the reverb starts.
Algorithmic Reverb
By selecting Algorithmic in the Reverb Engine menu, you activate the Algorithmic reverb.
The Algorithmic reverb contains the following parameters and controls:
EFFECT PAGE 29

name.
• Pre Delay: Introduces a short amount of delay before the reverb takes effect.
• Room/Hall button: Selects between two reverberation modes simulating the sound character
of a hall or a room.
• Size: Adjusts the size of the hall or room simulated by the reverb effect. Higher values replicate
larger spaces.
• Time: Adjusts the duration of the reverb effect.
• Damping: Adjusts the amount of absorption in the room simulated by the reverb effect. Higher
values result in more absorption.
• Mod: Adjusts the amount of modulation applied to the reverb effect. Turned fully counter-
clockwise, no modulation is applied.
• Stereo: Controls the stereo image of the reverb effect. Higher values result in a wider stereo
image.
• Low Shelf: Attenuates or amplifies the low-frequency content of the reverb signal.
• High Cut:: Cuts the high-frequency content of the reverb signal.
• Diffusion: Adjusts the density of the reflections in the room simulated by the reverb effect.
Plate Reverb
By selecting Plate in the Reverb Engine menu, you activate the Plate reverb.
The Plate reverb contains the following parameters and controls:

name.
EFFECT PAGE 30
• Pre Delay: Introduces a short amount of delay before the reverb takes effect.
• Decay: Adjusts the duration of the reverb effect.
• Low Shelf: Attenuates or amplifies the low-frequency content of the reverb signal.
• Damping: Adjusts the amount of absorption in the room simulated by the reverb effect. Higher
values result in more absorption.
• Stereo: Controls the stereo image of the reverb effect. Higher values result in a wider stereo
image.
AC Box
The AC Box models the sound that powered British pop music. This particular model stands out
with a unique flavor and the Brilliant channel, famously known as top boost. The Normal channel
features a Tone Cut control that reduces high-frequency content, while the Brilliant channel offers
Bass and Treble controls. Both channels can be mixed for a great variety of sounds.
This creative effect contains the following parameters and controls:

name.
• Macro: This knob can modulate various parameters of the effect, and itself be assigned to
any Macro of your instrument. For more information on how to use the Macro knob, refer to
Controlling parameters in creative effects.
• Normal Volume: Adjusts the level of the Normal channel. The Bass and Treble controls have no
effect in this channel.
• Brilliant Volume: Adjusts the level of the Brilliant channel.
• Brilliant Treble: Adjusts the high-frequency response of the Brilliant channel.
• Brilliant Bass: Adjusts the low-frequency response of the Brilliant channel.
• Speed: Adjusts the rate of the tremolo effect.
• Depth: Adjusts the intensity of the tremolo effect. When turned fully to the left, the effect is
switched off.
• Tone Cut: Applies a low-pass filter to the Normal channel. Turning the knob to the right reduces
high-frequency content.
Cabinet
Cabinet simulates the sound of a guitar cabinet recorded through a microphone.
EFFECT PAGE 31

• Cabinet Category: Switches between the Cabinet and Guitar FX category. Each category
includes its own set of cabinets that can be selected using the Cabinet Type selector. The
Size and Air controls are not available when Guitar FX is selected.
• Cabinet Type: Allows you to choose the simulated cabinet model. You can select a model by
clicking on the left and right arrows, or open the drop-down menu by clicking on the name.
• Size: Adjusts the size of the simulated cabinet. Larger cabinets tend to have a more
pronounced bass response, while smaller cabinets can sound thin and tinny.
• Air: Controls the level of early reflections in the room response, adding a sense of space to the
sound.
Chorus
Inspired by chorus effects found in synthesizers and studio rack processors from the seventies
and early eighties, Chorus features four distinct chorus modes, ranging from the subtle sound of
classic studio rack processors to the large ensemble sound of early string synthesizers.

name.
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• Mode:Switches between four chorus modes, each with its own sound characteristic and
modulation behavior. You can select a mode by clicking on the left and right arrows, or open the
drop-down menu by clicking on the name.
• Synth: This mode is inspired by the choruses of polyphonic synthesizers from the late
seventies and early eighties. Its sound characteristic is dark and vintage. The modulation
behavior is tuned for rich and dispersed sounds.
• Ensemble: This mode is inspired by the choruses of string synthesizers from the seventies.
Its sound characteristic is warm and lush. The modulation behavior is tuned for animated
and lively sounds.
• Dimension: This mode is inspired by the choruses of studio rack processors from the
early eighties. Its sound characteristic is bright and transparent. The modulation behavior is
tuned for wide and consistent sounds.
• Universal: This mode is a more generic chorus implementation. Its sound characteristic is
clean and modern. The modulation behavior is tuned for a range of sounds from consistent
to lively, depending on the number of Voices.
• Rate: Adjusts the speed of modulation, from slow pitch changes to fast vibratos. This becomes
more pronounced as Amount is increased.
• Voices: Fades from one to three chorus voices. Increasing the number of chorus voices adds
a dense and ensemble-like quality to the sound. The modulation affects the second and third
chorus voice differently from the first, resulting in a wider and livelier sound.
• Amount: Adjusts the amount of modulation applied to Delay, altering the delay times of the
chorus voices. Due to the configuration of the delays, this also changes the pitch of the chorus
voices, creating the classic chorusing effect.
• Width: Pans the chorus voices in opposite directions, widening the stereo image. When Width is
set to 0, the input’s stereo image is preserved.
• Delay: Adjusts the delay times of the chorus voices, allowing you to change the spatial depth of
the sound. This parameter strongly interacts with Feedback.
• Scatter: Enables a special feedback routing for the chorus voices that introduces reverb-like
behavior.
• Feedback: Adjusts the level of the feedback signals from the outputs of the chorus voices to
their inputs, creating a more sustained and spacious sound
• Invert: Changes the sound characteristic of the chorusing effect by inverting the effect signal.
• Mix: Blends between the input signal and the effect signal by means of an equal-power
crossfade.
Distortion
An emulation of a classic guitar distortion effect pedal.
EFFECT PAGE 33

name.
• Drive: adds dirt to the sound.
• Volume: The main volume control for this effect.
• Tone: turning this control clockwise accents the midrange while dropping the bass.
Counterclockwise takes off the highs and boosts the bass for a warmer sound.
• Bass: Adjusts the low frequency response.
• Mid: Adjusts the midrange frequency response.
• Treble: Adjusts the high frequency response.
EQ (creative effect)
EQ is a fully parametric equalizer that can be used for a wide range of tonal alterations and
corrections. Using its three bands you can boost or cut any frequency range with an adjustable
bandwidth (Q).

name.
• Gain: Adjusts the amount of boost (positive values) or cut (negative values) at the center
frequency.
• Freq: Adjusts the center frequency at which the boost or cut will occur.
• Q: Adjusts the width of the frequency range that will be affected in octaves.
Filter
Filter provides a wide selection of filters with an integrated modulation unit affecting the filter’s
cutoff frequency.
EFFECT PAGE 34

name.
• Type selector: Selects a filter type.
• Cutoff: Adjusts the filter’s cutoff frequency.
• Reso: Adjusts the filter’s resonance at the cutoff frequency.
• AT Intensity On/Off button: Turns Aftertouch control on or off. When on, you can modulate the
filter’s cutoff frequency by using Aftertouch, which makes the Filter a great tool for playing live.
• AT Intensity knob: Adjusts how much the Aftertouch will affect the Cutoff parameter. This
control is bipolar: In the middle position, the Aftertouch does not affect the cutoff frequency. If
you turn it to the left, the Aftertouch will decrease the cutoff frequency. If you turn it to the right,
the Aftertouch will increase the cutoff frequency. As you hold the key(s) depressed, a little dot
on the Cutoff knob indicates the current cutoff frequency.
• Modulation On/Off button: Activates or deactivates an automatic modulation of the filter’s
cutoff frequency.
• Modulation source selector: Selects between two modulation sources:
• LFO: An adjustable low-frequency oscillator is used as modulation source.
• Steps: An adjustable step sequence is used as modulation source.
• Motion Intensity: Adjusts the depth of the automatic cutoff modulation. This control is bipolar:
In the middle position, the automatic modulation does not affect the cutoff frequency. If you
turn it to the left, the modulation will decrease the cutoff frequency. If you turn it to the right, the
modulation will increase the cutoff frequency. As you hold the key(s) depressed, a little dot on
the Cutoff knob indicates the current cutoff frequency.
• Speed: Adjusts the speed of the modulation.
• Sync mode selector: Selects between four modes that determine the behavior of the Speed
control. You can select the mode by clicking the left and right arrows next to the mode name, or
open the drop-down menu by clicking the mode name.
• Straight: The value can be adjusted in even note divisions (1/16, 1/8, 1/4, etc.) relative to the
tempo of the Metronome.
• Dotted: The value can be adjusted in dotted note divisions (1/16d, 1/8d, 1/4d, etc.) relative
• Triplets: The value can be adjusted in triplet note divisions (1/16t, 1/8t, 1/4t, etc.) relative to
EFFECT PAGE 35
• Retrig: When this button is on, the modulation source is retriggered for each new note. When it
is off, the modulation source goes on oscillating whenever notes are played.
The following controls are available when the Modulation source selector is set to LFO:
• Waveform selector: Selects a waveform for the LFO used as modulation source.
• Waveform display: Illustrates the selected waveform.
The following controls are available when the Modulation source selector is set to Steps:
• Steps selector: Selects the number of steps (from 2 to 32) in the sequence used as modulation
source.
• Sequence display: Lets you adjust the modulation strength on each step. Click with your
mouse to adjust the height of the bars to your liking. The bars are bipolar: In the middle (zero)
position, they don’t affect the cutoff frequency. In the lower half of the display, the bars will
decrease the cutoff frequency. In the upper half of the display, the bars will increase the cutoff
frequency.
Flanger
Flanger allows for more sophisticated and extreme sounds than possible with common flangers,
while staying true to the ease of use and clarity associated with these devices. It features three
flanger modes that offer different approaches to a range of effects from flanging to harmonization.

name.
• Voice Selector: Selects from one to four flanger voices. The additional flanger voices are added
in harmonic intervals. You can select the number of voices by clicking on the left and right
arrows, or open the drop-down menu by clicking on the name.
• Invert: Swaps the position of the peaks and notches in the frequency spectrum by inverting the
effect signal. When activated, the perceived pitch of the flanger voices is one octave lower.
• Sync mode: Activates synchronization of Rate to the musical tempo of the DAW. Three
different modes are available, Straight, Dotted, and Triplets. You can select a mode by clicking
on the left and right arrows, or open the drop-down menu by clicking on the name.
• Rate: Adjusts the frequency of the modulation. By selecting a Sync mode, the rate can be
synchronized to the musical tempo.
• Amount: Adjusts the amount of modulation, adding movement to the effect.
EFFECT PAGE 36
• Pitch: Adjusts the fundamental frequency of the first flanger voice in semitones, effectively
shifting the peaks and notches of all flanger voices in the frequency spectrum.
• Feedback: Adjusts the level of the feedback signals from the outputs of the flanger voices to
their inputs, creating a more resonant and metallic sound.
• Width: Creates a wide and lively stereo image by adding a phase offset to the modulation
between the left and right stereo channels. Additionally, a special type of cross-feedback is
introduced, further animating the stereo image as Feedback is increased.
• Damping: Attenuates the high frequency content of the feedback signals from the outputs of
the flanger voices to their inputs, allowing for soft sounds even at high Feedback settings.
• Detune: Alters the pitch of each individual flanger voice in a range of approximately +/- 60 cent.
This creates a rich and lively sound similar to the effect of detuning oscillators on a synthesizer.
Detune is especially useful when Chord is set to Unison.
crossfade.
Freak
Freak combines three amplitude modulation techniques: basic amplitude modulation, ring
modulation, and frequency shifting. It is based on a model of an analog diode ring circuit that
produces rich harmonic overtones and textures.

name.
• Range: Activates a coarse range of -5000 Hz to +5000 Hz. When deactivated, Freq has a fine
range of -200 Hz to +200 Hz.
• Freq: Adjusts the rate of the internal sine wave modulation used by the amplitude modulation,
allowing you to change the frequency of the sidebands created in the frequency spectrum.
• Antifold: Reduces the amount of sidebands folding over 0 Hz, producing a cleaner sound in the
low-frequency spectrum. By increasing Antifold, thinner sounding distortion effects with a less
tonal quality can be achieved.
• Stereo: Creates a wide stereo image by adding a phase offset to the modulation applied to the
left and right stereo channels.
• Type: Morphs between three different amplitude modulation techniques, basic amplitude
modulation), ring modulation), and frequency shifting.
EFFECT PAGE 37
• Harmonics: Adjusts the amount of harmonic overtones produced by the model of an analog
diode ring circuit used to implement the different amplitude modulation techniques in Freak.
• Feedback: Adjusts the level of the feedback signal from the effect’s output to its input. This
increases the amount of frequencies, or sidebands, created by the amplitude modulation. When
the FX Mode is set to Radio, Feedback additionally controls the amount of noise added to the
signal.
crossfade.
Fuzz
Fuzz models the sound of a classic distortion pedal suitable for 1970s Rock guitars. Its sound
character is dirty with a lot of grunge.

name.
• Sustain: Adjusts the input level, or gain. Turning the control to the right increases the intensity
of the distortion.
• Tone: Adjusts the frequency response. Turning the control to the left emphasizes high
frequencies. Turning the control to the right emphasizes low frequencies.
• Bass: Adjusts the low-frequency response.
• Treble: Adjusts the high-frequency response.
Gainer
Gainer boosts or attenuates the signal level. You can use it for gain staging between various
effects in your signal chain.
EFFECT PAGE 38

• Gain: The amplification or attenuation factor that will be applied to the signal in dB.
Hot Solo Amp

Hot Solo Amp models the sound of guitar amp that is considered a true modern classic. It features
two separate channels, the low-gain Normal channel and the high-gain Overdrive channel.

name.
• Normal: Adjusts the input level, or gain, of the Normal channel.
• Overdrive On/Off: Switches between the Normal and the Overdrive channel.
• Overdrive: Adjusts the input level, or gain, of the Overdrive channel.
• Mid: Adjusts the mid-frequency response.
• Presence: Boosts upper mid-frequency content.
• Depth: Boosts low-frequency content.
• Main: Adjusts the output level of the Component.
EFFECT PAGE 39
IR
The IR effect uses impulse responses of various creative sets to replicate their acoustical behavior
for use with the piano signals.

• Category selector: Selects the category for the impulse response files. Available categories are
Timbre, Resonance, Mystique, and Rhythmic.
• IR selector: Selects an impulse response from the category selected above.
• Size: Artificially compresses or stretches the impulse response in time.
• Mix: Adjusts the mix between the original and the processed signals.
Phaser
Phasis is a new take on the concept of the phaser effect with additional features that have been
carefully chosen to allow for more sophisticated and extreme sounds than possible with common
phasers, while staying true to the ease of use and clarity associated with these devices. Phasis
features a scalable amount of all-pass filters, producing up to twelve pairs of peaks and notches in
the frequency spectrum.

name.
EFFECT PAGE 40
• Notches: Sets the number of peaks and notches in the frequency spectrum. You can select the
number of peaks and notches by clicking on the left and right arrows, or open the drop-down
menu by clicking on the name.
• Ultra: Extends the range of Rate and Center, allowing for more extreme modulation up audio
frequencies. This can add new harmonic content to the input signal, similar to the sounds
possible with FM synthesis.
• Amount: Adjusts the amount of modulation, adding movement to the effect. The modulation
can be distributed between Center and Spread using the Mod Mix slider.
• Rate: Adjusts the frequency of the modulation. By selecting a Sync mode, the rate can be
synchronized to the musical tempo.
• Sync mode: Activates synchronization of Rate to the musical tempo of the DAW. Three
• Stereo: Creates a wide and lively stereo effect by adding a phase offset to the modulation
applied to the the left and right stereo channels. In center position, the phasing effect does not
alter the stereo image. When turning the knob to the left, the phasing effect appears to move
from right to left. When turning the knob to the right, the phasing effect appears to move from
the left to right. Stereo does not have an effect if Amount is set to 0.
• Feedback: Adjusts the amount of feedback, or resonance, applied to the all-pass filters that
create the phasing effect. Turning up Feedback makes the peaks and notches in the frequency
spectrum more pronounced.
• Center: Shifts the peaks and notches in the frequency spectrum by changing the frequencies of
the all-pass filters that create the phasing effect (relative to the Center frequency).
• Spread: Adjusts the density of the peaks and notches in the frequency spectrum. Turning the
knob to the left moves the peaks and notches closer to each other. Turning the knob to the right
moves the peaks and notches further apart from each other.
• Spread Modulation Polarity: Inverts the polarity of the modulation applied to Spread, hence
reversing its effect in relation to the modulation applied to Center.
• Mod Mix: Distributes the modulation between Center and Spread. Moving the slider to the
left increases the amount of modulation applied to Center, moving the slider to the right
increases the amount of modulation applied to Spread. In center position, the same amount of
modulation is applied to both Center and Spread.
• Invert: Swaps the position of the peaks and notches in the frequency spectrum by inverting the
effect signal.
crossfade.
Psyche Delay
Psyche Delay is a stereo delay effect that produces a range of atmospheric ambient echoes and
reverse effects reminiscent of the so-called backwards tape sound of the 1960s.
EFFECT PAGE 41

name.
• Time: Adjusts the delay time. When Sync is activated, Time is set in note lengths relative to the
• Sync mode: Activates synchronization of Time to the musical tempo of the DAW. Three
• L/R Offset: Enhances the stereo image of the delay by adding a timing offset between the left
and right channels.
• Reverse: Reverses the playback of subsequent delay repeats.
• Stereo Reverse: Removes the reverse effect from the right stereo channel, thus only delay
repeats on the left channel are reversed.
• Detune: Adjusts the pitch of the echo repeats on the left stereo channel in the range of
-50 to +50 cents. Combined with feedback and cross-feedback you can use this to create
progressively detuned echo cascades.
• Stereo Detune: Applies the detune effect to both the left and right stereo channel.
• Feedback: Adjusts the amount of feedback. Turning Feedback to the right increases the
amount of delay repetitions.
• Cross FB: Adjusts the amount of cross-feedback, which feeds the left channel output back into
the right channel input and vice versa.
• Pitch: Adjusts the pitch of the echo repeats in the range of -12 to +12 semitones. Combined
with feedback you can use this to create progressively harmonized echo cascades.
• Mix: Blends between the input signal and the effect signal.
Ring Modulator
Ring Modulator is an effect based on ring modulation, a special type of amplitude modulation. It
produces sidebands in the frequency spectrum that break up the harmonic structure of the sound
and give it a metallic sounding character. When using a low-frequency modulation signal, you can
achieve tremolo effects. Additionally, the FM control enables you to apply phase modulation to the
input signal (FM).
EFFECT PAGE 42

name.
• Fast Mode: Switches between two frequency ranges for the internal modulation oscillator.
When activated, the effect produces sidebands in the frequency spectrum. When deactivated, it
produces tremolo effects.
• Sine/Square: Switches the LFO’s waveform between sine and square, producing either soft or
sudden changes of the internal modulation oscillator’s frequency.
• Ring: Adjusts the amount of ring modulation applied to the input signal using the internal
modulation oscillator.
• FM: Adjusts the amount of phase modulation applied to the input signal using the internal
modulation oscillator.
• Freq: Adjusts the frequency of the internal modulation oscillator, effectively moving the
sidebands in the frequency spectrum. The frequency range depends on the setting of the Fast
Mode switch.
• Amount: Adjusts the amount of modulation applied to the frequency of the internal modulation
oscillator using the LFO.
• Rate: Adjusts the frequency of the LFO that can be used to apply modulation to the frequency
of the internal modulation oscillator. To synchronize the rate to your host or Master Editor
tempo, click the Rate parameter’s unit display and choose a note length value from the drop-
down list.
• Sync mode selector: Selects between four modes that determine the behavior of the Rate
control. You can select the mode by clicking the left and right arrows next to the mode name, or
open the drop-down menu by clicking the mode name.
• Straight: The value can be adjusted in even note divisions (1/16, 1/8, 1/4, etc.) relative to the
• Dotted: The value can be adjusted in dotted note divisions (1/16d, 1/8d, 1/4d, etc.) relative
• Triplets: The value can be adjusted in triplet note divisions (1/16t, 1/8t, 1/4t, etc.) relative to
• Edge: Changes the waveform of the internal modulation oscillator. Turning the control to the
right adds harmonics, resulting in a more aggressive sound of the ring modulation.
EFFECT PAGE 43
Rotator
Rotator realistically simulates the sound of rotating speaker cabinets, which are commonly
associated with drawbar organs that became popular in rock music of the 60s and 70s.

name.
• Speed: Although this parameter appears as a knob in order to facilitate automating, it really
only has 2 positions — Slow and Fast. A change of this setting realistically simulates the
acceleration or braking of the rotor.
• Distance: Controls the simulated distance between the cabinet and the pickup microphones. A
closer distance results in a wider stereo panorama.
• Acc Bass: Adjusts how quickly the rotor of the bass part of the cabinet will react to speed
changes.
• Acc Treble: Adjusts how quickly the rotor of the treble part of the cabinet will react to speed
changes.
• Balance: Controls the relative levels of the cabinet’s treble and bass parts.
• Wet: Adjusts the level of the effect signal.
Saturator
Saturator allows you to recreate the effect of tape saturation, which increases the loudness of your
signal and adds harmonic content.

EFFECT PAGE 44
name.
• Saturation: Adjusts the gain, which increases the intensity of the saturation effect.
Skreamer
Skreamer is a warm and smooth overdrive effect.

name.
• Tone: Controls the brightness of the sound. Turning this knob clockwise will result in a more
pronounced top-end, which works great on bright, screaming leads and biting rhythms. Turning
it counter-clockwise results in a mellower, darker sound.
• Drive: Adjusts the amount of distortion.
• Bass: Adjusts the low frequency gain.
• Bright: Adjusts the high frequency gain.
• Clean: Blends clean signal into the distorted tone. At 0.0 %, only the distorted signal is audible,
while at 100.0 %, equal amounts of distorted and clean signal are mixed.
Stereo Modeler
Stereo Modeler allows you to control stereo width of your signal, change the panning, and create a
pseudo-stereo signal from mono sources.
EFFECT PAGE 45

name.
• Pseudo Stereo: When activated, the module uses a pseudo-stereo algorithm to create a stereo
signal from a mono source. This feature should only be used with mono signals and tends to
create mono-incompatible sounds, which can disappear from a mix when it’s being played back
in mono.
• Spread: Reduces or expands the signal’s stereo base. Turning the knob far left, will sum the
stereo signals to mono. Turning the knob right to produce positive values will result in an
artificial widening of stereo sources.
• Pan: This control allows you to place your signal within the stereo field. It works exactly like the
Pan control of the Amplifier module.
Stereo Tune
Stereo Tune is a widening effect. It produces a wide and lively stereo image.

name.
• Spread: Adjusts the stereo width from mono to full stereo.
• Drift: Adjusts stereo detuning of the input signal. The left and right stereo channels are tuned at
different frequencies to create a wide stereo image.
EFFECT PAGE 46
• Split: Adjusts the crossover frequency of the effect. Frequency content below this frequency
remains unaltered.
• Mix: Blends between the input signal and the effect signal. When the knob is turned fully left,
only the dry input signal is heard.
Suitcase
Suitcase uses impulse responses to model the sound of the speakers found in three generations of
the keyboard suitcase cabinet.

name.
• Mix: Adjusts the mix between the original and the processed signals.
• Cabinet selector: Selects one of three different versions of the suitcase cabinet, Sixties,
Seventies, and Eighties. You can select a cabinet by clicking on the left and right arrows,
or open the drop-down menu by clicking on the name.
• Microphone selector: Selects between Dynamic, Condenser, and Ribbon microphone types for
the cabinet recording. You can select a microphone type by clicking on the left and right arrows,
or open the drop-down menu by clicking on the name.
• Microphone position: Switches between two different microphone positions for the cabinet
recording, either at the center of the speaker or at its edge.
Super Charger
Super Charger offers high-end tube compression emulation, inspired by boutique hardware. It is a
particularly musical compressor, with different flavors of saturation and spectral shaping that allow
you to apply subtle harmonic and spatial enhancement as well as heavy and aggressive tube drive.
EFFECT PAGE 47

name.
• Input: Adjusts the input gain to the compressor in dB. The ideal setting of the Input is indicated
by the Input Level Meter.
• Saturation Mode: Selects from three modes (Mild, Moderate, Hot) that determine the type
of Saturation applied to the signal. Mild mode adds coloration to the signal whilst retaining
a clean sound. Moderate mode adds more noticeable harmonics, and Hot mode applies
maximum saturation and produces audible distortion.
• Saturate: Applies saturation to the signal. Turn the control right to apply more saturation to the
signal. The type of saturation is determined by the selected Saturation Mode.
• Compress: Determines the amount of compression applied to the input signal. The higher the
value, the more compression is applied to the input signal.
• Attack: Determines how fast the compressor reacts to incoming signals. Increasing this
parameter will add more punch and decreasing it will reduce sharp attacks.
• Release: Adjusts the length of compressor's Release phase, which determines how long it
takes for the compression to stop after the input signal falls below the Threshold level. Typical
values range from 50 to 250 ms.
• Mix: Controls the dry/wet mix of the compressor. This can be used to create a parallel
compression style routing, which increases the quieter signals rather than reducing the louder
ones. When the Mix control is set to 0%, only the uncompressed (dry) signal will be heard, and
at 100%, only the compressed signal will be heard. Settings between the 0% and 100% are a
mix of both signals.
Tape
Tape emulates the sound of analog tape machines, characterized by wow and flutter, saturation,
noise, and a limited high-frequency response. You can use it to apply classic lo-fi effects,
particularly when playing sustained notes, pads and melodies.
Tape contains the following controls:
EFFECT PAGE 48

name.
• Gate: Toggles the noise gate on or off. When enabled it will remove low level tape hiss noise
one second after receiving the last input signal.
• Scrape: Adjusts the amount of high-frequency scraping, which occurs when the tape vibrates
as it passes over the playback head.
• Wow: Adjusts the amount of wow, a slow fluctuation in pitch caused by sticky tape and
worn-out tape transport.
• Speed: Adjusts the rate of the wow and flutter modulation.
• Saturate: Adjusts the amount of tape saturation from a clean sound to overdrive.
• Age: Enhances the characteristics of an aging tape by reducing high-frequency content and
introducing tape hiss.
• Flutter: Adjusts the amount of flutter, a fast fluctuation in pitch caused by a bent capstans and
faulty motor parts.
• Stereo: Adjusts the stereo width of Wow and Flutter by adding a phase offset to the modulation
applied to the the left and right stereo channels.
crossfade.
Transient Shaper
Transient Shaper controls the attack and sustain of a sound. Instead of following the amplitude
of the sound like a traditional compressor, it follows the general envelope and is thus not as
susceptible to changes of input gain. It is best used on sounds with fast attacks, like percussion,
pianos or guitars.
EFFECT PAGE 49

name.
• Smooth: Transient Master is designed mainly to work on drums or percussive material, so
certain input signals (for example: an acoustic guitar) may not work ideally in the default mode,
so try switching this button on if you are encountering problems.
• Input: Controls the input gain to the effect.
• Attack: Adjusts the scaling of the attack portion of the input signal’s volume envelope. Turning
the knob right (0% to 100%) will add more punch, and turning the knob left (0% to -100%) will
reduce sharp attacks.
• Sustain: Controls the scaling of the sustain portion of the input signal’s volume envelope.
Increasing this parameter will add more body to the sound and decreasing it will reduce the
sound’s tail.
Twang Amp
Twang Amp simulates the rich tube sound of classic guitar amps.

name.
• Bright: A tonal option which increases the high frequency content of the signal.
• Mid: Adjusts the mid-frequency response.
• Volume: Controls the input level. In contrast to the Output knob, which merely adjusts the
overall level of the module, this knob works like the gain control of a guitar amp and affects the
amount of distortion.
EFFECT PAGE 50
Vibrato
Vibrato/Chorus models the sound of the vibrato and chorus effects found on a classic electric
organ. The effects were originally produced by an innovative circuit that combined electronic and
mechanical components, producing an incredibly rich sound.

name.
• Depth: Selects one of six modes that determine the intensity of the effect. The intensity
increases with every mode from top to bottom. Modes 4, 5, and 6 require more processing
power. You can select a mode by clicking on the left and right arrows, or open the drop-down
menu by clicking on the name.
• Color: Selects one of three different modes that determine the basic sound character of the
effect. Each mode has a distinct frequency response and different flavor of modulation. You
can select a mode by clicking on the left and right arrows, or open the drop-down menu by
clicking on the name.
• Rate: Adjusts the frequency of the modulation. When Sync is activated, Rate is set in note
lengths relative to the tempo of the Metronome.
• Blend: Blends between the vibrato and the chorus effect.
• Width: Adjusts the width of the stereo widening effect.
• Mix: Blends between the input signal and the effect signal.
Wah
Wah models the sound of the most popular wah-wah pedal of all time. The wah-wah is a classic
filter effect that moves a resonant filter peak in the frequency spectrum. The Auto Wah and LFO
enable you to modulate the wah-wah effect for lively sound effects.
EFFECT PAGE 51

name.
• Pedal: The pedal control is used to control the wah-wah frequency. Decreasing the value will
lower the frequency and increasing the value will raise the frequency.
• Auto Wah: Activates an envelope follower that modulates the wah-wah frequency according to
the level contour of the input signal.
• Attack: Adjusts the attack time of the envelope follower that can be activated using Auto Wah.
• Release: Adjusts the release time of the envelope follower that can be activated using Auto
Wah.
• LFO: Activates a low-frequency oscillator that modulates the wah-wah frequency periodically.
• Retrigger: Activates retriggering of the LFO modulation applied to the wah-wah effect.
Retriggering will cause the LFO waveform to restart every time a note is played.
• Intensity: Adjusts the amount of LFO modulation applied to the wah-wah effect.
• Sync mode: Activates synchronization of Speed to the musical tempo of the DAW. Three
• Speed: Adjusts the rate of the LFO modulation applied to the wah-wah effect.
• Waveform selector: You can select a waveform by clicking on the left and right arrows, or open
the drop-down menu by clicking on the name.
SETTINGS PAGE 52
9. Settings page
The Settings page lets you adjust tuning, response, and MIDI control settings for your instrument.
▶ Click the nut icon at the top right of the instrument to open the Settings page.
The Settings page includes various panels, which you can select by clicking the Tuning, Response,
and MIDI / Macro tabs on the left:
The following sections describe the controls found on each of these panels.
Tuning panel
The Tuning panel of the Settings page provides the following controls:
• Tuning: Switches the tuning system (or temperament) of the instrument between Stretched
(default setting) and Equal. Stretched tuning accommodates the natural “inharmonicity” of
metal tone generators, which stretch harmonics beyond the tone generators’ ideal frequencies.
Therefore, to make the instrument sound more harmonically pleasing (or “musical“), higher
notes are stretched upwards. You can otherwise switch to Equal temperament, which is the
most common tuning system used in Western music.
• Reference Pitch: Adjusts the instrument’s basic pitch, from 436 Hz to 444 Hz.
• Detune: Slightly detunes each key differently. At full left, the keyboard is perfectly tuned. The
further you drag the slider to the right, the more the keys will go out of tune.
SETTINGS PAGE 53
Response panel
The Response panel of the Settings page provides the following controls:
• Extended Range: Extends the key range from 73 to 88 keys. The original piano had 73 keys.
Activating the Extended Range button adds keys in the lower and upper ends so that you can
play your instrument with every key of a full-size keyboard.
• Smart Round Robin: Activates or deactivates Smart Round Robin. The Smart Round Robin
feature keeps track of which sample was played, and when. If the same sample is triggered
twice in a short time, another sample will be used instead to give the notes realistic variations
and avoid unpleasant “machine-like” note repetitions.
• Silent Key: Activates or deactivates Silent Key. When activated, a velocity of 1 does not trigger
a sound, similar to how softly pressing a key on a piano lifts the damper without the hammer
hitting the string. The overtone samples for sympathetic resonance of the strings will still
sound.
• Repedal: Enables playing sustained notes using the sustain pedal after the key has already
been released. This emulates the behavior of a real piano when releasing a key, especially in the
lower octaves: the string keeps vibrating after a key is released, and pressing the sustain pedal
will make the string continue to sustain at a softer volume.
• Half-Pedal: Enables the use of a continuous sustain pedal for half-pedaling, making the release
time and the amount of string resonance depend on the position of the sustain pedal similar
to a real piano. When Half-Pedal is deactivates, a continuous sustain pedal will behave like an
on/off switch.
• Animations: Switches the animated graphics in the user interface on or off.
In contrast to the common round robin function found in other instruments, the Smart
Round Robin feature delivers the exact same performance when played back from a
recording and does not alternate between samples with every note-on event: It only
comes into effect when repetitions are actually played.
SETTINGS PAGE 54
MIDI / Macro panel

The MIDI / Macro panel of the Settings page provides the following controls:
• Velocity Curve: Selects from a list of velocity curves in order to customize the instrument’s
velocity response to your keyboard and your way of playing. The graph below the menu
illustrates the selected curve: the horizontal axis represents how hard you hit the keys, the
vertical axis represents the resulting velocities on the instrument. By clicking and dragging the
points in the graph you can create custom velocity curves.
• Pitch Bend Range: Selects the pitch range available on the Pitchbend wheel, in semitones.
• Controller controls: Let you configure MIDI remote control for the Macros.
• Target menu: Selects the Macro 1–8 for which you want to create, modify or remove the
MIDI assignment. The closed menu shows the selected Macro. You can click the menu and
select another Macro from the list, or click the little left/right arrows to select the previous/
next Macro.
• Source menu: Selects the MIDI CC number that you want to use for the Macro displayed in
the Target menu on the left. The closed menu shows the selected MIDI CC number. You can
click the menu and select another MIDI CC number from the list, or click the little left/right
arrows to select the previous/next MIDI CC number. Selecting Unassigned (topmost entry,
selected by default) removes the MIDI assignment: this is the same as clicking the Remove
button on the right.
• Learn: Activates or deactivates MIDI Learn: Instead of using the Source menu on the left,
you can click Learn and quickly select a MIDI CC number by touching/moving the desired
control element on your MIDI device. Upon your action, the Source menu on the left is
automatically updated to show the new MIDI CC number, and the Learn button turns back
off.
• Remove: Removes the MIDI assignment for the Macro displayed in the Target menu at the
far left. The Source menu on the left automatically switches to Unassigned.
You can also assign MIDI controls to instrument parameters by using MIDI Learn from
the Automation tab in Kontakt’s Side Pane.
MACROS 55
10. Macros
Macros are shortcuts to parameters from the Instrument and Effect pages. You can have up to
eight Macros, which are always visible at the bottom of the instrument. Macros are saved in the
instrument presets together with all the other instrument parameters.
Macro basics
Adjusting a Macro knob is the same as adjusting the knob or slider of its target parameter. Macros
allow you to gather a set of parameters from different locations in your instruments and have this
set always available at the bottom of the instrument window.
The Macros also make up the Performance view on your Kontrol S-Series MK3
keyboard, providing direct access to the most important parameters.
Depending on their target parameter, Macros can additionally provide a little On/Off switch at the
top left that activates or deactivates the corresponding feature:
When you hover a Macro with the mouse, a little Show Target button appears at the top right
showing an arrow pointing to a dot:
You can click this Show Target button to jump to the page or effect containing the target
parameter.
Editing Macros
You can modify the Macros to fit your needs. This is done by switching the Macros to Macro Edit
mode:
MACROS 56
1. Click INSTRUMENT or FX in the top right corner of the instrument to show the Instrument or
Effect page.
2. At the bottom right of the instrument, click the Macro Edit button (showing a pencil) to switch it
on and enter Macro Edit mode.
→ The Macros switch to Macro Edit mode:
In Macro Edit mode, each Macro provides the following additional elements:
1. Color dot: Each Macro has a dedicated color. When a Macro is assigned to a parameter, the
same Color dot appears next to that parameter. If you cannot find it, click the Show Target
button to jump to the right location. You can quickly assign or reassign the Macro by clicking
its Color dot (it gets highlighted), navigating to the page or effect containing the desired target
parameter, and clicking that parameter. Every parameter that can be a target shows a white
dot (parameter not assigned) or a color dot (parameter already assigned) next to it as long as
the Macro Edit mode is active. For more information on which parameters can be targets for
the Macros, refer to Available target parameters.
2. Show Target button: Jumps to the page or effect containing the target parameter. This button
is also visible by default when you hover the Macro with the mouse. In Macro Edit mode it is
always visible to quickly switch between locations as needed.
3. Remove Macro button: Removes the assignment for that Macro. When you click the Remove
Macro button, the Macro knob disappears along with the Show Target and Remove Macro
buttons. Only the Color dot remains, which will later allow you to reassign this Macro.
Parameters can be assigned to only one Macro at a time: If you assign a Macro to a
parameter, any Macro previously assigned to this parameter will be removed.
Available target parameters

The following parameters can be targets for the Macros:
• Instrument page: all continuous parameters, except the four knobs in the mixer details of the
Sources section.
MACROS 57
• Effect page:
• Preamp module: All continuous parameters.
• Creative effects: Only the Macro knob found in every effect can be set as target, however
this Macro knob can in turn control other parameters of the effect. For more information,
refer to .Controlling parameters in creative effects .
• Post-processing effects (Compressor, EQ, Reverb, and Delay): All continuous parameters,
except the Output slider in the Compressor and EQ modules.
For more information on the preamplification, creative, and post-processing effects,

refer to Signal Flow.
Controlling parameters in creative effects

Creative effects provide one Macro knob dedicated to Macro assignments. It is their only
parameter that can be assigned as target of a Macro. In turn, the Macro knob can itself modulate
other parameters in its effect. In the end, through this two-step process Macros can indeed control
one or more parameters in any creative effect.
In a creative effect, any continuous control (slider or knob) that can be assigned to the Macro knob
will have a modulation icon showing two little up and down arrows nearby:
▶ To modulate a control using the Macro knob, click the modulation icon near the control and
drag your mouse vertically. The further you drag your mouse, the stronger the Macro knob will
affect that parameter value.
You can modulate multiple parameters of the same effect simultaneously and with different
modulation strengths.
The Macro knob affects the parameter values relatively to their original position, in other words,
adjusting the Macro knob or the Macro it is assigned to will modulate the parameter value in
a range based on its original value. The modulation is bipolar: If you drag the modulation icon
upwards, the modulation range will extend above the slider or knob position; if you drag the icon
downwards, the modulation range will extend below the slider or knob position.
When a parameter is modulated by the Macro knob:
• A small dot shows the current position set by the Macro knob.
• The thicker part of the slider’s span or knob’s ring indicates the modulation range.
▶ To stop modulating a control via the Macro knob, [Ctrl]-click (on Windows) or [Cmd]-click (on
Mac) the modulation icon near that control.
→ The control is released from the modulation and the visual indications of the modulation
disappear.
CREDITS 58
11. Credits
Created by: Alicia Keys, Ann Mincieli
Produced by: Ann Mincieli and Galaxy Instruments for Native Instruments
Product Design: Galaxy Instruments, Tolga Özdemir, Francesco Sabatini, Efflam Le Bivic
Kontakt Development: Achim Reinhardt
NUI Development: Clement Destephen, Lizzie Davis, Till Weinrich
User Interface Design: Kate Lindsay
Artwork: Kate Lindsay, Alfredo Maddaluno, Ivana Verze
Product Management: Ilay Bal Arslan
Sample Recording: Stephan Lembke, Achim Reinhardt
Sample Post Production: Uli Baronowsky, Stephan Lembke, Leon Roggenkamp, Nola Ewoti
DSP and Preamp Modelling: Ziga Rezar, Frederik Blang, Eddie Mond
Preset Design: Ann Mincieli, Kez Khou, Brendan Morawski, Uli Baronowsky, Achim Reinhardt, Nola
Ewoti, Tommaso De Donatis, Sebastian Müller, Antonio de Spirt, Jamil Samad, Rachel Alix, Justin
Bandy, Weston Fletcher
Quality Assurance and Finalization: Elad Twito, Matteo Melchiori
Marketing: Samuel Hora, Lucy Crouch, Maik Siemer, Alastair Oloo, Bomo Piri, Ervin Reszler
Artist Relations: Dave Godowsky
Documentation: Nicolas Sidi, Jan Ola Korte

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Alicia's Electric Keys Manual

2. Welcome to Alicia's Electric Keys .................................................................................... 2

3. Installation and setup .................................................................................................... 3

4. Alicia's Electric Keys overview ........................................................................................ 4

5. Preset Browser ............................................................................................................. 6

7. Instrument page ......................................................................................................... 11

8. Effect page ................................................................................................................ 17

9. Settings page ............................................................................................................. 52

10. Macros .................................................................................................................... 55

11. Credits .................................................................................................................... 58

2. Welcome to Alicia's Electric Keys

The following three icons denote special types of information:

The information icon highlights essential information in a given context.

3. Installation and setup

Installing Alicia's Electric Keys using Native Access

→ The software is installed automatically.

Loading Alicia's Electric Keys in Kontakt

4. Alicia's Electric Keys overview

The Preset Browser follows this typical workflow:

→ The loaded Snapshot is displayed in the instrument header.

Saving a User Snapshot

2. Click the Save button (floppy disk icon).

Deleting a User Snapshot

The Instrument page is split into four sections:

Sources: mixer details

The Effect page contains two main areas:

The Signal Flow provides the following elements and actions:

Moving creative effects

Effect Chain Browser

The Effect Chain Browser follows the usual workflow:

The Effect Browser follows the usual workflow:

For a description of the available effects, refer to Effect modules.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

Hot Solo Amp

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.

• On/Off: Turns the effect on or off.