(Expressive E’s) Osmose Interfacing &

EaganMatrix Preset Programming Cookbook

Version 1.18
Supports Osmose firmware 1.13 (9/20/2023), Haken Firmware 10.09

(Update – 11/13/2023 3:51 PM)

See EaganMatrix Cookbook for Additional EaganMatrix Fundamentals Information
(Note: Can Not Guarantee everything is 100% correct but this has information you
will not find anywhere else)

R. Kram
 Credits
Continuum Fingerboard, Continuum, ContinuuMini, Haken Continuum, Haken ContinuuMini, Haken, and EaganMatrix
are trademarks (TM) of Haken Audio.

Eagan Instruments, Eagan Sounds, and Eagan are trademarks (TM) of Edmund Eagan.

All other trademarks are property of their respective owners. Mention of other manufacturers’ products in this manual is
not intended as an endorsement. They are used as examples that could easily include a wide variety of other products.

Osmose Preset Programming Credits: Other Information Sources:

• Osmose Online Manual - Available through Expressive E Site
Osmose System Preset Authors:
•
• Continuum User’s Manual - Available through Haken Audio Site
G. Bonneau • E. Eagan
• J. Cautru • T. Gallienne • EaganMatrix User’s Manual - Available through Haken Audio Site
• C. Duquesne • S. Gulluni • Pitch Table Editor - Available through Haken Audio Site
• Continuum Interfacing Cookbook - Available through Haken Audio Site
• EaganMatrix Cookbook - Available through Haken Audio Site

Information Links:
Osmose Online Manual - Help Center (happyfox.com)
Editor, Firmware, and User Guides — Haken Audio

© Copyright 2023, R. Kram, Additional Information: © Copyright 2023 Expressive E, © Copyright 2023, Haken Audio 2
•
•
Cookbook Acronyms and Shorthands
Cookbook Example Shorthand Formula Notations Table of Contents (Linked) - 1 • Recording and Playing Back on Osmose in Cubase
• Scaled vs Offset Terminology in the Cookbook • Playing SWAM Instruments from Osmose Device
• Osmose HW Interfacing • Playing Multiple EaganMatrix Instruments in Real Time from Notation Program (or DAW)
• Osmose Current Firmware Update and Features/Fixes • Syncing Osmose Arpeggiator to Ableton Midi Clock and DIN Clock Input
• OSMOSE Hardware • Using Kontakt Non-MPE Libraries in MPE Mode (also with Ableton)
• Osmose Menus (Sound Engine & Global)
• Osmose Menus (Ext Midi) • Haken Editor & Tools Summaries
• Using Pedals with Osmose • How to Read Haken Editor
• Sound Engine Pressure Sensitivity Comparison • Top Level Haken Editor Functions (1) – Basic Overview
• Connecting Osmose and Haken Continuum-Based Instruments • Top Level Haken Editor Functions (2) – Control Panels & Graphs
• Osmose Connection to CVC • Haken Editor Control Text - Macro Controllers & Search Functions
• Arturia BeatStep and BeatStep Pro Configuration • Using the Pitch Table Editor (PTE) to Modify Tunings
• Playing Osmose (EaganMatrix Presets) from an External Controller • Loading PTE Table Files into Osmose Through PTE & Haken Editor
• Using Breath Controllers to Control Osmose Sound Engine without Computer • Loading Scala Files into Custom Tuning Grids on Osmose
• Arturia Beatstep Osmose Configuration • Pitch table Editor (PTE) Fundamentals
• Using Linnstrument with OSMOSE • PTE Scala file Format
• Connecting Osmose With USB Devices through USB Midi Host (1) • Transposing Presets Using the Editor
• Connecting USB Midi Hosts to Directly to Osmose (2) • Accessing User Presets in the Editor
• Playing Bluetooth Apps through CME WIDI Master or Widi Jack • Using Splits
• Connecting Osmose and Continuum-Based Instruments over CME Wireless Bluetooth Connections • Layering Presets with EaganMatrix Module & VCV Rack2 HC-1 App
• Connecting USB Midi Controllers Using iConnectivity MIO XM/XL
• Connecting Roli Rise to Osmose • EaganMatrix Fundamentals (See Note on Turning Down Gain & Not Wearing Headphones)
• Connecting Roli Light Block as CC Controller to Osmose • How to Read EaganMatrix
• Using Kenton Killamix Mini USB Controller in Editor and Stand-Alone • Formula Basics In Relation to Osmose Keyboard (X, Y, Z)
• Synthron Deluge Control of Osmose • How to Read the EaganMatrix (Details)
• Interfacing to iPhone/iPad and App • EaganMatrix Features/Options Summary
• Interfacing Osmose to ASM Hydrasynth (over Midi DIN) • Numeric Constants
• Interfacing to OB6 Sequencer • W Formula Constants
• Adding Additional Pedal Controls using DOREMidi Pedal Adapter • Seemingly Missing Macro Controllers in Osmose System Presets – How to Find them
• Osmose SW Interfacing • W, X, Y, Z Formulas
• Osmose MPE MIDI Polyphony & Priority Modes • Scaling Options
• Osmose Haken (port 2) MPE output vs. External Midi Mode Output (port1) • Haken Editor Control Text - Macro Controller and Search Category Definitions
• Osmose DIN Midi Mode Output • EaganMatrix Preset Cookbook Info (Link to a Cookbook like this one)
• Osmose Mono Glide Mode (Pressure weighted Portamento)
• Changing Osmose Presets Over Midi • EaganMatrix Component Specifics (Harmonic Spectrum Graphs for Study)
• Commonly Used EaganMatrix Midi CCs • EaganMatrix Oscillator Harmonic Content Comparison
• Osmose External Midi Modes • EaganMatrix IDSF OSC Harmonic Content vs. Waveform
• Recording a Pressure Weighted Portamento Solo with Desired Midi Pitch Bend • EaganMatrix Integrated OSC Harmonic Content vs. Waveform
• Recording Osmose in Ableton Live 11 for MPE Playback to the Osmose • EaganMatrix Filter Shapes on Noise Input (Low Pass & High Pass)
• Recording Osmose in PreSonus Studio One for MPE Playback to the Osmose • EaganMatrix Filter Shapes on Noise Input (Single Pole Filters)
• Recording with Logic Pro • EaganMatrix Filter Shapes on Noise Input (Shelving Filters)
• Osmose and Midi Velocity • EaganMatrix Filter Shapes on Noise Input (Band Pass and Band Reject)
• BiqBank Harmonic Shapes – 8 Modes 3
• Using Cubase 11 or Later with Omnisphere
• BiqGraph (8 nodes) Harmonics
 Table of Contents (Linked) - 2
• Osmose Specific EaganMatrix Programming Considerations • Mute & Damping Effects
• Set Osmose to “usb haken mode” to Connect to Haken Editor • Release
• CVC Presets - Set Osmose Midi I/O din mode • Resonance
• Running the Haken Editor • Structure
• Editor and Osmose Synchronization • Tape
• Osmose Z Pressure and Y Aftertouch Operation • Timbre
• Osmose X, Y & Z Usage – Common Techniques (1) • Tone & Brightness
• Y+Z Scaling • Tremolo
• W * (Y+Z) Scaling • Vibrato (1, 2)
• Osmose Programming Tutorial #1a • Vibrato (3)
• Osmose Programming Tutorial #1b – Deep Dive
• Osmose Programming Tutorial #1c – Deeper Dive • Osmose System Preset Specific Programming Techniques
• Osmose Y & Z Usage – Common Techniques (2) • SG-Based Attack Profiles on Inputs or Outputs for Attack / Shaping Articulations
• Adjusting Presets Better Vibrato Control in Pressure Area Using Y-Hysteresis • Adding SG-Based Envelopes to Create a More Complex Shape
• Creating an Amplitude (Envelope) Follower with SG Phase from Input • Adding Z-Scaled Envelope Attack on Outputs
• Midi Clock Support • Trigger SG-based Function on Key Release (Key Lift) and “noteOff” Macro Controllers
• Programming Osmose Gestures • Complex Multi-Ancillary Based Envelopes Simulating ADSR Functions
• Tap • Detuning Wavebank Oscillators with Z + Y Control
• Press • Using Kinetic Bank As a “Classic” Filter
• Tap + Press • Osmose & ADSR Envelopes Using Uni-Polar SGs
• Pitch (Vibrato) • Creating ADSR in EaganMatrix – One Method
• Aftertouch
• Shake • Special Programming Techniques Borrowed from Continuum
• Strum • Programming EaganMatrix Touch Area on Osmose – Simple Use Case
• Press Glide • Using a BiqGraph to Simulate a Custom (arbitrary Function) Envelope Shape
• Note Off
• Osmose System Preset Analysis (Link Table)
• Osmose Preset Macro Controller Based Standard Effects & Building Blocks • Appendices
• Common Standard Osmose EaganMatrix Effects Controlled by Macro Control • Template Components (for adding additional preset analyses)
• Body (convolution) • Additional (Simplified) Preset Block Diagrams
• Bow/Bowing • Osmose 10.09 System Presets with Categories & Filters
• Chorus Effects • Osmose Preset Midi Access Codes
• Cutoff Filter Envelope Control • Osmose Preset Categories & Program Change Codes
• Delay • Osmose Preset Concordance
• Drive Effects • Transposed Presets in 10.09 (likely some are errors)
• Harmonics & Ratio Control • Glide Setup on Osmose vs. Editor “Mono Mode-Portamento” vs. Setting with Midi
4
 Table of Content 3 - Osmose Presets Analyzed (Linked)

Presets Analyzed (more will be added over time)

• abyss lands • balloon from hanoi • classicana lead • larekin • scarlet

• acid bass • bandrive paradise • CVC 4 Voices • lytiny • sentimental mood
• akouskop • banjoy • delight lead • marie s birds • shakepad
• acuitar • bansuri • duo cello • metarmonix • simple anakey1
• aerials • bass distosine • electric bass 1 • mild kisses • sinefeel
• after the rain • bass monster • electric keys 1 • montine • smooth mouth
• alacloud • bazikey • elsynkey • neon key • smooth operator
• alenvers • bella fm • flute traverse • notenstrum • sweet rice
• algo call • beyond felt • flutimut • oblivion • tabec
• altersaw • biquide hang • fm dreampiano • octalive drum • tale of feathers
• analog scream • biquige bell • fourad • osf dsf • terjintro
• anareed • bird whistler • grains pluck • pad organ • th x
• anatolian pad • bits organ • grandmas garden • petit carillion • theo s bicycles
• aplassian • blasiz • gypsy kinetar • podracer • tine
• aqueous feel • bleached organ • hybrid strings • polysynthetix • tubular bell
• arcadiapan • blipkrieg • hyoshigi • pulzz • under the weather
• archer • bouncing spray • insert coins • quiet carriers • upibanks
• astrial titans • bowreal lights • jupinard • radioactive zone • vollaggio
• azure key • brassy • jupipad • random trigger • vorgaphone
• bacteria • brave fields • kinetic bowed FDN • replicants dreans • walking elephants
• badratios bell • canyon steel • klavunk • ringmod harmonica • wallface
• balafun • classicana key • lalalead • rusty square • wood organ
• lampadaire • rusty bass • zapzap
• zenpercs

5
 Cookbook Acronyms and Shorthands
The following shortcuts and abbreviations are used to optimize presentation. Some of these are standard Haken Editor and EaganMatrix abbreviations.
Some are unique to this Cookbook.
i, ii, iii, iv, v, vi – Macro Controller specification L/R – Left and Right outputs to be mixed into SL/SR
1sLP n – Single Pole Low Pass Filter (n = OSC/Filter column number) Matrix – EaganMatrix
8va – Octave up ms – milliseconds (400ms for delay, etc.)
8vb – Octave down Mod - Modulation or Modulates in some way
Amp - Amplitude ModMan – Modal Manipulator
AP n – All Pass Filter (n = OSC/Filter column number) MS - Master Section
B, BW – Bandwidth for filter Mult – Signal Multiplier
BiqBank – BiQuad filter bank (N) or (N&N) – Denotes formula N, (S), (O & R), etc.
BiQuad – Bi-quadratic filter nn – (Midi) Note Number
BP n – Band Pass Filter (n = OSC/Filter column number) Off - Offset
BR n – Band Reject (Notch) Filter (n = OSC/Filter column number) OSC n – Oscillator (n = OSC/Filter column number)
env - Envelope Quant - Quantized
FB - Feedback qB – Quadratic Bandwidth Spread (for BiQuads)
FMod - Frequency modulation sA – Mode Amplitude Spread (for BiQuads)
Fn (Cn) - Cascade - Example: LP 4 (C4) – Low Pass Filter 4, Cascade 4 sB – Bandwidth Spread (for BiQuads)
Freq - Frequency sF – Mode Frequency Spread (for BiQuads)
Harm - Harmonics SpB, SpBal - Spectral Balance
HarMan – Harmonic Manipulator S&H – Sample and Hold
HP n – High Pass Filter (n = OSC/Filter column number) SGn – Shape Generator (n = SG number)
Hz – Hertz (cycles per second) SL/SR – Stereo Left and Right outputs to Master section
I – Interpolation index for ModMan, HarMan sLP n – Shelving Low Pass Filter (n = OSC/Filter column number)
Interp - Interpolation Tn - Tap Number
IOSC n – Integrated OSC (n = OSC/Filter column number) 8va, 8vb - Octave up, Octave Down
jOSC - Jenny Oscillator ( denotes connection to primary) Var - Variable
kHz – Kilo Hertz Vib - Vibrato
LFO – Low Frequency Oscillator (created with SG) w/ - with
LP n – Low Pass Filter (n = OSC/Filter column number) XMod - Cross Modulation (used here when two OSCs modulate each other)
6
 Cookbook Example Shorthand Formula Notations
Many formulas are shortened/reduced to only present the elements used to allow This formula:
for more space to be utilized for analysis. For example, the following formula has zero
value for X and Z, but does specify an Ancillary formula that is not the default (f x 1)
and has no Blend defined.

Can be reduced to this in terms of functional operation.

Note the Ancillary portion is
included here because it is not the
default “(f x1) x1” with default
In this case the Cookbook might use the following shorthand that fully describes Persistence Off and Interpolation =
the formula but leaves out things that are not affecting it. Also, the Paste control 40 (in which case it would have
sometimes is removed which has no bearing on the value of the formula. been deleted)
Also, a formula not using W the Cookbook:

In a similar vein, the following formula that only has a W component defined:
Can be reduced to simply this:

If only one component in

blend changes the
secondary can be shown
like this:
Can be reduced to this in terms of And if there is anything but a default
functional operation. Ancillary, function that will be added: Also a Secondary Blend formula can be reduced to only those components that change:

7
 Scaled vs Offset Terminology in the Cookbook
The cookbook constantly uses the terms (scales, scaled, scalar) vs. (Offset/Offsets) and sometimes even “Scaled Offset”. This refers to a multiplication (scaling) vs. addition (offset):
All examples from “biquide hang” Offset – Almost always refers to a formula that is added (or subtracted) in
Scaled – Almost always refers to [W * (any combination of X+Y+Z)] some way. Consider the ModMan programming in “biquide hang”:
where W could be gated or just a constant

Y+X offset W (controlling Bandwidth)

W value scaled by X – Frequency dependent

Z offsets W (controlling Bandwidth Spread)

W value scaled by Y – Aftertouch dependent

W=0 so Y+Z totally control Spectral Dilation (don’t offset anything)

W value scaled by Z – Pressure dependent

Y is constant added to W so it offsets that, but formula V offsets formulas R&S as well as they
W value scaled by Y+Z (Most common) are added to those values on the Direct + row. Note Ancillary also adds a constant offset of 3.

And note that an Ancillary can be used in a formula that adds an

offset that itself uses X, Y or Z to scale that offset (here scaled Y+Z)

W value scaled by X+Y+Z

8
Osmose HW Interfacing
 OSMOSE Current Firmware Update (1.1.3) and Features/Fixes
Previous Firmware: 1.0.6 Osmose Updater:
Current Firmware: 1.1.3 (released 9/20/2023)

## Osmose Firmware v1.1.3 20/09/2023

### UI
- Improved: Reduced lag of GUI
- Improved: All sensitivity and playing parameters can be edited
while freeze is activated
- Improved: Better description of factory reset process
- Fixed: Broken "restore factory sensitivity" function
### Keys calibration
- Fixed: Broken bending range after “keys factory reset”
- Feature: Added manual key calibration in calibration tab of
global settings
- Improved: Key position detection Open: “Osmose_v1.1.3.osmoseupdate”
- Improved: Balance between left and right bend
### Other fixes
- Fixed: ghost notes To Install Osmose 1.1.3 Firmware:
- Fixed: hanging note when changing octave in the middle of a 1. Log into your Expressive E Account
note 2. Download Osmose Updater for your computer (Windows vs MAC) –
- Fixed: pitch help behavior when set to 100% current updater version with download.
- Fixed: some bugs on encoders / sliders 3. Follow Install instructions
- Fixed: MIDI Clock not forwarded despite MIDI Thru active 4. If you already have 1.0.6 installed, follow instructions where you
- Fixed: Wrong icon on "dirt" macro should check “Advanced mode” and bypass full update (only loads
1.1.3 update)

10
 Power DC Master Out Pedals USB IN MIDI OUT OSMOSE Hardware • Height:3.4"
• Width:35.2"
Master Volume • Depth:12.4"
Mode See Osmose • Weight:18.4 lbs.
Button Manual for • 49 Keys
Function Buttons
Operation
m b1 b2 b3 b4
Information
Rotary/Push Selections

12V, 1.5A Power

Supply (Included)
Note: rn (r1, etc.) and bn
r1 (b2, etc.) labels are not 1 L (mono)
Expressive E nomenclature. OUT IN
Used her for clarity. 2 R
r2
r3 r4 r5 r6 Master 12V
MIDI US Pedals Power
Out DC
Power Supply Shipped: B
Rotary/Push Selections ShenZhen Electronic Co. Model KZ1201500S
Sliders Input: 100-240V, -50/60Hz 0.6A Max Power Supply: The original is a 12V 1.5A center positive
Preset Inc/Dec Output: 12.0VDC 1.5A 18.0W (18W). Voltage doesn't have to be exact, You can try from 7V
(TBD if this includes locking connector) to 36V without fear of damage, but you should aim for at
least 10W.
The Mod Wheel slider also maps to Pedal 2 (Ped2) in
the editor and this slider can be reassigned as Ped2 in
Note: Screw holes on back of unit: These are 2 1/4 inch
the editor or on Osmose in m+r1 turn to Sound Engine
-20 threads with a distance chosen to be compatible
(click)+b2 that sets you on synth, then turn r1 to
Oct Down/Up with the two-hole version of the AMPS pattern.
mod/pedal menu then use r3 to move to mod/pedal2
and set your desired mod option (below) with r4 and
optional range with r5 and r6.
• none
• post gain
The Four bottom Rotaries can be used to adjust • fx (any of the 5 recirculator options by name) Headphones Volume
Macro Controllers in m+r1 turn to Sound Engine • mc (any of the 6 Macro controllers by name)
(click) +b2 that sets you on synth, scroll r1 until you • Sustain
get to macros, then adjust r3-r6 for macro • Sos 1
controllers i-iv. Turn r2 to get to the additional two • Sos 2
macro controllers v and vi. 11
 Osmose Menus – Sound Engine
Presets
Type Filtering: (These are not globally supported as different authors specify them Sensitivity
differently) Main Types – where are they (Classic, Other, Wind, string, percussion, tuned Bending:
percussion, etc)? Bending: none, 1/4 st, 1/2 st, 2/3 st, 1 st, 3/2 st, 2 st, 3,
Types: (Note: these are actually subtypes) st, 4 st, 5 st, 7 st, 8 st, 12 st, 16 st, 24 st, 48 st, 96 st
all types, bass, brass, bowed, demo, elec piano, flute&reeds, keys, Sensitivity: low, medium, regular, sensitive, high,
lead, mallets, pads, perc, plucked, organ, sfx, utility (incomplete vs. Curve: 0..100
editor) Stabilization: 0..100
Characters: all characters, acoustic, aggressive, airy, analog, atonal, big, chords, Pressure:
clean, dark, distorted, echo, ensemble, evolving, fm, icy, intimate, layered, lo-fi, Low, medium, regular, extreme, custom. For each set
metallic, noise, portamento, reverberant, shaking, simple, soft, stereo, the following:
strumming, synthetic, vocal, warm, woody Note on: 0..126 (why not 127?)
Factory: (Select factory presets, filtered per above if set) Press curve: 0..127
User: (Select User presets 1.128, filtered above if set) Aftertouch:
Save: low, medium, high, custom: for each set
Global: curve: 0..127
location Default Sensitivity:
name Saving Options:
Saving Options: Pressure: Yes/No
save sensitivity Bending: Yes/No
save playing Aftertouch: Yes/No
Synth Restore
Macros: factory sensitivity: Restore now
Adjust Macro Controllers i..vi by names defined in preset Save (all sensitivity settings)
Global fx:
Change fx type: reverb, mod delay, swept echo, analog echo, lpf echo, hpf echo &
Adjust parameters for each
Eq:
Adjust eq settings: Tilt, Frequency, Mix
Comp & Gain:
Adjust compressor and pre/post gain settings (note only supports comp amt and
comp mix – not newer threshold, attack, ratio, mix settable in editor?
Voice:
Set pb wheel range:2nd, 5th, 7th, 12th
Mod/pedal:
Pedal 1:
Assign: sustain, sostenuto i, sostenuto ii, none, post gain, fx params i..iv
and fx mix, macro controllers i--vi
Mod/pedal2:
Same assignment as for pedal 1
12
 Osmose Menus – Sound Engine (cont) & Master Menu
Playing
None: Master Menu Options
Arpeggiator: Workflow:
Choose: (All, Factory, User selections) infinite scroll: off (default), On
Init, Converge, chords, aftertouch oct, swingy, lateral rhyme, vertical times, menu reset: on (default), off
play with length, press ratchet, like harp strum, asr travel, aftertouch oct 1 Hardware:
Adjust: luminosity: 100 (default), range (0..100)
Hold: Off/On haken tuning: +0 ts (440.00Hz) (default): Range -60..+60 cents
Tempo: settings reset: click to reset
Internal (20..200 bpm) factory reset: click to reset
Midi Clock Midi I/O:
Pattern: up, down, updown, up&down, downup, down&up, converge, diverge, ext clock source: 1/3 usb play, 2/3 usb haken (default), 3/3 din
convdiverge, thumb up, thumb down, thmb updown, pinky up, pinky down, usb haken mode: 1/3 note only, 2/3 note + matrix (default), 3/3 din
pnky updown, random, played, chord haken local control: on (default), off
Div: 1, 1/2, 1/3, 1/4, 1/6, 1/8, 1/12, 1/16, 1/24, 1/32, 1/48, 1/64 din mode: 1/5 default, 2/5 dsp in, 3/5 thru, 4/5 dsp in+thru, 5/5 cvc
Assign: Info:
Assign1 osmose vers: v1.1.3 (current version - as of 9/20/2023)
Source: Aftertouch, bend left, bend right, mod slider, p slider up, p haken vers: v10.09 (current version – as of 12/13/2022)
slider dwn, pedal 1, pedal 2, press, Calib:
Destination: None, div, gate, swing, ratchet, octave, attack, release pedal 1: calibrate
Min: 1..64 pedal 2: calibrate
Max: 1..64 key calibration: calibrate (new to 1.1.3)
Curve: 0..127 force sensors reset: click to reset
Assign2 (Same as for assign1) Keys factory reset: click to reset (new to 1.1.3)
Save
Location
Name
Pressure Glide:
Select Portamento Interval: 2nd (2st), min 3rd (3 st), Maj 3rd (4 st), 4th (5 st), aug 4th (6
st), 5th (7 st), min 6th (8 st), maj 6th (9 st), min 7th (10 st), maj 7th (11 st), octave (12 st), 2
octaves 24 st), 3 octaves (36 st), full keyboard

13
 Osmose Menus – Ext Midi
Config
Type End ch: 1..16
MPE Sensitivity
Classic keyboard Bending
Poly aftertouch Bending: None, 1/192, 1/96, 1/48, 1/24, 1/16, 1/12, 1/6, 1/4, 1/2, 1
Multi-channel Sensitivity: low, medium, regular, sensitive, high
Adjust Curve: 0..100
gestures Stabilization: 0..100
Pressure Activation: always, never, oldest note, last note, lowest note, highest note
Assign: off, ch. Press, poly at, bend -, bend+, cc1..cc127 Velocity/press (Selections: Low, standard, expressive, extreme, custom)
Min: 0..127 Note on: 0..126
Max: 0..127 Velocity curve: 0..127
Aftertouch Press curve: 0..127
Assign: off, ch. Press, poly at, bend -, bend+, cc1..cc127 Aftertouch (Selections: low, medium, high, custom):
Min: 0..127 Curve: 0..127
Max: 0..127
Controllers Playing (Coming Soon)
Modwheel
Assign: off, ch. Press, poly at, bend -, bend+, cc1..cc127
Pedal 1
Assign: off, ch. Press, poly at, bend -, bend+, cc1..cc127
Pedal 2
Assign: off, ch. Press, poly at, bend -, bend+, cc1..cc127
Mode
MPE
Master ch: Fixed on 1
End ch: 1..16
Mono ch.
Channel: 1..16
Multi ch.
Start ch: 1..16
End ch: 1..16

14
A number of pedals will work with the Osmose but Yamaha FC3A and Using Pedals with Osmose
FC 7 pedals are suggested. Connect a Continuous or Switched pedal to
Pedal 1 and/or Pedal 2 ports. Pedals Don’t react as Expected? YOU may need to Calibrate the pedal (though
some pedals will not work).

Step 1: Go to the Global Calibration menu and select Pedal connected to

calibrate and press selector rotary (bottom left rotary):

Step 2: Select Pedal type (Pedal sustain or Pedal

expression)

Note: EaganMatrix pedal assignments do not work if connected through the

editor (unless a Midi pedal is used). Pedal assignments should be made on
the Osmose using Synth button in mod/pedals page. You can assign Pedal 1 Step 3: Follow instructions to set pedal to indicated
or Pedal 2 to the following controls. Pedal 2 and Mod Slider act the same. position and then select Next, etc. For expression pedals
you must be able to set to 0 and 127 or the pedal will
• Sustain (default) possibly produce unwanted sounds. A pedal outputting 1
• Sostenuto 1 when you expect it be at zero will engage MPE layers.
• Sostenuto 2
• Post Gain
• Fx diffuse
• Fx darkness
• Fx damping
• Fx decay
• Fx mix
• Macro Controllers i to vi (set by actual name of the controller)
• None 15
 Sound Engine: Sensitivity/Gestures/Pressure Setting Comparison – Recording Haken Port
It’s very important to adjust the Pressure Sensitivity settings to get best expressive output, especially when recoding Midi. This page will show examples of how these settings affect
MIDI recorded in your DAW. Osmose supports very sensitive pressure response but only if you set it accordingly – This is for Haken Port, but Ext Midi Ports work in similar way.

Press ¼ to Aftertouch and release: Press ½ to Aftertouch and Release: Press through Aftertouch and Release:

Of course, pressing to
Here Note On Aftertouch will always
Option Low Pressure is set so high create a curve to Max
(Note On: 80, l1/4 press is not even channel pressure Midi
Pressure Curve 20) registered. Special use output for all options.
case option.

Needs more pressure

Option Medium to activate and
(Note On: 45, difference not too
great between ¼ and
Pressure Curve 45) 1/2 press.

Pretty sensitive
Option Regular output and gives
(Note On: 10, reasonable expected
Pressure Curve 63) ratio but still a bit
quick to rise.

Option Extreme
(Note On: 1, Very sensitive but reaches
max too quickly for
Pressure Curve 100) expressive output. More
special use setting.

Option Custom
(Note On 1, This setting or something
close to it gives very
Pressure Curve 37) sensitive response with a
– Engages when Midi output close to
you set a value. expected pressure ratio. 16
 Connecting Osmose and Haken Continuum-Based Instrument Interfacing
Slim Continuum

USB ContinuuMini
MIDI

Midi DIN Midi DIN

Out In (DIN-
(DIN-TRS TRS Computer or USB
Adapter) Adapter) Midi Host MIDI IN
(DIN-TRS Adapter)
Osmose (port 2)/MIDIIN2
MIDI In
Note: Obviously you would use
one interface at a time from MIDI DIN Out
MIDI Out
Osmose or connect to a Midi Midi IN MIDI Out
(DIN-TRS Adapter)
Router such as iConnectivity MIO MIDI DIN In
XM or MIO XL that could connect
this entire setup as noted.

MIDI DIN Out

Optional Midi
Osmose USB
Thru to send
MIDI DIN In Midi back

Haken Audio CVC

EaganMatrix Module 17
EaganMatrix
Module
Osmose Connection to CVC 1. For either older CVC or newer low-profile CVC, you need to use Osmose
(Haken Control Voltage Converter) Midi DIN out into the I2C Midi Input of the CVC.
(Example CV
CVC Power Supply 2. Make sure you use a fully populated Midi cable as I2C signals are sent on
Interface)
Or power cord for older models with internal supply unused Midi DIN pins.
3. Run the THRU connection back to Osmose Midi In if you are using MIDI DIN
for other purposes. You don’t need to run this back if you are using Osmose
USB connections for normal Midi.
4. Make sure you set your preset to Polyphony 4 (not 4+) or less (4, 3, 2 or 1).
If you play using a preset that is 2+ you will see all kind of dropouts as you
CV Outputs will be playing on more channels than the CVC supports.
5. Suggest you set your preset to Priority Low so you can predict what
channels you will be outputting on.
6. In Osmose Global/Midi I/O mode set “din mode” to “5/5 CVC” (if you are
Note: THRU Not required if using USB MIDI not using Haken Midi modes).
7. Set Osmose Global/Midi I/O “usb Haken mode” to “2/3 note & matrix” and
Note 1: You still MIDI In
set “haken local control” to “on” to use editor and CVC configuration.
have the option to External Instrument 8. Set your preset to the CVC mode desired for CV output. Osmose does not
program CVC have these in the Utility menu. I’ll put some on Patch Storage site that
operation in the MIDI output at different CV levels.
Connection to other MIDI
EaganMatrix to do Out DIN connected instruments
unique things. Note 3: X bend voltage
using THRU and then back
to continuum if you want output will be based
to play Osmose from those on Osmose bending
external DIN connections. sensitivity setting
scaled to the voltage
OUT IN option set.

9. If you are connected ok the channel lights will light up as you play. If things
Note 2: You can play internal sounds while are not working, bring up editor and make sure you see the CVC connect.
outputting CVC or use a split mode to only
CVC Connection
play sound ending on one side of split and
is established
output Midi and CVC on the other.

Note 4: The THRU connection is required on older Continuums

without USB. Not required on an Osmose if USB is being used. 18
 Arturia BeatStep and BeatStep Pro Configuration Bank MSB Categories:
Step 5. To set one of the 16 pads to bring up one 0 = User
Step 1. Bring up Arturia Midi Control Center Step 3. To set one of the 16 pads to bring up one of the 16 user
1 = ST (Strings)
(make sure Haken Editor is not running) presets. Mode: Patch Change, Channel: 16 (or 2), Program of the 500+ System Presets, you will enter a
2 = WI (Winds)
Number 0 = usr01, 1=usr02, … 15 = usr16 (example below), Preset Category in Bank MSB and then the 3 = VO (Vocal)
Bank LSB: 0, Bank MSB: 0. preset within that category with Program 4= KY (Keyboard)
Number. 5 = CL (Classic)
LSB is left at 0 (but will be used if there are more 6 = OT (Other)
than 128 presets in a category). 7 = PE (Percussion)
8 = PT (Tuned Percussion)
9 = PR (Processor)
Note: See next page for Osmose 10 = DO (Drone)
11 = MD (Midi)
configuration to play from Beatstep. 12 = CV (CVC)
13 = UT (Utility)
Here is the 1st preset in the ST Category (ST 01)

Step 2. For Rotaries to set a CC for Continuum control,

Step 4. To set one of the 16 pads to bring up a User preset past
set Mode: Control, Option: Absolute (you can also try
usr16 (up to user preset usr128): Patch Change, Channel: 16,
Relative), Channel: 1, CC: Desired CC (see Continuum
Program Number 16-127 as follows:
Manual). Here setting Macro Controller i (cc 12).
Bank 1 Presets 1-16, PC = 0..15
Bank 2 Presets 17 – 32, PC = 16..31
Bank 3 Presets 33 – 48, PC = 32-47
Bank 3 Presets 49 – 64, PC = 48-63 Here is the 6th preset in the OT Category (OT 06)
Bank 4 Presets 65 – 80, PC = 64-79
Bank 5 Presets 81 – 96, PC = 80 - 95
Bank 6 Presets 97 – 112, PC = 96-112
Bank 7 Presets 113 – 128, PC = 112-127
For example, the following programs Pad15 when pressed to
bring up preset “usr65”.
Here is the 128th preset in the OT Category (OT 128)
Note LSB is set to 1, MSB =6, PC=0.
Note: When finished configuring your BeatStep or Set PC=1 for presets OT129, etc.
Beatstep Pro, save your preset in the Control Center and
load into the Beatstep in one o the 16 user memory
locations so you can recall it. Beatstep “Working
Memory” is reset on repowering.

19
Arturia Beatstep & BeatStep Pro Osmose Configurations

A Beatstep configuration supporting this setup has been created for

Osmose and is currently available upon request from Haken Audio and
is available on the Facebook Osmose Users site in the Files option.

Another Config has been created to support transposition. The

Beatstep Pro config supports both transposition and normal User
Preset selection.

20
 Playing Osmose (EaganMatrix Presets) from an External Controller

Expressive E has addressed this here (extracted below): Triggering the EaganMatrix from an external device - Help Center (happyfox.com)

21
 Using Breath Controllers To Control Osmose Internal Sound Engine – without computer
Note: These solutions assume you are using the Breath Controller to control Macro Controller or other CCs on Osmose using the internal
sound engine (as breath controllers are not MPE devices and you will want to control expression through normal Key pressure/aftertouch
and pitch bend through key vibrato).

TEC BBC2 (With USB Midi Host) Breath controllers can also be used in conjunction with Osmose set to External Midi Mode playing external Midi synths and plugins.
Now for two additional ways to use the breath controller you can try this.
1. To add a second order level of expression you do not set your breath controller to aftertouch as that will interfere with the pressure
and aftertouch finger components. Set your breath controller to Post Gain (CC18). This will allow you to modulate the entire volume
output maintaining finger expression. May or may not give you added expressive control depending on the preset.

2. Set your Aftertouch on Osmose to use Channel pressure. Set normal pressure to 0-63 and Aftertouch to 64-127. This will let you use
pressure for the entire key press. Then set your breath controller to CC74 which will bring in the Osmose "aftertouch" component with
your breath and not with pressure past half-way key press. This will give you complete control of the Aftertouch component and also
allow you to play Continuum Presets as intended out of the box without Osmose Aftertouch issues.

MIDI DIN In
(DIN set “2/5 DSP In”
MIDI Out USB Or “4/5 dsp in + thru”)

Hornberg Research hb1 (Direct Midi DIN Connect)

MIDI DIN In
(DIN set “2/5 DSP In”
Or “4/5 dsp in + thru”)

MIDI Out
22
 Using Linnstrument with OSMOSE
Linnstrument Setup
For connection without Computer over Midi DIN:
Configure Linnstrument and possibly configure Preset in Haken
USB Power Source Editor to match desired setup.
or Computer

Linnstrument DIN Out

DIN IN Osmose

On Osmose (For MIDI DIN)

• Make sure Ext Midi mode is set:
mpe On Osmose: Global Midi I/O Setting:
• din mode = “2/5 dsp in”
(or “4/5 dsp in + thru”)

On Linnstrument:
Playing Osmose with Linnstrument through Haken Editor: • Set MIDI DIN or USB Mode depending on interface desired.
• Set Midi Mode = ChPerNote
• Set View = PerNote Chs
• Set Midi Channels = 2..Max Polyphony+1 (as set in your desired
EaganMatrix prese – if you set higher you will get dropped notes)
USB USB • Set Pitch = On
• Set Timbre=C74
• Set Loudness/Z = Chan Pres (Channel Pressure)
• Set Bend Range = 12, 24, 36, 48 or 96 (Default for most presets is
If playing through Computer/
96)
Haken Editor Select the “Ext 1” or
“Ext 2” input as Linnstrument
Make sure your Osmose preset maps to these setting. Most all will
Midi USB device (Linnstrument
as they are set MPE or MPE+
must be connected before you
bring up the editor)
23
 Connecting Osmose With USB Devices through USB Midi Host (1)
Single USB Port Options Multiple USB Port Options
Options: Set Osmose External Midi
Optional if you are Confirmation to Match Your iConnectivity MIO XM (shown here supporting
connecting additional USB Controller’s Capabilities 4 USB ports) or XL supporting 8 USB ports:
DoReMidi USB Midi Midi Devices
Host Midi In Midi Out
USB Power
Source

Midi Out Midi In

5V

USB

Raspberry Pi running ALSA Midi software

Kenton USB Midi Host
(Same connection
strategy as for Miditech USB Midi Host
DoReMidi) (Not tested)

These options will let you select which Osmose USB port to
Connect to if you are not using the MIDI DIN (likely you will
be using USB if running Raspberry Pi). MIO XM/XL probably
There are a number of would be best to use DIN port.
other options that likely
will work – See next slide
Note: Do not try and power the USB Midi
Host from your Osmose’s USB port.
24
Midi Clock
Programming Midi Clock for Shape Generator Control in Presets
Syncing Internal Arpeggiator to External USB MIDI Clock Source • Create a formula for SG frequency that uses “Midi Clock” option in
• Set Global I/O Midi "ext clock source" to "2/3 usb haken" Part 3 of Ancillary controls.
• Set "usb haken mode" to "2/3/ note & matrix". • Set Trigger as desired
• Set "haken local control" to "On". • Scale to clock with desired formula options (here just multiply Clk x1
• Make sure editor is not connected (at least on Windows) or that will so Midi Clock should completely control the SG frequency.
grab the USB port and likely block it from the USB clock input.
• Then Send your midi Clock on the Haken 2 port (Osmose2 or
MIDIOUT2 depending if you are MAC or PC) and when you play with
the ARP your speed will change according to the external clock input
• Also: Go to the Arpeggiator/Adjust settings, press rotary under the
Tempo option to toggle between Internal and Midi Clock. Set so Midi
Clock is highlighted if not set.

“Spectrum with MidiClock” Preset Example:

• Note that a complex formula can be used in conjunction with the
Midi Clock control frequency to create changes based on finger
motions or Macro Controller changes as well.

Syncing Internal Arpeggiator with External MIDI DIN Clock Source

• Set Global I/O Midi "ext clock source" to “3/3 din"
• Set "usb haken mode" to "2/3/ note & matrix".
• Set "haken local control" to "On".
• Set “din mode” to “2/3 DSP In”
• Make sure Arpeggiator/Adjust Tempo is set to Midi Clock (not
Internal)
 Syncing Osmose Arpeggiator (for Internal Sounds) to Ableton Midi Clock & DIN Clock Input
Syncing to USB Midi Clock Syncing to DIN Midi Clock
1. Set Haken 2 Port (Osmose (Port2) to 1. Set Global Midi “ext clock Source” to 3/3 din.
SYNC (should work in either Song or 2. Set din mode 1/5 default
Pattern mode)

2. Set your Osmose to receive Midi Clock

on Haken 2/3 Port. See Previous slide for
Osmose External clock setup.

3. If you run arpeggiator, it will be synced to the

incoming Midi Clock sent to the Osmose DIN Input
port.
3. Your desired temp (Here 40.0)

Syncing to USB Midi Clock

4. Start Playing Ableton 1. Set Global Midi “ext clock Source” to “1/3
usb play” for Clock sent on Osmose 1
External Midi port
Or
5. Start Playing Internal Sound with Osmose
Arpeggiator set to desired pattern type. Make 2. Set Global Midi “ext clock Source” to “2/3 usb
Arp tempo is set to “Midi clock” (not haken” for Clock sent on Osmose 2 Haken port
“internal”). Press Rotary under tempo in
Arp/Adjust menu to set Midi clock on if it is set
“Internal”.

6. The ARP Pattern should change tempo to

your Ableton clock.
 Connecting USB Midi Hosts to Directly to Osmose without Computer (2)
You cannot connect a USB MIDI controller directly to the ContinuuMini or USB connection with Slim Continuum or EaganMatrix Module (though Slim and EM Module have MIDI TRS connections). You
will need a USB MIDI Host in the connection path to do this (though MIDI devices can directly play the Continuum through the MIDI DIN ports (or 3.5mm TS/TRS MIDI ports in the case of the “Slim”
model and EM Module). Note: Your MIDI Host must put out enough power (500ma) and voltage (5V) to power the ContinuuMini.
• iConnectivity MIO XM (4 USB MIDI Host ports, 4 sets MIDI DIN, • iConnectivity MIO XL (Rack mount) – (10 USB MIDI Host ports, 10
1 RTP MIDI, 1 USB DAW Computer Connection) sets MIDI DIN, 1 RTP MIDI, 1 USB DAW connection)

• CME WIDI UHost (Bluetooth wireless USB

• Kenton MKII/III USB MIDI Host (1 USB • Raspberry PI – Needs ALSA MIDI Software Host) – May have to provide 5V power –
MIDI Host, 1 set MIDI DIN – Must be this is used if you want to connect
powered from wall for reliable Osmose USB port over Bluetooth.
Continuum connection. Nothing to
To Configure as Midi Host:
configure. Note: So far does not seem
1. Connect keyboard, mouse, monitor & boot
2. Install ALSAMidi package if not installed (alsa.opensrc.org)
to work with Osmose
3. Connect USB Midi Devices and reboot
4. Type “aconnect –l” to verify also installed, in not look up how Direct Connect Blue-Tooth interface
5. Type “aconnect –i” to see Midi Client devices and device numbers options powering of DIN Port
6. Type “connect nn nn” to make Midi client Host connections • CME Widi Master
(here “connect 14 16” to connect NanoKey to ContinuuMini • Yamaha-BT10
Note: Some have had issues (especially
7. Disconnect and you can use standalone • QuiccoSound mi.1
with new MK3 version) with Kenton Midi
8. Connect same devices to same ports when using
Host not delivering a steady 5V required
by ContinuuMini. Use a Y cable to power
ContinuuMini directly in that case.

BOME Box • DoReMidi USB Midi Host Others – But not tested and verified
• Midi Hub DIN & USB • Miditech USB Midi Host • MidiPlus USB MIDI Host
(Configures like the
• USB Midi Host (Configures like the • Cerebel USB MIDI Host
Kenton). Some have
Kenton). Some have • MicroGhost USB MIDI Host
• Wireless Midi reported issues getting
reported issues getting • UHM USB MIDI Host
this to work.
this to work. Works but • RK006
• DOREMidi also has dual • Likely numerous others as well
requires Y cable to power
USB Host and Midi Hub
ContinuuMini from direct
with USB Host. 27
source
 Playing Bluetooth Apps with Osmose Directly Through BT & CME WIDI Master or Widi Jack
1. Optional for Osmose: Connect WIDI Jack to a 5V USB Power Source (or USB Hub, etc.)
iPhone/iPad with Animoog Z 2. Connect to Widi Jack or Widi Master device on iPhone/iPad.
3. Widi Jack: Connect the special Mini TRS to 3.5mm TRS adapters to a 3.5mm TRS Midi to DIN Adapters
4. Configure Osmose to play on desired Midi channels to play Animoog Z (if using Haken Port or use Osmose port
in MPE or Classic Keyboard mode (depends on if you want to play MPE or not).
5. In Animoog Z Midi Configuration page, select WIDI Jack Bluetooth as input and output (Input to play Animoog Z
from Osmose – Output to play Osmose from Animoog Z)
6. Make sure BT Input is Selected in Animoog Z Input Section
7. Set Animoog input to MPE mode if you are playing Osmose MPE else set desired channels
8. Set Pitch Bend to match Osmose Preset (default 96)
9. You should now be able to play the Animoog Z App wirelessly through Osmose.
10. Check that “Widi Jack Bluetooth” is connected in Animoog if playing stops.

CME WIDI Master Note: Yamaha BT-01 and QuiccoSound m.1 BlueTooth interfaces
work like Widi Master directly connected to the Osmose.
Widi Master is better option for
Osmose as it connects directly to
In Out Osmose DIN ports and powers of them One Possible Widi Jack connection
A. CME 2.5mm – 3.5mm adapter cable (required)
B. To a 3.5mm TRS female-to-female connector
Wireless
C. To a 3.5mm Male to Midi DIN Male cable (or D use TRS Male
to Female Midi Adapter and standard Midi Male-male cable)
Animoog Z Midi Configuration Panel C
Wireless
C
USB 5V Power USB C
A
Source B B
Note: Widi Jack can get
power from DIN port on
3.5mm
Osmose (other devices may
need 5V input) TRS to D
Midi
CME WIDI Jack Adapter
Widi Master is better option for
Slim Continuum as it directly
Mini-2.5mm TRS to 3.5mm TRS Adapter
D
connects with included Micro-
TRS to Mini-TRS adapters Cables from CME “25STR25” cables)
 Connecting Osmose and Continuum-Based Instruments over CME Wireless Bluetooth Connections
EaganMatrix Module USB 5V WIDI UHost
CME WIDI Master Power WIDI Jack Connect USB 5V Power from Battery
Powers from DIN Source Pack or USB hub. Must be enough to
power the ContinuuMini (typically >=
Midi In Midi Out Osmose (Controller) USB 5V Power for 300mA though spec if 500mA)
config. Remove USB C
for playing but USB 5V Power Source
add 5V back if USB
WIDI Jack freezes. Mini B
To Midi Out
To Midi In 2.5mm to 3.5mm adapters
ContinuuMini
(included with WIDI Jack)
For ContinuuMini / EaganMatrix Module: To Midi Out
• Set External DIN mode 1/5
• Set MPE channels 2-9
• Pressure: Channel Pressure, Create Widi Group (in Widi App): Here Osmose->ContinuuMini & EMM
• Aftertouch: CC74 • Make sure Bluetooth is Enabled on your iOS device To Midi In
For Continuum: Set the same only MPE • Connect and power the WIDI Master (leave the WIDI Jack and WIDI UHost unpowered)
Slim Continuum – Needs DIN-TRS
channels 2-14 • In App, go to Devices option at bottom, select WIDI Master and set BLE Role to (if not already adapters (Full or Half-Size can be
set to it) “Auto (to all BLE Midi Devices)”. Then remove power. connected directly to WIDI Master)
Get WIDI App (For iOS) Setup • Power the WIDI Jack. If it does not show up as a device or comes up “Connection Failed” when
Note: If you have multiple WIDI you select it, delete it from the iOS Bluetooth list (“Forget Device”). Exit and Reenter WIDI App.
devices, when you switch them on at WIDI Jack should show up as device. Select it and then Pair to it in WIDI app. From there you
the same time, two of them will find should be able to select the device and set BLE to “Force peripheral (to computers”). Remove
each other and connect automatically, power.
then they will be unavailable for new • Power WIDI UHost and go through similar process to add that as BLE “Force Peripheral (to
connection. computers)”.
• Note: If a group is already created and downloaded on any device make sure only that device
Please switch on one device only, powered, select device and select “Remove Group Settings” – you should get message:
then open the WIDI App to set the “Default settings on your device have been reset”.
BLE Role to "force peripheral". Then • From here you should be able to go to Groups option and create a group name (+ option) and
set other WIDI devices to this mode then set Osmose/WIDI Master as “Central” and set WIDI Jack and WIDI UHost as Peripherals
one by one. After all units were set to (or set your desired peripherals based on devices connected).
"force peripheral", you can switch • In Group option, download the new Group which will store it on all devices. After you see group
them on at the same time and use a download is success, all WIDI devices will be restarted automatically. if they do not restart
music App to connect. correctly, please do it manually. You will get a download status display showing connections.
• After all desired devices are connected in a group, the WIDI Master will show turquoise (light
blue) light, and two peripherals will show dark blue.
• Make sure to turn of Bluetooth on device running the WIDI App so CME devices connect ok.
 Connecting USB Midi Controllers Directly to Osmose/Continuum Devices
with Multi-port iConnectivity MIO XM Midi Host or Single Port host and USB Hub (1)
In the case of the MIO-XM or MIO-XL that have multiple USB MIDI Host ports capable of outputting 500ma, you don’t need the USB hub (frankly this is a more reliable and simple option). If using
Continuum or Osmose, not ContinuuMini, best to connect MIDI DIN Ports of the interface. Configure the USB MIDI Host to accept input and output on the desired ports with “Auracle for X-Series”
software app. Note: MIO will automatically detect which port USB port is connected in what order and make port assignments so note connection sequence.

Single Port USB Midi Host

Front Rear and USB Hub to allow
iConnectivity
MIOS XM Multi- DIN1 USB-MIDI Ports multiple USB connections
IN OUT
port USB Midi 1 23 4 DIN-MIDI Ports
Host and MIDI
Router
ContinuuMini

Beatstep Pro Osmose

Remember: Hosts are numbered in the Kenton – Needs no Configuration
order you connect them. Though you can (but results can vary – MIO is more
reserve them in Host Reservation page. Linnstrument reliable solution)

MIO XM Configuration (Assume ContinuuMini on HST/Port1, Arturia BeatStep on HST/Port 2, Linnstrument on HST/Port 3 and Roli Rise on HST/Port 4)
Step 2: Configure what Source host ports connected should Step 3: Add other connections. Here Linnstrument Step 4: If using DAW add connections for which Host ports will
Step 1: Bring up Auricle
send data to what Destination USB host ports. Here BeatStep (HST3) sends data to ContinuuMini (HST1) and also to connect to DAW and output to DAW destination ports and any
Configuration App
Pro HST 2 Source sends to ContinuuMini (HST1). the Slim Continuum connected to DIN1. host devices. Not needed if not using a computer for Continuum
device Midi Host port connections.

Note: You can see its possible with MIO to route anything to
30
anything else plus it also supports RTP Midi over Ethernet
routing as well (see MIO XM documentation and online videos)
 Connecting Roli Rise to Osmose (using Port 2) - Using Roli Dashboard
Step 1 – Connect Roli to computer and run Roli Dashboard. Configure as follows (for Continuum MPE connection). Use Osmose2 (MIDIIN2) USB interface for playing Osmose. Make
sure Haken Control Mode is ON for Osmose and Haken Mode set to 1/3 Note only or 2/3 Note + Matrix. Do not run Editor during this operation on Windows machines if running
Roli Dashboard (the first one run will grab the Osmose device).
On Computer: (Set up the Roli Rise for MPE operation with Osmose)
• Bring up Roli Dashboard Note: Once Roli is configured, you could
• Set MIDI Channel Mode = Multi Channel (not MPE because we need to define starting and ending channels) disconnect from dashboard and run Roli as
• Set Channel Range = 2..Max Polyphony+1 External Midi interface in Haken Editor or
• Set Midi Start Channel = 2
• Set Midi End Channel = 14 (or less depending on Polyphony of preset).
connect using a USB Midi Host without
• Set Press Mode = Channel Pressure computer.
• Set Slide CC = 74
• Set Glide and Slice Tracking = Last Note Played (default - or to another option if you choose)
• Set Press Tracking (Z) = Last Note Played (default – or to another option if you choose)
• Set Pitch Bend Range = 96 (or less if you don’t need large bend – just match Osmose setting)
• Set Octave setting to match your desired range of Osmose output (normally this would be down one octave on Rise – but adjust as you see fit).
• If using a pedal, set that to desired CC (see CC control section in this manual). In this case make sure EaganMatrix is set to receive “All” Midi data, not just “Music”
data (if connecting through EM).

Step 2 - Verify on Osmose using Port 2:

• Set Z/Bend = 12, 24, 36, 48 or 96 (or whatever you set Roli to – normally you will match Roli to Continuum device)

Step 3 – Connect Roli Rise per one of the previous diagrams (Midi Host needed to connect to USB devices without computer or use Ext1/Ext2 connect in Editor).
31
 Connecting Roli Light Block as CC Controller to Haken Continuum or Osmose Device
Numerous Apps to configure that might work with Continuum/Osmose
Step 1 – Connect Roli light Block to computer and run
1. You can configure four banks of four faders (Fader1 – Fader 16)
Roli Dashboard. Use Osmose (Port 2) / MIDIIN2 2. Set Global Mode = 1 (Control CCs all work on Channel 1, or Channel
device. Make sure Osmose Haken Local Control is ON. 2)
3. Set Fader CC, Fader Minimum (normally 0) and Fader Maximum
Step 2 – Configure for Desired App
(normally 127)
For Fader Bank – Select Fader option, Edit 4. Set Desired Fader color
5. Repeat for other fader groups as desired
6. Save your configuration (save as default if desired)

Here configured for Macro Controllers (i-CC12, ii-CC13, iii-CC14 and iv-CC15)

For Drum (MPE) Bank – Select Fader option, Edit (Note: there are other App options)

1. Select Multi Channel mode (i.e. 3x3 Multi-Channel Mode)

2. Set Global Base Note (default C1)
3. Set MPE Mode (default Last note on channel)
4. Set Channel Pressure (default)
5. Set Slide CC = 74 (default) Also check out the XYZ pad
6. Keep other Global defaults App that might be useful
7. Set Midi Mode = Multi Channel (not MPE)
8. Set Midi Start Channel = 2, Midi End Channel = Preset Polyphony + 1
9. Save your configuration (save as default if desired)

Step 3 - Verify on Continuum Device:

• Set Y/Z= “MPE” for desired preset (“MPE+” will work too)
• Set Z/Bend = 12, 24, 36, 48 or 96 (or whatever you set Roli to – normally you will
match Roli to Continuum/Osmose device)
Step 4 – Connect your Roli Block per the desired system diagram to access
Continuum/Osmose Device. 32
 Using Kenton Killamix Mini USB Controller in Editor and Stand-Alone

Step 1 – Connect KillaMix to computer or USB hub connected to computer.

NOTE: Kenton Killamix Support currently is not working for 9.9x
Step 2 – Bring up Editor
and later firmware. The issue is currently being addressed for a
Step 3 – Go to Midi and Global Settings. Confirm that The Killamix 10.09 firmware update but integrated support for the Killamix is
has been automatically detected by the editor. schedule to end after that.

Step 4 – In Cog Wheel bring up Kenton Settings

Step 5 – Change any mapping you wish if you do not like the defaults. Note
this will only change what the current Continuum setting is using. Upon
existing the Editor and Continuum device will now respond to the new
settings. On repowering the Continuum device, the Killamix defaults will go
back into effect as the Continuum internally sets the control assignments.

33
 Synthron Deluge Control of Continuum, ContinuuMini, EaganMatrix Module & Osmose
STEP 1 – MANUALLY CONFIGURE MPE SUPPORT STEP 2 - AUTOMATIC SET UP OF AN EXTERNAL CONTINUUM/OSMOSE MPE CONTROLLER CONNECTION
1. Connect the Continuum, ContinuuMini, EaganMatrix Module or Osmose to Deluge using the MIDI DIN I/O 1. Connect the MPE compatible MIDI controller to Deluge using the MIDI DIN input or ideally the USB
ports and/or the USB connection. (Deluge can act as USB Host to power and play ContinuuMini with connection.
center negative (center positive can damage unit) 9-12V DC power adapter and USB Adapter). 2. Select [SYNTH]
2. Select [SYNTH] . Then Press [SHIFT] + Press (SELECT) to open the settings menu. 3. Press and hold [LEARN] + hold any [AUDITION] pad + Play several notes (ideally 5 but more if possible) on
3. Turn (SELECT) to navigate the menu and highlight MIDI, then press (SELECT). the connected MPE controller. Keys will need to be simultaneous triggered. The actual number of notes
4. In the MIDI sub menu, turn (SELECT) to highlight ‘DEVICES’. Press (SELECT) to select. pressed will aim to reflect the MPE channels in the zone set for the controller.
5. The options will depend on the connected devices and may be represent the device by name or a generic 4. The MPE Zones and channels should now be learnt to match the connected controller. (LEARN+AUDITON to
name (Set one or both as desired for use): unlearn) Notes on Kits When an MPE controller is set up as an input devices, the MPE dimensions can be
• DIN PORTS - MIDI DIN connected devices recorded into individual rows of a kit. The controller note / key will need to be learnt to the kit row.
• UPSTREAM USB DEVICE/COMPUTER - Deluge is a peripheral to a USB connected device. You can play Continuum through
6. Highlight the device to configure and press (SELECT) to open the device sub menu. Editor setting Ext device to Deluge.
7. Highlight the ‘MPE’ option and press (SELECT). SELECT (Navigate)
SYNTH
8. Select the ‘IN’ or ‘OUT’ and press (SELECT) to choose (IN to play from Continuum, Output to play
MIDI
Continuum – set both is both operations desired) .
9. The option is presented for the ‘LOWER ZONE’ or the ‘UPPER ZONE’. LOWER ZONE can be selected for PLAY
Continuum, devices. Press (SELECT) to choose. RECORD
10. The number of member channels is presented. Channel 1 - Lower and Channel 16 - Upper are reserved as SHIFT
master channels. Set this to match the connected MPE controller’s equivalent zones. Normally set this to
13 for Continuum and 13 or 14 for Osmose and 8 for ContinuuMini and EaganMatrix Module. Deluge Supports 2 MPE Zones: Upper & Lower
11. Optionally a Velocity setting allows a default velocity for MIDI devices to compensate for variable the • Lower counts up from channel 2
MPE controller sensitivity, but Channel Pressure will be what is used for Continuum (note it will output a • Upper counts down from channel 16
default pressure as the pads are not pressure sensitive and later you will have to adjust that if needed). • Both reserve channels 1 and 16.
Setup Summary:
• Deluge Settings -> MIDI -> Devices -> Din -> MPE -> Out -> Lower -> 13 or 8 (see above)
• Deluge Settings -> MIDI -> Devices -> Din -> MPE -> Out -> Upper -> OFF
TOP RECORD MPE FROM/TO CONTINUUM/OSMOSE
• Deluge Settings -> MIDI -> Devices -> Din -> MPE -> IN -> Lower -> 13 or 8 (see above)
1. Set your EaganMatrix preset “Priority = Oldest” for most consistent results. (See net page for more details).
• Deluge Settings -> MIDI -> Devices -> Din -> MPE -> IN -> Upper -> OFF
2. Make sure Steps 1 and 2 done above. MPE setting will be retained You may have to reset Continuum Connection.
• Deluge outputs on Channels 2-N+1, where N the value you set for MPE ZONE LOWER 3. Create new track or load existing track. (SHIFT+NEW->OK with SELECT). Press Synth (turn down Deluge output if you want
so set lower if preset supports less than 8 voices. Continuum Playback only). Default Quantization is set to 16th notes. Per
• Add Audio track, stereo in, monitoring on
4. Set another Quantization if desired or none. Select [shift + select knob], Navigate to RECORDING->QUANTIZATION.
• Add MIDI track, set channel to LOWER
Set it OFF (can also be set 64TH-NOTES, 32ND-NOTES, 16TH-NOTES, 8TH-NOTES, 4TH-NOTES 1-BAR, 2-BAR, 4-
For kit Rows. BAR
• MPE can be set for kits by learning the controller note to the kit row. 5. Set SHIFT+SELECT->RECORDING->COUNT-IN to ON if you want a count in before Recording starts.
• All three MPE dimensions are applicable per row including bend ranges per row. 6. Option 1: Press PLAY then Press RECORD to overdub into current clip. Play Continuum or Osmose to your existing clip length
• Non-MPE MIDI input can also allow pitch bend and Aftertouch to be recorded to the row. (defaults one screen – 16TH-NOTES). Overdub as desired. Press PLAY & RECORD to Stop.
• Kits cannot output MPE MIDI and default, however Aftertouch that has been recorded to 7. Option 2: Press Record and then press Play on empty clip to record indefinitely until done (again RECORD & PLAY to stop).
the row will be output as polyphonic Aftertouch for the rows note. 8. Edit as desired.
Note: You might see Midi Channel 1A. This allows you to alternate / variation tracks which can 9. Press MIDI button and set MPE Output Mode: SHIFT+SELECT->MIDI->DEVICES->DIN (or USB)->MPE ZONE LOWER.
be muted/unmuted on the go. Here, you have a midi clip set to 1 already, 1A is a duplicate clip 10. Press PLAY to start playing. Press Play again to stop playing.
for that channel that can play simultaneously with midi clip 1. The more you make the higher 11. Note: Midi loops on Continuum can occur if you have Midi DIN and ISB connected. You may have to remove Midi 34 DIN out on
the letter. Deluge to get rid of these MIDI loops.
 Synthron Deluge MPE Processing for Continuum, ContinuuMini, EaganMatrix Module and Osmose
Note: Deluge processes MPE Priority in input and output independently according to MPE channel assignments. Note Osmose can be set to output on channels 2-15,
Continuum 2-14 (or less depending on Polyphony of preset and max polyphony support – i.e., ContinuuMini & EaganMatrix Module only support max 8 Midi channels)
For Example, Continuum is set default Oldest Priority, and outputs on channels 2-14. Continuum Preset set to Polyphony 1 (Tin Whistle). Only Channel 2 is output and recorded.

Deluge Plays back on Oldest-like Midi Channel Priority on Channels 2 to MPE ZONE LOW “N-1” value Deluge will output independent of input on channel 2 to MPE ZONE LOW “N-1” value here set
(here channels 2-15, which will drop a note if set MPE ZONE LOW = 14 and your preset is polyphony 14. to MPE ZONE LOW = 13.

So allow for this: So in this case you should set MIDI MPE output device ZONE LOW = 1 to only output on Midi
• If your Continuum or Osmose Preset supports 14 voices, set/keep preset default Oldest Priority. channel 2 for a preset that is Polyphony 1 (like “Tin Whistle” for example).
• If your preset processes less than 14 channels, set Deluge MPE ZONE LOW channels accordingly.
• ContinuuMini and EaganMatrix Module can only support 8 channels so you would typically set the
Note 1: Even if Deluge is set to DIN IN MPE ZONE LOWER 1, MPE output will be according to
MPE ZONE LOW 8 for those unless lesser Polyphony is expected in a preset.
whatever the MPE ZONE output number is set to. And these settings can be changes on an
• But some presets are Monophonic and only output on one channel. In that case set MPE ZONE
existing Clip or Song.
LOW = 1 (will only output on channel 2). Or set accordingly for Polyphony less than the default 14
or 8 you would normally set as outlines above. Note2: If you connect both the Deluge DIN and USB Ports to Continuum or Osmose devices, you
• Note: Deluge seems to support as default Pitch Bend =48 setting on Continuum (so presets should can get Midi Loops on your EaganMatrix instrument and will have to unplug connections or
be modified from default PB=96) . Channel Pressure and CC74 (Y) also seem to be handled fine in filter the Midi going into the Continuum or Osmose to avoid the Midi loops.
MPE mode.
35
USB-C Connect Option Interfacing to iPhone/iPad and Apps
USB-B USB-B

Lightning
USB-C Direct connect should work seamlessly Apple Lightning 3 Adapter Connection
(Select desired Osmose USB device in app)
Note: Some have reported problems with Lightning
SpringSound App. Connects 3 adapters connecting to some IOS devices. If you
and allows you to modify USB-A have problems the direct cable solution below
macro controllers, some other (would not work on my iPhone 13).
parameters and select user
presets. Some function apply
Use a USB-B to Lightning cable such as this works
only to Continuum. (Note: the
fine and IOS apps see the “Osmose Port 1” USB
app at present thinks it is
device for expected operation.
connecting to a Continuum).

Moog Animoog Z. Select your

desired Osmose device and
then things work seamlessly.
Most other Midi-based apps
will work in a similar manner.

36
 Interfacing Osmose to ASM Hydrasynth (over Midi DIN)
On Hydrasynth (set) Hydrasynth Targets:
Midi In
• System Setup/Page to: MPE ON (this will MPE lock “MIDI • ARP (Mode, Division, Swing, Gate, Octave, OctMode, Length,
TX”, “MIDI RX” and “At TX”). Then Exit. Phrase, Ratchet, Chance)
• OSC 1 (Pitch, Wave, Wave Scan)
• Select Mod Matrix button: Then Page to ASSIGN options
• OSC 2 (Pitch, Wave, Wave Scan)
• Select one of the ASSIGN Slots (upper button) • OSC 3 (Pitch, Wave)
• Use Rotary to select desired MPE Assign function: • ALL OSC (Pitch) (common for X setting)
Midi Out • ASSIGN Slot 1: MPE-X (maps to Osmose X) • Mutant1 (Ratio, Depth, Ratio, Feedback, Dry/Wet, Warp1-
• ASSIGN Slot 2: MPE-Y abs (Maps to Osmose Warp8)
• Mutant2-Mutant4 (same as Mutant1)
absolute Aftertouch)
• Ring Mod (Depth)
• ASSIGN Slot 3: PolyAftT (maps to Osmose • Mixer (OSC 1Vol-OSC 3Vol, RingVol, NoiseVol, OSC 1Pan-
channel pressure) PSC3Pan, RingPan, NoisePan, OSC 1F1/2-OSC 3F1/2,
• Also available: MPE-Y rel (Osmose returns Y to RingF1/2, NoiseF1/2)
zero so this is typically not needed) • Filter1 (Cutoff, Resonanc, Drive, Control, ENV1amt,
LFO1amt, Keytrack)
• Set with bottom button
• Filter2 (Morph, Cutoff, Resonanc, ENV1amt, LFO1amt,
On Osmose • Select (top rotary) a Hydrasynth Target for the MPE Keytrack )
assignment for each ASSIGN you create (for example OSC 1 • Amp (LFO2amt, Level)
• Set global midi/IO, din: 1/5 default
Pitch). Set with Bottom button. • Pre-FX (Param1, Param2, Wet/Dry)
• Set ext midi config/type : mpe • Delay (Time, Feedback, Wet Tone, Feed Tone, Dry/Wet)
• Select Parameter range with bottom rotary (if needs to be
• Set adjust/gesture: ch press, range 0..127 • Reverb (Time, Tone, HiDamp, LoDamp, Dry/Wet)
changes) for Assignment. Then press bottom button.
• Set adjust/controllers: mod wheel to desired CC or • Post FX (Param1, Param2, Dry/Wet)
• Repeat for each MPE assignment you want to Map • ENV1 (Attack, Hold, Decay, Sustain, Release)
option to control Hydrasynth params
• Assign Mod Wheel, Pedal, if you like. • ENV2-ENV5 (same as ENV1)
• Set adjust/controllers: pedal1 & pedal2 as desired
• Exit when done • LFO2 (Rate, Level), LFO2-LFO5 (same as LFO1)
• Set sensitivity/bending: bend params as desired • ModMtrx (Depth1-Depth32)
(noting top level MPE bend is set as 96) • Macro (Macro1-Macro8)
• Set adjust/mode/mpe: end channel to 14 • Voice (Detune, AnalogFL, Pitchbnd, Vib Amt, Vib Rate,
Osmose will output MPE in “Same” MPE priority (will GlidTime)
• CV (ModOut1, ModOut2)
keep the same channel if a note is repeated until 14
• Midi (CC 000 – CC 127)
different notes have played and then the first one in the
set will then be assigned to the next new played note.)
Osmose will output CC74 for Y (Aftertouch) and Channel
Pressure for Z.

37
 Interfacing to OB6 / Sequential6 Sequencer
OB 6 MPE Instructions:
To enable MPE operation on the OB-6:
General Instructions • Press the globals button once to activate the upper set of parameters.
• Make sure you have read the instructions from Sequential that • 2. Press program selector button 2 (MIDI Channel).
point out how to switch on MPE mode with later synth firmware, • 3. Use the tens/increment button to step through MIDI channels 1-16 until you reach the
and note that this synth only listens to channels 2-7 when in MPE final setting, mpe.
• Once you’ve chosen mpe, press the globals button twice to exit. Once enabled, the six
mode. individual voices of the OB-6 correspond to MIDI channels 2-7 and are driven by the
• If connecting through USB, make sure you are using the Ext MIDI Lower Zone setup on the connected MPE controller
output (USB Port 1) from the Osmose (not Haken port2). To set the per-voice MPE pitch bend range:
• If connecting through Osmose DIN port, set to “din mode” = 1/5 • Hold down the bank button and press the globals button once to activate Page 3 of the
default. Globals menu.
• Set External MPE mode on Osmose. • Press program selector button 1 (Master Tune).
• Use the bank and tens buttons (decrement/increment) to set the desired range, from 1-
• Reduce the Osmose channel range so it only goes up to channel 7 96 semitones. A setting of 48 semitones is the default.
(2-7). Set Osmose MPE channels 2-7 (channel 1 is reserved for • When finished, press the globals button once to exit. Per-voice pitch bend for OB-6
global channel). voices 1-6 now responds to pitch bend on each MIDI channel, 2-7
• You might want to swap around which phase of key movement To set the MPE controller’s Y-Axis destination on the OB-6:
triggers MPE Y and which phase does MPE pressure - you might • Hold down the bank button and press the globals button once to activate Page 3 of the
want to swap these around from the Osmoses default, and this can Globals menu.
be done in Osmoses settings. • Press program selector button 2 (MIDI Channel).
• You may need to set OB6 pitch bend to 48 • Use the bank and tens buttons (decrement/increment) to set the desired destination on the
OB-6. Choices are low-pass filter cutoff, pulse width 1, pulse width 2, and pulse width all (
lpf, PW1, PW2, PWA). When finished, press the globals button once to exit.
To set the MPE controller’s Y-Axis Mode for the OB-6:
• Hold down the bank button and press the globals button once to activate Page 3 of the
Globals menu.
• Press program selector button 3 (MIDI Clock).
• Use the bank and tens buttons (decrement/increment) to set the desired Y-Axis mode for
the OB-6. Choices are unipolar or bipolar ( uni, bi).
• When finished, press the globals button once to exit. In unipolar mode, CC74 affects the
destination by adding a range of 0-127. In bipolar mode it adds a range of -63/+63 with 64
as a the “0” point.
38
 Adding 2 Additional Pedals to Osmose with DOREMidi Pedal Converter (MPC-10) – Without Computer
Or Use DOREMidi Adapter TRS Midi Out Key
iConnectivity MIO XM (USB Midi Multi Host) with included TRS-DIN Adapter if you
Additional 2 Pedals TRS-USB / TRS DIN USB Cable
only have single DIN + SB A Midi Host. TRS Cable
Expression Pedal Midi Converter
USB Midi DIN
TRS USB Note: If Only DIN output used,
Ped 1 Midi DIN
Power USB Power must be provided.
Note: DOREMidi also has a 4-
USB
TRS port Pedal Converter and
Ped 2 Midi Foot Controller as well.
Midi TRS Out
TRS-DIN If using DIN set
Adapter USB Osmose DIN
Expression Pedal Sustain Pedal “2/5 DSP”
(or Switched)
Osmose Ped 1
Here Configuring the 2 additional pedals to Steps:
control Macro Controller i and SOS 1. Osmose Ped 2 1. Connect MPC-10 to Computer USB
Ped 1 = Macro Controller i (CC 12) Ped 2 = SOS 1 (CC 66) 2. Download Pedal Config Utility and Run
3. Connect to MPC-10

4. Select Pedal 1 or Pedal 2 to Config setting to

desired pedal type (Expression, Switched or Hi-Hat)
5. Set Channel 1 for most configs
6. Set Data Range 1 to CC
7. Set Data Range 2 to range (normally 0-127)
8. Select Set to set that Pedal’s Config
9. Repeat for second pedal config if connected.
10. Option 1: Connect TRS Out of DOREMidi
adapter to Osmose Midi DIN In set “2/5 dsp in” (or
“4/5 dsp in + thru”). Power over USB.
Option 2: Connect to Osmose using USB Midi host.
39
Osmose SW Interfacing

(MPE & External Midi

Options)
Osmose MPE MIDI Polyphony & Priority Modes – Haken USB MIDI Mode vs. Standard Midi Mode
Example Playing four detached notes and then a three-
“MIDI2IN/OUT Osmose” [WINDOWS] / “OSMOSE HAKEN (Port2)” [MAC] Device: Use
note chord
for Connecting to Haken Editor, Haken Continuum and some DAW programs. Will output
MPE based Midi from channel 2 to Max Polyphony+1. Polyphony of preset determines Output for the 4 detached notes: Output adding the 3note chord:
Midi output channels (not your Osmose Midi channel setting). Most Osmose presets are Oldest
set Polyphony: 2+ (Polyphony 2 expanded). Because Osmose is a 6x DSP EaganMatrix Oldest priority will start
instrument, Polyphony “2+” =2*6 or 12 voices, output on channels 2-13. at last free oldest
channels and then
MPE or MPE+ Priority Low: Always outputs on the lowest channel intersperse channels on
played. Output is predictable as playing a single note will output on new notes. No
channel 2. Next note on channel 3, etc. release all notes and play predictability in channel
again and you will always start on channel 2. output.
MPE or MPE+ Priority Oldest: Cycles through channels as you play
(note per channel) outputting on oldest channel. Not predictable
channel output as you never know what the oldest channel is. Lowest Lowest priority will
MPE or MPE+ Priority Same: If you play the same note, it will always always start at lowest
be output on the same channel up to your max polyphony after channel in Polyphony
which cycling through the channels occurs but still using same note. adding channels in
sequence. Thus, output is
MPE or MPE+ Priority High 1: Will only output on the highest Predictable. most notes
channel in your Polyphony (for Osmose 2+ Polyphony, this will played at once is 3 in the
be channel 13). Output will be monophonic. chord, so only the three
lowest channels at most
MPE or MPE+ Priority High2, High3 & High4: Will only output on the are used. Best for DAW.
highest N channels specified (2, 3 or 4) in your Polyphony (for Same
Osmose 2+ Polyphony this will be High 2: ch12-13, High 3: ch11-13, Note 1: Haken Osmose Same priority use the
High4: ch 10-13). Output will be monophonic. High priority was Device: May show up as same channels for
intended to let you record to a DAW in a way you can record multiple “Osmose (2)” or “Osmose previous notes
parts and not overlap voices. For example, Record High 4 for 4 voice (port 2)” in DAW another detected. Since only
polyphony and then record Low with less than 9 voices and parts other programs. four distinct notes were
should not overlap Midi channels. played, only 4 channels
Note 2: “Osmose” Device: are output and reused
Appears to output in Same for the same notes
priority. played.
41
 Osmose Haken (Port 2) MPE output vs. External Midi Mode MPE Output (port1)
Osmose Port 2 – Haken Port (Sound Engine Mode) – MPE+ Osmose Port 1 – External Midi Port - MPE Mode (set in Ext Midi Mode)
(Use to Record and Playback on Osmose) (Use for External Midi Instruments and Plugins)
Defaults: Defaults:
• X = Note On/Note Off + dynamic Pitch Bend • X = Note On/Note Off + dynamic Pitch Bend
• Y = CC74 • Y/Aftertouch = CC74 (can be changed in Ext Midi Adjust/Gestures Menu with range) –
• Z = Channel Pressure, See Menu summary. Aftertouch Pressure curve adjustable in Sensitivity/Aftertouch
• MPE+: Extra resolution for Y + Z on CC87 is output menu.
• Velocity: Always output as 127 (editor Dynamic Velocity does not work) • Z =Channel Pressure (can be changed in Ext Midi Adjust/Gestures Menu with range –
• Pitch Bend = Internal options for playing presets (bend on key output): See Menu Summary. Pressure curve adjustable in Sensitivity/Pressure menu.
Off/None, In semi-tones: 1/4, 1/2, 2/3, 1, 3/2, 2, 3, 4, 5, 7, 8, 12, 16, 24, 48, 96 • Velocity: Configurable. Note on Midi Velocity and Velocity curve configurable in
Note: Editor options of 12, 24, 32, 48 and 96 have no meaning and can Sensitivity menu
give unpredictable results. Don’t change them - intended for Continuum. • Pitch Bend: Adjustable for Osmose External Midi Mode (per key bend)
• Less than 1/12 (None, 1/192, 1/96, 1/48, 1/24) - <12 = microtonal bend
MPE Channels: outputs for a single note
• 2-14 (Ch 1 reserved for Standard Midi receive, Ch 16 Global Ctrl) • 1/12 = Semitone bend output for key
• Limits: If preset Polyphony is less than 14, MPE output will be limited to that # • 1/6 = Whole tone bend output for key
• 1/4 = minor 3rd bend output for note
MPE Note Priorities: (Set in editor) • 1/2 = tritone bend output for note
• Oldest (default) – Least recent round robin • 1 = Octave bend output per note
• Lowest – Lowest channel played always in order (outputs predictable order) Note: (Pressure Weighted Portamento not supported for external midi output)
• Same – Repeated notes use same channel until cycled > max Polyphony
• High 1, 2, 3 & 4 – Highest channel in Polyphony is output in order up to 4 if set MPE Channels:
Non - MPE Modes: • 2-16 (Ch 1 reserved for Global Mode)
• Will accept Standard Midi input on Channel 1 • Note : Does not follow Preset Polyphony or Priority as on Haken Port
• No support for taking preset out of MPE mode (use Port 1 for that)
MPE Note Priorities: (Editor setting does not apply)
• Default: Uses Same priority with an oldest like round robin (if you play less different
notes than Max Polyphony, those notes will come out on same channel)

Non - MPE Modes:

• Classic Keyboard (standard Polyphonic midi)
• Poly-Aftertouch
• Multi-Channel
42
Osmose DIN Midi Mode Output (Similar to USB) – And How USB Ports are Affected
1/5 – Default (follows Osmose Ext Midi Settings)
DIN
• MPE – Outputs MPE Priority Same (no CC87) on MPE channels defined 2-N (defaults 2-16). Channel Pressure (assignable) and Aftertouch (assignable).
• Classic – Outputs on Channel 1 Default (or chosen “mono channel”). Note On/Off, Channel Pressure (configurable), pitch bend (from slider not key)
• Poly Aftertouch – Like Classic only Key Aftertouch output instead of channel pressure.
• Multi-Channel – Like MPE only range of channels assignable from 1-16 instead of 2-16 in MPE mode.
USB
• USB: Outputs on USB Osmose 1 port as set in the Ext. Midi Settings
• USB: Outputs on USB Haken Osmose 2 port according to MPE/MPE+ preset configuration.

2/5 – dsp in (use this for playing the Osmose Internal Sound engine from an external Midi DIN source)
• DIN: Outputs according to 1/5 Midi out rules set in Ext. Midi settings if you play the Osmose
• USB: Outputs on USB Osmose 1 port as set in the Ext. Midi Settings
• USB: Outputs on USB Haken Osmose 2 port according to MPE/MPE+ preset configuration.

3/5 – thru (used to send incoming Midi to Midi Out)

• DIN: Outputs according to 1/5 Midi out rules set in Ext. Midi settings if you play the Osmose
• USB: Outputs on USB Osmose 1 port as set in the Ext. Midi Settings
• USB: Outputs on USB Haken Osmose 2 port according to MPE/MPE+ preset configuration.

4/5 – dsp in + thru (a combination of dsp and midi thru modes)

• DIN: Outputs according to 1/5 Midi out rules set in Ext. Midi settings if you play the Osmose
• USB: Outputs on USB Osmose 1 port as set in the Ext. Midi Settings
• USB: Outputs on USB Haken Osmose 2 port according to MPE/MPE+ preset configuration.

5/5 – CVC (Used to Connect Haken Audio CVC to the Osmose with MIDI DIN connection)
• DIN: Outputs Midi According to the MPE/MPE+ Polyphony and MPE/MPE+ Priority set for the current EaganMatrix Preset being played. If MPE+, CC87b will be output.
• USB: If set, no output on the Osmose 1 (Osmose 1) USB port
• USB: If set, on Haken USB Port (Osemose2/MIDI2IN) Outputs Midi According to the MPE/MPE+ Polyphony and MPE/MPE+ Priority set for the current EaganMatrix
Preset being played. If MPE+, CC87 will be output.

Note: Disabling the Haken USB Port (Osmose 2/MIDI2IN) will still output Haken MPE based Midi output on the DIN port if you set 5/5
though no Haken USB port data will be output.
43
 Osmose Mono Glide Mode (Pressure weighted Portamento – And Full List of Mono Options)
This table is included because some presets like “pulzz” and “fourad” are set with other EaganMatrix Haken Continuum Mono modes besides the Pressure Weighted Portamento
option. Its not clear all these options are intended to be supported on the Osmose, but the table is included here for completeness.
Mono Details Midi Encoding
Function
Portamento The second note has no attack or decay of its own; instead, it continues with the sustain A highly optimized series of Pitch Bend messages will be used to glide the pitch to the new note.
(pressure weighted) portion of the first note, but smoothly glides to the new pitch, based on the relative
pressure of the two fingers.
Legato Z The second note sounds when the pressure of the second finger exceeds the pressure When the second finger reaches a pressure greater than the first, a Pitch Bend will be used to
(to highest pressure finger) of the first finger. The second note has no attack or decay of its own; instead, it jump to the new pitch; no Note Off or Note On will be transmitted.
continues with the sustain portion of the first note but jumps to the new pitch.
Retrigger Z The second note sounds when the pressure of the second finger exceeds the pressure When the second finger reaches a pressure greater than the first, a Note Off will be transmitted
(highest pressure) of the first finger. The second note has an attack and decay; it sounds much like it for the first finger, and a Note On for the second finger.
would if the first note had not been played.
Legato T The second note sounds as soon as the second finger touches the surface. The second As soon as the second finger touches the surface, a Pitch Bend will be used to jump to the new
(to new touch) note has no attack or decay of its own; instead, it continues with the sustain portion of pitch; no Note Off or Note On will be transmitted.
the first note but jumps to the new pitch.
Retrigger T The second note sounds as soon as the second finger touches the surface. The second As soon as the second finger touches the surface, a Note Off will be transmitted for the first
(at new touch) note has an attack and decay; it sounds much like it would if the first note had not been finger, and a Note On for the second finger. Then, if the second finger is lifted before the first, a
played. If the second finger is lifted before the first, the pitch jumps back to the first Pitch Bend will be used to jump back to the first finger’s pitch.
finger’s pitch.
Retrigger TL The second note sounds as soon as the second finger touches the surface. The second As soon as the second finger touches the surface, a Note Off will be transmitted for the first
(at touch and lift) note has an attack and decay; it sounds much like it would if the first note had not been finger, and a Note On for the second finger. If the second finger is lifted before the first, a Note
played. If the second finger is lifted before the first, the first note re-attacks. Off will be transmitted for the second finger, and a new Note On will be transmitted for the first
finger.
Legato TZ The second note sounds as soon as the second finger touches the surface. The second As soon as the second finger touches the surface, a Pitch Bend will be used to jump to the new
(to new touch, use Z max) note has no attack or decay of its own; instead, it continues with the sustain portion of pitch; no Note Off or Note On will be transmitted. The dynamics will be controlled by the highest
the first note, but jumps to the new pitch, and uses the max pressure of the two fingers. pressure finger.

Retrigger TZ The second note sounds as soon as the second finger touches the surface. The second As soon as the second finger touches the surface, a Note Off will be transmitted for the first
(at new touch, use Z max) note has an attack and decay; it sounds much like it would if the first note had not been finger, and a Note On for the second finger. Then, if the second finger is lifted before the first, a
played. If the second finger is lifted before the first, the pitch jumps back to the first Pitch Bend will be used to jump back to the first finger’s pitch. The dynamics will be based on the
finger’s pitch, and uses the max pressure of the two fingers. highest pressure finger.
Retrigger TLZ The second note sounds as soon as the second finger touches the surface. The second As soon as the second finger touches the surface, a Note Off will be transmitted for the first
(touch and lift, use Z max) note has an attack and decay; it sounds much like it would if the first note had not been finger, and a Note On for the second finger. If the second finger is lifted before the first, a Note
played. If the second finger is lifted before the first, the first note re-attacks, and uses Off will be transmitted for the second finger, and a new Note On will be transmitted for the first
the max pressure of the two fingers. finger. The dynamics will be based on the highest pressure finger.
44
 Changing Osmose Presets over Midi
On Channel 2:
• Send to Haken USB Port
• Set Category (CC0)
• If Presets in Category > 128, Set CC32 =1 for next bank of 128 in that category, CC32=2 for next 128, etc.
• Set Program Change 0-127 to select preset in Category

CC0 Categories:
CC0 = 0 (User Presets)
CC0 = 1 (Strings)
CC0 = 2 (Winds)
CC0 = 3 (Vocal) See Full List in the Appendix
CC0 = 4 (Keyboard), Requires CC32 = 1 for full access
CC0 = 5 (Classic), Requires CC32 = 1 for full access
CC0 = 6 (Other)
CC0 = 7 (Percussion)
CC0 = 8 (Tuned Percussion)
CC0- = 9 (Processors) – Not used by Osmose
CC0 = 10 (Drones) – Not used by Osmose
CC0 = 11 (Midi)
CC0 = 12 (CV) – Not used by Osmose
CC0 = 13 (Utility)

45
Commonly Used EaganMatrix Channel 1 – CC Controls (And reserved Ch 16 CCs) – For Osmose only use Highlighted Options
CC 1 CC 41 – Ch 16 (Y position) CC 81 CC 121
CC 2 CC 42 – Ch 16 (Z position) CC 82 CC 122
CC 3 CC 43 – CH 16 (Midi note Processing), Split point. CC 83 – EQ Tilt CC 123
CC 4 CC 44 – Ch 16 – Transpose Middle C - (Default=60, Offset +/- N ST) CC 84 – EQ Frequency CC 124
CC 5 CC 45 – Ch 16 (Note number for Split point) CC 85 – EQ Mix CC 125
CC 6 CC 46 – Ch 16 (Mono Mode – Portamento, Legato, retrigger, etc.) CC 86 – (Option) Extra 7 (low) bits to create 14-bit Macro controller CC 126
CC 7 CC 47 CC 87 – MPE + Y/Z Resolution (reserve) CC 127
CC 8 – Octave Shift CC 48 – Ch 16 (Mono Interval, 0=disable, else 1-96) CC 88
CC 9 – Mono Switch (On=48, Off=0) CC 49 – Ch 16 (MPE Midi Channel Priority) CC 89
CC 10 – Fine Tune Control CC 50 CC 90 – Compressor Threshold
CC 11 CC 51 – Ch 16 (Set Pitch table for round) CC 91 - Compressor Attack (Ch1), Ch 16 (Tweak - Continuum)
CC 12 – Macro Controller i CC 52 – Ch 16 (Midi Controller assignment for Pedal 1 Jack) CC 92 - Compressor Ratio
CC 13 – Macro Controller ii CC 53 – Ch 16 (Midi Controller assignment for Pedal 2 Jack) CC 92 - Compressor Mix
CC 14 – Macro Controller iii CC 54 – Ch 16 (Midi note = Middle when Oct Shift active) CC 94
CC 15 – Macro Controller iv CC 55 CC 95
CC 16 – Macro Controller v CC 56 – Convolution Control (Uses Blob - See Continuum Manual) CC 96
CC 17 – Macro Controller vi CC 57 – Reserved Ch 16 (Store preset – Continuum) CC 97
CC 18 – Post-Master Section Gain CC 58 – Reserved Ch 16 (store preset – Continuum) CC 98
CC 19 – Audio Level (Continuum) CC 59 – Reserved Ch 16 Transmit (Continuum) CC 99
CC 20 – Recirculator R1 CC 60 CC 100
CC 21 – Recirculator R2 CC 61 – Ch 16 (Round rate) CC 101
CC 22 – Recirculator R3 CC 62 CC 102 – Ch 16 (High 7 bits of FW version)
CC 23 – Recirculator R4 CC 63 CC 103 – Ch 16 (Low7 bits of FW version)
CC 24 – Recirculator Mix CC 64 - Sustain CC 104 – Ch 16 (CVC Serial number – bits 14-15)
CC 25 – Round Rate CC 65 – Equal (Disable Rounding) CC 105 – Ch 16 (CVC Serial number – bits 13-7)
CC 26 – Pre-Master Section Gain CC 66 – Sos 1 CC 106 – Ch 16 (CVC Serial number – bits 0-6)
CC 27 – Attenuation (Continuum) CC 67 CC 107
CC 28 – Round Initial CC 68 CC 108
CC 29 – CC 69 – Sos 2 CC 109 - Reserved ch 16 (Refine calib –Continuum. Do not use)
CC 30 CC 70 CC 110
CC 31 – Advance to Next User Preset (Continuum) CC 71 CC 111
CC 32 CC 72 CC 112
CC 33 – Ch 16 (AES output) CC 73 CC 113
CC 34 CC 74 CC 114
CC 35 – Ch 16 (Midi Program Change 1-20) CC 75 CC 115
CC 36 – Ch 16 (Continuum Surface activity merging) CC 76 – Ch 16 (Min Ped1 value) CC 116
CC 37 CC 77 – Ch 16 (Max Ped 1 value) CC 117 – Reserved Ch1 & CH 16 (Loopback testing)
CC 38 CC 78 CC 118
CC 39 – Ch 16 (Base Polyphony) CC 79 – Ch 16 (Min Ped2 value) CC 119
CC 40 – Ch 16 (X Bend Range) CC 80 – Ch 16 (Min Ped2 value) CC 120
46
 Osmose External Midi Modes
For playing external Midi instruments. Supports 4
turn s s config
modes. Always use “Osmose” device.
type
push mpe
sound ext classic keyboard
engine midi poly Aftertouch
multi-channel

mpe priority: Notes are output in “Same” priority

mpe: Outputs channel per voice MPE data on if set to mpe (manual simply says “round robin”
channels 2-Max MPE channel set. If not playing pattern.
sound engine, this can be set 2-16. Channel 1
reserved for control. Note EaganMatrix presets gesture pressure: Set this is
also reserve channel 15 and 16 as control “adjust/gestures/pressure”.
channels. Max EaganMatrix output channel is 14. Normally will be “ch. press”, but
set mpe channel range with “adjust/mpe”. your external instrument may only
support CC11 expression or CC7
classic keyboard: Outputs all Midi data volume. You can set this CC here.
polyphonically on channel 1 by default (can Also, you can set the range. CH.
change using “adjust/mono Ch” setting. Set to Pressure also can be disabled.
this for all non-mpe devices you play using
Osmose as a Midi controller. gesture Aftertouch: Set this is
“adjust/gestures/Aftertouch”.
Normally will be “cc74”, but you
poly Aftertouch: Similar to classic keyboard only can set it to another option.
support polyphonic Aftertouch instead of Also, you can set range.
channel pressure. Aftertouch also can be disabled.
multi-channel: Similar to mpe but no
global channel is output so all 16 channels
are available. Set range of channels to be
output (i.e. 4-9) “adjust/using multi-ch”

Note: Setting a CC for Z or Y in editor will not

affect MPE output as it will in Continuum. Here
Continuum will output on channels 1-Max
Polyphony. Osmose will still output on channels 47
2-Max Polyphony+1.
Recording a Pressure Weighted Portamento Solo with Desired Midi Pitch Bend (with or without MPE DAW support)
Currently Pressure Weighted Portamento is only available at the output of the Haken Osmose2 USB device, not in Osmose External Modes using the Osmose device. This port
normally outputs MPE+ data with other Haken specific CCs if connected to the editor. If you have a DAW and want to record a solo line using pressure weighted Portamento and you
either have MPE or not, do the following. This will work for most presets (but may make some sound funny – in which case pick another one that works better – as this assumes you
are really interested in recording the Midi, not the analog output).

Step 1: Connect and bring up Haken editor and load a preset you want to play. If
the goal is to record the pressure weighted portamento to Midi, a simpler preset
is best (say “altersaw” as it plays portamento well)

Step 2: Set the preset to MPE Mode out MPE+ mode. This will be more
compatible to normal MPE devices and not output CC87. If you can record and Note: There appears to be a bug in
playback MPE+ leave it set to MPE+. You may also want to change to Dynamic 10.09/V1.0.6 where Dynamic
Velocity if you are using Velocity. Velocity set in Editor is not be
correctly reflected on the Haken
Port 2 (though Dynamic velocity
does appear to be sent on the Ext
Step 3: Set your Polyphony to 1 (not 1+). And set Priority to Low. This will
Midi Osmose port 1.
guarantee you are only outputting on channel 2 and that will then be easy to
record as a solo line. Note some presets may not sound right at this setting,
and if that is the case, once again pick a preset that sounds right when
recording so you can best play/record your portamento line.

Step 4: As an option set your desired Portamento interval. For Polyphony=1,

portamento will default to MAX interval.

Step 5: Make sure you are set to record the Haken USB output device:
(Osmose2/MIDIIN2 device)

Step 6: Optionally save the preset configuration to a user position or to disk

for later use. 48
 Recording Osmose in Ableton Live 11 for MPE Playback to the Osmose 49
• Step 1. Set Osmose as follows. Use “In:Omose (Port 2)” Note: If Midi DIN mode is set to 5/5/CVC, the
Step 3. In Ableton Select the Osmose Osmose (Port 1) device will not operate.
USB for recording and playing back to Osmose. Use device for “MIDI From”, set Monitor to
“In:Osmose” (standard Osmose) port for recording and input and arm track. Again, use Osmose Step 5. Record you track and Capture Midi
playing external synths and plugins using your desired Port 2 to record from/to Osmose.
External Midi Mode.
• Usb haken mode: 1/3 note only mode (removes
editor handshaking messages). Set 2/3 when
connecting to editor.
• Haken local mode off
• Optional: Ext Clock: 2/3 usb haken to sync to
Ableton
Step 6. In Ableton, Set from Monitor “In” to “Auto” (you may get Midi loops if
you play while set to In) Auto mode, disarm, select Haken “Osmose (Port 2)”
device for “MIDI To” and playback. Make sure MPE is set for playback and MPE
channels set 2 to 14.
Note. If you want to record and playback to an
external synth or plugin, you should set your
Ext. Midi configuration as desired and use the
“Osmose (Port 1)” port for recording and
Step 4. In Select MPE for Midi To Port 2, bring
playback. Set Ext Clock Source on Osmose back
down the pull down and select MPE settings.
to USB Play as desired for your application. You
Make sure MPE Lower zone is set with
can also select and go into the Sound Engine
Channels 2-13 as first and last channels
Step 2. In Ableton Set Osmose device(s) for Input Track Play mode/Arpeggiator and navigate to the
(assuming Osmose preset set Polyphony 2+ =
& MPE. Set Haken Device (Osmose 2) for output track. “Adjust” menu click the rotary under the Tempo
6x2 = 12 channels). Polyphony 3+ or greater
Perhaps set only those devices you need. option to select Midi Clock or External Clock
will output channels 2-14 on port 2. MPE
Channels 15 & 16 are reserved/never output.
For Program Change:
Bank1: CC0 = 0 (User), Bank2 = Strings, etc.
Sub1 = CC32 = 0, Sub2 = CC32=1
Pgm1 = Program Change = 0, Pgm2 = 1, etc.

Note: If just recording to play back MPE data to an

MPE plugin, use External Osmose Port 1 in MPE
mode (or mode of your choice for your application)
 Additional Ableton Interfacing Information
If the two Ableton configuration steps for MPE are done then Kontakt
should get data on multiple MIDI channels, not just channel 1. The two
steps are: 1) In settings, on the list of MIDI Ports, tick the MPE box next to
the Osmose input MIDI device. and 2) Right click on the light blue title bar
for the plugin in Lives own device window in your track, and select 'Enable
MPE Mode'. The phrase MPE will now show up in that title bar. Any further
steps are plugin-specific, eg with Kontakt press the 'i in a circle' information
icon and then change MIDI channel to Omni.

Sending MIDI from one Ableton track to other Ableton tracks, then this is
my advice: You don’t need to do anything additional to the main track that
is receiving from the Osmose or contains already recorded MPE data. All
you need to do is select that initial tracks name in the 'MIDI from'
dropdown of the other tracks that you want to control with the same MIDI
data. And probably set Monitor to 'On' for those other tracks. Note that the
number before their name in the dropdown refers to the track number, not
MIDI channel. So long as MPE in general is setup to work on all the tracks
and instruments concerned per above.

Note: Ableton dynamically reallocates MPE note channels, it does not

preserve the channel that the MPE controller originally used for each note.
I believe there are 2 reasons for this: so that if you change MPE channel
ranges in External Instrument device then recorded notes will adhere to the
selected range, rather than dropping ones outside the range. And even
more importantly, this enables MPE MIDI overdubbing without the
additional recorded notes potentially clashing with the channels used by
notes recorded into the clip in previously recorded passes. 50
 Recording in Studio One for MPE Playback to the Osmose
• Step 1. Set Osmose as follows. Use “In:Omose (Port 2)” USB (Haken
Port) for recording and playing back to Osmose. Use “In:Osmose”
(standard Osmose) port for recording and playing external synths
and plugins using your desired External Midi Mode.
• Usb haken mode: 1/3 note and matrix (removes editor
handshaking – set 2/3 when connecting to editor)
• Haken local mode off
• Step 2. The current version of Studio One has a keyboard entry for Osmose
you can select, however it is not defaulted to record and play from the Haken
Osmose device. In Studio One Options, Edit (Midi) Device set to Receive from
MidiIn2 (Osmose 2) port, and output to the same port on playback. The device
name may just say Osmose which you can edit to your liking. Enable MPE and
Set Pitch Range to 96 to match the default for Osmose (this would be same for
Continuum). Do not filter any data. Note: Setup still being Confirmed.
Studio One is not outputting MPE as expected.
Presonus admits there are issues with Osmose.
Will insert correct procedure when Studio One
has adequate support.

• Step3. Play Osmose and

verify Midi Monitor is
seeing the MPE data

Link for Using Studio MPE with plugins: Studio One: Working With MPE (soundonsound.com)
 Osmose and Midi Velocity (Not used internally – But for external MIDI control)
MPE Modes (Sound Engine or Ext. Midi)
Classical Keyboard Mode (Output on single Midi channel – default 1 but configurable)
MPE Velocity output defaults to Maximum = 127 in MPE mode:
Velocity set in Sensitivity menu according to desired option:
Low -
Standard -
Expressive -
Extreme – Intended for very light triggering of keys
Custom –
Velocity Default MPE Velocity = Max (127)

Velocity

In Haken Editor set Note Processing Dynamic Velocity to get Velocity change.
Set Midi & Global Settings Preserve for Midi to keep this between preset changes.

Can’t seem to get to default sensitivity control?

Note: There appears to be a bug in 10.09/V1.0.6 where

Dynamic Velocity set in Editor is not be correctly reflected
on the Haken Port 2 (though Dynamic velocity does appear
52
to be sent on the Ext Midi Osmose port 1.
1. Load Cubase with Omnisphere (you 3. In Note Expression setup set Input to Continuum Using Cubase 11 or Later with Omnisphere
may need to load multi-instances to device. Set Aftertouch, Pitch Bend CC74 as desired
match polyphonic channel numbers (defaults should work). Then set Max Channel 3. In Cubase Inspector, select your note expression For recording to DAW, it is suggested to use the
played). (usually 14 – Cubase limits initial channel to 1) device as Input. Set Channels to ANY. Osmose device (not Osmose2/MIDIIN2) as
configured in the “Ext Midi” settings. The Haken
device does not output as it does on the
Continuum if you set things out of MPE mode
as the Continuum does for its Omnisphere
presets.

2. In Cubase Studio/Studio Setup

Create a note Expression Input
Device (for MPE use)

5. Meanwhile set Omnisphere Pitch bend to the max of 24 low

and 24 high. Make sure your continuum preset matches.

4. You should now be able to record MPE from Continuum or Osmose and you
will be able to view and edit your Aftertouch, Pitch Bend and CC74 as desired.

MPE in Cubase - Basics - YouTube 6. If playing polyphonically, either duplicate Omnisphere plugins or
Helpful Videos: Omnisphere: Using the Seaboard create a Multi duplicating the preset. Make sure Continuum set to
Using the Continuum Fingerboard with BLOCK/RISE/GRAND with Omnisphere : play within that polyphony (why Low Priority is suggested to both 53
Omnisphere 1.5 - YouTube ROLI Support (freshdesk.com) predict what channels are played and limit channels output).
1. Set you Midi track and create an MPE profile for it Recording and Playing Back on Osmose in Cubase (Cubase 11 used here)
in Studio Setup. Set your Input to Haken Port 2 Adding CC assignments for Macro Controllers CC12-17
(MIDIIN2) and set MPE parameters to match 4. Record you track and verify Expression data is recorded. Note 1. Bring up an MPE configured Midi track and record from Osmose 2 port. Verify
Osmose MPE mode. that this will not be exported in the Midi file. Make sure you set you have recorded Aftertouch (Channel Pressure/Z), pitchbend (X) and Brightness
your Osmose Pressure sensitivity as desired to get good (Osmose Aftertouch/Y).
pressure response. 2. Click Controller Lane Setup
icon (triangle) and select “Set up
Available Controllers” option.

3. Add Controllers 12-17 (move to right side)

4. Left click a controller lane

to select a CC assignment or
add a controller Lane if they
have not all been defined.
To Play Back You may need to delete one
if you have the max number
5. If you get Midi loops on Osmose set Global Midi I/O “Haken
2. On Osmose set Global Midi I/O “Haken Local Port” to On defined. Removing does not
Local Port” to Off but you may get an initial output glitch if
for Record. Set “usb haken mode” to “1/3 note only” to turn delete the entry – you can
playing back.
off editor handshaking (set back to 2/3 when connecting to always re-add it.
editor). 6. In Cubase set your Input to Not Connected and then set
Output to Haken Port 2 (MIDIOut2). Play back. You will
3. Set Cubase Midi Track to record from Haken Port2 need to set Haken Local Mode back on when needed. 5. Draw in your CC data if it
(MIDIIn2) and keep output Not connected to avoid Midi loop. is empty or perhaps when
you record use an external
Midi controller to change
the Macro Controllers you
record. Presently (as of
firmware 1.0.6) Osmose
does not output Controller
data when you play to
Midi port (so you can’t
record that directly) 54
 Recording with Logic Pro
Step 1: Interfacing with Logic is similar to Cubase and
Ableton in terms of choosing which USB Midi interface you Step 4: Only recording and playback you should be
want to use: Osmose Port 1 for playing external instruments able to see the MPE information (pitch bend,
or plugins and Osmose Port 2 (MIDIIN2/MIDIOUT2) Haken &/CC74 (brightness), and Channel pressure per
port to play back to the Osmose. Set Midi In and Out channel. Playback to the Osmose 2 (Haken port to
Channels to All. No MPE setup is required. play the recording Midi back on the Osmose)

Note: On recording in Logic, if you see two sets of Midi

notes when recording, perhaps one and octave above the
other and using a fixed Static Velocity of 127, you
undoubtedly are recording both the Haken Port and the
Step 2: Make sure “USB Haken Mode” is set to “2/3 External Osmose port. The Haken Port only outputs MPE
note and matrix” You may need to set Global Midi I/O so it does not use Velocity and it will be set to a static
Haken Local Mode to Off to avoid Midi loop on the value of 127. The External Midi port can set Velocity as
Osmose. This is needed to be set to On however to run desired on the Osmose. Only enable one of the Osmose
the Haken editor. input ports at a time for recording.
Step 3: Arm your tracks for Midi recording. To stop the Haken Port data from recording, either go to Osmose Global MIDI I/O page
and set “usb haken mode” to “3/3 – Disabled” or go to Logic Pro > Settings > Midi >
Inputs, and then uncheck “Osmose Port 2”.

55
 Step 1: Set SWAM Midi Input to Osmose (Port1) USB and Playing Mono SWAM Instruments Direct from Osmose Device Note: Experiment with AT
external Breath Controller if used (and set your audio Step 4: Set Expressivity parameters noting Step 7: Set Timbre and Advanced settings as desired. and CC settings along with
interface if not defaulted as you desire). Vibrato will be foot controlled. We will use ancillary breath controller
pitch bend to impose Osmose key vibrato, to get a setting that works
for you. Also consider using
Ped2/Mod Slider to add an
additional control. Also try
setting Osmose Aftertouch
to output Channel Pressure
and set normal pressure 0-
63 and Aftertouch 64-127
Step 8: Set External Controller Mappings and associated curves for to get much better full key
Step 5: Set Pitch parameters. Set Pressure, Aftertouch, Pedal 1 and Mod Wheel/Pedal 2 as desired as
Step 2a: If Osmose set SWAM and OSMOSE pitch bend to well as any ancillary controller like breath controller (Examples pressure response for
for External MPE match. If SWAM u/ down set 48, below for SWAM Sax) SWAM AT.
(preferred), set set Osmose 1/96, etc. Suggest you • Panic
SWAM MPE Receive start with SWAM 24, Osmose • Expression – Osmose Channel Pressure (Called AT [Aftertouch] in SWAM settings)
Midi Channel to Any 1/48. This will let you impose a • Vibrato Depth – You probably don’t need this is you are using Osmos finger vibrato
(or you could set to nice vibrato with finger. • Vibrato Rate - You probably don’t need this is you are using Osmos finger vibrato
ch 2 as set in Step 3 • Portamento Time
below if only • Harmonic Structure
outputting on ch 2). • Sub. Harm
• Growl
Step 2b: Option: If Multi-Channel mode is set, set to single
• Flutter
channel assigned there (Low channel = 2, high channel =
• Formant – Osmose Aftertouch (CC74)
2). Try using Legacy, not MPE setting on SWAM.
• Attack Start – Assign to AT or perhaps Breath Control
• Breath Noise or maybe Overblow – CC2 (Breath Controller Bite)
• Key Noise
Step 6: Set Play Modes as Desired.
• Dynamic Pitch
• Alt. Fingering
• Main Volume – Breath Controller CC – Gives better Volume Control than using Osmose AT.
• Panpot
Step 3: Set your Osmose preset to Polyphony 1 (not 1+).
• Reverb Mix
Set Priority Low. This will guarantee monophonic output
• Legato Mode
on channel 2. Suggest you store this preset to disk and
• Harmonic Gain A, Harmonic Gain B
put it in in a User Position for easy recall. Suggest Low
• Sustain – CC64
Note One pressure and Low value pressure curve (for
• Overblow
exponential rise)
• Fall Down
Note: Perhaps assign pedal or second breath • Velocity – Osmose Port 1 will output dynamic Velocity (don’t use Port 2)
controller parameter to portamento as Note: For better expressive control on SWAM wind instruments suggest you add an external
Osmose 1 port does not output pressure glide Breath Controller such as TEC2 or Hornberg Research HB-1 as assign to desired CC. Map this to a
and do not suggest using Osmose 2 port. parameter that makes sense to use in conjunction with AT Pressure and Osmose Aftertouch
(CC74). Or use Ped2/Mod Slider set to CC instead. Or use both for additional controls. 56
 Playing Multiple EaganMatrix Instruments in Real Time from Notation Program (or DAW) and Multi-Port Midi Hub/Host

Note: Notion 6 is used as example here but other notation programs will use a similar interface
USB Host In (computer is host if connected)

Computer Running Notation Multi Port Midi Interface

Computer to
Program or DAW (iConnectivity MIO XM in this case)
Midi Interface Midi DIN In Note: You can also route Notation
Connection program or DAW output to USB
devices: Osmose, EaganMatrix Module
or Continuum, but DIN/TRS
Notation program Midi Interface must be connections work best if available.
set to take Midi configured to route Midi ContinuuMini must use USB interface.
input from Osmose Ports A, B, C & D inputs to Midi DIN In
ContinuuMini Port separate outputs
EaganMatrix Module Port
Slim Continuum port
Osmose Port
Midi DIN In
Assign Program Midi Port Connections

Notation Program Voice Assignment

Note: Most notation programs do not know about MPE voice assignments per staff
as would be required to support MPE output to an EaganMatrix device. In this case
you should assign each port to channel 1 as EaganMatrix based instruments play
standard Midi on channel 1. If using a DAW you would use a similar configuration,
though some DAWs support MPE output.

This is why you can not use a single port connected to all instruments and send
output on different Midi channels for each instrument as MPE expects all channels 57
Assign a Port and Channel Input for a Notated Voice to be allocated per instrument for voice per channel input.
 Using Kontakt Non-MPE Libraries in MPE Mode (Tested with Kontakt7 & Ableton Live 11) 10. This will play a single mono instance. For polyphonic playing:
1. Set Osmose to External Midi Multi-Channel Mode. 7. In Kontakt Setup / Mod section, change Velocity to Mono • Click Save icon (save single setup to a file if desired).
2. In External Midi Adjust menu (button 2) , dial to multi-ch. Aftertouch, Set Active and set your desired pressure curve • Click Kontakt Refresh icon (will show new version if you saved
Configuration and set to start ch. = 1, end ch. = 1 (for initial (experiment using a curve offset). Also, on Osmose experiment to a file in the Inspector)
test) with Sensitivity press curve to get a pressure response you like. • Create additional instance of the plugin setting to different
3. In External Midi Sensitivity menu (button 3), set bending to You might set linear in Kontakt and adjust only with Osmose sequential channels 2 to Max Polyphony you want to play +1.
1/12. Set Sensitivity to “regular” to start, you can change this Press curve.
later to suit your needs. Same for curve and stabilization –
leave at defaults and set to your liking later for the specific
instrument.
4. Load full Version of Kontakt (not in DAW at this point). Single
Kontakt Instrument Instance (here Jazz Guitar). You must be
using Full Version of Kontakt. Not the player. Your DAW also
should have MPE capability.
8. To map Aftertouch to some parameter, click + on Add Fx and
select your desired effect (here Phaser)
• Set Multi-Rack Name and Save to use again

11. Set Osmose to MPE mode ending at desired channel (will

output channels 2 to max channel). Or set to Multi-Channel mode
5. Set Pitch bend -12..+12 (look in Options) – some plugins to channel range you have copied for the instances.
may have other configuration settings.
9. Let’s Map Phaser Cutoff to Aftertouch. Take Cutoff value down to 12. Ableton: (Similar for other DAWs but check their MPE specifics).
zero. Select Add Modulator/External Sources/Midi CC. Then set that • Set Osmose 1 Port Midi Input to MPE mode
CC to 74. Make sure Osmose Adjust/ Aftertouch is set 74, to a range • Set your Midi Track to Kontakt7. Assign your Multi Instrument.
of your liking (normally default 0..127). Set Kontakt effect Curve as • Set Plugin to MPE in Kontakt Device Window (right click to
desired. If effect comes in too soon, adjust Aftertouch curve down so assign). Record MPE Midi track.
Aftertouch to get a bit more dead zone after Pressure reaches max. • Assign output as desired
6. You may also want to play with Velocity to set Min value
a bit higher (than default 0) so it does not come in too early
ion your press (or instead play with Osmose Note On
Velocity/Press Sensitivity to suite your needs).

58
 Haken Editor Summaries
(Not all functions apply to Osmose – See
Continuum User’ Guide for more information)

Available here: https://www.hakenaudio.com/editor-and-firmware)

59
 How to Read the Haken Editor
Attenuat DSP &
Version &
Connect ion Preset Name and Surface Display Polyphony
Cogwheel
Status NA Stats
Split Options
User User
Banks
User Preset Selection and Setting Groups

Control
Recirculator
Macro Controllers Sus / Sostenuto Audio In
Panels (Reverb, Echo, Delay) Display NA
&
Graphs
Pedal 1 Assignment & Mod/Pedal 2 Assignment & Polyphony/ Rounding Mono Octave
Range Range Priority Setting Controls Modes Switching

Preset Library Selection

Or
EaganMatrix Programming

60
 Editor Surface Top Level
Editor Display Split and Cogwheel – Enter
Attenuati Display Save/Load Osmose
Connect Scale on (NA for Control
Combination Haken Editor Functions Preset Stats Midi & Global
State Preset Mode Settings
Osmose) Selections
(should be
Current Preset Name
constant
Blue) Firmware Version
Surface Display (active if turned on) (Editor Version in
About)
Current User Preset Selections
User Save/Load User
Bank Preset Groups
Select
SUS SOS 1 SOS2 Audio
Macro Controller Settings Recirculator Setting
Current Values (NA for
Active (Reverb , Echo & Delays) Osmose)
Control
Panel Polyphony
Ped 1 Range Ped 2 Range Rounding Mono Mode Oct Mode
Priority

Switch
between
EaganMatrix Help Panel
Preset edit (Not supported
mode and yet for Osmose)
Preset Filtered Search Panel
System
Library
Search

61
 Top Level Haken Editor Functions (2) – Additional Control Panels & Graphs
Control Panel 2

Compressor Settings
Recirculator Selection Tilt Settings

Pre-Master Post-Master
Section Gain Section Gain

Control Panel 3
Midi I/O Options Midi Routing Invert Surface
Direction – Not too
CVC Output Options
useful for Osmose

Breakpoint Control
(for making graphs
easier to create)

Graph Data

Main Graph Overlay picture on

Offset 1 Graph Graph option (not
Offset 2 Graph stored with preset) 62
 Midi & Global Settings Editor
Cogwheel
Source & Options
Destination Settings

External USB
Kenton KillaMix
Interface Options
Connection

Continuum Surface
and Optimization
Options Plus AES
Replace or Preserve Audio Configuration
Options (All Not Applicable
for Osmose)

63
 Transposing Presets Using the Editor
Currently there is no transpose function on the Osmose but this can be done in the editor easily:
Note: Transposing presets using the Octave
buttons on the Osmose and saving to a user
position will not maintain the transposition. The
Osmose will play according to the transposition
buttons selected. For now, if you want to store a
1. Find the Middle C indicator: preset to a User Slot with a transposition do it in
the editor as per this slide.

2. Move indication up to transpose down and down to transpose up (as this moves Middle C). Here the
preset is transposed down an octave. But you can set to any interval.

3. Save Preset to a new name and set as User Preset to have your transposed preset available.

64
 Accessing 128 User Presets Accessing User Presets in Editor
Storing a Preset Group (up to 16 presets)

• Select Desired Bank of 16 User Presets (8 banks available =

128 User presets: 1-16, 17-32, 33-48, 49-64, etc.)
Storing Current Preset in a User Bank Position

• Step 1 - Select Bank of 16 presets you want to store.

• Step 2 – Select last preset in the group you want to store (all presets up to that point will be stored)
• Step 3- Select Group Icon and Select Save Group (shows what presets are being stored)
• Step 4 - Select location to Save and Name for Group from dialog
• Open a Preset (File Load) from the disk into the current preset • Step 5 – Select “Save” and presets will save one at a time to the group. Wait until all have been
and Control Click on a User Preset slot to store it there. loaded and editor returns to normal.
• Or in your File system drag a preset.mid file to a user position Loading/Opening a Preset Group (up to 16 presets)
• For example, drag a Continuum preset in the
firmware directory
/he/Firmware/SysPresets/Continuum/Standar
d Continuum to a User position to play on
Osmose. It could be one of your own of
course, or you could load Osmose presets
from disk this way as well.
“Deleting a Preset” • Note: Storing the Empty preset direct
from the editor’s search, will create a
presets slot called “Empty”. Clearing all Group User Presets
• Step 1 - Select Bank of up to 16 presets you want to load/open.
• Step 2 – Select position in group where you want the group to
load from (starting at first preset in your group). Normally this is
• There is no delete function, but if you store the user preset position 1 in your group but can be any position if
Empty preset from the Utility selections to disk under you want to retain some of the current user presets.
some name and open that and store in a User • Step 3- Select Group Icon and Select Group name to restore • Group Clear User Presets
position it will in effect delete it (user slot appears • Step 4 – Select Open and files will load (from last slot to your
empty). clears all presets in the group
load position)
(Example above loads the saved group but starting at the 4th user • Demo Assortment option is
position. The last 4 presets in the group thus are not loaded). not intended for Osmose. 65
Note: As of Osmose V1.13 and Haken Audio V10.09 and early firmware, Using Midi / Keyboard Splits
Midi Splits must be set with Haken editor and Midi Combinations should
not be used (they will be removed in the next Haken firmware release). Split Options
• Split MPE Midi channel output equally above and below split point
1. Select a Split Option (Note: internal DSP option not working) • Output Midi channel 2 below split and all other MPE channels above split
• Output Midi channel 2 above split and all other MPE channels below split
• Output Internal sound below the split and all Midi channel output above split
• Output Internal above the split and all Midi channel output below split
Midi Split Options
• If Touch area crosses split point, it extends over the split.
Note: Single Midi channel is Combination Preset Operations
channel 2, not 1 on Haken port.
• DO NOT USE. BOT INTENDED FOR OSMOSE AND THEY DO NOT OPERATE AS INTENDED

Combination Preset Options

Note: Do not use. Not intended for
Osmose and they will be removed in
the next Haken Audio firmware
release.

2. Move/Select a split point in editor

3. On Osmose, must use Global Midi I/O: Haken USB Port #2

or Midi Din set to “5/5 CVC” (if sending Midi Splits to other
targets). Osmose Ext Midi mode does not support splits.

4. Save your preset or store to a

User Position to maintain the split
on reloading.
66
 Layering Presets with EaganMatrix Module & VCV HC-1 App Using VCV HC-1 App
Note: Combination options are not intended for Osmose 67
To Mange all Presets in Parallel
and will be removed in post Haken Audio 10.09 firmware Option 3: Single or Multiple EMM Layering with Osmose and a USB
(Still Beta Version – Use MAC version)
releases. If you want to layer presets, the recommended Midi Router (iConnectivity Mio XM here) Step 1: Register for VCV login and download VCV Rack2
Midi IN (DIN-TRS
method is to add one or more EaganMatrix Modules that iConnectivity MIO XM app.
Adapter)
let you play up to 8 MPE voices and are sound engine USB Step 2: Download HC-1 Plugin from Paul Dempsey (see
compatible with Osmose presets. Host Facebook Haken Continuum User’s Group site for current
USB (Connected to MIO Host 1) Beta Version).
Option 1: Single EMM Layering with Osmose Step 3. Copy plugin to the VCV Plugins directory (normally
in /Documents/Rack2/plugins-win-x64 (for Windows) or
plugins-mac-x64, etc.
Midi DIN Out Midi IN (DIN- Step 4. Run VCV Rack2 app. Right click on rack to add
TRS Adapter) EMM #1 instance of HC-1
Note: Must Route Osmose (Connected to Step5. Click Lower left corner control to select EaganMatrix
Port 2 / MIDI2OUT. EMM #2
MIO DIN 2 out) device to load into instance. Do this For Osmose (Port2)
(Connected to
Set 4 different MIO XM and repeat steps 4&5 for additional EaganMatrix modules.
MIO DIN 3 Out)
routes (can be accessed Here showing Osmose & 2 EMMs.
from MIO front panel) Step 6. With HC-1 instances
Osmose loaded you can select
Note: Osmose must only output on MPE channels 2-9 or
EaganMatrix HOST 1 Not Routed – presets on all devices to
Osmose plays only its layer. Load Empty preset to
preset polyphony set 8 (as EMM supports 8 MPE Module turn off a layer (suggest
voices). Must use DIN 5/5 for best MPE + operation. sound engine. making that a User preset
for ease of use).
Option 2: Multiple EMM Layering with HOST 1 Routed to DIN 2 –
Osmose plays itself (Step 5 device selection below)
Osmose and a DIN based Midi Switch A Out
layered with EMM #1
Midi In Midi A+B HOST 1 Routed to DIN 3 –
Midi DIN Out Switch Out
Osmose plays itself
layered with EMM #2
B Out
HOST 1 Routed to DIN 2 &
DIN 3 – Osmose plays
For Standalone EMM, use 4ms itself layered with EMM
POD enclosure with power supply #1 & EMM #2 Osmose EMM #1 EMM #2
and a 4HP (or 2 2 HP) blank Example MIO Connections. Yours could be different. Preset Preset Preset
panel(s). More info here: Note: If using MIO configure to fix Host ports or route all Hosts as Selection Selection Selection
DSP Upgrade — Haken Audio Host ports default to be defined for USB connections in the order
they are connected (any of the 4 host ports could be then mapped
as Host 1 depending on the order you connect USB devices).
Using the Pitch table Editor to
Modify Tunings

(Documentation on this topic available at Haken Audio site.

Pitch Table Editor manual available here along with the PTE editor itself:
https://www.hakenaudio.com/editor-and-firmware)

68
 Loading PTE Table Files into Osmose Through PTE & Haken Editor
Step 1: Open PTE in Max Step 3: Load the PTE Table file (here from default Tables that Step 5: Select TABLE and then Select a Custom Grid position
(Close Haken Editor first if on Windows) comes with the PTE, but can be your own as well). Select and to load the table into your Osmose (use Grid 80 if you have
Open the file to load. not loaded any others). Then Select the Top line to set
Osmose MidiOut2/Osmose 2 Haken USB device.

Option: Create your own PTE configuration if

desired (see manual) and store to Table file.
Step 4: After loading you will see any changes in the PTE
Step 6: Select a Custom Grid position to load
display mapping to your new scale configuration.
the table into your Osmose (use Grid 80 if you
have not loaded any others).
Step 7: Select SEND to send the table to your Osmose.

Step 2: Or if you want to just load a Scala file instead,

select the TABLE Control that will bring up option to
LOAD. Step 8: Now your Osmose should play the new tuning system
or scale loaded if you set your custom Grid and set Initial On:
Note: When repowering Osmose
and reloading a preset set to use a
Tuning Grid, you may have to
reselect the Tuning:Grid option for
69
it to take effect.
Step 1: Open PTE in Max Loading Scala Files into the Osmose Custom Tuning Grids from the PTE (PTE Written by Pablo DeLaLoza)
(click on “ContinuumPTE”
file). TABLE View defaults. Step 4: You new scaling will appear
Step 9. Click the Midi destination text and select the Haken Port 2 (MIDIOUT2)
(You may have to close highlighted at default Location/Position
Haken Editor first if on 60/60 (Middle C). You can paste it in only at
Windows) that position or select starting position and
ending position and your scaling will apply
Step 2. Select EDIT/ IMPORT over the desired area (step 5). Step 10. Select the Custom Grid Position to load the scale config into the
Osmose (Here Grid 81 because I have a quartertone scale already loaded in
Grid 80).
Step 5. To set your scaling over the full or
other desired range, select another
starting Location in the grid and/or starting
Step 11. Select Send to send the custom
(base) Pitch (suggest starting with 0/0)
scale to the Osmose target and store it in
and experimenting from there. Or copy it
Grid 81 (you will see screen change color
in at some higher location and the scaling
as it loads. The custom scale should
beneath that will remain in place. If you
remain in Osmose Flash is turned off).
make a mistake, Select TABLE/NEW and
start over. (Note: custom tunings can Step 12. Optionally under TABLE, before
change normal range of expected playing.) exiting PTE, save your configuration in a
table to reload later. NEW will start over
Step 6. Select Paste to copy in your and changes will be lost.
new scaling to the indicated position. Step 13. Exit PTE and bring up Haken Editor connected to Osmose. Load
The graphic view will change to show your desired preset and select your desired custom grid in the Rounding
the new scaling. Section that will have default Tuning: Equal there. Start with Initial (jump
to grid) Off. You have 8 Grid buffers you can store custom scales to.
Step 3: Select your Scala Step 7. Advanced: Optionally, change Iteration Pitch and/or Scale Size Note: You can experiment
file and Load. and re-Paste, if desired. For example, if you set Iteration 12, Scale Size with Initial jump to the grid
15 the scale will range 15 steps on the Osmose keyboard mapping to the to come in exactly on
octave (see PTE manual). defined table pitch.

Step 8. We are ready to load to

Osmose. Select TABLE to bring up Step 14. Change back to Equal Temperament or any other custom
the I/O options. 70
tuning the same way in editor.
Pitch Table Editor Fundamentals Equal Temperament (default over full range)
• Iteration Pitch (Range of Interval Pattern in Half Steps) = 1
(PTE Written by Pablo DeLaLoza) • Scale Size (Pitch Change per Iteration) = 1
(From PTE Manual - See Manual for more details_) • Location (starting in table) = 0, Pitch (Starting MIDI) = 0
(so will be scales of 12 notes but defined as half steps)

Quarter Tone Scale

• Iteration Pitch (Interval in Half Steps) = 0.5 (= ¼ step)
• Scale Size = 1
• Location = 0
• Pitch = 30 (2x keys to reach same note thus halved to
keep Middle C in same position)

12 Note Scale (One of many Baroque tunings)

• Iteration Pitch (so range of iteration is 12 half steps)
• Scale Size = 12 (so repeating 12 note scales)
• Location = 0, Pitch = 0 (for full range)
Defined by loading a Scala file

71
 Pitch Table Editor – Scala File Format Pitch Table Editor – Table Format
Scala scale file (.scl) format (huygens-fokker.org)
1. Many Scala files are in the default Scala Directory when you load the PTE When exporting a PTE configuration, the following format results:
Editor Folder
{
2. Assume you will be loading 12 note scala files.
"dzones" : {
• They must end in the .scl extension even though they are text files.
"0" : [ 1, 30.0, 0.5, 0.0, 0.0, "Chromatic", 1000, 0.0 ]
• You can specify in cents, ratios or both.
}
• Always use 2/1 to end if you want the octave recurring point.
• ! is the comment.
}

Scala Home Page (huygens-fokker.org)

! 12-Test 1.scl ! 12-test 2.scl ! kirnberger3.scl
! Ratios ! Cents ! Combination ratios & cents
12 Test 12 Test Kirnberger 3: 1/4 synt. comma (1744)
12 12 12
! ! !
10/9 182.4 135/128
9/8 203.9 193.15686
7/6 266.9 32/27
5/4 386.3 5/4
4/3 498.0 4/3
7/5 582.5 45/32
3/2 702.0 696.57843
5/3 884.4 405/256
16/9 996.1 889.73529
9/5 1017.6 16/9
11/6 1049.4 15/8
2/1 2/1 2/1
72
 EaganMatrix
Fundamentals

Warning: When experimenting with the

EaganMatrix, especially when putting constants
on outputs, using BiqQuad Filters, Delay
Feedback and Noise, always turn down the gain
and do not wear headphones as you can easily
create some very loud output.

73
 How to Read the EaganMatrix (Top Level)

Matrix/
Library
Destinations

Formula
Summaries
Sources Formula Area
Matrix Intersection for
Formulas or Constants

Control Text (Define Macro Controllers & Search Filters)

74
Formula Basics In Relation to Osmose Keyboard (X, Y, Z) Scaling

Formula
Precedence
Assignment
Mode

W Assignments X / Pitch (normally) Y / Aftertouch Z / Pressure Ancillary Area Blend

• Gate • Pitch in KHz • Activates in • Pressure set • Formulas • On Macro
• Constant • Pitch in Octaves Aftertouch area until Aftertouch • Persistence Controller
• Shape Generator (Midi note number) area reached • Interpolation • On Formula
• Macro Controller • Zero Point Control
• Polyphony Scaling

Min
Z Y = 0 (or initial formula value)
Max
Min
Y Z = Max formula value
X Max

75
 How to Read the EaganMatrix (Details) W Specification in J
is controlled by
Macro Controller ii
Preset Example: Juggler

Voice Delay Output to

BiqBank Output to SL
Formula J only uses W component. Numerous formulas
Destinations

SR Channel
are related to each
Channel

LP #1 is cascade 1, HP#5 is cascade 2 Noise input into BiqBank using Formula J BiqBank uses 8 modes other in this
example.

OSC#1 into IOSC#2 at Unity Level – Modulating Frequency Voice Delay = Three continuous
100ms, no SGs are defined
deflation. No
OSC#2 into LP#4 at level Formula L Taps used. SG #1 has frequency of
formula C. SG #2 has
LPF #4 into HP #5 at Unity Level frequency of formula H
HPF #5 into Voice Delay at unity level times 2. SG #3 has
BiqBank into LPF #4 at .8 level frequency of formula H.
.3 Multiplier on SL

LP #4 has Bandwidth BiqBank 1 has 1st

of Formula I times .7 mode frequency of X Formula H uses an
.3 Multiplier on SR

OSC #1 F(requency) is X with no Ancillary that uses Formula

HP #5 has Bandwidth times 2. sF of 2, B of
S set so this is a sine wave. Midi Clock summaries are
of formula I times .2 .5 and sB of .8
displayed and
selected here.

IOSC #2 F = X, S=formula D Delay uses full (unity) All SGs are triggered as free running
100 ms time (1). If gated this would be W instead.

No Master OSC#1 Frequency LPF #’s4 HPF #5’s

Sources Section multiplier = .5 cutoff cutoff
programming is (transposes down an frequency is frequency is
used other octave) set to X set to X
than sending OSC#2 Frequency added to added to Formula E uses a
out stereo multiplier = 4 Formula F Formula E sample and Hold of
channels SL/SR (transposes up 2 multiplied multiplied Formula A
octaves) times 4. times 2.

76 Formula H Ancillary
 EaganMatrix Features/Options Summary 77

Shape Generator
Formula Display Properties Display (BiqBank, SineBank, Kinetic Bank)
Options

Recirc Assignments

Bank C Options

Bank A Options Bank B Options

OSC/Filter Banks

EaganMatrix Destinations Formula Summary

Audio/Taps Top Level And Display Options
Summary Sources
Audio/Taps/SubMix
Warning: When experimenting with the
78
EaganMatrix, especially when putting constants
on outputs always turn down the gain and do not Numeric Constants
wear headphones.

Fractional values .nnn or

1 on input or output = Unity .nnn will be displayed as n+.
(full) amount. For SL/SR Frequency constants
When selected full value will
outputs, unity can be a very default to values in
be displayed.
loud volume. Always use KHz .22 = 220 Hz Using a Constant 1 for SG
small fractions when using Trigger sets SG always on,
constants for output Special constants: versus using W to trigger
amounts instead of Z, and SHIFT-S to Square Row value. from fingerboard or W input.
then increase to your liking. SHIFT-C to Cube row value.

Whole number (1-9) or To create a constant Create a constant Create a constant Using whole multipliers to
fractional constant can be like 1.01, add whole subtraction, use a + multiplication using a create a large whole number
used (.nnnn). 1.22 is not and fractional parts and – Direct value. This + and x Direct value. < 100 is common for SG
allowed. 12 is not allowed. on + Direct lines. represents .5-.2=.3 This = 9 x .11. Frequency Specification.
 7
W Formula Constants Select Range Assigning Macro Controllers to W 9
More complex constants 1. Select Control and
can be created with W range type
(with grater precisions in
Select Constant Type
combinations with Y and
(Default) Type x1 (default)
Z constants).

Drag to
desired 2. In Edit mode
value. set Control
1. Select Formula Use arrows Name
2. Place in Matrix to fine set.
(see manual)
3. Set W Value

W Formula Gating W Based Shape Generators (SG) 5. Set SG Frequency and

1. Select SG
2. Select SG Shape Gating:
Select Gated option. When
fingerboard pressed, W
value will be generated as
long as you press. SG will range
0-0.5 here.

3. Select Optional Phase 4. Select SG type:

Seemingly Missing Macro Controllers – How to Find them (Controllers + Blend in Same formula)
Note
Many formulas, especially those adding Persistence through
a Blend function, use both a Macro Controller set on W and
also a Blend on a Macro Controller. In this example from
“podracer” you will see that formulas E (and D) use Macro
Controller i on W and Blend on iv.

When you look at your formula list you will see that formula
“i” is not indicated anywhere because the Blend takes
precedence and only that (iv) is indicated int he formula
macro controller column. So if you are trying to analyze a
preset and your formula list seems to be missing a macro
controller that is defined, check your formulas to make sure
the Blend is not “hiding” the Macro Controller.

“i” is defined in formulas D & E

but “iv” is listed as the Macro
Controller because the Blend on iv
takes precedence in the display.

80
 W, X, Y, Z Formulas 81
Any Combination of W, X, Y and Z can be used in a formula, including Ancillary primary and Ancillary secondary options.
X Function X Scaling Y Scaling Z Function Z Scaling
Y Function
Copy current formula
displayed into any
other formula slot.

W Options Y, Z Shape
See previous page
Operator Optional Blend
Operator

Set Fine Set

Click “=“ to see equation Range
and operator precedence Bars
options
Normal Usage:
W = Gate or Constant, X = Pitch, Y = Front to Back Motion or
Constant, Z = Pressure
1. Formulas are evaluated according to the set precedence
2. Any items can be left blank kHz or
3. If the Primary Ancillary operation is set it will follow the Octave
main formula based on Ancillary operation applied. mode.
4. If a secondary Ancillary operation is defined that will X Shape
follow the primary Ancillary operation.
5. Optional Blend can be defined with a primary formula
and secondary formula controlled by a Macro Controller
of another formula. Blend will normally perform linear
interpolation between the two formulas.
6. Persistence and Interpolation can also be applied as fixed Quantize
values or included in the blend formula. Primary Ancillary Source, Operator & Value Secondary Ancillary Operator & Value
 W-Modifiers - Scaling Options Scaling Options (X) Range Based Scaling 82
If Voice Number 1 (If V1)
Multiplies W times the current voice number only if When creating presets, one of the most difficult things to deal
voice number 1 is being played, either monophonically with is scaling the sound so that is sounds as consistent as
or part of a polyphonic groups of voices, else w = 0. possible in all ranges. Often this is done by setting X to numeric
values and using it to adjust frequencies or timbres based on
Voice number is the internal where the finger is on X.
voice being played. It you set For example, let’s say you have a preset and using the normal X
Finger Scaler (FScaler) Priority = Lowest and play setting on Frequency it produces a sound that is too loud in the
Scales W (1/F) based on the number of fingers (F) touching monophonically. Voice bass and not loud enough in the treble range. Perhaps you could
the fingerboard independent of the Polyphony set. Here number will always be 1, else put an amplifier scaler on the parameter that is affecting your
formula A is set Fscaler = Cons(tant) of 1.0 Voice number will cycle sound using X as a scaling factor using a shape that reduces
according to the Priority set. values beneath your zero point and increases them above:
- Touch fingerboard with 1 finger,
W=1.0 Polyphony Scaler(PScaler)
- Touch fingerboard with 2 fingers (at
same time) and W = 1/2 = 0.5 W Modifier “Polyphony Scaler” (PScaler) will scale by
- Touch fingerboard with 3 fingers (at 1/p, where p is the DSP’s polyphony (often used with the
same time) and W = 1/3 = 0.333… SummedDelay). Here we have a DSP Polyphony of 8. A
- etc. then = 1.0/8 = 0.125
(Z) Pressure Based Scaling
Voice Number (VNum)
Multiplies W times the current voice Similar to the range-based scaling, you might have a sound that
number. So if the current voice has a parameter that needs to be enhanced with light pressure
number (which if voice number of Z and reduced as you press harder. A similar Z scaling
played is 4, W = 4 below (even technique can be used similar to the following in that case.
though W says its set to a constant
of 1.0).
Note: Polyphony Scaling is often used as a multiplier on
RMS of Matrix Row the input column of a Summed Delay (especially with
RMS amplitude value for feedback) to prevent amplitude overloads.
the row (see use case in
Compressor slide) Mixed W,X,Y,Z Scaling
Scaling formulas can also use any combination of W, X, Y
and Z – in addition to Ancillary formulas. Consider this
example from “Brass Mute” where the Harmonic
Truncation parameter is scaled with a formula that uses
W, X, Y, Z and Ancillary f Pow 1.5.
 Haken Editor Control Text - Macro Controller and Search Category Definitions

Controller Styles:

To Create Osmose Macro Controller:

• Select Edit
• Enter controller text: Cn=name[_option]
Example: “i=body ii=timbre_sine_saw”
Note: Most Osmose presets do not use internal
controller text [_name_] tags (defaults to
triangles).
• You need not enter category codes as they
are for system presets
• Select Done

Category Codes: 83
 See the
EaganMatrix Preset Cookbook for
more detailed general EaganMatrix
programming specifics
(Most of the programming examples in the EaganMatrix
Preset Cookbook can apply for Osmose, taking the Y and Z
differences discussed here into account)

Available here: https://www.hakenaudio.com/editor-and-firmware

(scroll down the page until you get to manuals. The Continuum
User’s Guide also has some information using Haken Editor of value)

84
 EaganMatrix Component Specifics
(Harmonic Spectrum Graphs)
Details of How Sound Generator Properties Affect the Sound

• Oscillator Comparisons
• Filter Comparisons
• BiqBank Properties
• BiqGraph Properties

85
 EaganMatrix DSF Oscillator Harmonic Content Comparison – All Using X=G3 (Melda “MAnalyzer” Plugin Output)
DSF OSC DSF OSC DSF OSC Phase Gen
SpB = 0 SpB = .5 SpB = 1.0 7 Sum
SpB = 0
Sine Wave

DSF OSC INT OSC WaveBank

DSF OSC 1 Wave
SpB = .6 SpB = .3
SpB = .1 Sawtooth

DSF OSC INT OSC WaveBank

DSF OSC SpB = .7 SpB = .5 1 Wave
SpB = .2 Square

INT OSC WaveBank

DSF OSC
DSF OSC SpB = .7 1 Wave
SpB = .8
SpB = .3 Triangle

DSF OSC DSF OSC INT OSC WaveBank

SpB = .4 SpB = .9 SpB = 1 LeCaine
Amplitudes:
All Unity
(Configurable)

86
 EaganMatrix DSF OSC Harmonic Content vs. Waveform – All Using X=G3 (Melda Plugins)
DSF OSC DSF OSC
SpB = 0 SpB = .5
Sine Wave

DSF OSC
DSF OSC
SpB = .6
SpB = .1

DSF OSC
DSF OSC SpB = .7
SpB = .2

DSF OSC
DSF OSC
SpB = .8
SpB = .3

DSF OSC DSF OSC

SpB = .4 SpB = 1.0

87
 EaganMatrix Integrated OSC Harmonic Content vs. Waveform – All Using X=G4 (Melda “MOscilloscope” Plugin Output)
Int Int
DSF OSC Sine Wave DSF OSC
SpB = 0 SpB = .5

Int
Int
DSF OSC
DSF OSC
SpB = .6
SpB = .1

Int
Int DSF OSC
DSF OSC SpB = .7
SpB = .2

Int
Int
DSF OSC
DSF OSC
SpB = .8
SpB = .3

Int Int
DSF OSC DSF OSC
SpB = .4 SpB = 1.0

88
 EaganMatrix Filter Shapes on Noise Input (Low Pass & High Pass)
Unfiltered Noise
Baseline

Low Pass Filter (LP) High Pass Filter (LP)

LP Cascade 1 LP Cascade 1
Cutoff = 110 Hz Cutoff = 110 Hz HP Cascade 1 HP Cascade 1
BW = 0.1 BW = 0.1 Cutoff = 220 Hz Cutoff = 220 Hz
BW = 0.1 BW = 0.1

LP Cascade 2
Cutoff = 110 Hz
BW = 0.1 HP Cascade 2 HP Cascade 1
LP Cascade 1
Cutoff = 220 Hz Cutoff = 220 Hz
Cutoff = 110 Hz
BW = 0.1 BW = 0.5
BW = 0.5

LP Cascade 3
Cutoff = 110 Hz
LP Cascade 1 HP Cascade 3 HP Cascade 1
BW = 0.1
Cutoff = 110 Hz Cutoff = 220 Hz Cutoff = 220 Hz
BW = 1 BW = 0.1 BW = 1

LP Cascade 4
Cutoff = 110 Hz
BW = 0.1 LP Cascade 1 HP Cascade 4 HP Cascade 1
Cutoff = 110 Hz Cutoff = 220 Hz Cutoff = 220 Hz
BW = 9 BW = 0.1 BW = 9

89
 EaganMatrix Filter Shapes on Noise Input (Single Pole Filters)
Unfiltered Noise
Baseline

Single Pole Low Pass Filter (LP) Single Pole High Pass Filter (LP)

1LP Cascade 1 1HP Cascade 1 1HP Cascade 1

Cutoff = 440 Hz 1LP Cascade 1
Cutoff = 440 Hz Cutoff = 440 Hz
BW = 0.1 Cutoff = 440 Hz
BW = 0.1 BW = 0.1
BW = 0.1

1LP Cascade 2 1HP Cascade 2

1LP Cascade 1 1HP Cascade 1
Cutoff = 440 Hz Cutoff = 440 Hz
Cutoff = 440 Hz Cutoff = 440 Hz
BW = 0.1 BW = 0.1
BW = 0.5 BW = 0.5

1LP Cascade 3
Cutoff = 440 Hz
1LP Cascade 1 1HP Cascade 3 1HP Cascade 1
BW = 0.1
Cutoff = 1440 Hz Cutoff = 440 Hz Cutoff = 440 Hz
BW = 1 BW = 0.1 BW = 1

1LP Cascade 4
Cutoff = 440 Hz
BW = 0.1 1LP Cascade 1 1HP Cascade 4 1HP Cascade 1
Cutoff =440 Hz Cutoff = 440 Hz Cutoff = 440 Hz
BW = 9 BW = 0.1 BW = 9

90
 EaganMatrix Filter Shapes on Noise Input (Shelving Filters)
Unfiltered Noise
Baseline

Shelving Low Pass Filter (LP) Shelving High Pass Filter (LP)

sLP Cascade 1 sLP Cascade 1

Cutoff = 440 Hz Cutoff = 440 Hz sHP Cascade 1 sHP Cascade 1
BW = 0.1 BW = 0.1 Cutoff = 440 Hz Cutoff = 440 Hz
BW = 0.1 BW = 0.1

sLP Cascade 2 sHP Cascade 2

sLP Cascade 1 sHP Cascade 1
Cutoff = 440 Hz Cutoff = 440 Hz
Cutoff = 440 Hz Cutoff = 440 Hz
BW = 0.1 BW = 0.1
BW = 0.5 BW = 0.5

sLP Cascade 3
Cutoff = 440 Hz
sLP Cascade 1 sHP Cascade 3 sHP Cascade 1
BW = 0.1
Cutoff = 440 Hz Cutoff = 440 Hz Cutoff = 440 Hz
BW = 1 BW = 0.1 BW = 1

sLP Cascade 4
Cutoff = 440 Hz
BW = 0.1 sLP Cascade 1 sHP Cascade 4 sHP Cascade 1
Cutoff = 440 Hz Cutoff = 440 Hz Cutoff = 440 Hz
BW = 9 BW = 0.1 BW = 9

91
 EaganMatrix Filter Shapes on Noise Input (Band Pass and Band Reject)
Unfiltered Noise
Baseline

Band Pass Filter (BP) Band Reject (Notch) Filter (BR)

BP Cascade 1 BP Cascade 1
Cutoff = 440 Hz Cutoff = 440 Hz
BR Cascade 1 BR Cascade 1
BW = 0.1 BW = 0.1
Cutoff = 880 Hz Cutoff = 880 Hz
BW = 0.1 BW = 0.1

BP Cascade 2 BP Cascade 1
Cutoff = 440 Hz Cutoff = 440 Hz BR Cascade 1
BW = 0.1 BW = 0.5 BR Cascade 2
Cutoff = 880 Hz
Cutoff = 880 Hz
BW = 0.5
BW = 0.1

BP Cascade 3
Cutoff = 440 Hz BP Cascade 1
BW = 0.1 Cutoff = 440 Hz BR Cascade 3 BR Cascade 1
BW = 1 Cutoff = 880 Hz Cutoff = 880 Hz
BW = 0.1 BW = 1

BP Cascade 4 BP Cascade 1
Cutoff = 440 Hz Cutoff = 440 Hz
BW = 0.1 BW = 9 BR Cascade 4 BR Cascade 1
Cutoff = 880 Hz Cutoff = 880 Hz
BW = 0.1 BW = 9

92
 BiqBank Harmonic Shapes – 8 Modes (unless noted otherwise) – Noise Input, Frequency = ca. 220Hz (unless noted otherwise)
Normal Linear Spacing (Low BW) Stretched Linear Spacing (Low BW) Normal Quadratic Spacing (Low BW) Stretched Quadratic Spacing (Low BW)
BW=.1, BW=.1, BW=.1, BW=.1,
Normal Stretched
sF = 1, sF =2, qF = 1, qF = 2,
Linear Linear
sB = 0, sB = 0, sB = 0, sB = 0,
Spacing Spacing
C = 0, C = 0, C = 0, C = 0,
sA = 0 sA = 0 sA = 0 sA = 0

Normal Linear Spacing (Medium BW)

BW=.5, BW=.1, Compressed BW=.1, Very BW=.1, Very
sF = 1, sF =.5, Linear sF =.1, Compressed qF = .1, Compressed
sB = 0, sB = 0, Spacing sB = 0, Linear sB = 0, Quadratic
C = 0, C = 0, C = 0, Spacing C = 0, Spacing
sA = 0 sA = 0 sA = 0 sA = 0

Normal Linear Spacing (Medium+ BW)

BW=.75, F=110Hz 16 Modes F=110Hz 16 Modes F=110Hz 16 Modes
sF = 1, BW=.1, Center = 8 BW=.1, Center = 8 BW=.1, Center = 8
sB = 0, sF =1, sA Spread sF =1, sA Spread sF =1, sA Spread
C = 0, sB = 0, from sB = 0, from sB = 0, from
sA = 0 C = 1, center = 0 C = 1, center = 1 C = 1, center = 2
sA = 0 (Normal) sA = 1 sA = 2
48 Modes: Modes farther from center
increased Bandwidth:
Normal Linear Spacing F=110Hz 16 Modes F=110Hz 16 Modes
BW=.1, BW=.1, F=110Hz
(Unity BW – Result - Noise) Center = 8 Center = 8
BW=1, sF =1, BW=.1,
sF =1, Even/Odd Even/Odd
sF = 1, sB = 0, sF =1,
sB = 0, Favoring Favoring
sB = 0, C = 0, sB = 0.5,
C = 0, Odd Even
C = 0, sA = 0 C = 3 (Mode24),
sA = 0 Partials Partials
sA = 0 R=-0.80 sA = 0
R=.80 93
Amplitudes of the first 8 harmonics BiqGraph 48 Modes on Sawtooth
BiqGraph (8 nodes) Harmonics on Noise Input
How this can work functionally. Take a
WaveBank Sawtooth wave with is normal
harmonic spectrum. Fundamental = 110 Hz.
Apply a BiqGraph on it that removes the first 4
odd harmonics, sets the first four even
harmonics at a high level and then linearly
attenuates the remaining 44 harmonics.

F = 110Hz Unaltered Sawtooth

F = 110Hz F = 110Hz
BW =.1,
BW =.1 BW =.1,
sF =0.5
sF =1 sF =0.5
sB =0.5
sB = 0 sB = 0

Decreased Harmonic Spacing

F = 110Hz F = 110Hz F = 110Hz

BW =.1, BW =.1, Sawtooth
BW =.5
sF =1 sF =0.5 through
sF =1
sB = 0 sB = 0 BiqGraph
sB = 0

Normal Harmonic Spacing

F = 110Hz F = 110Hz F = 110Hz

BW =.75 BW =.1, BW =.1,
sF = 2 Here’s the BiqGraph that was applied setting
sF =1 sF =0.5 all 48 values instead of only the first eight
sB = 0 sB = 0 sB = 2 because a 48 Mode BiqGraph is being used.
Increased Harmonic Spacing

F = 110Hz
F = 110Hz
BW =.1,
BW = 1,
sF = 3
sF =1
sB = 0
sB = 0
Greater Increased Harmonic Spacing 94
 Osmose Specific
EaganMatrix Programming
Considerations
 Set Osmose to “usb haken mode” to Connect to Haken Editor Editor Set for Osmose files
In Midi & Global Settings, make sure Osmose 2 device is selected might
says MIDI2IN2 (on Windows) is selected for both input and output.
Step 1: Press Mode button
Step 2: Make sure Sound Engine is selected
Step 3: Press rotary encoder 4 (cogwheel icon) to
Step 9: Make sure “haken local control” is set to
enter Global Mode
“on”. Follow similar procedure to set that if needed.
Mode
Button Step 10: Press Mode Button to exit Global mode
back to playing modes

Select the Red text next to the Instrument row for Input and output
Menu Buttons
port and set to the “Osmose2” device if it is set to anything else.
Global
Mode
Icon Tab
Select Note: On initial editor load (or upgrades) if
s workflow hardware Midi I/O Info Calib you get the “Update DSP Presets”
Step 4: Select menu page Update DSP Presets message, Select OK and follow directions
Ext clock source 1/3 usb play in manual to load File 2 from Haken editor
where you see “Midi I/O” ok
usb haken mode 2/3 note & matrix (do not load File 1) – summary below.
haken local control on
din mode 1/5 default
In Haken Editor:
Drag Firmware File 2 for Osmose to Group icon and wait until finished (can
Step 5: Select “usb haken mode” option Param back validate take up to 10 minutes – do not drag any other files): This file:
and scroll to highlight if not already Select “Haken Editor n.n/HE/Firmware/Update File2 Osmose 10.x”
1 2 3 4
Step 6: Press value encoder 1 to
highlight “usb haken mode” options
Value Encoders
Step 7: Select “2/3 note & matrix” Note: If your editor does not show a solid blue
usb haken mode options: connection LED, the editor is not properly
Step 8: Press value connecting to the Osmose. See trouble-
3/3 disabled (default) – Editor will not connect
encoder 4 to Validate to shooting info in Osmose User Guide.
2/3 note & matrix (full editor access) 96
set new “usb haken mode”
1/3 note (only midi notes can be sent)
 CVC Presets - Set Osmose Midi I/O din mode = 5/5/ CVC for CVC Connection (see slide above)
System Library has 3 CVC presets
(programmed in CVC
EaganMatrix Section – “Custom
Menu Buttons via Matrix” ) for the first 4 set of
CVC outputs Set as Oldest
Priority. You will ideally want to
Tab set this to Low to get predictable
Select s output.
workflow hardware Midi I/O Info Calib

Ext clock source 1/3 usb play

usb haken mode 2/3 note & matrix
haken local control on
din mode 5/5 CVC

Param back validate

Select
1 2 3 4

Value Encoders

Note: Some Basic CVC presets that do not

use EaganMatrix programming are available
on the PatchStorage.com EaganMatrix site.

97
 Running the Haken Editor (and first-time factory system preset update)
Step 1: Select Update Firmware, Load File 2
(do not load File 1 s that is already loaded with
Osmose firmware update)
File2 reload from Haken Editor is required
Note: This operation will reset (delete) your if you get the “You require Firmware
current User presets. Make sure you back Update File 2” Message. Either drag the
them up and restore per the Osmose File2 text file to the Group icon as in the
manual before performing a Haken Editor previous slide or you can use the Editor’s
File 2 load. Load Update File 2 function.
DO NOT LOAD FILE 1.

98
 Editor and Osmose Synchronization (as of release 1.06)
Note:
• Currently when Editor changes System or User preset it changes on the Osmose but the
Osmose display is not updated
• Macro Controller changes in Editor take effect on Osmose but again they are not updated
on the OSMOSE display screen
• When Moving between Factory and User Preset on Osmose screens, the current preset is
not displayed, but it will be in the editor.
• On Rebooting the Osmose it currently defaults back to factory “abyss lands” preset.

Requested Feature to
Osmose: s s
Ideally, when booting, the factory user save factory user save
Osmose should come up in
1. User 1 zazipad
User preset mode with the 2. User 2 Zenpercs
current preset always My Preset 3. My Preset Current Preset abyss lands
4. User 4 Acid bass
clearly displayed. Never 5. User 5 acouskop
default to Factory Abyss
land on boot except for
initial factory preset
firmware.

99
 Osmose Z Pressure and Y Aftertouch Operation

Z=0 Z Pressure Y has no Y=0

Z= max Z=1 (Max) Area effect
Compared to Haken Continuum Operation:
Z has no Y Aftertouch Y=0
Note on Y &Z initial formula values: Y = 0 does not
more effect Area Y=1 mean the internal formula value of Y in a program
Y= max
(Max) always starts at 0. It means the value of Y as seen at
the key press is 0 until the Aftertouch area is
reached. If Y is set to a constant or is set initially in
a formula to a non-zero value, its value as seen in
Z starting at zero the EaganMatrix will be whatever that starting Y
Y starting at zero
value is (it normally is 0 but does not have to be).
Note: This does not mean the program (formula) values of Z and Y always start at 0 and end at 1 The same applies for Z. If a Z formula is used on an
• For any Z or Y constants, the internal values of Z and Y will be those values output with an initial value > 0, that could cause
• Internal values of Z and Y can be positive or negative and will range through the programmed values sound to be generated when the preset loads.

• For this formula, Y at 0 = 0.12 and only starts increasing at

• For this formula, internal
the Aftertouch point until it reaches a max Aftertouch Y =
value of Y = 0.31 no matter
0.67. A linear transfer function will be used for Aftertouch
what the key pressure is.
value increase.
• For this formula, the value • For this formula, Z at pressure 0 = -2.8 and
of Z = 4.7, no matter what increases until at Aftertouch (and until bottom of
the key pressure is. key bed) Z = 3.1. A Square root transfer function
will be used for pressure value increase.
Y & Z Constants Y & Z Starting at non-zero values
100
 Osmose X, Y & Z Usage – Common Techniques (1)
OSC using Default X, Y, Z Default Transfer Functions for the fixed X, Y and Z formulas
Note: if you want a different transfer function on X, Y
or Z, program an EaganMatrix formula to perform
the desired action. For example, perhaps you want to
have discrete step changes in Spectral Balance on Y,
you could program a formula to use stepped Y:

This is about the simples preset you can write using X, Y and Z default formulas.
What will this do?
• X will track pitch for the OSC across the Osmose fingerboard applying whatever Osmose bend you have set per note.
• Y will only start incrementing in the Aftertouch area. Until then S (Spectral Balance = 0) and OSC will output a sine sound. As you enter the
Aftertouch area, Y will increase in value and the timbre will thus start changing until it is well past sawtooth sound at max Y=1 setting.
• Z will increase to max until Aftertouch and output SL/SR amplitude will remain at that max value through the Aftertouch area. Note
however, the spectral content of the OSC changes as you increment S in the Aftertouch area and this will have an effect ton the output
volume due to changes in the spectral content energy.

Using Y+Z to continue an increase Let’s modify the preset slightly using a formula A that adds Z (in linear Formula B is placed on SL/SR output of OSC 1 to the Master section.
through Aftertouch Area pressure response from 0 to 0.3) to Y (again in linear response from 0 This is a very common Osmose programming technique to continue
to 0.3). This is placed on the OSC Spectral Balance. volume crescendo through the key press as Z reaches max at the
Then we have formula B that uses a squared function on Z moving 0 to Aftertouch area and Y then takes over to further increase the
0.5 and a linear function on Y moving 0 to 0.5. What does this do? amplitude output until bottom of the key bed. You can experiment
with different Y and Z transfer functions to get a volume response you
like (it is common for Z to use a squared volume function for a natural
crescendo).
Formula A does a similar thing on Spectral Balance (timbre control)
of the OSC. But here Z only reaches a maximum of 0.3 which is
then further increased another 0.3 by Aftertouch (Y) – because a
value of 1 for OSC Spectral Balance produces a very pinched sound
not desired here. Timbre change here sounds rather like a filter
cutoff change. You can experiment with different ratios of change
on Z versus Y to get different effects. 101
Y+Z Scaling – (Independent formulas - 1) Y+Z Scaling – (Cancelling Formula)
The previous examples combine (Y+Z) scaling in one formula. At times a different tabec
petit carillon scaling is desired in incrementing (usually input or output controls) and separate
Some presets use Aftertouch to cancel the effect of Z normally when scaling a
formulas are used added together (as in this case where HarMan Amplitude is
value. Here Z scales W to its full amount and then Y Aftertouch decrements it to
scaled by Z in range 1..10 in formula A and then when Aftertouch engages, it is
sop that when aftertouch is at its full amount, the formula becomes zero.
scaled through a Direct + (addition) line in formula J but now using a range 0..1.

pulzz
Y+Z Scaling – (Independent formulas - 2)

Here’s a similar situation, however, there already was an addition for

Kinetic Frequency using (O+B). There is only a minus direct row
available, so the Aftertouch component that is desired to be added
(formula M) has Y moving negative – so when the subtraction occurs
the end result is that Y will be added to the value. This treatment is
used in a number of presets and might be confusing when first
encountered.
W * (Y) Scaling This is a common technique used to only have a sound or component activate on Aftertouch

“bella fm”
The OSC 4 modulation input and OSC 4
SL/SR output both use formula I. This
gates a value scales by only Y. Thus, until
Aftertouch Y=0 and no input or output
will result. Once the Aftertouch area
kicks in value of W * Y will determine the
input/output value. Note this formula
also uses a blend that adds Persistence
and also increases W as iv (release) is
turned up so output value is increased in
addition to adding Persistence/sustain.

103
 A special note should be made that formulas using W either with or without SG control or Macro Controllers assigned are the most frequent recuring
W * (Y+Z) Scaling formulas used by Osmose to scale values using the entire key press so that whatever function Z starts is continued through the key bed. Note that
because of the nature of the key press Z is usually set as a squared function and Y set as a linear function to get a natural incrementing response.
Scaling an SL/SR or L/R output using Gated W Used as a scalar on Macro Controller primary value - on Frequency or LP cutoff, etc.

Scaling Modulation Inputs into components using Constant W

A negative scaling is also at times used for adjusting bandwidths or bandwidth spreads
downwards throughout the full key press.

Secondary
Scaling Single Sycle SG based Envelope for an input, often with blend of Persistence

Here an X constant (not common) is used to offset W controller which is then

scaled by (Y+Z) – used to control modulation input in this case

Used as scaling for a small W value dynamically detuning a frequency

Note at times X is also added into the scaling formula when frequency
dependence is useful such as in filter cutoff scaling-

Used as input control with Macro Controller for primary value (here with blend as well)
Secondary

104
Let’s take the simple OSC example presented
Note: The Osmose System Presets presented in this
in the previous slide and add a few things to Osmose Programming Tutorial #1a cookbook follow a form similar to that used below.
it that are common in many Osmose presets:
(Basic OSC with Modulation, Chorus and Vibrato)
Macro Controller Usage
Mod
i: (modAmt) – Adjusts the amount of self modulation OSC 1 feeds back into
OSC 1 Voice Delay Master Section itself (C) and also amount of OSC that is sent into the delay.
• X for pitch • 400 ms Recirculator
ii: (chorus) – brings in and increases the Chorus effect that applies SG
• SpB set with Y+Z • 2 Taps with different SL Reverb
based modulation to the two delay taps 180 degrees out of phase where
• Vibrato applied Tap 1 each tap is set to a different delay percentage. The speed of the modulation
tap delay percentages • Output amplitude Y+Z
through MC 5 100% using SG1 is also increased as you turn up ii as well as the amount of chorus
output 180 degrees controlled (B) depth applied (E, F, G and D).
• Self-modulated out phase in Stereo • B also regulates OSC
SR iii: (feedback) – Adjusts the amount of delay feedback sent back into the
through MC I field (for chorus effect). Tap 1 input into VoiceDelay Voice Delay (H).
• Vibrato (SG 50% • Outputs scaled to 0.7 iv: (Timbre) – Adjusts the amount of Spectral Balance (SpB) change applied
Feedback
based Freq mod SL/SR (instead of changing through Y+Z adjustment (formula A)
applied by J) Pre and Post Gain) v: (vibrato) – Adjusts the depth of vibrato (SG2 based frequency
modulation) applied to the OSC’s F column as an offset (J)
vi: (vibratoRate) – Adjusts the speed of the vibrato (I). Note that Y adds 2
Hz to vibrato speed on Aftertouch.
Library Search:
Category: User defined preset (not a system preset)
Type: -
Character: -
Polyphony: 2+ (standard Osmose Polyphony). Though this preset
likely could be set higher as it does not use that many EaganMatrix
resources.

Aftertouch (Y-Based) Controls (full or partial):

• Adds volume on pressure to what Z already has applied (B)
• Adds additional vibrato speed to a max of 2Hz in Aftertouch
area if vibrato is on (I).
• Adds additional Spectral Balance (up to 0.3) which is
noticeable if not self-modulation is applied, else this will be
difficult to hear through the already complex tone created by
the modAmt control (A).

Note: This preset is available on the EaganMatrix

PatchStorage.com site here:
Osmose Basic OSC | Patchstorage 105
 Osmose Programming Tutorial #1b – Deep Dive This slide will show how the preset sets
output and Frequency, Spectral Balance
(Basic OSC with Modulation, Chorus and Vibrato) (timbre) and modulation for the OSC (OSC
1)

1. Text for Macro Controllers set in Control Text editor (Osmose typically uses default
triangle display – though you can still use the newer text tags if you wish).

2a. Formula B Gates Y+Z output control on. A good idea to gate SL/SR outputs using Y
+Z to avoid unwanted internal voicing effects. Z increases OSC 1 output until
Aftertouch using squared function and then Y continues to increase volume through 5. Formula C simply uses W defined Macro Controller
Aftertouch. i (modAmt) to change the amount of phase
3. Formula E defines ii modulation OSC 1 feeds back into itself from 0 (none)
to a max of 0.5. You could make this a higher value 2b. Note that B also controls amount of OSC
(chorus) increasing fed into the VoiceDelay (will only have
Tapped output with but then you will get a much noisier modulation at
4. X on OSC Frequency column mid-higher values that is not desired here. effect if Chorus or Feedback is turned up).
chorus programming. uses standard X function to
(see next slide) track frequency to the Osmose
keyboard. Maps to the non-
Quantized X setting on C5
around current zero point
unless explicit X formula used.

6. Output is scaled to 0.7 7. Formula A controls the spectral balance with Macro Controller iv
because using the current (timbre) that if set to 0 always outputs sine as Y+Z are nullified. In this
Pre and Post Gain settings case modulation alone changes timbre. As iv is raised, the affect of Y+Z
was a bit overmodulating at takes over and Spectral balance starts increasing scaled to iv according
default sine output. Could to Z, maxing out at Aftertouch area, where Y then continues to increase
have changed Pre-Gain to be SpB and make the timbre more complex. If modulation is also applied 106
lower instead this effect will be less noticeable.
 Osmose Programming Tutorial #1c – Deeper Dive This slide will show how the vibrato and chorus effect are applied.
This represents one of a few types of vibrato and chorus
(Basic OSC with Modulation, Chorus and Vibrato) programming styles you can find in the Osmose System Presets.

8a. Formula J - Vibrato (SG2 induced frequency modulation) is

brought up with v (vibrato). This applies a sine function scaled
by Y+Z with Ancillary +2 (so base frequency will be 2X (8va)
with no vibrato when v is at minimum and raising v will add the
vibrato scaling on the based multiplier. The speed of the vibrato
is controlled by formula I adjusting frequency of
SG2).Multiplied so that the vibrato scaling is consistent across
octaves. You could add it for a different vibrato effect. Vibrato
is thus controlled by Z until Aftertouch and then Y.

10c. In this case (there are other ways to induce a chorus,

but they usually use SG-Based modulation), Formulas F
and G are set to use a triangle shape modulation as a scale
factor on the tap delay percentage. F and G also use ii
(chorus) to increase the width of the modulation, max set
here as 0.1. Make this too high and the modulation will
10b. As the amount of become totally unnatural and distorted. Finally, F and G
chorus is brought up with are set 180 degrees out of phase. 9. Formula H adjusts iii (feedback) of the VoiceDelay back
E using ii, formula D also into itself, limiting to 0.5 (you could set higher, but don’t
uses ii (chorus) to increase set greater than unity (1) or you can create an explosive
the frequency of the feedback overload. Always turn gain down when
chorus at the same time experimenting with feedback and delays.
(SG1 Freq control)

10a. VoiceDelay set to full 400 ms, with Tap 1 at

100% (400ms) and Tap2 at 50% (200ms)

8b. Vibrato Speed is adjusted with vi (vibratoRate)

in formula I that adds 0..2.0 in the Aftertouch as a
linear function. This Aftertouch will 107
increase vibrato
speed by 2 Hz – with a base frequency of 0.5 set
through the Ancillary addition in formula I.
 Osmose Y & Z Usage – Common Techniques (2)
“anatolian Pad” – Aftertouch Output Increase as Ancillary function “arcadia pan” – Aftertouch increase in Modulation
Here N controls SL/SR
output scaling (as
multiplier) adding tremolo
on vi the width of which is
controlled by Z ion N. This
adds Q ax ancillary which
continues the increase on A similar use of Y+Z to control Oscillator modulation scaling
Y (Aftertouch). through formula K on multiplier row. Note Modulation starts
at 0.5 on Z and is controlled by bringing up MC vi. Z further
increases the modulation as you press to Aftertouch, after
which Y continues the increase.

Continuous Amplitude Increase (Z+Y) with Persistence (Blend on MC)

“aqueous feel”
Blend on ii Primary

Blend on ii Secondary

Another example of addition of Z and Y in a formula that controls amplitude adding

Persistence/Sustain (here applied to the output level of the Wavebank on formula D which uses a
blend on Macro Controller ii). Formula D performs two functions. First when Z reaches it its
maximum value of 0.5 at Aftertouch, Y continues to increase that to unity by adding an additional
0.5. This is the most common method of imposing a constant volume increase through the full
key press. In addition, the blend increases the persistence of the input using Macro Controller ii. 108
 Adjusting Presets to Allow for Better Vibrato Control in Pressure Area Using Y-Hysteresis
Problem Statement: To get a good key-based vibrato at a decent volume you normally need to press into the aftertouch area, which in many presets cases is fine, but if
some secondary effect is being programmed there, that vibrato may not have the desired effect of adding it to the sound that is in the pressure area only. How can this be
addressed if setting Aftertouch Frequency on the Osmose does not give you desired results? For lack of a better word Y Hysteresis. Note: Always try adjusting Aftertouch
“delight lead” Sensitivity before thinking you need this change.

Hysteresis
Here Aftertouch starts changing timbre by offsetting the Low Pass
Filter Cutoff Frequency. If we want to play a vibrato and might dip into
Y and don’t want that additional cutoff effect kicking in until deeper
on Y put a little hysteresis on Y (Space-drag the bar to let Y stay at
zero a bit longer so your vibrato can take effect with the pressure you
need that goes a bit into Y and then you can let Y move to its current
Hysteresis
maximum using the same transfer function shape. If it’s a blend, you
may have to make the change on Y in both the Primary and
Secondary formulas.

This is a more problematic Y effect. In this case Y increases a vibrato that

is set on formula J through Ancillary formula I. I want to apply my normal
key vibrato to the sound that I had at max pressure not on top of this
other vibrato that increases with Y. In this case I can add hysteresis to a
Hysteresis point where I can still play my key vibrato but then press deeper to get the
Y induced vibrato effect as well.

Normally if Y controls a vibrato depth it also likely controls the

Shape Generator Frequency of that vibrato as in formula K. We can
Hysteresis
add hysteresis to the linear Y used in this case as well.
109
 Creating an Amplitude (Envelope) Follower with SG Phase from Input
This techniques is used by a number of Osmose presets to map the amplitude envelope of one EaganMatrix component to another:

“acuitar”

Note: Formula S is used in SG4

to pull Phase Input from
ModMan 1 (A row fed into SG4
set “Phase Input”)

RMS

Formula E uses “Ramp Up”

on SG4 to output amplitude
of 2.6 (+ Ancillary G which
brings in Aftertouch
Additional Amplitude).

Formula S just sets

input as RMS of
Matrix row.

The overall effect is that the envelope

Formula K Single cycle SG1 pulses filtered noise
shape of OSC2 will output with the
into the ModMan, scaled by Z. This is the main
similar shape that the ModMan uses.
amplitude element the follower will track.
Ancillary formula P adds additional (X+Y+Z)
scaled noise input.

110
 Programming Osmose Gestures

• Tap – Z (and sometimes Y) Scaled SG Attacks

• Press – Z Control
• Tap + Press – Combinations of Tap with Pressure
• Pitch – Vibrato and other X-based Control
• Aftertouch – Y Control
• Shake – Derivative Control
• Strum – Stepped Z and Y
• Pressure Glide – Pressure Portamento
• Note Off – Release Trails and Triggering

111
 TAP (Z scaled SG Pulses)
The idea behind creating a Tap effect if to Z-scale (usually starting at 0) a Shape Generator attack (normally a SG Pulse) at a relatively quick frequency so that if played slowly the tap
has little or no effect but when played quickly with enough Z pressure it can be heard in the timeframe of the SG pulse. Persistence is normally applied to let the tap ring out under
Macro Control. Secondary Ancillary formulas are often added to the base Tap formula for additional envelope or other effects and also to allow Tap + Pressure effects to be
generated (see “Tap + Press”). Tap effects are also used to create percussive attacks that are pressure controlled. Play too slowly at light touch and Z will be near zero through the SG
pulse and it will not be heard or will be greatly attenuated allowing a slow gesture (if programmed on Z) to create one sound and the tap to add another.
wardrum:
A common Tap technique is to create an SG with a
relatively fast Frequency (9Hz or more is common – this
example uses 18 Hz) and using the Pulse option, pulse
noise into a BiqBank, ModMan or other EaganMatrix audio
input.

twozing:
Tap pulsing Filtered noise into a ModMan is a common
method of creating the Tap gesture (here using SG
frequency of 27 Hz)

thoria:
Tap gestures don’t just have to apply to BiqBank and Modman.
They can be used to control modulations, filter cutoffs and
other components that can affect a sound to create an effect
that only occurs on the tap gesture. Here the output of OSC2
& OSC 3 are tap pulsed as modulation input to OSC1.

bazikey:

The tap gesture can often include Y+Z it occurs through the
entire key press.

112
 PRESS (Z Control)
Pressure Control has been covered many places in the Cookbook. In this context it applies to a formula that imposes sole Z control on a pressure gesture – though we
have seen this is often combined with Aftertouch (Y) to allow the gesture to extend through the entire key press.

model string wind: Here the output to SL/SR is totally controlled by Z pressure (formula J). It does use a Macro Controller to
apply SG Triangle Tremolo using fixed Z=1 constant to make sure base output is always at least unity.

arcadia pan:
Here only pressure controls the input of noise to the BiqBank on
formula P. However, in this case formula use also Z-Taps noise into
the BiqBank. This can act as a Tap + Pressure function when the
two are combined.

claribreath:
Here the LP filtered noise input to a ModMan is excited solely by
linear Z scaled input (constant input – not tap). Note how low the
max value of Z is (.0021) as noise input to ModMan or BiqBank
typically only requires a small amount.

113
 TAP + PRESS (Tap with Pressure Control)
organ 2: Often a Tap effect uses an Ancillary addition to bring in the sound on normal pressure (possibly also increasing on aftertouch). This can be seen in “organ 2”
where the Tap gesture that pulses noise into a BiqGraph (formula I) uses an Ancillary (formula L) addition to impose the sound on pressure (and aftertouch
here) as well as on he Tap. So a light pressure will create the sound, but not provide the tap attack.

simpleres: Here a tap-like gesture (formula C) using an SG Ramp Down instead of pulse (giving a slightly different, less percussive envelope shape) is used to control the
output to SL/SR and Z pressure is added to that with Ancillary formula D (an Ancillary N added on that for Y pressure control as well).

Thoria: Here is an example where the Tap + Press function imposed using Y with Persistence control. LP Filtered noise is pulsed into the Modman in this case under
Aftertouch control (formula D). Ancillary formula P is added to that which on Aftertouch control brings in the sound independent of the Tap effect creating a
Tap+Pressure gesture – all Aftertouch controlled.

114
 PITCH (X Control + Osmose Sensitivity Settings)
Nothing special is required to impose the Osmose Aftertouch vibrato except using X in a formula that will affect pitch of a sound, either using the default “Convert Result to KHz” or the “Result
Proportional to Octaves” option with Osmose Bend applied. On the Osmose, set Sensitivity menu Bending (amount), bending Sensitivity, bending curve and Bending Stabilization parameters. Note
Bending curve on Osmose if independent of the X transfer function curve in editor. From Osmose Manual:
bending is the range that defines how far the pitch will be modulated at maximum deflection.
The standard X function is by far the most used in Osmose presets to define Given the limited sideways key travel, you’ll probably want to go with 1 or 2 semitones most of
organ 1: pitch. Note that some presets add (X + X) to create 8va when scaling by 2 is not the time, but wider ranges can also produce interesting results. (Cookbook Note: Bending can
possible (here because X is already scaled by formula L) which imposes a be set to Off for fully quantized pitch output on the key. Do this not Round fully or Quantize in
the editor).
vibrato p which will be further bent along with other X based components sensitivity allows you to quickly choose between a set of predefined responses that affect
affected by the current Osmose bend setting. how Osmose reacts to vibrato or bend gestures in a natural way, while at the same time
helping you to stay in tune when no bending is intended. It steps through useful settings for
both curve and stabilization at once. There are five sensitivity sub-presets that go from low,
medium, regular, to sensitive, and high.
curve will establish a dead zone around the middle of a key in order to avoid unwanted bends.
However, playing vibrato with only subtle gestures will become increasingly difficult the bigger
the dead zone is.
stabilization is an algorithm that will intelligently smooth out uneven motions that tend to
happen especially during the first few moments of your keystroke.
activation initiates bend on only the Lowest note played, only the highest note played, always
(bends all notes) or never (no bend). Scroll to right of “stabilization” option to see this.
cs80 + ladder:
Pitch bending applies to X used as default “X” formula or in a more complex formula where resulting Frequency can also be affected by Pressure, Aftertouch and a variety
of offsets and scalings, including adding programmed vibrato that is also affected by Osmose bend for complex and dynamic pitch change. Bend only affects X. Not all
Frequencies are controlled by X. Here standard “X” (most common use) us used to control frequency of IOSC1. IOSC2 uses formula A to control Frequency of IOSC 2. But
the cutoff of 1LP4 is only controlled by Y+Z so bend will not affect that.

In addition to using Osmose vibrato, a number of pitch-based effects and especially X-based scaling is used in many presets often to change filter cutoff frequencies and to
scale outputs. Here a nice stereo effect is created by scaling the output volume by X differently on SL and SR (formulas N, O), one emphasizing the left channel up to the
choir: C7 zero point and the other emphasizing the right channel from the C3 cutoff on up.

115
 AFTERTOUCH (Y Control)
Aftertouch only Gestures involve scaling only by Y or controlling some aspect of the sound through Y-only Manipulation, though Y is commonly used in conjunction
with Z and also X to impose additional (or sometimes secondary) Aftertouch effects and control. This is covered in other places in the Cookbook as well.

crystal harmonics: Y Scaling Control: Here formula N outputs to SL/SR based on Z pressure, but formulas P and Q are totally scaled by Y so those gestural components
will not be output until Aftertouch is engaged.

bowedsympfm: Y Offset Control: Here the input amount to LP4 is directly controlled with Y value in formula Q so no filter output will be processed until Aftertouch. This
guarantees no sound will be output from the filter until Y > 0 so the filter output into the Mod Man can use a unity constant as Y is controlling the filter.

Y Enhancement: Aftertouch when used by itself can also change a sound that is already being output as is the case
fruku: here where output level of Bank A is enhanced with Y only, not Z pressure.

116
 SHAKE (Derivative - Motion Tracking/Change)
The Derivative transfer function when applies to Z and Y tracks key motion change instead of absolute pressure or aftertouch value and when applied to X tracks pitch change in a
similar way. For example, with Derivative Z, if you press the key slowly a very low value will result but if you quickly press the key a large value will result changing with the relative
speed change of the key as you press and release. Applying this derivative motion change to formulas that affect various sound components can create the shaking effect
(independent of quickly pressing key up and down on any preset – that may create a shaking effect but not one that is specially programmed to add a shake gesture to the preset.

shakepad:
As an example. consider “shakepad” which uses formula F to control excitation of a ModMan set to “Toy Piano 1 Strike”.

Formula F excites the ModMan with a Z-scaled Tap-like pulse but uses a SG
Down Ramp instead of a Pulse shape to give more shape to the “strike”.
Ancillary formula L is added to this.

Formula L sets and uses Macro Controller v (Shake). I uses both Derivative X
and Z scaling of the Base amount set by the “shake” control. Thus, as you
“shake” the key up and down the ModMan input will be modulated by that
derivative motion change creating a programmed shake gesture. Formula L
also adds ancillary formula B.

Formula B scales by Aftertouch using a Y S-curve function that will impose

additional ModMan input motion on shaking motion in the aftertouch area –
note it is a small max value of .001.

Note: See the Osmose Preset Concordance Appendix and search for “derv” in the final column to see other presets that use the derivative
to impose motion change on sound components. 117
 STRUM (Discrete/Stepped/Quantized Z)
You can certainly arpeggiate a number of presets, especially ones that have plucked and percussive attacks to create strumming effects, but a few presets create a programmed
strum, where pressing one key will create the strumming gesture, normally by using a stepped Z and or Y motion to impose discrete pitch changes in some programmed order.
notenstrum: See this preset in the Analysis section for an explanation of how the strum effect was created in this preset.
ocherry: Here a simple strum effect is created by quantizing Z and scaling a Ramped SG with that applying it to the Frequency of an oscillator which will create a harmonic series strumming effect.

Programming example:
A similar but simpler method of creating a strummed effect can be created by sequencing the triggering of a set of Shape Generators, where each SG is triggered by the previous one in sequence to
create a set of pitched outputs in temporal order (strummed arpeggio gesture). Here a four-note strumming gesture is created by outputting four Oscillators using formulas A, B, C and D
respectively. Each of these uses a SG to create a pulsed output (that you could assign as a Z scaled Tap or just output as a pulse at a fixed Z volume).
Note SG1 Note SG1 Note SG2 Note SG3 The frequency of the
(Pulse Begin) (Pulse End) (Pulse End) (Pulse End) notes is determined by
the frequency set for
each oscillator – which
can use a macro
controller to allow the
user to create customer
SG1 is The second note SG2 uses a trigger of formula B, SG3 uses a trigger of formula C, stummed chords. An
W Gated, of the strum (B) which is the end pulse set on which is the end pulse set on
example of this including
so on key press is set to Pulse SG1. So as soon as SG1 SG2. The fourth note will then
and end using be output triggered by the third
Tap + Press (strummed
the first note in completes, SG2 will be triggered,
the SG1, so that and the result will be four notes chord will be sustained
the strum but its note is set to output on
note will be end pulse too separating the arpeggiated in sequence by on Z) can be found here:
sequence is
played strummed notes nicely. pressing only one key. Simple Strum (Osmose) |
output (A).
automatically at Patchstorage
the end of SG1.

118
 PRESSURE GLIDE (Pressure Portamento)
While you can program X-based portamentos, this Gesture refers to “Pressure Portamento” brought over from the Continuum. The portamento will move from first note preset to
the second based on the pressure difference between the two fingers. You configure this for a particular Mono interval either on the Osmose or in the Editor. The portamento
gesture will be applies to all notes within the defined interval and assuming your preset is set to polyphony > 1, any intervals played outside the define Mono interval will be played
polyphonically. See the Preset Concordance Appendix to search for presets that are set “port-n”, where N is the Mono interval.

When setting Pressure Glide in the editor, select “Mono Mod: Portamento”. There are other modes available that are meant for the Continuum. Then Select
the Interval you want to apply the Mono Portamento within (here set to the Octave). Setting “Mono Interval Maximum” will set the preset to Mono mode
as if Polyphony is 1 and the Glide will apply between any two notes pressed. Glide always moves in the direction of min-to-max pressure change.

You can tell a preset has Glide applied in the

Editor if you see the Mono Mode: portamento
virtual LED lit. Many bass presets use this
often at the interval of a second or octave.

Setting Glide on Osmose: Note (Pitch Bend matching Glide is not output on the External Osmose 1 Port at this time,
only on Haken Port). It is access from “Sound Engine” mode using the fourth Button: “Playing” (see Osmose Manual)

119
 NOTE OFF (Note Release Trails)
Separate “Note Off” programming can be applied so that notes or sonic effects are created on releasing the key.
A number of techniques can be used here described here, primarily using the “Release Z” transfer function:

Click here to go to examples: Note Off Programming

120
 Osmose Preset
Macro Controller Based
Standard Effects &
Building Blocks

121
 Common Standard Osmose EaganMatrix Effects Controlled by Macro Controllers
• Attack, ATrate, ATspeed – Most often change in single cycle SG • Modulation (also fmTime, fmAmt) – All kinds of modulation treatments
frequency used for an attack. • Mute – Some reduction in high frequency content or amplitude, ofteb bandwidth
• Body – Almost always convolution Index and/or convolution mix control related but could be many things.
often coupled with SL/SR output scaling to adjust for higher amplitude • Noise – Use of noise to perform some action
of convolution change. • Noteoff – Usually controls a note playing on release (note off)
• Brightness – Most often a filter change or modulation that emphasizes • Pitch – Some control that directly affects pitch (not that common)
high frequencies. • Ratio (or some tag containing ratio like FMratio) – Almost always a quantized
• Breath - Normally filtered noise added to a wind model frequency scalar use quite often
• Chorus (stereo) – Almost always an SG modulated Tapped Delay and • Release – Almost always adding Blend of Persistence on inputs, outputs or envelopes
control of delay percentage, often using two formulas 180 degrees out (often standardizing on Macro Controller iv)
of phase. • Resonance – Most often change in Filter Bandwidth or Kinetic Viscosity
• Cutoff – Normally Filter or Kinetic Frequency adjustment control • Ringmod/Multiplier – Multiplier control (or Ring)
• Damp / Damping – Most often increase in filter Bandwidth or some • Shape – Often a change in waveform like timbre or modulation change or possibly
control to reduce high frequencies. including an envelope (generic term)
• Delay (and delay options) – Adjustments to Delay percentage • Speed - Normally Shape Generator Frequency Control of some sort
• Detune – Normally OSC or Wavebank Wave small offsets in Frequency • Structure -Normally some internal property like Frequency Spread of a BiqBank
often applies positive on one component (or set of components) and • Surface
negative on another(s). • Sub (Sub oscillator) – Normally isolating an OSC 8vb or possible 2 octaves down.
• Drive or Overdrive – Normally some output increase or modulation • Tape – Normally some combination (sometimes complex) of effects intended to
causing increase emulate tape recorder noise, flutter or effects)
• Env Rate, EnvTime, EnvAmt – Normally control of width of SG • Timbre – Normally spectral Balance, Modulation or Harmonic Truncation/Spectral
modulation (if Amt) or SG Frequency if Rate/Time. Dilation change
• Feedback – Normally control for a delay feedback or self modulating • Tone – Anything that affects tone, often filter change
OSC • Tune – Something that affects pitch like a frequency offset (not too common)
• Fondamental / Fundamental – Used when a fundamental tone is to be • Tremolo – Most often an SG modulation on SL/SR outputs as a scalar, often with two
isolated in some fashion formulas modulating using the same SG 180 degrees out of phase.
• Harmonics – Something that quantizes Frequency scaling or brings out • Vibrato – Most often an SG based Frequency modulation applied to a OSC or
harmonics Wavebank or other Frequency as a scalar
• Hit – This and related terms normally indicate an SG pulse is used to • Voice/Voices – Something that isolates one or more sound components, like Layers –
create a percussive attack Controlling an output (not too common).
• Layer – Some sound component selectively isolated, such as an OSC if • Vowel – Specific to BiqMouth mouth type change
multiple OSCs are output • Waveform – Often a change in Spectral Balance or some change in timbre affecting
waveform 122
Body (convolution):
bouncing spray: (pre conv)

Convolution is one of the most common Macro Controllers used in Osmose

presets. It controls either Pre-master section (most common) , post-master
section or both (infrequent) convolution. You can set a specific convolution
amount with a constant, but it is most common to use a SG to set a range 0..3
that can run through the full range of convolutions if desired. Here V runs
through the full range set as Wood (0..1) Metal (1..2), Fiber (2..3), Wood (3).
Values are interpolated between convolutions. Note the Macro controller
controls convolution mix in parallel with convolution type/interpolation (formula
M). These could have been set to have independent controls.

Since convolution (depending on type used) can increase volume and harmonics
of a sound, a common technique is to scale the SL/SR column output to try and
maintain a consistent volume on convolution change. Here formula R reduces
Blend on iii Primary: W start at 1.27 output (it’s scale factor on SL/SR) as convolution set by Macro controller iii
Blend on iii Secondary, W end at1.00 increases using a blend on iii.

creaker: (post conv) crystal harmonics: (Pre + post conv)

Here Post-Master section convolution is programmed but a max value of 2.0 is Here both pre and post Master section convolution is applied (H). A scale factor of 3 is used as in the
used, so the macro controller does not range the full span of convolutions. Pre convolution multiplier row that will take that through the full range of convolutions, but the post
formula scales by .2 guaranteeing the range will only be part way through the first convolution.

Here
Also note convolution mix (M
convolution
column) is set to the same
mix is set to
formula as the interpolation (I
unity (full). 12
column) type.
3
Bow/Bowing A number of string presets emulate bowing, most often by shaping filtered noise.

viollaggio:

The bowing effect is rather complicated to try and be

an “human” as possible. It uses band pass filtered
(BP2) noise that has the cutoff X dependent, scaled
by Z pressure (formula J). The BP output is fed into a
ModMan that has envelope shaping applied through
(formula S). The bow control (formula E) is scaled by
Z and formulas E and S in turn are in turn scaled by
formula A which again uses X + Y control. So
bringing up the E bow control (in formula E) adds a
bit of nosy buzzing (Z scaled) to the pitched sound to
try and be more realistic. Pitch and pressure thus
dynamically alter this effect.

124
 Chorus Effects: A number of different EaganMatrix programming techniques are used to create chorusing effects.
One common stereo chorusing effect is to use a tapped delay, sending the taps out opposite stereo rusty bass:
simple anakey1: channels (K) where the delays for each channel are offset (L) with triangle modulation applied.
As with tremolo, tapped chorus effects can use two
taps 180 degrees out of phase (formulas G & H)

edgy fm:

Second tap uses same SG3 to add triangle

A similar chorusing technique that adds even more motion applies Taps in a similar manner, here 4 taps where the chorus
shaped modulation but is set 0.50 (180
amount is controlled by formula P. Each tap set to a different base delay percentage constant offset by formulas R and S,
degrees out of phase)
which each use different SGs to impose triangle modulation on the delay at two different rates and depths. The result is a 125
much more pronounced chorusing effect controlled by the Macro Controller vi.
Cutoff Filter Envelope Control: (Good example of adding SG-based Attack Envelopes – Often as Ancillary offsets or as formulas on Direct + row)
Here’s a common technique used in Osmose presets to add a
Bass monster:
secondary attack envelope to a component, here cutoff filter envelope.

Formula D sets the base cutoff frequency using ii (cutoff) control that
ranges from 0Hz to 6.7 KHz plus the value of Y on Aftertouch that can
add an addition 3KHz and notice it uses Ancillary + formula I. When W
and Y are zero, the cutoff starts at whatever the value of formula I is.
Formula I sets a constant value of 0.25 (250 Hz – remember values are
in KHz) and adds the frequency dependent value of X * .25 to that. So
Cutoff frequency starts at Frequency X/4 and then the value of formula
D is added to it based on the setting of ii (cutoff) and Aftertouch
position.

Now on top of all that a secondary cutoff envelope is added using

formula H. This sets a based cutoff value using iv (attack) and scales
that by the value of Z times Ancillary of formula G.

Formulas Formula J
D+H sets SG1
control Frequenc Formula G is a single cycle down-ramped SG (SG1) with Ancillary POW
cutoff y used for 3. Try disabling formula H in this preset to hear what this envelope
frequency attack adds to the sound.
of 1LP envelope
(note
single
cycle SG
used) Finally, the rate of that cutoff envelop attack is determine by the
frequency of SG1 which is set by formula J, which is 10 Hz scales by the
value of Z.

This creates a complex cutoff frequency profile that is dependent on

two Macro Controller settings (ii and iv) and X, Y and Z!!!
Delay Numerous presets use a Macro Controller named “delay”. This invariably adjust the amount of the main Delay property or delays of Taps
larekin:
Here the Delay mix of the SummedDelay is set with formula V. W can be set to a max of .5 but notice the Ancillary starts by adding ½ so delay will start at
.5. Also notice the large Interpolation set on the Delay. Formula G simply outputs the Taps to a max of 0.1 as it is common to use limited tapped delay to
add presence to the sound but not make it overly reverberant especially when there is a delay feedback loop as in this case.

Although not part of the Delay Macro Controller

here, note that a small SG-based triangle
modulation (formula M) is offset on the Delay time
that will add additional motion to the delays.

127
 Drive Effects Numerous presets use a Macro Controller named “drive” or “ratio”. This usually increases the inputs or outputs past a default value (often unity) that
adds extra punch, noise or strengthens the sound in some other way.

bass monster:
Here a Drive controls is added
to the input of the 1LP on
formula C. The default value of
the input is unity (through the Y
constant) and then that is
increased up to 6.0 with the
Drive control.

klavunk:

Here a Drive effect is added through scaling

modulation (formula F). That increase in
modulation has the effect of adding punch here
Secondary applied with a blend that is also frequency (X)
dependent (X scales drive down as X increases).

128
 Numerous presets use a Macro Controller named “harmonics” or “ratio”. This can apply to a few different techniques that change the
Harmonics & Ratio Control harmonic content of a preset other than timbre, modulation or filter parameter adjustments.

Changing a Quantized Harmonic Frequency Scalar Changing Bi-quad Center-of-Focus

“badratios bell” “balloon from hanoi”

Here the IOSC frequency is scaled by a formula that uses an Ancillary to

quantize the harmonic ratio in increments of .25 starting at 1.1 (X+Y
constants) and then adding 0..5.0 on iii (here called “ratios”). So the range
of multiplications will be 1.0 to 6.0 in increment of 0.25. Remember
EaganMatrix quantization requires you to add 0.1 to get to a desired value
due to its internal precision (6.1 will quantize to 6.0 but 6.0 will quantize to
5.75 in this case)
Changing Frequency Multiplier of Jenny OSC Changing Tap Delays on MicroDelays
“archer” A number of Macro
Controllers use the term
“kinetic bowed fdn”
“Harmonics” when the
Frequency multiplier of
Jenny Oscillator is
changed.

Here Tap2 of the MicroDelay is

adjusted through Q using an
ancillary N that makes slight
frequency adjustments. This is
done using different values on
Tap3 & Tap4. This will change the
harmonics content shifting
129
frequencies of the delay .
Mute & Damping Effects Numerous presets use a Macro Controller named “mute”, “damp” or a derivate. This usually mutes, softens, damps or reduces output of a
sound in a way that is not simply volume reduction. Often used in conjunction with adding a more plucked-like sound divorced from shape
generator effects.
gypsy kinetar:

“gypsy kinetar” uses both a Mute and Damp control. These can be used in similar ways in
Osmose presets, most often involving increasing bandwidth of a filter to BiqBank possibly also
increasing Mode Bandwidth Spread. Here the “mute” control increases Bandwidth of the
ModMan from its Z constant value of .3 to a max of .51 (formula J). The “damp” control adjusts
the Mode Bandwidth Spread of the ModMan through formula V and Ancillary R. Note R is
scaled so that it changes formula value when X goes above the C above zero point and remains
a constant 0.9 so that the damping can be corrects for high frequency change where it not
needed in the lower frequencies.

lytiny: This preset uses a blend to reduce Persistence on the Secondary on all outputs (using differing metarmonix:
reduction amounts). Two examples show below for output formulas U and O, but U, J, H, O and
F all use similar reduction. Here the Low Pass filter Bandwidth is lowered scaled (Y+Z) which
reduces harmonic range and produces a muting effect, plus
Persistence is lowered as well reducing sustain components.
Primary
Secondary

Primary
Secondary

130
Release: Used in many presets to sustain sounds, most commonly using a Blend of Persistence in one or more
formulas that affect output. Increasing Persistence will sustain the value. Here I controls how
much persistence (sustain) will be output for OSC 1 (formula C). Also
fmwood&strings: note as you raise the Persistence, in this case W decreases as less
Blend on i – Persistence - Primary volume is desired if the sound if sustained (a common technique to
dynamically even out the output level).
Note that the output also imposes Tremolo as an SL/SR column
multiplier using formula M which persistence will make more
noticeable with sustain.

Blend on i – Persistence - Secondary

karkup:

Primary Primary

Secondary Secondary

Here a much more integrated use of Release (Blend ii that increases Persistence as it decreases Interpolation – glide Primary
between values). Formulas C, D and S all use similar change, though S adds Aftertouch Control bringing in effect of Y as
the blend is increased. Note that these release formulas are used on tapped output (S), LP cutoff scaling (T) and
MicroDelay (C) input scaling. All of which will increase the sustain effect of the Karplus/FDN (Feedback Delay Network)
based preset. 131
Secondary
Resonance Often a factor of bandwidth change or Bandwidth or Bandwidth Mode Spread factor
scaling in a filter or Bi-Quad Bank
klavunk:

Here formula A is used to lower the Bandwidth of both ModMans offset Y+Z.
A typical Resonance control used in Osmose presets.

terjintro:
A number of presets use the Kinetic bank as filter. In this case changing
Viscosity normally create a resonance/bandwidth like change, here on
formula C and its common to add this as an Aftertouch effect or modify it
as an offset with Y as is done here.
Note Z is set to a fixed 1.0 value that is the base value maintained through
out and W (i) and Y simply add to that.

132
 Numerous presets use a Macro Controller named “structure”. These are generic terms normally used to indicate the internal properties of a biquad
Structure related component are changed in some way altering the sound or some other physical modelling parameter changes that affects the “structure” of the
modeled instrument.
bouncing spray: petit carillon:
Here the Non-Linear Frequency Spread of the
BiqBank is modified as the “Structure” control. In this
case it uses an Ancillary formula to quantize at “0.5 +
1” running through a W range 0..9.4. So values will
be output in the range 1 to 10 in increment of 0.5.
Remember you always add at least .1 more than your
max range to have that value output. If the W range
was set 0..9.0 instead of 9.4, the actual outputs
Here the Even/Odd mode
values would range 1 to 9.5, not 10. Setting W range
amplitude ratio (BiqBank
0..9.1 instead of 9.4 would have the same output:
R column) is adjusted
0..10.
with i (structure) by
formula H.

133
Tape A number of presets use a Macro Controller named “tape”. T his control can affect the sound in a number of ways and it not specific like vibrato but
normally has some kind of random or dynamically changing or modulating effect (s) applied to create a tape like distortion.
larekin: (See preset in examples section)

The Tape effect in “larekin” does a number of things:

1. Changes Convolution
2. Applies a vibrato to all OSCs whose frequency is adjustable and also scaled
(Y+Z).
3. Adjusts the Frequency of this vibrato (dynamically scaled Y+Z) so frequency
will modulate with pressure.
4. A similar modulation is applied to OSC 2 which adds to the effect.
5. Adjusts Noise modulation on the Kinetic bank cutoff frequency (so this adds
random distortion to the sound)
6. 4. A low frequency (.1 HZ_) SG triangle modulation is applied to the
Summed Delay again creating a distortion effect.

Two element added for the Tape effect.

montine: 1. Change Convolution for timbre change .
2. Main Effect: Add S&H to Continuous SG2 Frequency to emulate speed distortion. This is used by Formula L which applies a vibrato to all sound components so
the overall effect will be to distort the timing of the vibrato a bit as a tape machine might create time distorted effects of a similar nature.

134
 Numerous methods of timbre control are used in Osmose presets: OSC Spectral Balance, Filter cutoff and bandwidth, applying different Modulations, Kinetic model and BiqBank
Timbre: properties to name some of the more common. Both Y and Z are commonly used as secondary controls for timbre change in addition to the Macro Controller change.

graceful Spectral Balance with Y+Z and Envelope: Here’s a more complex use of changing
elsynkey: integrated: spectra balance timbre of an IOSC 1 and IOSC 2 using formula A which offsets the base
Simple Spectral Balance Control: The simplest timbre change is MC i controlled value with Z and Y offsets. So Aftertouch will add a timbre change. Also
to use a Macro Controller to change the Spectral Balance value note formula G adds a single cycle SG based SpB envelope change on initial press.
of an OSC. Here formula B changes SpB of the primary OSC and
two subordinate Jenny OSCs in parallel. When SpB = 0 for an
OSC, it is set to sine. Remember the DSF Oscillators (OSC & IOSC)
if scoped will not output triangle or Sawtooth waves when set
to values creating similar sounds. See EaganMatrix Manual.

Spectral Balance + Modulation Control: Here the standard spectral

balance control is used for timbre change on OSC 1 (formula M) but
formula O is also used as timbre change which alters the amount of Harmonic Truncation: Here is a timbre control that modifies the
modulation on OSC 3. Harmonic Truncation property of a Harman. Again, timbre changes
can be created in quite a few ways depending on the EaganMatrix
grittysaw: constructs used.

harmbrass:

135
 Tone and or Brightness usually in Osmose presets are used as controls when changes
Tone & Brightness in sound character are induced through filter cutoff and bandwidth changes vs. big expluck:
(or Darkness): timbre changes using other methods. The two can be used in the same vein at times.
grains pluck:

Here tone is controlled by the friction of Kinetic

bank (formula K) which is X and Z dependent .
Note: Some presets use kinetic friction control
as a Timbre change. Again, the differentiation
between timbre, tone and brightness can be
slim in the programmer’s eyes.

It’s difficult to lump Tone and Brightness controller changes into a single
bucket as it is with Timbre. For example, this preset uses formula F to
change the cutoff on the Band Reject (Notch) filter mapping to Tone.
Formula F changes the Bandwidth of the BR filter and that is mapped to
Brightness. Also note formula L is used to change the Spectral Dilation on
the ModMan which in this case is also mapped to Brightness. But other
presets could use similar techniques and apply that to timbre change.

ellis guitar: cellove: Here’s a case where Timbre is controlled by Harman Harmonic Truncation and Spectral
Dilation with (M) and Tone is controlled by OSC 2 modulation (R). Further pointing out
Here Brightness is controlled by the that the differentiation between timbre and tone can be difficult to quantify.
cutoff of LP 2 which has secondary Z
+ Y offset control.

136
Tremolo 1:

The most frequent technique to add tremolo is to apply

Amplitude Modulation as a SG-based LFO multiplier on the SL
and/or SR column using relatively large (greater than unity) or
ancillary power-based changes (here formula N). This can be
set as a constant modulation value, but often tied to a Macro
Controller (here vi) to allow varying depth (B) and rate (A) to
the tremolo. Here Aftertouch also has secondary control over
the tremolo depth as an ancillary of N (formula Q).

Macro Controller vi controls both the base depth scaling and

rate of SG4 which controls the tremolo.
anatolian pad:

Tremolo 2 (Stereo out of phase):

bazikey:

A common tremolo technique (also used for vibrato and delay tapped delay/chorus) to add more stereo motion is to use similar SG-based modulation formulas on an output but set
them 180 degrees out of phase (offset .5). Here formula H is applied as an output amplitude modulation (tremolo) on the SL channel and formula K applied on the SR channel. They use
the same SG4 for the modulation source but set the SG 180 degrees out of phase. They both add ancillary L which applies a single cycle down-ramped envelope with Z control. This
addition is required for the base output volume scaling as the value of H and K without it would be zero until vi (modulation) is increased. If the output scaling is zero – there will be no 137
sound and the desire is to have normal amplitude output and then cut in the tremolo on vi. You need a base level scaling addition in these cases.
Vibrato 1: Scarlet:
The most frequent technique to add vibrato is to apply
Frequency Modulation as a SG-based LFO multiplier (usually
sine or Hann shape) on the F column using small frequency
change (B). This can be set as a constant modulation value, but
often tied to a Macro Controller (here vi) to allow varying depth
(B) and rate (A) to the vibrato. Here Aftertouch also has
secondary control over the vibrato rate (of SG2 that controls it).

Of course, this is independent to the finger vibrato you can

apply using the keyboard, and in most cases, you can apply both
for a second order effect.

Vibrato 2: Transverse flute: Vibrato can also be created through SG modulation of OSC
frequency offsets or modulating OSC phase modulation input or
as in this case modulating the Mode Bandwidth Control of a
BiqGraph.

Here formula E is used as a positive offset (addition) to the

value of the Mode Bandwidth property of a BiqGraph used to
emulate the harmonic response of a flute. E adds Ancillary Q
that uses ii (vibrato) to bring up the Hann SG2 modulation that
is here scaled to Y+Z for secondary vibrato control.

SG3 in turn has a sine modulation imposed on that from SG3 to

at an uneven multiple (2 x .97) to add a bit more natural second
order motion on the vibrato.

This preset is in the Cookbook to study. It also uses vibrato

modulation on the modulation input to OSC 2.

138
Vibrato 3: blasiz:

Here’s another example of vibrato that uses addition of the SG modulation (formula
K) but in this case it is scaled (multiplied) by X to be consistent across octaves. Macro
Controller vi (vibrato) controls the width of the vibrato in formula K.

It is very common to apply the same macro controller (vi in this case) to also control
the speed of the vibrato (Frequency of G2 here). It is applied to both the OSC and
single Wavebank Square wave used in this preset.

Note X uses an offset of -0.5 to +0.5 instead of the default X -1.0 to + 1.0. Both can
work, but in this case the vibrato rate produced at that X scaling was preferred.

The Speed of the vibrato uses a blend that changes W base speed
from 1.6 Hz (at min value of vi) to 10 Hz (at Max value of vi), scaled by
the standard Y+Z function to map to the full key press. But notice the
blend actually changes the proportion of X and Y as vi is increased. At
Max W, Z starts at 0.75, not 0.5 and Y increases to only .16 instead of
.25).

The overall result here is that at min W, values will range from ca. 0.8
Hz to 2.0 Hz at full key press (1.6 * 1.25) and at max W range from ca.
7.5Hz to 11.6 Hz.

139
Osmose System Preset
Specific Programming
Techniques

140
SG-Based Attack Profiles on Inputs or Outputs for Attack / Shaping Articulations
flutimut: It is very common to see a Z-scaled, Single Cycle SG-based Attack profile on an input to create a shaped articulation envelope. Sometimes the W scaling is very low as
in this case because it is used for controlling the modulation input (formula O) to an OSC and a subtle timbre change is desired. These usually use one of the unipolar
shapes (0..positive values), here a triangle shape is used that will impose an Attack-Decay envelope on the input – quite fast as the SG is set to (9x2) 18Hz. So, the
formula is used to create a nice quick attack articulation. Note it is Z scaled so if you press very, very lightly you may not hear the effect at all as the overall amplitude
of the input may not have an audible effect. But if you press quickly, you will be able to hear the effect and if the SG is fast like this a very quick forceful attack on the
key can create a different sound than a slower press. Press too slow and the effect will disappear because the envelope comes and goes at an inaudible amplitude and
then other Z and Y programming will take over. This is how a lot of presets get those nice percussive or other articulated effects when you quickly stile the keys. Note
there are number of SG shapes you can use to get different articulations/attacks: Ramp Up (be careful using this at it will end and remain steady state at the ending
ramp value), Ramp Down, Triangle, Hann, Pulse (at beginning of SG trigger) and less commonly used Pulse and End (pulses at the end of the SG time – useful for a
double attack if used with Pulse at begging), Gentle Up, Steep Up, Gentle Down and Steep Down shapes.

SG-Based Attack Profiles Added Onto A Formula As an Ancillary

flutimut:
Many Osmose presets add an envelope (attack profile) as an
Ancillary to a formula to shape an input as above.

Here a Single Cycle Triangle SG shape if scaled by Z (formula

H) added as an Ancillary (in formula N) to shape the noise
input used to breath a breath amount for the flue based
preset. As is often the case for ModMan noise excitement,
very small values are used.

141
Adding SG-Based Envelopes to Create a More Complex Shape This techniques is often used for creating a more complex envelope shape on an input
(commonly filter cutoff profiles) or output. See “grains pluck” for an example and
lampadaire: explanation of a double SG use case for creating a complex plucking effect.
How ADSR Envelopes are Typically created in Osmose Presets

In the “lampadaire” preset the Kinetic cutoff Frequency (this

techniques is used with EaganMatrix filters as well) has a
formula sequence applied [(C+G) * H]. H simple scales the
Secondary cutoff (C+G) value with iii (“cutoff”). But what actually
happens when the two single cycle SG1 based formulas C+G
Primary get added.

Formula C ramps to a max of 0.21 Scales by (Y+Z) so the cutoff

will change with pressure through the key bed. Remember a
Secondary ramp stays at max value so after the SH reaches its max value
of 0.21 at the SG1 Speed set by Formula T, (Y+Z) will continue
Primary to dynamically adjust the cutoff value based of the overall
(C+G) * H scaling applied by formula H.

Now at the same time formula C is ramping to the max of 0.21

formula G applies a triangle SG shape at the same speed to a
max of 0.62 scaled by Z. (This is really a calculus problem!) but
the overall affect without considering Y+Z scaling is an
Attack/Decay envelope is applied similar to the red envelope
below, which then is sustained scaling the final 0.21 value that
remains the max ramp value and when the finger is released
the Persistence applied by the Blends on C & G will produce a
release effect on the cutoff frequency. Thus this turn into an
ADSR.
0.62 + .105 = Max of .ca. 72
0.62
Formula T sets the frequency of SG1 adjustable with iv (“envTime”). This sets the
speed of the Envelope function C+G discussed above. 0.21 (C – SG1 Ramp function)
Note: Although this is used for a cutoff frequency here, similar techniques are used for 0.105
0.0 (G – SG1 Triangle function)
other purposes such as input shapes, output shapes, etc.
142
 It is common in Osmose presets that an envelope
Adding Z-Scaled Envelope Attack on Outputs function is added as an output scalar on SL/SR as a
blasiz: Note: This technique lets you create nice attack envelopes that assume you are sharply attacking the multiplier – here formula I. Here a single cycle
key for the faster attack times to get best effect. triangle attack is imposed on the single set of SL/SR
unity outputs on OSC/Filer position 5 scaled by Z.
Note the Ancillary adds 1 so that the default
amplitude output is unity or the output would be
too weak. Try changing the Ancillary to the default
(f*1). You will not hear any sound if you press very
slowly, only if you have a sharp attack where Z will
scale the attack to be heard. Adding the 1 basically
adds the initial attack to the steady state output.
The time of the attack is determined by the
frequency of SG1 (G) that controls the envelope.
This uses a blend on iv (envTime) decreasing from
10 Hz to .2 Hz (attack gets slower). It uses the new
Exponential Blend curve option and an Ancillary
multiplier of 1.5 so values really range 15 Hz down
to .3 Hz.

Adding Z-Based KeyNoise A number of presets add key noise, usually as an envelope shaped noise component of some sort The keyNoise pulse uses single cycle SG1 set at a
Here a fixed frequency 200Hz Sine wave (OSC 3) is modulated by noise and that is input into LP 4. LP 4 uses formula fixed 27Hz (9*3) Frequency with trigger on
klavunk: Formula D which uses a stepped Z function do
J to impose a (Y+Z) scaled pulse of that noise + Ancillary which further scales it by Z (note Z ranges 0..10 using
“Release Only via Z” option). If Z mode is Release Only via Z, a release pulse is generated when the finger is lifted trigger will not occur until mid-Z. This envelope
(select “finger lift”). A formula can use Release Only combined with high persistence to create finger -lift noise. shape is trying to map to be most effective on a
quick key attack. If you press the key slowly you
will hear that component kick in – and then is
combined with the key lift noise created through
“Release Only via Z”.

143
Trigger SG-based Function on Key Release (Key Lift) – and “noteOff” Macro Controller Functions
Here are two ways to use a SG to apply an
envelope (trigger and SG function ) on release
of a key (here through Z).

A Single Cycle Shape Generator is set up with

some desired fixed frequency or frequency
formula (here a fixed 8Hz) and a formula is
applied to the trigger that create attack on a
release (which is used here for outputting an
Version 1 (with Release on Z – Step 0 to 1) oscillator to SL/SR (formula B)
In one method (formula A) you can use a 2-
step Z formula set “Release on Z”. This will
create a pulse on releasing the key that will be
multiplied by W=1 to make the trigger go from
0 to greater than zero and trigger the SG at
celestial: the set Frequency.

Version 2 (with Negative Gate Applied to Z Step 1 to 0)

A second method uses A addition of W set to
-1.0 to Continuous Z set with a Step function
that initializes from 1.0 immediately going to
0 as you press Z. So the initial Z=1.0 added to
W=-1.0 gives you zero (no trigger). But when
you release Z it goes back to 1 and that
triggers the gate.

A similar method of creating a note that seems to play on release is to use

a Z Derivative Scaler with relatively high persistence.

See “celestial” formula H for a similar treatment. Some presets use the
Macro Controller name “noteOff” to indicate a sound that will play when
you release (play on note off). 144
Complex Multi-Ancillary Based Envelopes Simulating ADSR Functions
jupipad: (Taking the multi-SG based envelope construction to a more complex level)

Formula L is used to control and shape the LP 5 output on the SL/SR columns as
well as control FP5 modulation input to OSC 4 and control LP 5input into the
summed delay. Formula L uses three additional chained Ancillary functions to
create a complex envelope shape (L->J->H->F). Secondary

L is totally controlled by Gate and then Y so it will have a value of 0 and no

effect until Aftertouch, but it adds Ancillary J (which on Gate W triggers SG2
single cycle SG envelope control at the rate set by iii (attack) which uses a blend
to reduce attack time and note the blend uses a non-linear function (D).
Secondary
J creates a Z scaled ramp to unity so that will start immediately even though L is
still 0 until aftertouch. J adds H which is an additional ramp to a max of 0.5.
Both J and H have blend iv (release) that adds Persistence (sustain) to the value
after finger release. Remember when the SG ramps to the top, that value
remains so at that point Z controls the (J+H)offset. H calls an ancillary as
multiplier that ramps to a -1.0 using SG3 supplying a decay-like effect.

When L is gated on Aftertouch that basically adds an amplitude crescendo on Y

as all the shaping is handled by the Ancillary additions.
Formula E controls the trigger of SG3 which must be > 0 if negative to
Secondary trigger. E uses a fixed (9*9) 81Hz frequency and a negative Z offset of
1.0, so it will not trigger until the ramp reaches 1.01. At this point F
ramp actually starts reducing the value as W is set to ramp negative.
This functions then as a kind of Decay, Sustain is provided by holding
Z and Release is then added with the Release/Persistence control.
145
Detuning Wavebank Oscillators with Z + Y Control:
Bass monster:

This is a common method of detuning Oscillators using a combination of Macro Controller

(v – detune) and Y+Z scaling. Y+Z again used to increase or scale a value through the full
key press as Y/Aftertouch takes over after Z has maxed out.
Here all 5 waves of a Saw WaveBank are used to create a SuperSaw effect. Three are set
an octave down (X * .5) and two are set two octaves down (X * .25). Formula O is uses as a
positive offset on two of the waves (f1 & f4) and as a negative offset on the other two (f2
& f3). The remaining oscillator (f5) has no detuning applied and that will form the
frequency base.

MC ii allows you to bring up the offset detuning (which will create a much bigger sound) to
a max of .0028 (2.8HZ). Note that Z scales that .5 to 1. So at maximum channel pressure,
the full detuning will be applied. That further increases up to 1.5 * 2.8Hz as you add
Aftertouch on Y. Because two oscillators apply positive frequency offset and the other
negative, the detuning effect will be amplified and start beating strongly at high values.

The amplitude of the Wavebank is set with Z (so that won’t get louder on Aftertouch). See
the previous slide for how Y+Z affect the cutoff filter of this preset.

Note that Formula F uses a continuous SG (SG2)

to apply Hann modulation to the WaveBank
Duty Cycle offset using vi (modulation) which
will further increase the motion and instability
of the sound.
 Using Kinetic Bank As a “Classic” Filter Numerous preset use the Kinetic Bank as a filter.

Compare two presets that are almost identical except one uses the standard Low
Pass filter and the other uses Kinetic Bank as Filter (see the analysis section)
altersaw rusty square jupipad jupinard

Cutoff = Frequency Cutoff = Frequency

Resonance = Viscosity Resonance = Viscosity
Padding = Overdrive Height = Drive
Mass = Drive
Note many Osmose
presets use very high
Bandwidth in 6-9
range as this one
does. That maps to
Kinetic Viscosity when
it is used as a filter.

Formula:
I = Cutoff

147
 Osmose & ADSR Envelopes Using Uni-Polar SGs SG Shape on Trigger (normally W gate)
SG -> Key Control-> Blend/Release Attack: At SG frequency (which can be variable)
D
S S Most frequency not programmed or use
A Z+Y Take Over R A Triangle SG for Attack/Decay. You can
ADSR R Decay:
program a 2nd SG to trigger on end of
SG Ramp + (Adding Decay) attack to add Decay. You can also add a
Key Sustain + ramp to a triangle SG to create
Persistence on Release + Attack/Decay.
Ramps remain at final value.
D
+ + + + = A
Sustain: Key Press = Sustain

Note: As there is no specific ADSR function in EaganMatrix, one way of imposing a Decay is to
add an SG ramp in one formula (that stays at fixed ending value) to an SG triangle shape in Release:
another formula that goes 0..Max..0. The end result will be to create a steeper Attack rise and
then create a decay to some > 0 value.
Use Blend of Persistence – Triggers on Key Release to create ADSR
Attacks Attacks or Decays Release function (used all over in Osmose presets – often on Macro
Controller iv (“release”).
Ramp Up Ramp Down
Attacks + Decays Attack Pulses (Hits, Plucks)
Gentle Ramp Up Gentle Ramp Down Pulse at Beginning
Triangle Shape
(of trigger)

Steep Ramp Up Steep Ramp Down Hann Shape Pulse at End

(of Trigger + Freq Time)
148
 Two Envelope Use Cases
SG envelope added to Y+Z. After SG finished value of Y+Z will Addition of Triangle and Ramp Up shape set to two different
sustain sound until release. ranges will create an Attack-Decay profile with fixed

Two SGs are added giving steeper climb.

As Triangle
descends, Ramp Up
at greater
magnitude than
triangle decrease is
added giving a decay
shape that remains
at the ramp plateau.

Triangle Range:
0..1..0

Ramp Range:
0..0.72
Envelope applied to SL/SR output amplitude
Dual-Sum Envelope applied to LP Filter Cutoff.
149
Creating ADSR in EaganMatrix – One Method One option to create a decay phase after a single cycle SG attack is to use another single
cycle SG to trigger after the Attack SG by setting a negative .99 (or .999) offset - here on Y
in formula E which is set on the Trigger of the SG3. This is added to formula C which will
set SG2 as a ramp to 1.0. So when SG2 triggers at whatever frequency that SG is set to,
SG3 trigger will ramp through the SG2 frequency and do nothing while some other
formula is using that as an attack, and when SG3 reaches 1.0, the SG2 phase will have
ended and then SG3 shape kicks in (as the trigger goes from negative to > 0) on whatever
formula was using it.

Here the Attack/Decay is placed on the Amplitude of the WaveBank

output. Formula C will trigger the WaveBank Attack using SG2. SG3 is
then waiting to trigger when SG2 finishes its ramp. Formula F is placed on
the Minus direct line with another ramp so when that triggers the values
will be subtracted from the ending point of the ramp – producing the
decay.

Macro Controllers are used to Set

Attack Time (SG2 Frequency) and
Decay Time (SG3 Frequency) as
well as the amplitude of the
decay (Decay Level).
Primary

Z controls output with Blend on Persistence set to v (“Release”). So the

sustain phase will be however long you have your key down and then
“release” will take over based on the Macro Controller setting.

Secondary

150
Special Programming Techniques
Borrowed from Continuum
 Programming EaganMatrix Touch Area on Osmose – Simple Use Case
Touch area is movable in editor

Another option might be to put

Touch area on highest key.
Low Osmose Key Easiest to Map the lowest note on Osmose to the top of Touch Area
(in default octave) So only one note is allocated on Osmose during normally playing. Top Osmose Key

Here Formula A is set to use Ancillary

“Use Touch Area”. This will look at W,
X, Y and Z use in the Touch Area and
use that in formulas that only get
triggered when you press the Touch
Area (in this case low C Osmose Key)

Use an Ancillary formula on the Touch

Area formula (here formula B) to gate
on the Touch Area when pressed and
perform the Touch Area function.

Note: You may need to reload the

preset if Touch Area stops working.
Formula A is put on the Spectral Balance (timbre) Control for OSC 1. It will be
programmed as a Touch Area formula to let Z increase the value only when pressing 152
the low C of the Osmose in this case.
Using a BiqGraph to Simulate a Custom (arbitrary Function) Envelope Shape Step 5: Place your envelope formula (B)
Step 1: Create a Offset 1 Graph (that will he range through values 0.0 to 1.0
with a desired shape (suggest based on the defined shape at the speed
using Breakpoint tool) using the you set) on something you want to add the
amplitude values 0..48). envelope to. Here its place on output
(ALWAYS TURN DOWN GAIN WHEN
EXPERIMENTING WITH OUTUPTS)
Step 2: Set your shape by When the Oscillator
setting Inactive in is played, the output
Breakpoint tool. envelope will match
your graph setting:
Step 3: Create a Single Cycle
Shape Generator and Set its
Frequency with a formula (A)
starting at some non-zero value
(here.25 Hz set as Ancillary) and
set max W range. Set Macro
Controller to this to Set Speed,
here .25HZ to 10.25Hz.

Here’s another example with a different Offset 1 Graph

shape

Note 1: You could get fancy

Step 4: Now Create a formula (B) you want to apply as an Envelope. with Osmose and create a
Set W to your Shape Generator (SG1 here) and set to a ramp up as we second envelope based on the
want to sequence through the values in the graph. W will range 0 to 2nd Graph offsets and instead Note 2: Using the CVC,
48 (values in the graph) quantized to 1 and divide that by another of triggering the SG to initiate programming CV outputs, you
formula set to 48 (as we want values here to scale 0 to 1). Scale to the envelope with W, you can can put the Envelope on Z and
something else if you desire. Finally set the 1st Offset Graph as use Y and chain a second use that as an arbitrary
Ancillary. Here we only use W set in Ancillary as X, Y and Z are not used envelope to follow the first functional generator for your
to generate the numeric shape values. when Aftertouch kicks in. Eurorack setup. 153
 Osmose
System Preset Block Diagrams
Top Level Analysis
and
Programming Techniques of Interest
110+ Presets
 abyss lands 155

Band Pass Filter 3 BP Output is Z controlled with Blend Persistence on iv (Release) SL/SR Master Section
Noise
• Cutoff: X + Z + Y Recirculator
Phase Gen 1 (Sum7) • Bandwidth: SG mod SL Reverb Extend
Summed Delay Tap 1
• F=X + Z+Y Offset with Y+Z SG Speed Ctl
• 400 ms
• Cascade 4 Kinetic 1 – Bank A Tap 2
SR • Dynamic Convolution
• 4 Taps: 1.0, .9,
OSC 2 • Y+Z Input control for • OSC 2 & BP fixed input Control – also SG
.7 .6 % delayed SL
• F=X + Z+Y Offset noise, fixed OSC input. • OSC 4 & OSC 5 SG Tap 3 modulated
with slow (.1
modulated • Dynamic Reverb
Hz) SG-based SR
• Freq Y+Z controlled Tap 4 Diffuse control
modulation (v) SL/SR
OSC 4 with added SG
modulation SL/SR
• F= X + Z+Y offset Feedback
• Viscosity Y (Aftertouch)
Phase Modulation controlled
Noise Freq Modulation OSC 5 • Excitation scaled by Y
• F= X + Z+Y offset
Phase Modulation
• Multi-Modulated

Library Search:
Category: Classic
Bandpass filter with OSC and Z+Y SG1 Frequency Y controlled with sample Type: Pad
(Aftertouch) controlled noise input. and hold of noise (formulas F & L). Character: Dark, Echo, Reverberant, Layered, Evolving
Polyphony: 2+
Summed delay with 4
taps and feedback.
Kinetic bank with Aftertouch (Y-Based) Controls (full or partial):
OSC 5
multiple excitation • Phase Gen, OSC + Kinetic Freq offset
modulated in
multiple ways. inputs. Scaled by • Timbre change
Lots of SG motion
formula T (Aftertouch
used for modulation • Filter Cutoff
Convolution &
controlled)
all over. • Filtered Noise Input
Tapped Delays
Recirc dynamic • Filter Bandwidth modulation speed
control • OSC frequency modulation speed
• Kinetic Viscosity & Excitation control
(Basically, Aftertouch adds harmonic complexity to the
Kinetic input scaled by Y also Blend of sound and removes some of the modulated background
Persistence (formula T) – controls i (timbre). effect – strengthens sound a bit – not a big effect)
 acid bass SL/SR
156
OSC 1 Master Section Macro Controller Usage
• Waveshaper from Recirculator i: (Cutoff) – LP cutoff control with Z (U)
LP output Summed Delay Reverb Extend
Feedback ii: (FilterReso) – LP Bandwidth control with Z (lowers
• 400ms SL bandwidth) (Q & R)
• Controlled by vi Tap 1 • Taps with vi iii: (envelope) – Another LP cutoff control (U)
OSC 3 HP 5 • 100%
• Cutoff 0Hz (delay) (delay) control iv: (Waveform) – Controls amount of OSC 2 sent to LP
• Sine
• Bandwidth 2 • Osc (G). At min, only WaveBank is filtered.
• Self-Modulated SR v: (drive) – Controls amount of OSC 1 output (L)
Tap 2 vi: (delay) – Controls amount of tapped delay output
Phase Mod
Phase Mod • 75% (H) as well as delay time (S) and amount of Tap 1
LP 4 feedback (I)
OSC 2 • Cutoff (i) SL/SR
• Sine 8vb • Bandwidth (ii)
• Phase mod by LP

Wavebank A
• Saw, Unity Amp
• Single wave, 8vb

Library Search:
Category: Classic
Type: Bass
Character: Distorted, Aggressive, Analog,
OSC 1 – no F defined Stereo, (defined TO – not in Matrix guide)
so this is wave Polyphony: 2+
Note complex LP Tap2 feeds back into
shaped by cutoff relationship
modulation input (D). delay.
using (V, U and J)
Aftertouch (Y-Based) Controls (full or partial):
• Affects cutoff of LPF effect (secondary timbre
Modification Tip: change) (J)
To create a huge bass –
add additional Saw waves
at different octaves.
 OSC 1 acouskop Macro Controller Usage 157
• F= X, Sine 8vb (A Study Modulation) SL/SR i: (excitation) – Controls amount of noise fed into ModMan
• Multi-Modulated Master Section (formula Q)
Recirculator ii: (tone) – Controls modulation amount of OSC 1 & OSC 3
Modulation LPF 4 ModMan
Modulation Noise SL/SR Reverb by OSC 5 (formula G – is Y offset).
• Cascade 2 • Ukulele
• Unity iii: (color) – Through phase modulation of OSC 3 (formula N)
OSC 2 • Fixed • X Freq Scaled iv: (brightness) – Adjusts LP cutoff (formula O) and Spectral
• F= X, Sine 8va Bandwidth • Ramped SG Dilation of ModMan
• Multi-Modulates • Cutoff Z output envelope v: (body) – Controls Wood convolution (formula U) and
controlled (formula E) output scaling – adjusts level down as convolution goes up
Modulation
Modulation scaled by iv • Programmed (formula T).
(formula O) Convolution vi: (drive) – Controls amount of Noise input to ModMan
OSC 3 SL/SR (formula U (formula Q) and amount of ModMan modulation of OSC 1
• F= X, Sine • Output Scaling (formula J)
• Multi-Modulated w/SG scaling (formula T)
Modulation

OSC 5
• Sine, X = 8vb

Library Search:
Category: Classic
Type: Bass
Ukelele ModMan is driven Character: Acoustic, FM, Distorted, Shaking
Formula E: OSC 1 Setting: Portamento (Mono Mode – Octave)
by LP filtered noise.
& OSC 3 outputs
Polyphony: 2+
SG envelope
ramped with Z used to offset frequency
of SG1 (controlling output Aftertouch (Y-Based) Controls (full or partial):
Aftertouch boost
envelope shaping and a • Adjusts tone (through modulation input
– Z offset to SG
frequency. ModMan bandwidth is number of modulation control of OSC 1 and OSC 3).
The OSCs use combination of self-
modulation and cross modulation offset by Z (formula L). inputs) • Secondary control of filtered noise into
ModMan increasing complexity of sound.
• Adjusts amount of modulation of OSC 1 with
vi (boosts the “drive” component)
ModMan Spectral Dilation • Increases Output of OSC 1 & OSC 3 to SL/SR
controlled by iv (brightness)
in formula O.
(So, in general Aftertouch makes tone more
Formula T: Scales output with Z and Ramped envelope.
complex and boosts output – not a big effect)
 OSC 1
acuitar SL/SR
158

• 8va, Y SpB & Output Ctrl Master Section

Recirculator
SL/SR Reverb Extend
OSC 2
• Y SpB & Output Ctrl SL/SR
• Programmed
ModMan 1 SL Convolution through
Band Reject Filter 5 Low Pass Filter 4 Summed Delay Tap #1 full range through iii
• Sprong (plucked •
Noise • Cascade 4 • 6kHz cutoff 400 ms SR (body) formula N
component) •
• Unity • Unity Bandwidth • Cutoff with i 4 Taps %s 1.0, .8, Tap #2
• Pulsed input with
• Cutoff with ii (tone) (brightness) .9, .7 SL
Z & Y control • Delay controlled Tap #3
scaled by Z
by vi (delay) SR
Macro Controller Usage • Fixed input level Tap #4
i: (brightness) – Controls cutoff of ModMan (formula V) auto adjusting output scaling (formula F) Feedback
ii: (tone) – Controls Band Reject (notch) filter cutoff (formula T)
iii: (body) – Controls convolution applied (formula N) thru full range of Wood->Metal->Fiber->Wood Low Pass Filter 3
iv: (resonance) – Control of ModMan Bandwidth & Mode Bandwidth with Y, formulas D & L. • 6kHz cutoff
v: (tremolo) – Controls rate of tremolo (formula J) applied through output scaling (formula F) • Large bandwidth
vi: (delay) – Controls amount of tapped output for all taps in parallel

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2 OSCs just sent to Aftertouch affects ModMan excitation input (K)
SL/SR. OSC 2 (E) applies output volume (Q
Category: Strings
controlled by W, X, Y and Z.
phase-based SG of & E). So pluck is frequency, Type: Plucked
ModMan. pressure and Aftertouch Character: Acoustic
dependent). Setting: Portamento (Mono Mode – Second)
ModMan Gated with Polyphony: 2+ Note Priority: Same
high persistence (R). SG4 uses Phase option set RMS.
ModMan sent to delay Aftertouch (Y-Based) Controls (full or partial):
Used by OSC2 to track ModMan
Taps controlled with high Persistence (R)
amplitude envelope. • Controls OSC 1 & OSC 2 timbre (formula Q) as well as
by vi (delay)
their output volume
• Secondary control of Summed delay input
Aftertouch control for B and sB (D • Decreases ModMan Bandwidth & Mode Bandwidth
vi (delay) also controls
& L). Interpolation index is ramped
delay time (U) as well as
Output scaled by Z with triangle shape tremolo by SG1 (I) for more dynamic tone. (Overall affect is change tone slightly and add presence
tapped output amount.
applied thru v (tremolo) on SG3 rate by (formula J) to sound – not a big effect)
 aerials Macro Controller Usage
159
Noise i: (Timbre) – Changes Spectral Balance on OSCs with
Kinetic 1 Summed Delay Master Section
• Small 0.005 level Aftertouch (G)
• Excited thru • 100 ms Recirculator
multi-Anchor Tap 1 ii: (Vibrato) – Controls the vibrato depth (T) that is also
OSC 1 • Fixed .8 delay (80 Swept Echo Extend
inputs • 60% (Q) SR X dependent and Vibrato speed of SG4 (S) that also is
• Vibrato (ii) on X ms) affected by Aftertouch.
• Y+Z Timbre Ctrl • Multi Freq • 2 Taps. Both offset • Small bit of fixed iii: (cutoff) – Scales Kinetic Frequency with Y and Z (K)
inputs offset 60% by Wood Convolution creating cutoff sounding change.
OSC 2 • Only Anchor Triangle SG • Fixed SL/SR output iv: (TBD) -
• Vibrato (ii) on X and Freq modulation (Q) Tap 2 SL scaling at 0.1 v: (pwm) – Additional SG modulation on OSC 2 phase
• PWM through SG columns but Tap1 offset • 60% (Q) • Big Aftertouch mod input (B). Y & Z act as secondary speed modifiers.
programmed positive and Taps offset effect in this vi: (Chorus) – Adjusts SG2 Frequency (D) used to apply
OSC 3 but remember 2 offset negative preset. SG modulation (chorusing) to Kinetic Frequency (C & I)
• Vibrato (ii) on X other default – and sent to and affects all Kinetic inputs & outputs (L).
• Y Timbre Ctrl Kinetic settings opposite stereo
are seen in fields.
OSC 4 Properties.
• Waveshaped by Waveshape Feedback
Kinetic Bank SL/SR
• Unity output SL/SR

Library Search:
Category: Classic
Type: Keyboard
Character: Analog
Interesting Kinetic example where Anchor Polyphony: 2+
excitement and Frequency are programmatically
changed with multiple formulas. Aftertouch (Y-Based) Controls (full or partial):
• OSC Timbre control of OSC 1/OSC 2 (G) and OSC 3 (M)
• Secondary control of vibrato speed with ii (S)
Kinetic Bank feed numerous components (L) – using Aftertouch control • Secondary Kinetic Bank Frequency offset
• Controls OSC Waveshaping (L), Partial Kinetic Anchor
excitement (M & L) and Summed Delay Kinetic input (L)
• Offsets Kinetic Frequency negative with Z (O)
• Secondary control of OSC 2 modulation speed and v (PWM) (U)
– makes vibrations even more pronounced.
OSC 2 uses SG triangle
modulation thru v (pwm) (B) Taps set identically but SG modulation (Aftertouch produces major timbre (kind of noisy) and volume
offset in opposite directions. boost emphasizing modulation).
Freq Mod
after the rain SL/SR Macro Controller Usage 160
S&H OSC 1 Master Section i: (layer) – Changes SG3 Freq. controlling
Noise • SG Timbre Ctrl Recirculator S&H noise into BP2 (P) and Waveshaping of
• Freq Mod by noise Summed Delay Reverb Extend OSC 5 (J).
BiqBank • 400 ms ii: (layerStruc) – Changes sF linear spread
Phase Mod Phase Mod Tap 1 SL
Phase Mod from fundament of BiqBank (A)
• 16 Nodes • .5 Feedback • 100% • Wood
Freq Mod iii: (noise) – Quantized scale factor (1-12)
OSC 3 • Noise Freq • Two taps, SG • SG + offset convolution on BP2 Noise-based cutoff modulation with
S&H modulated with
Noise
• SG Timbre Ctrl S&H Noise
offset X (V)
• Freq Mod by noise standard X modulated in iv: (envTime) – Controls amount of OSC 1
applied (see P) opposite Tap 1 SR output (C), and speed of SG2 attack of OSC
Phase Mod Cutoff Freq
• Fixed sB directions • 80% 3 phase mod input (K), OSC 1 phase mod
BP 2 • SG - offset inputs (L&O) and BP4 output to SL/SR (N)
Waveshape • Control of B • Summed v: (tapeMod) – Frequency offset modulates
OSC 5 • Cascade 2 with Z Delay input OSC 3 (B), controls Pre & Post MS
S&H • Waveshaped by • Cutoff
Noise • Control of input scaled 0.2 SL/SR Convolution mix (D) and adds SG offsets to
S&H noise (J) noise fed taps (S) in opposite directions to provide
with Z
this effect.
BP 4 vi: (delay) – Increases Persistence of BP4
S&H summed delay input (N). Controls Tapped
Noise • Cascade 2 delay output (T) and controls amount of
• Input and cutoff Feedback BP2 into BiqBank (G).
SL/SR
noise fed

Note now (M) which

is Y based changes Library Search:
S&H noise drives all OSC freq speed of SG that is Category: Other
modulations and BP cutoff modulations. used by (I) to impose Type: Pad
S&H randomness on
Character: Acoustic, Noise, Demo
Most of Phase mod inputs have an envelope applied the SG frequency.
Polyphony: 2+
with SG2 then Z and in places also Y control.
Aftertouch (Y-Based) Controls (full or partial):
• OSC 2 Freq modulation v (tapeMod) with Z.
• Affects noise cutoff of BP2.
Z reduces BiqBank Bandwidth • Affects phase mod of OSC 1 by OSC 3 (L) and OSC 1 self-mod (O)
and fixed bandwidth spread. • Affects Freq of SG1 (M) that adds S&H randomness to SG1 freq. (I).
The two Taps add slow SG modulated
offset in opposite directions. (Basically - adds timbre change and volume boost emphasizing
background modulation)
 alacloud Macro Controller Usage 161
SL/SR i: (structure) – Controls quadratic
Master Section Frequency Spread of ModMan
ModMan 1
BR 1 VoiceDelay Recirculator ii: (excitation) – Controls BR1 Cutoff (A)
• Oboe 2
• Cascade 3 • 400 ms SL Mod Delay iii: (tone) – Controls ModMan sB (S),
Unity • Multi- Tap 1
Noise • Cutoff on (ii) Pulsed • 4 Taps: 100%, Extend Interpolation (B) and Spectral Dilation (C)
90%, 70%, Tap 2
SR • Dynamic iv: (resonance) – Controls BP3 output with
excitation Persistence Blend (I) with Aftertouch and X
60% with Z Convolution
with SL dependent ModMan Bandwidth offset (V)
Phase Mod controlled Tap 3 Control – also
OSC 2 BP 3 Aftertouch v: (speed) – Controls the SG4 iteration
alternating +/- SG modulated
Unity • Cascade 3 • Cascade 3 SR speed with Aftertouch.
SG offset Tap 4 • Dynamic
Noise • Sine w/ • X Cutoff vi: (delay) – Controls LP filtered VoiceDelay
modulations Reverb Diffuse
Timbre ctrl Ctrl Feedback (M) and Tap output amount (K)
control and Delay time (U).
SL/SR
LP 5
• Cascade 2
• Fixed Cutoff Feedback
• Fixed Bandwidth

Library Search:
Category: Tuned Percussion
Type: Struck, Pad (OG not known)
ModMan excite input (D) Character: Acoustic, Echo, Looping
SG modulated convolution applied with ModMan is gated into Delay (H)
controls main pitched sound Polyphony: 2+
formula P, applying triangle motion while LP 5 uses vi (delay) control to
you hear (which is nothing
0..1..0 through Wood->Metal increase delay input. Aftertouch (Y-Based) Controls (full or partial):
like an Oboe – spectral sets
need not sound like their • Increases speed of ModMan SG2 controlled
name). D uses pulsed input input (G) – The main iteration you hear
4 Taps are output in alternating SL/SR from BR filtered noise using 4 taps set to delay %s 100%, 90%, • Timbre control of OSC 2
fields and since they each have a complex series of ancillaries
different delay % ,it creates a nice delay
70% and 60% of delay time set by U • Affects BP3 Output (increases noise)
(D-G-J) all using SGs for (using vi – delay)
effect when brought in using vi. • Increases ModMan Spectral Dilation (tone
envelopes or motion.
control)

(Overall Affect is changing timbre and increase

the looping noisy repetition rate)
Q applies SG4 mod to tap
percentages at Freq T (uses Z Ctrl)
 alenvers SL Macro Controller Usage
162
OSC 2 Mod OSC 1 Master Section i: (timbre) – Timbre control of OSC 5
• Modulating • Mod by OSC Mod Voice Delay Recirculator ii: (fmAmt) – Controls X dependent scaling for OSC 1 modulation
Oscillator – 2 & OSC 5 • 400 ms SL Mod Delay Extend inputs by SG1 (K)
Tap 1 iii: (fmRatio) – Controls Frequency scaling of OSC 2 in quantized
phase • Two taps sent 100%+SG units of 0.5 from 0.5-6.0 that modulates OSC 1, OSC 3 and OSC 5 (Q).
modulates OSC to opposite • Mix controlled
1, OSC 3 & OSC Mod OSC 3 iv: (envTime) – Controls SG3 frequency (D) and SG2 single cycle
stereo channels by vi (effect) &
• Mod by OSC frequency (R) and OSC 1 Frequency (with Aftertouch). All these
5. with opposite Aftertouch (J)
2 & OSC 3 Tap 2 SR affect SG ramping times controlling envelopes of SG based
• Frequency offsets • Output scaling modulations.
40%-SG
scaled by iii Mod
Mod • Uses feedback uses triangle v: (harmonics) – Quantized Freq scaling of OSC 2 in 0.5 increments
(fmRatio). envelope attack (T)
• SG1 ramping OSC 4 Mod with Z control vi: (effect) – Controls Speed of SG5 (J) affecting spectral balance of
Feedback
on spectral • Waveshaped (V). OSC 5 with Aftertouch. Also control amount of VoiceDelay feedback
SL/SR
balance OSC 1&OSC 3 • Stereo effects (L). Controls Recirculator Mix with Aftertouch.
(timbre). sending Taps
Mod and OSCs to
Mod OSC 5 opposite L/R
• Mod by OSC SR channels.
1 & OSC 2
A study in Phase/Frequency & SG Modulation

Library Search:
Category: Classic
Type: Pad
OSC 1 sent L & There is so much Character: FM, Looping, Stereo
OSC 5 sent R modulation in this preset of Note: Huge Interpolation Polyphony: 2+
with SG all sorts that you just have (90) on Delay Frequency (F)
modulation to to play with the Macro – creates long delay trails Aftertouch (Y-Based) Controls (full or partial):
increase stereo Controls and figure out
effect (B)
• Controls SG1 based timbre modulation speed of OSC
what they do. Many inputs
have SG based LFO Note: (R) Uses the 2
Taps output on different channels with different modulation on them in new exponential • Affects OSC 1 Frequency offset (U)
% and opposite SG modulated offsets (F & E) addition to all the direct and Blend function. • Controls SG5 Speed (J) of OSC 4 frequency
indirect phase and modulation by OSC 3 (I).
frequency modulation by • Affects magnitude of OSC 4 modulation (P)
the OSCs. • Controls Frequency offset of OSC 5.
• Controls Recirculator (Mod Delay) Mix
Output scaling has SG motion applied (V) Note: (J) Uses all fingers averaged function.
(Overall effect is timbre change and increase speed of
effect of modulating repetition and Modulated Delay).
 algo call Symmetrical Preset Design 163
WaveBank 1 Mod SL Master Section
• 5 waves used OSC 1 LP 4 Recirculator
• D & W used Mod • Mod by OSC 2 • Cascade 3 Summed Delay Mod Delay Extend
OSC 3 OSC 3 & WB Tap 1 SL
• Amplitude • Mod cutoff • 100 ms • Taps and OSCs
• Modulates • 100%+SG
offset with i. • Two taps SG output to
OSC 1, OSC 2 X Mod
• Aftertouch Mod mod offset +/- Tap 2 SR opposite stereo
affects wave OSC 2 LP 5 • Input fixed • 90%-SG fields for
freq and Mod • Mod by OSC 1 • Cascade 3 scaled by 0.3 enhanced stereo
SR
weighting OSC 3 & WB • Mod cutoff effect.

Macro Controller Usage

i: (timbre) – Control spectral balance of OSC 1 & OSC 2 (E). Controls Mod input to OSC 1 & OSC 2 (L). Controls amplitude
offset of Wavebank.
ii: (modulation) – Controls amount of cross modulation applied to OSC 1 & OSC 2 (A)
iii: (cutoff) – Scale factor on cutoff for both filters (L)
iv: (envTime) – Controls LP cutoff SG modulation frequency and width. Aftertouch and Z secondary control applied (P & H).
v: (stereoMod) – Controls OSC 1/OSC 2 Frequency offsets – offset + for OSC 1 and – for OSC 2 (D). Controls Wavebank
frequency offsets applied + and – on waves (C). Controls WaveBank Duty cycle modulation (F). Controls LP offset modulation
again offset + on one LP and – on the other (P). These are all Aftertouch and Z influenced.
vi: (chorus) – Controls speed of SG3 (V) that applies modulation to Tap % (V) creating chorus effect
Library Search:
Category: Classic
Type: Pad
Character: FM, Stereo
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

Aftertouch
• Adjusts frequency and weighting of Wavebank
affects
volume The main thing to note is that 2 OSCs are • Affects LP Cutoff SG modulation width and
output (B) modulated in similar ways one offsetting frequency
frequencies plus and the other offsetting minus, • Affects OSC Frequency offsets and Wavebank
even taps. And these are sent out separate L and frequency offsets.
R channels to create a nice spatial effect. • Affects LP Offset modulation.
Output tremolo
applied (T) (Y increases stereo separation as well as
modulation and drive – not a big effect)

OSC 1 & OSC 2 mod scaled by X (I) Taps % offset + for Tap1 and – for Tap2 (U)
 altersaw 164

Kinetic 1 Macro Controller Usage

IOSC 1
Master Section i: (resonance) – Increases Kinetic Viscosity producing resonance effect (I)
• X Ctrl, SpB set 1 • Acts as filter
Recirculator ii: (cutoff) – Kinetic Frequency offset produces cutoff effect (J)
• All inputs excite iii: (ultrasaw) – increasingly detunes IOSCs 1-4 to produce beating effects of a larger SuperSaw (D & E)
Reverb
IOSC 2 Anchor iv: (pitchEnv) – Adds an increasing Z controlled frequency offset to all IOSCs Freq control (F). Before
• X Ctrl, SpB set 1 • Viscosity and Aftertouch creates a filter envelope effect on Z.
• Simple gated
Padding are v: (decay) – Another Frequency offset on Kinetic Bank, Aftertouch and Z modified with Blend on
output on Square
IOSC 3 programmed in SL/SR Persistence (H). Reduces cutoff effects as this is increased.
root Z function
• X Ctrl, SpB set 1 matrix. Other vi: (overdrive) – Increases Kinetic Padding. Boosts the output.
(G)
default
IOSC 4 parameters are Remember that Kinetic Bank Defaults are set in the Properties Panel. These can be different for every preset.

• X Ctrl, SpB set 1 set in the Kinetic

Properties
panel.
IOSC 5
• X Ctrl, SpB set 1

Kinetic Panel Default Properties

Sprong Constant = 0.2, Starting Anchor Position = 0, Mass =.02, Gravity = .01, Starting Viscosity = 0.5,
Height = 1 (Max), Elasticity = 0.24, Starting Padding = 0, Slipping Friction = 0, Quit Slip Speed = 0.

Original version just output iOscs Kinetic Bank acts as a filter where
frequency changes have a cutoff effect.
Library Search:
directly. Decided to send through Category: Classic, Lead
Kinetic Bank instead and output Anchor Position, Viscosity and Padding
are programmed in the Matrix. All Type: Keyboard
that SL/SR (G).
other parameters are set in the Character: Analog
Properties (see above) Polyphony: 2+
IOSCs 1-4 have small frequency offsets applied to add
beating/motion thru iii (ultrasaw). D adds +/- offsets up Aftertouch (Y-Based) Controls (full or partial):
to .55 cents & E adds +/- offsets up to 1 cent. Modifications: Try changing Spectral Balance value in formula A to get • Secondary control reduces input into Kinetic
different timbres along with changing from IOSC to OSC. Also Bank with Z (B).
experiment with default Kinetic properties to see how those effect use • Increases Kinetic Frequency offset with Z (H)
of Kinetic bank as a filter.
(Cutoff timbre change on Aftertouch)
IOSC 5 is base OSC that
gets no frequency offsets.
A good study in how the Kinetic Bank can act as a filter.
 analog scream 165

WaveBank 1 Macro Controller Usage

LP 4 i: (cutoff) – Increases both LP filter cutoffs along with Aftertouch
• Saw, 8vb SL
• Cascade 4 Master Section and Z. (R+G)
• 2 Waves w/ positive IOSC 1
ii: (resonance) – Scales the Bandwidth in parallel of both LP filters
Freq offsets • 8va, fixed SpB • Mod cutoff & Recirculator
Bandwidth (H)
Delay HPF
HP iii: (decay) – Adds Envelope to LP cutoff also increasing Persistence
Noise Extend with Blend. (P)
• Fixed 1kHz cutoff
• Unity iv: (detune) – Detunes the two Wavebank waves in conjunction
and bandwidth • Output scaled with Aftertouch offsets (E & F).
LP 5
with high v: (ATratio) – Scales OSC 1 frequency – quantized to harmonic
WaveBank 2 IOSC 2 • Cascade 3
Persistence series. Adds background harmonic (S).
• Saw, 8vb • Freq Offset • Mod cutoff &
vi: (noise) – Increases amount of HP filtered noise into the LP filters
• 2 Waves w/ negative Bandwidth
from none to 0.106 input.
Freq offsets
Try to Gate formulas that
send sound to SL/SR using
Y+Z for amplitude control if
you like the attack profile
(always do this if you want
the preset to be Continuum
compatible as last Y position
Note: Y+Z is scaled to a Gate On [W*(Y+Z). on Continuum is retained)

Library Search:
Category: Classic
Type: Keyboard
This preset sends separate Saw WaveBanks and a common set of two
Character: Distorted, Aggressive, Warm, Analog, Noise, Demo
Formula L uses standard Z pressure + IOSC outputs and noise through separate low pass filters to the Master
section, wit output scaling. Polyphony: 2+
Y Aftertouch for control of outputs.
Note how they are gated. This makes
the preset more compatible with Aftertouch (Y-Based) Controls (full or partial):
The WaveBanks are identical only one applies a set of positive • Reduces OS2 input into filter (B)
Continuum and also prevents voicing
frequency offsets and the other applies a set of negative offsets that • Adds a bit of secondary Wavebank frequency offset to both
artifacts as well as giving a pit more
can be detunes with iv (detune) for getting a bigger sound mass.
punch to the attack. Note a power WaveBank waves in addition to I (cutoff) control – different
Ancillary is used for output. offset applied for each (E & F)
• Boosts the LP filter output with Z (L)
(Aftertouch is a small boost in sound – not a big effect)

Formula I scales the output down to .75 (.25 * Each WaveBank uses two waves with X scaled
3) adding rather high Persistence. .5 (taking them down an octave)
 anareed 166
SL/SR Macro Controller Usage
IOSC 4 Mod Master Section i: (timbre) – Adjusts WaveBank Duty Cycle with Aftertouch (A)
• Z based SpB OSC 5 Recirculator ii: (shape) – Adjusts main OSC spectral balance (so also adjusts timbre)
• Multi- Reverb (K)
BP 2 modulated Extend iii: (body) – Controls Convolution through full range of Wood->Metal-
Noise Mod SL/SR >Autoharp2>Waterphone2 (P)
• X scaled cutoff, • SG Freq
• Unity modulated • Output scaled iv: (breath) – Adjusts amount of BP Noise output – also affected by
fixed bandwidth
with by Aftertouch Aftertouch (G)
SL/SR v: (tone) – Adjusts the IOSC spectral balance with Z
Mod Aftertouch
WaveBank 1 LP 1 HP 3 vi: (breathTone) – Adjusts BP Noise cutoff. Frequency (X) dependent
control (D)
• Square, 2 waves • Adjustable cutoff, • Aftertouch cutoff,
• Duty w/Aftertouch fixed bandwidth fixed bandwidth
SL/SR

+ *
Library Search:
Category: Wind
Note Formula N that Adds ancillary S multiplied by U
Type: Single Reed
Note that many presets have formulas Character: Analog, Acoustic
to create a complex envelope profile using Y and Z
that are disabled (grayed out) but Setting: Portamento (Interval: 2nd)
for scaling OSC 5’s inputs. Disable N and notice the
never removed. (B). This is fine. Polyphony: 3+
subtle difference in sound. A nice touch.

Aftertouch (Y-Based) Controls (full or partial):

OSC 5 output set to unity (1). This works because the inputs to OSC 5 (G, B, H) all • Increases WaveBank Duty cycle with Z (A)
scale to Y and or Z which will have initial values of 0 so no sound output when no • Decreases HP cutoff
SG2 Freq ads an offset T, where T is Y ranging 0..5. So
keys are pressed. Be careful using constant outputs if values are not initialized to 0. • Scales BP input into OSC with Z (G)
Aftertouch will increase SG2 Freq to max of 14 Hz.
• Controls SG modulation width on OSC mod inputs
• Increases SG2 speed affecting speed of SG OSC
modulation (T with O)
• Scales OSC input modulation (S with N)
Output is scaled by .25 (Q). • Scales all outputs (provides boost) (Q)
Freq of SG1 is 9*9=81 for very quick attack. SG
(but not a big Aftertouch effect – subtle shift in timbre)
range normally does not go much past 100.
 OSC 2 anatolian pad
• Similar to OSC 3 SL/SR Macro Controller Usage
functions (see SL/SR Master Section i: (tuning) – Changes quantized scaling of OSC 2 & OSC 3 that generate
Voice Delay chord with OSC 1.
below) BP 4 Recirculator
• 200 ms ii: (delay) – Controls amount of VoiceDelay and Tapped output delay
• X scaled cutoff Tap 1 SL Reverb
• Unity delay (see iv that works in conjunction as blend to add Persistence)
offset with • Fixed 80%
OSC 3 • Two taps iii: (modulation) – Controls SG2 Frequency used to apply SG modulation
• SG*Z based SpB Aftertouch set at fixed SR • Output scaled to OSC 2 and OSC 3 (G and D). Note (G) sets motion 180 deg. out of
Tap 2 by SG
• Freq Scaled in delay % • Fixed 60%
phase with (D) – all scaled to Z.
.quantized .25 modulation * Z iv: (release) – Controls output of Prime OSC (OSC 1) scaled to Z and
increments on I Noise Feedback adding Persistence on Blend for release. Adds persistence for Delay and
• Z based OSC 1 SL/SR Taps output as well.
(tuning) HP 5
• Timbre SG • Y based SpB v: (noiseDelay) – Controls amount BP filtered noise, scaled to Z
• 4X cutoff, Bandwidth=1 vi: (tremolo) – Controls speed of SL/SR output tremolo as well as width
modulated scaled by SL/SR (N & Q) scaled to Z offset Aftertouch.
Z with Aftertouch

Blend does nothing in G.

Was it intended to
change Persistence as in
D?

Library Search:
Category: Classic
Type: Pad
The main effect of this preset is the Character: Analog, Chords
G & D apply SG2 modulation, 180 quantized (to 0.25) harmonic scaling
deg. Out of phase with each other Polyphony: 2+
of frequencies using two different
using two different SG shapes. ranges in formulas B and D – both
controlled by i (tuning). Aftertouch (Y-Based) Controls (full or partial):
Timbre of shifting
• Controls Spectral Balance to prime oscillator (OSC
OSCs2&3 controlled by Z 1) (F)
in A and Aftertouch in L • Offsets Spectral Balance on OSC 2 & OSC 3 (L)
• Increases Bandwidth of noise fed BP (Y)
• Increases modulated tremolo output scaling with Z
(N)

(Aftertouch create timbre changes and repetition rate

change)
 168
LP 2
ModMan 1 aplassian Macro Controller Usage
i: (brightness) – Adjust LP cutoff with Y+Z scaling (C)
Noise • Toy Piano 1 SL/SR Master Section
• Unity • Cascade 2 Recirculator ii: (drive) – Scalar on OSC 1 Modulation – not a huge effect (R)
Strike iii: (mechanism) – Adjusts the amount of X+Y+Z scaled non-pulsed OSC 2
• Y +Z Cutoff Mod Delay
input into the ModMans (B). Strengthens sound – kind of similar to Drive
Extend
iv: (resonance) – Increases Sustain/Persistence of OSC 1 output (A), SL/SR
OSC 5 Mod scaled output (Ancillary to T, U) and Bandwidth of both Modmans’ (J)
• Sine, 8va OSC 1 SL/SR • Outputs SG v: (body) – Controls Convolution index (0..1) in this case Wood->Metal.
Mod
• X Freq • Sine modulated – vi: (tremolo) – Controls the tremolo speed (S) and width of tremolo (T, U)
• Multi-Mod tremolo
applied 180
Mod deg. Out of
LP 3 phase on SR
Noise ModMan 2 SL/SR
• Cascade 2 (U) vs. SL (T)
• Unity • Ukelele 2
• Y+Z * i cutoff

(N) Is disabled and uses SG3 which has

no Frequency defined. But (Q) does
use SG3 – sine F=0m SG will never get
triggered and W value stays at 10. This
is just confusing programming and
should be cleaned up. Or is it an error? Library Search:
Category: Strings
Type: Plucked, Character: Acoustic, Electric
Polyphony: 2+
Playing Technique
Best effect is to attack the keys quickly enough
for the plucked envelope to kick in. Attack to
softly and effect is lost.
Aftertouch (Y-Based) Controls (full or partial):
• Scales Drive with Z (B)
• Scales brightness with Z (C)
• Secondary control of Resonance (J)
• Scales output of OSC 5 with Z and scales Mod
input level of OSC 5 into OSC 1
• Increases tremolo frequency (added to vi)

(Can create a big tone output on fast deep

SG Tremolo applied 180 deg. Out
attack and will increase sustain of tone)
of phase on SR (U) vs. SL (T)
 aqueous feel Macro Controller Usage
169
i: (cutoff) – Scales LP cutoff (R) and controls BP filter cutoff with Z adding
IOSC 1 Mod FB Persistence as well (E).
• Waveshaped ii: (release) – Controls Wavebank amplitude with Y and Z and adds persistence
by BP BP 4 (release) (D). Also increments LP cutoff with Aftertouch +Z adding persistence as
• Cascade 4 SL/SR Master Section
well (G)
Kinetic 2 • Multiple inputs Recirculator iii: (pulsewidth) – Controls Pulsewidth of WaveBank (C). Controls Spectral
• Noise excited • Z controlled Mod Delay Balance of both IOSCs (L). Also scales output with Aftertouch.
• Friction Wavebank 1 Extend
Noise cutoff iv: (drift) – Slightly lowers frequency of Wavebank (M).
excited by • Square
• Unity v: (color) – Changes WaveBank amplitude weighting affecting tone/color.
noise • 5 waves LP 5 • Outputs vi: (bandpass) - Changes amount of HP modulation of the two IOSCs and
• U & F program • D + W used • Cascade 2 SL/SR scaled by iii amount of HP output (F). Increases bandwidth of the BP (K).
used • Multiple Inputs Z (pulsewidth)
+ Aftertouch + Aftertouch
IOSC 2 controlled cutoff
• Waveshaped
Mod FB
by BP & LP
Mod

Library Search:
Category: Keyboard
Type: -
Character: Airy, Bright, Clean, Digital
Noise excited Kinetic Bank with Noise Polyphony: 2+
controlling Frequency (N & O). Creates
static noise on Z pressure.
Aftertouch (Y-Based) Controls (full or partial):
M (iv=drift) shifts WaveBank frequency while • Scales output volume (with iii).
also adding noise from Kinetic Bank. • Offsets frequency of two of the WaveBank
waves (B)
• Increases Wavebank amplitude with Z.
• Increments LP cutoff with Z
(Creates a cutoff effect – most prominent as you
enter Aftertouch area)
 arcadiapan Macro Controller Usage
170

SL/SR i: (structure) – Adjusts BiqBank non-linear frequency spread with

Master Section
IOSC 1 a bit of Z offset (R)
OSC 2 Recirculator
• SG * Y+Z Freq ii: (breathTone) – Adjusts BiqBank Amplitude Spread
SL/SR Analog Echo
scaled Mod • Waveshape iii: (breathAmt) – Adjusts LP 5 cutoff (J) and the Noise amplitude
• SG * Y+Z SpB feeding the BiqBank scaled by Z.
Mod iv: (body) – Sets Convolution index through the full range of
Mod Wood->Metal->Fiber->Wood (L).
SL/SR v: (tone) – Adjusts WaveBank duty cycle scaled by Y.
Noise BP 3 OSC 4 LP 5
Mod vi: (modulation) – Controls amount of SG Freq Mod (vibrato)
• SG*Z • Fixed • Sine • Cutoff by iii
BiqBank 2 SL/SR applied to IOSC 1, WaveBanks Waves and BiqBank F & qF (D).
• Max Bandwidth • Waveshaped • Fixed
• X cutoff Scaled • Y+Z Control of Controls frequency of SG2 offset with Y + Z (E) that sets vi
Interp Bandwidth (modulation/vibrato speed) and control the spectral Balance
Mod Freq and qB
change modulation change on OSC 2 scaled with Y+Z.
Wavebank 1
• Triangle Noise
• 3 Waves • SG*Z

Library Search:
Category: Wind
Type: Flute, Character: Acoustic
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Scales v (tone) value down – WaveBank Duty Cycle
• Secondary control of vibrato/modulation width and speed
with Z on IOSC 1, Wavebank and BiqBank.
• Scales modulation of OSC 2 timbre with Z
• Scales with Z amount of OSC 2 modulation input
• Scales [pitch up an octave by adjusting WaveBank
weighting (O).

(Increases the breathy effect, modulation and shifts pitch and

octave)
TBD
 171
IOSC 1
archer
HarMan Mod SL/SR
• Primary to Master Section Macro Controller Usage
• Viola Recirculator i: (color) – Changes Harmonic Truncation of Harman 1 (F) with X offset
Jenny OSC
Legato Mod jOSC 2 Reverb Extend ii: (harmonics) –Adjusts Frequency multiplier on the Jenny OSC
SL/SR
• Waveshaped iii: (body) – Adjust the Convolution index and mix together from (0..1)
Mod
by BP & LP moving Wood->Waterphone 2 (I)
Mod OSC 3 SL/SR iv: (bow) – Adjust outputs of ModMan 2 (P), Mode Bandwidth Spread of
• Y Mod ModMan 2 (N) and Spectral Dilation of ModMan 2 using Y offset (L).
• SG Freq Scaled v: (timbre) – Adjusts the output level of OSC 3 using Y+Z scaling
SL/SR
vi: (vibrato) – Controls vibrato depth applied to Primary OSC 1, OSC 3 and
both ModMan’s frequencies (S) and rate of vibrato on SG3 frequency that
Mod BP 4 ModMan SL/SR scales with X+Y+Z (R)
Noise OSC 4
• Cascade 2 • Viola
• Unity • Sine
• X, Fixed BW Legato

Library Search:
Category: Strings
Type: Bowed
Character: Acoustic
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Offsets Spectral Dilation of ModMan 2
• Scales output level of OSC 3 with Z (U)
• Scales output of OSC 1 and JOSC 2 with Z (D)
• Scales modulation input to OSC 1 and OSC 3
(E) with Z
• Scales ModMan 2 amplitude attack with Z
(Q)

TBD
 Noise Macro Controller Usage
172
Phase 4 Sum7 • Z scaled Anchor astral titans i: (ratio) – Set harmonic quantizing scaling on OSC 2.
• X, Y+Z SpB ii: (dirt) – Controls the Phase Generator modulation amplitude into OSC 1
Anchor
and OSC 2 adding complexity of sound to outright noise/dirt (K) and
Mod Mod Mod
adjusts spectral balance of OSC 3 again adding more complexity that gets
Mod Master Section
amplified on Phase generator modulation.
OSC 2 Freq
Recirculator iii: (cutoff) – Scales the entire frequency input column of Kinetic bank
Mod SL/SR Reverb
• Multi-mod giving cutoff effect
Extend iv: (env Time) – Adjusts frequency of SG1 controlling envelope (S), Adjusts
Mod Kinetic 1 SL/SR persistence on OSC 2&OSC 2 outputs (C, Q) and of Phase generator input
Mod • Freq, Anchor & • Output to Kinetic bank (M)
OSC 1 L/R increased v: (resonance) – Adjusts viscosity of Kinetic bank (T) and OSC 1&OSC 2
Viscosity Ctrl
• Multi-mod Mod
OSC 3 (50/50) with Y scaling Frequency modulators of Kinetic bank.
• Waveshaped (U) vi: (ringmod) – Brings up the Multiplier output of OSC 2 & OSC 2 and
• Multi-Mod SL/SR multiplier input as modulator to OSC 3 (R).
Mod
Mult 5 SL/SR
• Ringmod OSCs 1&2
Freq
SL/SR

Library Search:
Category: Classic
Type: Pad
Character: FM, Distorted, Analog
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Increments SL/SR outputs up (U)
Massive Inter-modulating Network • Scales the frequency detuning offsets for OSC 1 & OSC 2
(A)
• Scales frequency offset envelope of Kinetic Bank with Z
(H).
• Scales all frequency inputs for Kinetic bank.

(Adds cutoff effect , make sound more complex and

increases modulation)
 azure key 173

Mod Anchor Kinetic 1

OSC 1 Macro Controller Usage
• Freq, Anchor &
• X, (i) SpB Master Section
i: (timbre) – Adjusts OSC 1 spectral balance (D)
IOSC 2 Viscosity Ctrl ii: (medium) – Increases the amount of the envelope ramp of OSC 3
• Multi-mod • Adjusting Recirculator modulation into OSC 1/JOSC 4 Jenny oscillator.
Mod
frequency has Reverb iii: (ATharmonics) – Controls quantized increment of JOSC harmonic
OSC 3
filter cutoff Frequency multiplier.
• Jenny Primary
effect iv: (release) – Controls blend of Persistence on Kinetic Bank outputs (not
OSC, Sine 8va SL/SR
• Adjusting other outputs are disabled and have no effect.
Mod Viscosity has v: (resonance) – Control Viscosity creating resonance effect with Kinetic
Mod filter application.
Mod filter
jOSC 4 Anchor vi: (cutoff) – Adjusts Kinetic Bank Frequency producing cutoff effect.
Resonance
• Jenny OSC –
effect
Sharp type
Mod
OSC 5 Anchor
• X, freq offset
8va, SpB = 0.2

Library Search:
Category: Keyboard
Type: -
Character: Simple, Soft, Bright, Clean, Digital
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Increases ramping envelope amount of OSC
3 modulation into OSC 1/JOSC 4 Jenny pair
(F)
• Scales amount of OSC 1 (A with H) and JOSC
4 and OSC 5 Kinetic anchor excitement (I)
• Offsets Kinetic Bank Viscosity (L)

TBD
 Library Search:
Bacteria (1) (Feedback Network Delay Example 174
Noise (From Matrix) Category: Other also see “kinetic bowed FBD” for similar treatment)
Type: Atonal
• Z Controlled Character: Airy, Metallic, Noise, Reverberant
EaganMatrix: BiqBank, Micro Delay, LPFs
MicroDelay (25ms)
BiqBank Down ramp pulsed Into Tap #1 SL
• st
48 Modes, 1 Mode = X/2 Tap #1
• Constant non-Linear Frequency Spread • Output Level = .5 Master Section
• Constant Mode Bandwidth Spread Down ramp pulsed Into Tap #2 SR Recirculator
• Bandwidth controlled by (i) – Damp Tap #2 Modulated Delay
• Z controlled Mode Amplitude Spread LPF down ramp pulsed • Output Level = .5
Into Taps #1/#2 SL
LPF #5
• Y Bandwidth Control Tap #3
• Cascade 4 • Output Level = .5
Single Pole LPF #1
• Cutoff (i) Damp, Cutoff (ii) Release SR
Actually, it Tap #4
Un-damps Noise (From Matrix) • Output Level = .5
on BW • Unity Level Single Pole LPF #2
• Cutoff (i) Damp, Cutoff (ii) Release Overall Sound: Metallic Wind with Delay

Ratio of times controlled by

(iii) –Spread with X based Aftertouch (Y-Based) Controls (full or partial):
Single Pole LPF #3 • Decreases BiqBank Bandwidth creating more
• Cutoff (i), Cutoff Release (ii) multiplier. sustain (I)
Feedback • Increases BW of LP 5 (B)
Delay
Single Pole LPF #4 Network
• Cutoff (i), Cutoff Release (ii)

Macro Controller Usage

i: (damp) – Decreases BW of the BiqBank with blend (I) and increases 1LP cutoff (T). Y further decreases BW (so control un-damps as you bring it up). Y will make value negative at high macro controller values.
ii: (release) – Add Persistence to 1LP cutoff and LP 5 (but W always = 0 as no range is set in B so LP 54 cutoff is set with Y)
iii: (spread) – Increases delay time of Taps 2,3 &4 (Tap 1 is fixed = 1) (O,P,Q). This has effect of detuning the feedback delay creating more of a tone mass. Remember in FDN, delay normally affects pitch.
iv: (delta) – Changes delay tome of Taps 2,3 & 4 as well in parallel (L, M, N) as ancillary to (O, P, Q). Again, it changes the overall tuning of the system, but more subtly than with iii (spread)
v: (bodyAmt) – Changes convolution index from 0..1 (Wood->Metal) (G).
vi: (bodyType) – Changes the Convolution Mix – adding more as this is increased (G). Does not actually change the convolution type as that can only be done in the editor as they are fixed.
Bacteria (2)

Secondary

Secondary

Secondary

Secondary

Secondary

TBD 17
5
 176
bansuri Macro Controller Usage
i: (mouthshape) – Changes BiqMouth formant multiplier offset
with Z (L).
Feedback Master Section ii: (ATspeed) – Increases frequency of SG1 (V) from 2.5 to 7.5 Hz
Recirculator controlling cutoff modulation to LP 4 further scaled by Y (U) –
OSC 2 SL/SR increases speed of the tremolo effect on Aftertouch.
• Waveshaper 1HP 3 Reverb
iii: (body) – Adjusts the convolution index through a small range
• Multi-Mod • 1 Hz Cutoff Outputs scaled
(0..0.26) using wood->metal (H).
by Z
OSC 1 iv: (muter) – Increases LP 5 cutoff frequency, muting tapped
SL/SR feedback.
• X Freq LP 4 BiqMouth 1 SL/SR v: (material) – Increases spectral balance of OSC 1 – main control
• Adj SpB w/ v • Z Cutoff Ctrl • Z Formant Micro Delay OSC – which changes timbre that is called here “material” (O)
• SG mod on Tap 1
multiplier & 25 ms vi: (feedback) – Slightly increases the amount of Tap1 feed back
inputs • Multi-X Delay LP 5
Noise formant from default of unity to 1.05. So a lot of the changes are subtle in
% Ctrl • MC*X
• Y+Z Ctrl Freq offset
this preset trying to emulate a real instrument.
Noise Feedback Cutoff
Ctrl
• Z Ctrl Ctrl
• X scaled
parameters Tap 2
• Multi-X Ctrl
Tap2 defined & input
but not used?

Library Search:
Category: Winds
Type: Flute, Demo
Character: Acoustic, Soft, Woody
Setting: Portamento, Interval = Octave
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Adds a tremolo effect by increasing speed of
LP 4 cutoff modulation.
 OSC 3
bass distosine Library Search:
Category: Classic
Macro Controller Usage
i: (release) – Controls Persistence of input into LP (B) 177
Type: Bass ii: (filter) – X Scaled Cutoff LP control (D) – also
Aftertouch (Y-Based) Controls (full or partial):
• X 8vb Character: Acoustic, Synthetic iii: (resonance) – Filter bandwidth offset (L)
• Controls amount of modulation input into OSC 4
• SpB Y Ctrl (main output) Setting: Portamento, Int = Maj 3rd iv: (shape) – Controls Spectral Balance of OSC 4 – the main LP modulated output OSC.
Polyphony: 2+ v: (envAmt) – Controls X scaled LP Cutoff envelope (M)
• Control Spectral Balance (timbre) of OSC 1 and OSC vi: (envSpeed) – Controls frequency of SG1 used for filter cutoff envelope
Mod Mod
3
LP 5 Master
OSC 1 Mod OSC 2 Mod • Cascade 4 Mod OSC 4 SL/SR
• SG Phase Freq • Waveshaper Section
• Sine • X+Z Cutoff Ctrl
• SpB Y Ctrl • iv SpB Ctrl Recirculator
• Waveshaper • BW Ctrl w/ iii Reverb

B controls OSC 4 input into the LP. It

uses down-ramp envelope scaled to
an X S-function with a blend that
adds persistence through i (release) –
which adds sustain as I is increased.

M acts as a LP cutoff down-ramped

envelope scaled to Z thru v (envAmt)
with envelope speed (SG1 Freq)
controlled by N. N uses blend vi
(envSpeed) lowering frequency (W)
as a square root blend function.

I is W=.025+Z maxing at .29

so a small modulation Formula A controls modulation input of OSC 1
amount into OSC 1. Note into OSC 2. This uses another SG1 down-
the modulations don’t use ramping envelope with Z control and high
large values that would Persistence. Note use of Ancillary Limiter.
create noisy results.

C is a constant value Formula E is W Constant (.5) * Y (0 to B controls OSC 1 and OSC 3

Outputs sent as 0.5) * Ancillary 0.25. Controls Note the use of SG Phase Input Frequency through
of 0.04 (W=.15 *
unity. This works modulation input for OSC 4. So this is option – used to control OSC standard X + Ancillary H
Ancillary .25) so a
because the input a based value input and then Frequency (G) that adds a small frequency
small modulation
to the filter that input for OSC 2. changed with Aftertouch control. envelope ramp.
feeds OSC 4 is zero
until a key is Bass SG1 freq is 4. That is multiplied
pressed. This is a Continuum Preset
by N which reduces through blend F Controls Spectral Balance of OSC 1 and OSC
ported to Osmose.
from 5.1 to .1. so overall speed of 3 – totally through Y, so these are a sine tone
the SG1 envelope control goes from until Aftertouch – but they are used for
ca. 20Hz to .4 Hz. modulation so that is not obvious, but does
increase timbre complexity
 178
badratios bell
SL/SR
Macro Controller Usage
OSC 1 Master Section i: (tune1) – Frequency offset on IOSC 2 (A) modulating OSC 1 &3.
• Sine, 8va Mod OSC 3 SL/SR Recirculator ii: (tune2) - Frequency offset on IOSC 4 (F) modulating OSC 3.
• Multi-Mod • Sine, 8va Mod delay iii: (ratios) – Adjusts the quantized harmonic scalers on (OSC 2 and IOSC 4 (K, L)
• Multi-Mod iv: (resonance) – Adjust level of Persistence with blend on outputs (B, E and G)
Mod Mod Mod Mod
• Outputs v: (body) – Control convolution index from (0..1) using Waterphone1->Metal
Mod Mod vi: (ringmod) –Controls Output of Multiplier (G). (Note that ci is not in formula list
Mult 5 Scaled .2
display because the Blend of iv overrides it for display but vi still functions as
IOSC 4 • 2 inputs SL/SR expected)
• Quantized .25
IOSC 2 Freq Harmonics
• Quantized .5
Freq Harmonics

Library Search:
Category: Percussion
Type: Atonal
Character: Sound Design, FM
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

• Scales output of OSC 1 as Ancillary.
• Scales with Z outputs of OSC 3 (E)
• Scales the modulating input of OSC 2 into OSC 3 (H)
• Controls spectral balance of IOSC 4 (J)
• Scales the frequency scaler on OSC 1 and OSC 3 (O)
 balafun Macro Controller Usage
179
i: (structure) – Adjust frequency spread on ModMan
Noise LP 1 ModMan 1 SL/SR ii: (timbre) – Adjust the envelope width on OSC 1 output. Not a big effect as Z takes over.
Master Section
• Unity • Y+Z Scaled Cutoff • Marimba Soft (Kind of a waste for formula space as just using Z is very similar).
Recirculator
• BW 4 iii: (brightness) –Scaler with Z on OSC 4 frequency and LP 5 cutoff (P)
Reverb iv: (body) – Controls Convolution index from (0..1) using Waterphone 1-> Snap (I)
Mod • (R) down ramps v: (ATtone) – Control Harmonic Truncation of HarMan 2 with Y offset (J) – note a
outputs secondary offset controlling envelope on harmonic truncation is scaled by Y as well (L). So
IOSC 4 Mod OSC 1 • Y scaled vi: (impact) – Controls amount of Z scaled pulsed modulation of OSC 4 into OSC 1 () as well
• Sine • Sine Envelope as a similar input control of LP 5 into ModMan 1 (B+S). Makes attacks stronger.
• Y+Z Scaled Freq • Multi-Mod SL/SR Control on
outputs The HarMan 2 uses a SG2 ramp up attack (Q) to add the mBiraski spectral set input, scaled by Y. Ramp
Formula O pulses a modulation input to • Programmed rate is Y dependent. So aftertouch brings in the HarMan and because it ramps up, the sound will
OSC1 mapping to ModMan pulse for added HarMan 2 SL/SR
Waterphone 1 remain and increase in volume on Y pressure.
effect and OSC1 is down ramped to outputs • mBiraski
using same SG1 27 Hz rate. (O), (H), Convolution (I)

Tap: The main percussive marimba-like sound is

produced by tap though Z scaling a LP filtered noise
pulse exciting the ModMan 1 on (B) using Ancillary
addition of a Z scaled gate on SG1 set to 27Hz (so
quick tap will create the pulsed percussive attack and
then holding Z will maintain a note.

Library Search:
Category: Percussion
Type: Atonal
Character: Sound Design, FM
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Slight adjustment of HarMan 2 grain index (K).
• Scales Harmonic truncation envelope of HarMan 2 (L)
• Scales (with Z) the Frequency of OSC 4 and LP 1 cutoff.
• Scales base HarMan 2 Input (Q)
• Scales frequency of SG3 used for envelope applied to
ModMan 2 harmonic truncation (V).
• Offsets Frequency of SG2 for HarMan attack.

(As with many presets Aftertouch increases values to make

sound appear to raise in amplitude and change slightly in timbre
when it is not used for a special effect)
 180
Sine defined but not used
balloon from hanoi
Macro Controller Usage
Mod OSC 1 i: (tone) – Increases Convolution index from .1 to .9 using Waterphone2 (E)
Kinetic 1 1HP 5 BiqBank 2 Master Section ii: (mute) – Controls a blend of Y+Z that adjust bandwidth of the BiqBank
• Sine, X Freq Recirculator
• Anchor • 100 Hz • Var Modes creating mute effect as bandwidth increases (F) (see example below).
Excited Cutoff (8..96) Reverb iii: (ATbend) – Adjusts frequency of BiqBank2 through blend which
SL/SR • X scaled output changes values of X and Y that control. Creates that flexible frequency
• Waterphone 1 motion.
Convolution iv: (brightness) – Adjusts the frequency of Kinetic 1.
Interesting use in formula F of Blend on ii (mute) to
v: (harmonics) – Adjusts the Center-of-focus of the BiqBank changing
increase values of Y+Z that controls BiqBank 2
Bandwidth creating a muting effect as ii is increased. harmonic content
vi: (structure) – Adjusts the Linear frequency spread of the BiqBank.

Interesting formula (I) used to pulse the Kinetic Bank’s Anchor using single cycle
9Hz SG with X, Y and Z offsets.

Library Search:
Category: Strings
Type: Plucked
Character: Acoustic, Clean, Strumming,
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Adjusts frequency of BiqBank with X (D)
• Adjusts bandwidth of BiqBank with Z (F)
• Contributes to Kinetic Bank anchor
excitement (uses W, X< Y and Z)
 bandrive paradise SL/SR Macro Controller Usage
181
OSC 4 Master Section i: (timbre) – Controls JOSC 2 Spectral Balance and Bandwidth multiplier
• Sine Recirculator ii: (harmonics) – Control JOSC 2 Frequency multiplier
• Waveshaper Summed Delay SL Reverb iii: (cutoff) – Scalar on Bandpass cutoff. The main filter shaping sound
• 400 ms Tap 1 that gives this preset its main characteristic is determine by this control.
• 4 Taps, offset SR • Output scaled iv: (drive) – Controls amount of BP into OSC 4. Kind of an
Mod
LP 5 in stereo field Tap 2 down with iv overmodulation effect. This works in conjunction with output scaling (I)
OSC 1 • 9 KHz Cutoff with SL (drive)
which slightly decreases output as the drive is scaled to a desired
• X 8vb, SpB=.7 • BW = 9 descending Tap 3 amplitude.
SR v: (envTime) – Controls the SG frequency (J) used for the envelope
• JOSC Primary Feedback tap %s
Tap 4 applied to the BP (F) and BP and OSC 4 inputs into the summed delay (F
BP 3
& A).
• X+Y+Z Cutoff SL/SR vi: (delay) – Master control for summed delay time (L) and delay input
JOSC 2 Ctrl, BW = 1 into the LP 5 (K).
• Y+Z Bx The formulas on BP cutoff produce the major effect
• Y+Z SpB of this preset. Here cutoff is a complex formula
using a blend of Y+Z scaling with X. A cutoff
Secondary envelope is applied as an off set with formula F.

Library Search:
Category: Classic
Type: Lead
Character: Analog, Distorted
Polyphony: 2+^ (allow increased computation rate)
Aftertouch (Y-Based) Controls (full or partial):
• Scales with Z the BP and OSC 4 outputs (A)
that have Z scaled envelope applied (G)
• Part of complex formula that affects BP
cutoff
• Scales JOSC 2 spectral balance and
bandwidth multiplier.
 banjoy SL/SR
Macro Controller Usage
i: (harmonics) – Modifies the center-of-focus (G) and Bandwidth (E) of
182
ModMan 1 Master Section
ModMan 1 and ModMan 2 (both offset by Z).
• Ukelele 1 Recirculator ii: (brightness) – modifies cutoff on LP scaled by Z (D) and spectral dilation
Noise LP 1 Reverb of ModMan 1 and ModMan 2 offset by Z(O).
• Level=.3 • ii * Z Cutoff SL/SR iii: (body) – Modifies the convolution index in range (0..0.5) on Wood->
• BW = 1 • Multiple AutoHarp2 (D) and adjusts output scaling in response.
ModMan 2
• Ukelele 1 controls (iii. iv: (resonance) – Adjust the mode bandwidth spread of the ModMan Banks
iv) scaling offset by Y+Z. Also uses blend increasing Persistence on the outputs
OSC 2
SL/SR output level (ancillary R used by P)
• Sine v: (stringNoise) – Offset to the envelope used for inputting/exciting the
• Multi-Mod and adding
OSC 4 SL/SR Blend ModMan Banks by OSC 1 (C, B). Scales with X+Y+Z.
Mod OSC 5 vi: (damping) – Offset for ModMan 2 Frequency (M), Offset for ModMan 2
• Sine XMod • Sine, X Freq Persistence
Spectral Interpolation, negative scalar on ModMan 2 Center-of-Focus (T)
• 5 Oct up Mod
OSC 3 and scales the pulsed output of OSC 5 with Z (rather unique damping
• Sine SL/SR techniques)
• Multi-Mod

Library Search:
Category: Strings
Type: Plucked
Character: Acoustic, Shaking
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• adjusts scaling (with +X+Z) for ModMan
inputs affecting (stringNoise) (Q)
• Offsets Mode Bandwidth Spread of the two
ModMan banks with Z (H)
• Scales output of the LP 1.
 Noise 183
• SG Envelope 1 LP 5 bass monster
• Z Ctrl • Y Cutoff Ctrl with (See intro material for analysis of Macro Controller Usage
ii (cutoff) (D) Wavebank Oscillator detuning and i: (resonance) – Adjusts inputs to 1LP 5 and OSC 1 input into 1LP 5 (B & A)
Wavebank 1 • Cutoff Offset Cutoff Frequency envelopes) ii: (cutoff) – Increases cutoff of 1LP 5, scaled by Y and also offset by X (D & I)
• Saw - 5 waves added with iv iii: (drive) – Controls amount of Saw WaveBank into the 1 LP 5 over the
• Y+Z detuning Ctrl Ancillary (down default unity value.
iv: (attack) – Adds attack on 1LP cutoff (see opening section for analysis)
• 8vb or 2 oct down ramp attack (G)
v: (detune) – Adds positive and negative offset small increment detuning to
with Z Ctrl (H)
four waves in the WaveBank (one left free as the fundamental) (O)
OSC 1 vi: (modulation) – Adjusts width of Hann SG Mod applied to WaveBank
• Sine weighting (F) and OSC 3 spectral balance (L). Also adjusts the frequency of
• Waveshaper, Fixed .51 Mod 1LP input (E) the two SGs (SG2&SG4)that apply this modulation (N).
Mod Master Section
SL/SR Recirculator
1HP 2
Analog Echo
• 0.0001 Hz Cutoff
Mod SL/SR
OSC 3 Mod
• X 8vb
OSC 4 SL/SR
• SG mod SpB w/vi
• Sine
• X 2 Oct down
Library Search:
Category: Classic
Type: Bass
Character: Distorted, Synthetic, Analog
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales inputs to 1LP 5 and OSC 1 input into
1LP 5 (A&B).
• Offsets 1LP 5 cutoff (D)
• Scales WaveBank detuning with Z (O)
 bazikey 184
OSC 3 (Best playing with a quick attack and release
Macro Controller Usage
• Sine unless you want sustained sound).
i: (waveform) – Controls Spectral Balance of OSCs (G, F)
• Quant Freq Mod Master Section and LP cutoff scaling (P). So more Timbre/Tone control.
Mod SL/SR Recirculator ii: (fmAmt) – Scales pulsed modulation of OSC 1 & OSC 2 with
LP 5 Reverb X. More noticeable on quick attacks.
Noise Mod • SG * (Y+Z)
OSC 1 iii: (fmRatio) – Scales harmonics of quantized frequent of OSC
• SG Pulsed Cutoff OSC 4 SL/SR 3 used as a modulator. Add complexity to full attacks.
• Y+Z Freq + offsets • SG amplitude
• Y+Z scaled • X scaled Cutoff • Waveshaper iv: (envAmt) – Controls Envelop of input into the BiqBank.
• SG Freq Mod modulation
• BW 7 • i (waveform) SpB v: (release) – Decreases bandwidth on the BiqBank adding
on outputs sustain.
Noise Mod 180 degrees vi: (modulation) – Controls a number of modulation inputs and
OSC 2
• SG Pulsed • Y+Z Freq - offsets SL out of phase related speeds and tapped delay output adding a complex
• Y+Z scaled Voice delay (H, K). But vibrato-like effect. Affects a number of formulas (C, H, L, U,V).
• SG Freq Mod • 50 ms Tap 1 really maps to
• 2 Taps, SR envelope
Noise • opposite Tap 2 applied (L) as
BiqBank
• SG Pulsed channels W = 0 in H
• 48 Modes
• Y+Z scaled and K.

Library Search:
Category: Keyboard
Type: Electric Piano
Character: Analog, Simple
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales Spectral Balance on OSC 1&OSC 2 (G)
• Scales OSC 3 modulation of OSC 1 with Z (A)
and OSC 5 modulation by LP (B)
• Increases OSC 1&OSC 2 input into LP (M)
• Scales with Z ramped input into BiqBank (R)
• Scales with Z time of SG4 used in output
control (H, K)

4 Taps defined, only 2 used? (Aftertouch increases harmonic complexity)

 OSC 1 SL/SR bella fm 185
Master Section Macro Controller Usage
• X, 8va
Mod Recirculator i: (ratio) – Adjusts quantized harmonic control of OSC 2 used as a modulator (E)
• Multi-Mod SL/SR
OSC 4 Swept Echo ii: (timbre) – Scales the modulation of OSC 2 and OSC 4 (which changes timbre)
Mod Mod • X Extend iii: (decay) – Controls the amount of persistence with blend on modulation inputs to OSC 1 and
• SpB Ctrl v OSC 3. This will in effect create a decaying effect (D&H).
Mod iv: (release) – Controls Persistence with blend on all outputs (I, G, A).
OSC 2 v: (waveform) – Increases Spectral Balance of all OCS (thus another timbre control).
Mod
• X, SpB Ctrl v Mod vi: (feedback) – Controls amount of OSC 4 inputs back into OSC 3 creating that feedback loop
OSC 3 SL/SR
• Quant Freq shown in the diagram (OSC 4->OSC 3->OSC 1-OSC 4).
• X 4 Oct up
• Multi-Mod
Four formulas of note for this preset. A and G apply the nice tine like pulsed envelope
scaled by Z so that A scales Z from bottom to zero point and G scales from zero point to top
creating a nice frequency- based differentiation. These formulas also have a blend of
Persistence attached to iv (release). Formula E lets you set a quantized harmonic scaling
using I (ratio). This uses a larger range (.5 to 21 in steps of 0.5) than normal as this is used
as a modulator and not a direct output. Finally, formula I scales OSC 4 output and OSC 4
modulation input totally on Y. This means this component will only be heard on Aftertouch.

Library Search:
Category: Percussion, Keyboard
Type: Struck
Character: FM, Bright, Strumming, Morphing
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales the input of OSC 2 into OSC 4 and OSC
4 output (I) creating a big modulation shift
on Aftertouch. Only Y is used for scaling here
so this component will only be heard on
Aftertouch as noted above.
 Mod beyond felt 186

Noise FMod OSC 1 Macro Controller Usage

• SG * Y+Z • X detuned 1 cent i: (timbre) – Scales the modulation of OSC 1 (C)
• Multi-Mod Mod
Master Section ii: (tremolo) – Controls the out of phase amplitude modulation
Recirculator applies to SL/SR (H,I) scaled with Y+Z
SL/SR
OSC 2 iii: (body) – Controls convolution index and mix together
Noise FMod Mod
Reverb Extend
SL/SR ranging (0..1) Waterphone1->Waterphone2 (R)
• SG * Z • Sine, Multi-Mod HarMan 2
Mod iv: (friction) – Controls LP 5 inputs into the ModMan scaled by
• X SG*Y scaled • Viola Legato • Sine SG Y+Z (S) and Moise into the ModMan scaled by Z (S).
Mod
Amplitude v: (ATtimbre) –Controls HarMan Harmonic Truncation and
Mod on Spectral dilation both offset with X+Y+Z (F) and frequency
Noise Mod OSC 3 Noise outputs 180 scaling of the Harman - Y scaled (G)
• SG * Y+Z • Sine, 4 oct up • SG * Z degrees out of vi: (structure) –Offsets the ModMan Frequency spread (M)
phase (H & I)
LP 5 ModMan 1 SL/SR
Noise
• Unity • Z Cutoff Ctrl • Ukelele 1
• BW = 6
OSC 4 SL/SR
• Sine, 100Hz
Library Search:
Category: Percussion, Keyboard
Type: Struck
Character: FM, Bright, Strumming, Morphing
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales with Z self modulation of OSC 1
• Scales with Z modulation applied to OSC 2 from OSC 3
• Scales Harman Frequency scaling and modulation applied (G)
• Offsets W+X+Y+Z HarMan Harmonic truncation and spectral
balance (F)
• Scales with Z LP 5 into ModMan (J)
• Scales with Z OSC 2 output (K)
• Scales with Z OSC 4 output
• Scales with Z SG5 frequency controlling tremolo (Q) and tremolo
width (H, I)
• Scales HarMan 2 output (T)
 biquide hang 187
OSC 1 SL/SR Macro Controller Usage
• Sine, 8vb i: (harmonic) – Scales delay time of Tap 2
Master Section
Mod ii: (ATratio) – Quantized Frequency scaler of OSC 2
SL/SR Recirculator
OSC 2 iii: (excitation) – Offsets the pulsed (excited) input of LP 5 into Taps
Reverb
• Sine, SG scaled 1&2 with a scaling using Y+Z (C+K)
Outputs scaled iv: (resonance) – Adjusts scaling of LP 3 ,LP 4 (F by X+Y+Z) and FP5 (B
LP 3 by Z by Y+Z) cutoffs, scaling of OSC 1 & OSC 2 output (E by Z,T by Y),
T1 Feedback
Noise • X+Y+Z cutoff offsets ModMan 1 Spectral Dilation with Y+Z and offsets Bandwidth
Row C Tap2 and Bandwidth Spread of ModMan 1 (V).
• Unity
Micro Delay vi: (structure) – Adjusts Frequency Spread of ModMan 1.
SL/SR
• 25 ms Tap 1
LP 5 • X scaled SL/SR
Tap1 & Tap2 ModMan
• Y+Z cutoff
• Marimba Soft
Tap 2 SL/SR
• X scaled
Tap1
T2 Feedback LP 4
• X+Y+Z cutoff

Library Search:
Category: Tuned Percussion
Type: Struck, Demo
25ms MicroDelay Character: Metallic
Polyphony: 2+ Note Priority: Same
(L) A little unusual to have
output Micro Delay used vs. Aftertouch (Y-Based) Controls (full or partial):
just using the Taps • Scales LP 5 cutoff with Z (B)
• Scales LP 3 & LP 4 as (X+Y+Z) (F)
• Scale offset with Z of LP 5 input into Tap1 & Tap2 (C)
• Offsets with Z ModMan 1 Bandwidth
• Controls output of OSC 2
• Offsets with Z Spectral Balance of ModMan 1

Tap 3 & Tap 4 fed but not used

 biquige bell Likely should be “biquide”

Noise Mod OSC 1 Macro Controller Usage

• Unity i: (structure) – Adjusts MicroDelay of Tap2 and Tap4 (H). Adjusts BiqBank
• Sine SL/SR
Mod Master Section non-linear Frequency Spread of Modes (with Z offset) (O). Adjusts
• Multi-Mod BiqBank Linear Frequency Spread (N).
SL/SR Recirculator
Swept Echo ii: (brightness) – Y+Z scaled cutoff control of LP 5 (B)
LP 5 iii: (impact) – Controls Tap1&Tap2 input to OSC 1 (J) and OSC 1 output
• SG Envelope Feedback Tap 1 Extend
BiqBank 1 (E,Q).
Cutoff w/ Y+Z LP 4 SL/SR • SG Amp Mod iv: (resonance) – Control Bandwidth and Linear Mode Bandwidth of
• 8 Modes on outputs
scaling • Y+Z Cutoff ModMan 1 (M, P)
Tap 2 180 degrees v: (ATratio) – Quantized frequency scalar from 1X to 8X.
Feedback
out of phase vi: (tremolo) – 180 degrees out of phase tremolo applies to SL/SR
(S, T).
Feedback Tap 3 SL/SR
LP 3 MicroDelay
• Y+Z Cutoff • 25 ms
IOSC 2 SL/SR
Feedback Tap 4 • Sine • 4 Taps
• Quant X Scale

Library Search:
Category: Percussion
Type: Struck
Character: Acoustic, Metallic
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Y+Z scaled cutoff control of LP 5 (B) and LP
3&LP 4 (F)
• Offset scaling with Z of OSC 1 output (E,Q)
• Control of OSC 2 output
• Controls Frequency of SG2 used to impart
out of phase tremolo on SL/SR

188
 bird whistler Macro Controller Usage
i: (ATspeed) – Sets SG1 attack speed scaled by X+Y_Z (B)
ii: (tune) – X scaled multiplier on SineSpray Frequency, Phase and sine
Feedback
SL/SR Master Section grain frequency (E)
OSC 1 iii: (fmTune) – Increases base frequency scaled by X of OSC 2 that
Summed Delay Recirculator
• 1KHz sine Freq FMod SineSpray 1 • 200 ms Reverb
frequency modulated F input of SineSpray (H)
SL iv: (fmAmt) – Controls the amount of frequency modulation of
scaled by iii • SG on Grain • 2 Taps Tap 3
(fmTune) scaled X • Z scaled Properties SineSpray by OSC 1. (G)
(not defined) v: (delayAmt) – Controls amount of tapped delay sent to the outputs.
Tap 4 vi: (delayTime) - Sets the base SummedDelay time scales time X+Y+Z,
SR similar to how the Sine grain frequency is controlled (J).
No Taps defined
but 2 used?

No Taps defined but 2 used? Also, SG is set to zero in formula A. Is that

intentional? It does nothing and formula because simply Y+Z control.

Library Search:
Category: Other
Type: -
Character: Nature
Polyphony: 7+
Aftertouch (Y-Based) Controls (full or partial):
• Offsets with Z the SineSpray sine grain frequency (A)
• Independently increases sine grain frequency up to 1Hz
as a second offset (C). Sine formula A sets SG1 to zero the
bird calling kicks in on Aftertouch on formula C.
• Scales the frequency of SG1 with X+Y+Z so frequency of
calling goes up as pitch does, as pressure does and as
Aftertouch increases.

189
 bits organ Macro Controller Usage
SL/SR Master Section i: (timbre) – Offsets the Duty Cycle scaled by Y+Z (but i does not show up
SL
Recirculator in the formula table because of blend overrides it – not sure that is a bug
LP 5 Tap 1 Swept Echo
Summed Delay or not) (formula C)
Wavebank 1 • SG Ramped cutoff SR ii: (5th) – Changes weighting of WaveBank that affects harmonics.
• Square , 4 Waves envelope (I) • 50 ms
Tap 2 • Z scaled iii: (cutoff) – Scales the LP cutoff with Y offset
• Unique Z Stepped scaled by Z with Y • 4 Taps
SL ramped SG iv: (release) – Adds persistence to cutoff offset envelope (I)
Freq Ctrl (A, O) scaling Ctrl (H) Tap 3 Mod on v: (body) – Increases Convolution from 0..2.06 (kind of unusual range)
SR outputs (G) from Wood->Autoharp1->Waterphone1 (M) (and also scales output in
Tap 4 response (G,N)
vi: (chorus) –Scales the frequency of Tap3 and Tap4 delay creating the
chorus effect.

Library Search:
Category: Keyboard
Type: Organ
Character: Bright, Analog, Strumming
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales WaveBank duty cycle with Z (C) and also controls
the duty cycle modulation that kicks in on Aftertouch (D)
• Offsets the LP filter cutoff scalar (H)
• Continues the step function on Wavebank waves f1 and
f2 that starts on Z (see formulas A and O above left).
Bring in the 5th on Aftertouch

190
 blasiz
Kinetic 2 Macro Controller Usage
OSC 1 Master Section i: (timbre) – Controls spectral balance of OSC 1
• Vibrato thru (K) • Anchor Excited
Recirculator ii: (shape) – Main Duty cycle control for WaveBank
• SpB thru i (timbre) LP 4 • Freq Ctrl – all other iii: (cutoff) – Scales both the LP 4 cutoff (N) and Kinetic Bank frequency
Delay – LPF
• Cascade 4 properties defaulted (N) which acts as a cutoff function.
Extend
• SG*Z envelope SL/SR iv: (envTime) – Offset with Z to cutoff frequency (E). Controls frequency
OSC 3 for cutoff with of Single Cycle SG1 that is used to provide the Kinetic Frequency
• Sine • Z scaled
• Y Cutoff offset envelope (D)
• Waveshaper triangle SG
• BW = 9 v: (resonance) – Controls input of OSC 3 into LP 4 (Q).
envelope on
vi: (vibrato) – Controls SG2 frequency used for vibrato scaled by Y+Z (R)
outputs. and controls width of the vibrato applied as sine function scales by X on
Wavebank 1 • Sine SG Wavebank f1 (K) and Hann modulation applied to Duty Cycle (H)
• Square, 1 Wave applied to
• Duty cycle SG * Y Recirculator
Ctrl. (V)

Library Search:
Category: Classic
Type: Lead
Character: Analog
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales OSC 1 and WaveBank inputs to LP 4 (A)
• Offsets with Z LP 4 cutoff (E)
• Scales Kinetic Bank Frequency with Z (F)
• Applies Hann modulation to WaveBank Duty cycle (H)
• Scales LP 4 cutoff with Z (N)
• Scales SG2 Frequency used for duty cycle modulation

191
 Mod bleached organ SL/SR
Macro Controller Usage
OSC 1 i: (release) – Controls blend of Persistence on outputs (A, C, O, Q, R, U, T – all
• Sine, 8va Mod the OSCs).
• Multi-Mod Master Section ii: (rotary) – Controls the small frequency offset on the SineBank F column
Kinetic 2 creating beating of rotary when mixed with other OSCs set at base X
Mod • Anchor Excited Recirculator frequency (V).
Mod
OSC 4 • Freq Ctrl – all Delay – LPF iii: (body) – Brings up convolution mix, here set to zero offset on Wood.
jOSC 2 Extend
• X 8va, SpB iv other properties SL/SR iv: (timbre) – Controls Spectral Balance of OSC 3, OSC 4 & OSC 5 (G). Used to
Mod • No SpB
• Multi-Mod defaulted scale the output at the same time (F) while also reducing Kinetic Bank
• Freq Mult * X SL/SR • Z scaled outputs (S) assuming that has been engaged with Aftertouch.
triangle SG v: (pluck) – Controls the Magnitude of the Pulsed OSC 1 pluck component
Mod Mod envelope on scaled by Z (A)
outputs. vi: (ATfilter) – Controls the base magnitude of Kinetic Bank output assuming
OSC 3
• Sine SG it has been engaged using Aftertouch.
OSC 5 • X, SpB iv
• X, SpB iv SL/SR applied to
• Multi-Mod
• Multi-Mod SL/SR Recirculator
(V)
Mod
SL/SR
SineBank 1
• F = 8va
• Fixed detuned
Library Search:
Category: Keyboard
Type: Organ
Character: Stereo, FM, Woody, Simple
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Brings in Kinetic bank on Aftertouch by adjusting frequency.
Until Aftertouch frequency = 0 so no sound will be made by that
component
• Offsets amount of OSC 5 envelope-based modulation by
SineBank (J).
• Scales the output of Kinetic Bank which as noted is Y based to
begin with (S)

192
 blipkrieg SL
Macro Controller Usage
OSC 1
i: (speed) – Controls relative speed of SG pulsing/blips which are
• X, Detune Pos Feedback random using S&H (N, E)
• Multi-Mod ii: (timbre) – Z scaled frequency scalars for OSC 2 an OSC 4 used a
Tap 1 SL
Master Section modulators so will affect timbre.
iii: (tune) – Z scaled frequency offsets for OSC 1 (positive offset) and
Mod SL/SR Recirculator
Mult 5 OSC 3 (negative offset) (L)
Analog Echo
OSC 2 • Pairs of inputs iv: (release) – Add persistence to all the A formulas affecting multiplier
• X+Freq Scaling (OSC 1/OSC 2) Feedback and tap inputs (A, O)
XMod SR
+ v: (continuous) – Z control of OSC 2/OSC 4 multiplier inputs – basically
for Mod Timbre Tap 2
(OSC 3/OSC 4) ring modulator component control (at min setting no multiplier output
is added)
MicroDelay vi: (delay) – Controls all the tap delay offsets and scalars applied over
OSC 3 Feedback • 4 Taps in the base tap delay constants.
• X, Detune Neg SL alternating
Tap 3
• High Interpolate SL/SR fields.
SR

Mod Feedback
SR
OSC 4 Tap 4
• X+Freq Scaling
• High Interpolate Library Search:
Category: Other
Type: Atonal
Character: Sound Design, Soft, Lo-fi, Digital
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales pulsing with Z used for output of OSC 1 & OSC 3, Multiplier OSC
1/OSC 3 inputs and OSC 1/OSC 3 inputs to MicroDelay Taps (A).
• Scales with Z frequency of SG1 & SG2 used for pulsing outputs of OSC 1,
OSC 2 and Mod input to OSC 3 (D)
• Controls OSC 3 modulation of OSC 1 (M)
• Frequency control (scaled with Z) of SG3 S&H frequency modulation
used as an offset in the pulsing for all the formula A controls above (all
the blips).
• Controls with Z the tap delays - half added positive and half negative (S)
193
 bouncing spray Macro Controller Usage
IOSC 1 i: (structure) –Changes even odd mode ratio in BiqBank.
SG2 Phase inputs from OSC 2 SG2 • X 8va ii: (speed) – Scale factor on SineSpray frequency (K)
BiqBank.OSC 2 uses Phase for • X 8va • Phase Ctrl • SG Phase * Z SpB iii: (body) – Adjusts Convolution index (V) through full 0..3
SpB, but OSC 2 not used Master
• SG Phase * Z SpB range through default Wood->Metal->Fiber->Wood and
Section adjusts convolution mix (M)
SL/SR (50%) Recirculator
Mod OSC 3 LP 4 BiqBank 2 iv: (resonance) – Adjusts BiqBank Bandwidth (G) and
Noise L/R (50%) Reverb Extend
• Waveshaper • Cascade 2, BW 5 • 48 Modes Frequency (X) scales BiqBank inputs (T)
• Unity v: (grains) – Controls he LP 4 input into BiqBank scaled by Z
• Y SpB Ctrl • Z scaled cutoff Voice Delay
• Outputs (N) – a small value. A little confusing name as SineSpray is
• 800 ms =
downscaled granular but not directly affected by this control.
SineSpray 1 (long delay) vi: (shimmer) – Controls amount of Hann SG modulated LP 5
to map to
• SG Freq envelope Feedback Convolution output creating the “shimmering” effect.
• Z grain Ctrl increase (R)
LP 5 SL/SR
• 6 KHz cutoff
• BW 3
Note use of Y+Z Decreasing formula on BiqBank2 Bandwidth

Interesting use of Phase SG driver

from BiqBank RMS output used for
OSC 1 Spectral Balance control and
output of OSC 1 (I).
Library Search:
Category: Percussion
Type: Struck
Character: Acoustic, Echo, Looping, Metallic, Shaking
Setting: Rounding
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Controls Spectral Balance of OSC 3 (P)
• Scales bandwidth (with Z) lower (see formula
G above)

2 Taps defined, but not used

194
 bowreal lights
SL/SR Macro Controller Usage
Noise i: (timbre) – Controls HarMan 2 Harmonic Truncation and Spectral
Master Section
• SG Mod * Z ModMan 1 Dilation (N)
Mod
Recirculator
• Viola Legato OSC 1 ii: (key) – Controls output of OSC 2 scaled to Z (T). Controls noise input
SL/SR Reverb Extend ModMan 1 scaled to Z.
LP 5 • Sine 8vb
Noise iii: (keyNoise) - Control Convolution and Recirculation R1 (Q). Controls
• SG Cutoff Ctrl • Multi-Mod • SG Mod on
• SG Mod Noise and OSC 3 Modulation inputs into OSC 2 and LP 5 (K). Controls
w/ Y+ Z scaling Mod both OSC 4 Mod input into OSC 2 (I). Controls Direct Envelope of ModMan
Convolution input (V)
Mod and iv: (attack) – Controls frequency of single cycle SG1 and SG3 used for
OSC 4 HarMan 2 SL/SR
Noise Mod OSC 2 • Viola Legato Recirculator attack envelopes on various formulas.
• Waveshaper Mod
• Unity * 3 • X 8va R1 & RF2 (Q) v: (bowAmt) – Controls LP 5 input into HarMan scaled to Z (H)
• Z SpB Ctrl vi: (bowTimbre) – Adjusts ModMan 1 Spectral Dilation offset Y+Z.
• Multi-Mod SL/SR
Mod
Noise
• SG Mod

Phase 3 Mod
• Sum 7, 8vb
• Z SpB Ctrl

Library Search:
Category: Strings
Type: Bowed
Character: Acoustic, Layered, Reverberant, Demo,
SC?
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets ModMan 1 Bandwidth with Z (A)
• Scales LP 5 filter cutoff with Z
• Offsets ModMan 1 Spectral Dilation with Z
• Offsets HarMan 2 Harmonic Truncation and
Spectral Dilation
• Scales HarMan 2 inputs
• Controls Output of OSC 1
195
 brassy Macro Controller Usage
i: (sub) – Controls output of OSC 5 set 8vb (H)
196

Mod
IOSC 1 SL ii: (keys) – Outputs a key click (J) [not sure fully functional]
For Tonguing Harman 2 • Waveshaper Master Section iii: (brass) – Controls output of OSC 2 - left channel brassy sound (U) and HarMan 2 -
• Brass SR Recirculator right channel brassy sound (U)
Reverb Extend iv: (vibrato) – Controls width of X-scaled SG5-based fixed 6Hz vibrato applied to
SL/SR
IOSC 5 Harman Frequency (P)
Mod
• Waveshaper v: (body) – Controls Convolution index through 30% Wood->Metal (D)
vi: (tonguing) – Controls (Z-scaled) Interpolation index in HarMan 2 using Phase
SG3 SL/SR from Amplitude Shape generator envelope (L Ancillary of T) offset by Z and Y in (O).
Kinetic 2
Delay Buffer 1 • How is it Note use of SG3 getting Phase from ModMan (C) using RMS of Row then relying on Y-
Not Defined IOSC 2
in a Excited? based formula (F) with high Persistence to be used for Amplitude following. Phase from
• Waveshaper Amplitude - the SG’s phase is supplied directly by the P column. Phase from
FormulaDelay Not Used
Seems only Amplitude SGs are Low Frequency Waveshapers (LFWs), with a Phase input column in
a gate? the matrix. Values should be in the range 0 to 1. Values over 1 are clipped at 1. Values
SL/SR below 0 act as absolute values and show the same behavior as positive ones. The SG
LP 4 ModMan 1 phase is the RMS value of the P column computed each millisecond.
• 16 KHZ cutoff • Metal
SG3 All this for a Key click – or does
Phase, RMS preset need cleaning up here?
The W RMS (Root Mean Square) selection is a way of getting the EaganMatrix formula to generate an RMS value over a
specific window of time. This is useful for creating something like a compressor effect because a compressor needs this type
of immediate accurate averaging to calculate compression values.

iOSC 2 defined
but not used

Not Sure how Kinetic Formulas B & C apply Phase From

bank is excited here. No Amplitude with W set RMS – Amplitude Library Search:
input or Anchor used. follower using F. SG2 not used. Category: Winds
Type: Brass
Character: Acoustic
Polyphony: 2+
Formulas K uses a Programmed delay with
Aftertouch (Y-Based) Controls (full or partial):
Buffer 1 but not defined. Can be removed.
• Offsets HarMan Interpolation Index (tonguing)
• Provides Phase from Amplitude offset for Amplitude
follower used for key click (F Ancillary of C)
• Scales (Y+Z) HarMan Harmonic truncation and Spectral
Dilation (S)
 (Wet/Dry
Macro Controller Usage
brave fields 60%/40%)
i: (timbre) – Controls cross modulation inputs between OSC 1 and OSC 2
WaveBank 1 LP 5 SL/SR creating timbe change (B) and Duty cycle control of the Wavebank (P).
Noise • 5 Waves Master Section
• Cascade 3 ii: (modulation) – Controls pitch offsets on OSC 1 & OSC 2 (A) and on
• Unity • Y+Z Mod +/- L/R Recirculator WaveBank (M) both scaled Y+Z. Also controls triangle SG modulation on
• Cutoff X+Y+Z
OSC 1 Reverb Extend convolution (and convolution mix (N). Finally controls SG2 frequency
Mod offset in pairs scaled
• Sine 8va, SG Pos SL offsetting by Y+Z (O) for WaveBank Duty cycle SG Mod and BP4 cutoff Mod
Mod
Mod offset • Outputs as well as SG modulation on BP4 outputs.
OSC 3 scaled fixed iii: (cutoff) – Scales the LP 5 cutoff
Mod
• Waveshaper XMod 10% iv: (envTime) – Heard more like “release”. Adds Persistence with blend to
• SpB v (noise) Mod SR
OSC 1&OSC 2 outputs (C) and to BP4 outputs (H, U) and controls wet/dry
OSC 2 LR/SLSR mix (Q).
• Sine 8va, SG Neg Mod v: (noise) –Controls input for both Phase and Frequency modulation of OSC
Mod offset 1&OSC 2 by both OSC 3 and OSC 4 (K). Also offsets BP4 cutoff (K).
BP 4 SL/SR vi: (tone) – Static Offset to the SG convolution modulation (J) that sets the
• SG Mod cutoff, BW 10 convolution Mod around a different central index thus affecting tone.

Interesting Formula B uses X constant to

offset I (timbre) which is then scaled by Y+Z

Library Search:
Category: Classic
Type: Pad
Character: Analog
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales pitch offset with Z of OSC 1 (pos) & OSC 2 (neg) (A)
• Scales with Z modulation inputs to OSC 1&OSC 2 (B & D)
• Control WaveBank Weighting (E – though SG in this seems
to be non-functional)
• Scales WaveBank offsets with Z (M)
• Offsets SG2 Frequency with Z (O)
• Scale LP 5 cutoff as (X+Y+Z)

197
 Noise canyon steel Macro Controller Usage
• SG Pulsed Master Section i: (tone) – Controls ModMan 1Spectral Dilation
ModMan 1
Recirculator ii: (drive) – Control Ramp amplitude of OSC 2 SpB envelope (H)
scaled Z & X • Viola Legato iii: (body) – Sets full range of convolution through default Wood->Metal-
LP 4 Reverb Extend
• Multi-Inputs >Fiber->wood
IOSC 1 • 5 KHz Cutoff
• BW 2 • SG Amplitude iv: (mute) – Increases Bandwidth of ModMan (J), Mode Bandwidth Spread
• Sine, 8va of ModMan (R) and offset od modulation (U) on SL/SR
Feedback modulation
v: (delay) – Controls amount of Tap delay out and LP 4 input into
180 degrees SummedDelay
Summed SL
IOSC 3 Tap 1 out of phase vi: (modulation) – Controls out of phase modulation on SL/SR
• X Freq Delay (N, O)
SR
• Y SpB Ctrl • 400 ms Tap 2
• 2 Taps
(100%,
OSC 2 80%)
• Waveshaper SL/SR
• SG Mod SpB

Note the polyphony scaler on W for OSC 2

modulation (B)

Library Search:
Category: Strings
Type: Plucked
Character: Acoustic, Soft, Echo
Setting: Portamento, Interval 2nd
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales ModMan modulation input to OSC 2 with Z (B)
• Controls OSC 1 input to ModMan (creates a very small
value) – Ancillary Adds 0 which is a bit strange (C)
• Scales OSC 3 input into ModMan with Z (P)
• Controls iOSC 3 Spectral Balance (Q)
• Scales SG2 frequency used for SL/SR output modulation

198
 classicana key (see “classicana lead” for a simpler variant) 199
OSC 4 SR Macro Controller Usage
• SG* Y+Z Fmod Master Section i: (timbre) – Controls Spectral Balance of OSC 1 & OSC 2, offset by Y
Mod
OSC 3 SL Recirculator ii: (detune) – Allows you to change the +/- detuning of OSCs (scaled by
• SG* Y+Z Fmod Reverb Extend Y+Z) and also changes SG2 frequency scaled by X. Note: OSC 1/OSC 2
have a different detuning +/- offset pair then OSC 3/OSC 4.
Mod SR
OSC 2 Outputs are SG iii: (envAmt) – Adjusts the attack envelope applied to the self
• SG* Y+Z Fmod modulated (D) modulation of each OSC. This uses a Z dependent pulse (B) and
SL Ancillary Y dependent ramp (N).
Mod OSC 1 iv: (decay) – Adjusts the Persistence applied to the envelope on iii.
• SG* Y+Z Fmod SL v: (vibrato) – Adjusts the base SG2 frequency (scaled Y+Z) used for
Summed Delay Tap 1 vibrato (E) and the vibrato width (scaled Y+Z) applied as a frequency
Mod • 400 ms SR modulation on each OSC (F)
Feedback
Tap 2 vi: (delay) – Controls amount of tapped delay output (J) and LP
SL Feedback into the Delay (G) as well as the base summed delay time (E)
LP 5 Tap 3
• Fixed cutoff & SR
bandwidth (6KHz) Tap 4

Library Search:
4 OSCs Each Osc modulates itself with the SG1 enveloped used on outputs Category: Classic
alternated in same formula using a SG1 pulse and OSC modulator inputs uses Type: Lead
the SL/SR envelope scaled by Z (B) fixed (9*3) 27 Hz frequency. Character: Analog, Simple
stereo field
Setting: Mono Mode Portamento, Interval 8va
SG2 controlling vibrato Polyphony: 2+
Note the Low Pass Filter uses both Y+Z scaling (E)
delay loop where Summed and X frequency scaled
4 Taps 4 OSCs use two sets of +/- Delay output is unity fed offset (Q) Aftertouch (Y-Based) Controls (full or partial):
alternated detuning offsets (O, P) into LP 5 and then sent • Offsets Spectral Balance of OSC 1 & OSC 2
in the
back into the Delay (G)
SL/SR • Scales (Y+Z) OSC outputs (C)
stereo • Scales (Y+Z) SG2 Vibrato Freq and Width (E, F)
field. SummedDelay scaled 0.2 • Scales (Y+Z) OSC detuning offsets (O, P)
• Scales secondary envelope on OSC modulation inputs
SG1 Z scaled pulse envelope also Y+Z scaled OSC Offsets (O&P) and Freq SG4 triangle modulation applied with
applied to the SL/SR outputs (D) Mod (vibrato) scaled Y+Z on each Osc (F)
(N – ancillary to B that uses Z scalar)
alternating +/- offsets on the Taps (H)
 classicana lead (see “classicana key” for a more complex variant) 200

IOSC 2 Macro Controller Usage

• SG* Y+Z Fmod SL/SR i: (timbre) - Controls Spectral Balance of OSC 1 & OSC 2, offset by Y
• 8va, Xmod OSC 1 ii: (octave) – Controls output of OSC 2 which is 8va scaled by Y+Z (L)
iii: (envAmt) – Adjusts the attack envelope applied to the self modulation of each OSC.
Mod SL/SR Master Section This uses a Z dependent pulse (B) and Ancillary Y dependent ramp (N).
OSC 1 Recirculator iv: (envTime) – Control the Frequency of SG1 that imposes envelope on OSC
SL modulation inputs and SL/SR output (M). Note this was a fixed frequency in “classicana
• SG* Y+Z Fmod, Tap 1 Reverb Extend
Summed Delay key”, likely because there were no more macro controllers available (M).
• Xmod OSC 2 SR
• 400 ms v: (vibrato) – Control SG2 Frequency used for vibrato (E) and vibrato width (F).
Tap 2 Outputs are SG
Mod Feedback vi: (delay) – Controls tapped delay output (J) as well as base summed delay (K)
SL modulated (D)
LP 5 Tap 3
• Fixed cutoff & SR
bandwidth (6KHz) Tap 4

Library Search:
Category: Classic
Type: Lead (Basically a simplified version of “classicana key”)
Character: Analog, Simple, Echo
Setting: Mono Mode Portamento, Interval 8va
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets Spectral Balance of OSC 1 & OSC 2
• Scales (Y+Z) OSC 1 output (C)
• Scales (Y+Z) both the SG2 vibrato frequency (E) and
vibrato width (F)
• Scales (Y+Z) OSC 2 output
IOSC 2 uses X+X for 8va because OSC 1 & IOSC 2 are • Scales secondary envelope on OSC modulation inputs
frequency scaled with SG mod * Y+Z (F) (N – ancillary to B that uses Z scalar)
Note:
• This preset also outputs an Oscillator (OSC 1) from internal engine using same cvc 4 voices Macro Controller Usage
vibrato control as for CVC outputs and scaled Spectral balance Y+Z. Remove or
disable formula F to have a standalone CVC controller. i: (5to10V) – Uses blend to let you set voltage of W, Y and Z (together)
• Similar versions for 2 voice polyphony and 1 voice polyphony are available in the from 5V to 10V
Formula H controls the Vibrato (SG1 sine modulation) ii: (vibratoAmt) – Changes vibrato depth applies to X
Utilities category.
applied to X. Note it uses Ancillary * 3 with a second
iii: (vibratoRate) – Changes rate of vibrato controlled by SG1
ancillary adding 1 to that. Results are scaled by Y+Z. So,
there will always be unity multiplication (+1) retaining iv: (pressLFO) – Adds & changes LFO modulation width on Z/pressure
original X value (formula B) and as you bring up ii v: (atLFO) - Changes LFO modulation width on Y/Aftertouch
(vibratoAmt) vibrato will be applied based on rate set vi: (LFORate) – Changes rate of the LFO modulation. Note it sues
with iii (vibratoRate) in formula G. multiplication time Midi Clock.

Formula G sets the rate of SG1. When iii is set to min, no Formula K sets the LFO (SG2 triangle modulation) applied to either Z
vibrato will be applied even at Max vibratoAmt as SG and/or Y depending on bringing up iv (Pressure LFO) or v (Aftertouch
frequency is 0. As you bring up iii, the rate will increase to LFO). Note that a blend on I (5-10V increase) is also used on the LFO
about 24Hz at max keypress. width, which is a bit confusing.

Formula I sets the LFO rate similar

to the rate formula used for
Vibrato rate, however it multiplies
the max value by 2 * Midi Clock.
Primary (5V) Secondary (10V)

Library Search:
Category: Utility, Polyphony: 4, MPE Priority: Low (so you can
better predict what channels are output in response to polyphony)
Aftertouch (Y-Based) Controls (full or partial):
• Outputs 0-10V based on setting of I (5to10volt)
• Scales vibrato width and speed with Z
• Scales Aftertouch LFO width
• Scales LFO rate with Z

201
 delight lead (similar in design to classicana lead) 202

OSC 4 Macro Controller Usage

SL/SR
i: (interval) – Sets quantized frequency scalar (to .5) on OSC 2 to let you
• Waveshaped by Master Section bring in another tone based on harmonic series (G).
LPF w/ Y+Z Ctrl Summed Delay Recirculator ii: (cutoff) – Adjusts cutoff frequency offset with a blend that uses
Mod • 400 ms Reverb Extend (X+Y+Z) (C)
OSC 1 Feedback
• Scaled 0.1 to iii: (envAmt) – Changes the amount of Z-scaled Hann shaped envelope
• Freq Quant by (i) avoid overload SL/SR Outputs are SG applied to cutoff filter and LP 4 output that also modulated OSC 4
• Fixed SpBal LP 5
modulated (D) Waveshaper and LP 4 input into the Summed delay.
• Cascade 4 iv: (envTime) – Adjusts time of envelope scaled by Z and using blend
• X,Y,Z Cutoff Ctrl SL
IOSC 2 Tap 1 that increases the attack time (H).
• SG* Y+Z Fmod SR v: (ATvibrato) – Controls the vibrato width applied to OSC 1&OSC 2 (I)
• Fixed SpBal Tap 2 and the SG2 vibrato speed (K)
Feedback
SL vi: (delay) – Adjust the amount of tapped delay output (M). Also used
LP 3 Tap 3 to set speed of Sg3 but that is not used.
• Fixed cutoff & SR
bandwidth (9KHz) Tap 4

Library Search:
Category: Classic
Type: Lead
Character: Analog, Simple, Echo
Setting: Mono Mode Portamento, Interval 8va
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) the LP 4 output, modulation input to OSC 4
and input into summed delay (B)
• Offsets (X+Y+Z) LP 4 cutoff frequency
• Offsets amount of OSC 4 waveshaper into LP 4 (F)
• Brings in vibrato on OSC 1 & OSC 2 (I – ancillary to J)
SG3 & SG4 set but not used.
and controls SG2 vibrato frequency.
L does not appear to do anything.
 delight lead (formulas)
See EaganMatrix Programming Video:
Primary

Good Subtractive Synth Example for:

• DSF and Integrated Oscillators (OSC 1, OSC 2)
• Low Pass Filter with X+Y+Z Blend Cutoff Control (C)
• Low Pass Filter with Cutoff Envelope (A)
• Envelope Output Control (B Ancillary D)
Secondary
• Quantized Frequency Scaling (G)
• Summed Delay with Tapped Output (M)
• Filtered Delay Loop (See LP 4 feeding into Delay)
• Y Controlled Effects: Vibrato (J Ancillary D)
• Singe Cycle and Continuous Shape Generators (SG1)
• Simple Oscillator Modulation (G into OSC 4)
• Waveshaper Oscillator (OSC 4 – no F column)
• Blend adding Z (C)
• Use of High Interpolation - Smoothing Delay Change (M)

203
 Filter Comparison – Noise vs. DSF OSC (at G3 = 196Hz) delight lead (Filter Comparison)
Noise Input OSC Input Many Osmose presets use a large Low Pass Filter fixed bandwidth as does
this one setting it to 9.0. Here’s a brief comparison using LP noise vs the an
Low Pass Filter
OSC input, all using the maximum ca. 11KHz cutoff this preset imposes on
Cascade 1, Low Pass Filter full key press through Aftertouch. You can see how the slope steepens as
BW = 0.5 Cascade 1, Cascade goes from 1 to 4 (you can set this 1, 2, 3 or 4 – set cascade 4 in this
Cutoff = 10KHz BW = 0.5 preset). You can the change that the 9.0 high bandwidth setting has versus
Cutoff = 10 KHz a rather low setting of 0.5 as the filter tails of from the cutoff point.
Cutoff Cutoff
The overall effect (which is a lot more noticeable in the plots using noise) is
that the high bandwidth settings smooth out the sound more. Also
compare the unfiltered DSF Oscillator versus Integrated Oscillator below,
Low Pass Filter
both with Spectral Balance of 0.7
Cascade 1, Low Pass Filter
BW = 9 Cascade 1,
Cutoff = 10KHz BW = 9 DSF OSC DSF OSC
Cutoff = 10 KHz
G2 Spectral Balance = 0.7
Unfiltered

Low Pass Filter

Cascade 1, Low Pass Filter
BW = 9 Cascade 4,
Cutoff = 10KHz BW = .05
Cutoff = 10 KHz Integrated OSC
INT OSC
Spectral Balance = 0.7
G2 Unfiltered
(Harmonic amplitudes
decrease faster and
Low Pass Filter frequency range is less
Cascade 4, Low Pass Filter in relation to DSF
BW = 9 Cascade 4, (more muted sound)
Cutoff = 10KHz BW = 9
Cutoff = 10 KHz
204
 jOSC 2 Master Section
duo cello
Mod • Smooth SL/SR Macro Controller Usage
Recirculator i: (timbre) – Adjusts Harmonic Truncation and Spectral Dilation of HarMan 2 offset X+Y (N).
• Adjustable Freq Reverb Extend ii: (bow) – Controls Z scaled, LP 3 filtered noise (E) and the cutoff frequency scalar on it (R) – See formulas
iii: (body) – Controls Convolution index and mix through: Guitar->Wood-> Waterphone1 (A) and downscales SL/SR
Mod OSC 1 SL/SR Convolution: due to convolution gain change (H).
• Sine + SG Vibrato Guitar-> Wood-> iv: (vibrato) – Controls (X+Y+Z) scaled SG2 vibrato width (M) and Frequency (T) on OSC 1, BiqBank & Harman
• Primary to jOSC Waterphone1-> Frequency.
2 Guitar v: (harmonic) – Controls Jenny OSC Frequency Multiplier
Noise Harman 2 SL/SR Outputs are scaled vi: (fondamental) – Control amount of OSC 1 (Jenny main OSC) output scaled Y+Z (I)
• ii scaled Z • Viola Legato
down supporting
• Aftertouch control
convolution (H), as
LP 3 BiqBank 1 SL/SR
Waterphone can
• Fixed cutoff & • Freq SG Mod increase volume
bandwidth (9KHz) scaled X+Y+Z greatly)

Of particular interest is the method of using enveloped shaped filtered noise to

create the “bowing” component controlled by (formulas E, F, G and R). E inputs
noise in FP4. F adds a Z-scaled triangle envelope which if further offset by (Y+Z)
scaling in G and then the entire bow component is scaled by ii (R)

Library Search:
Category: Strings
Type: Bowed
Character: Acoustic
Setting: Portamento, Interval: 2nd (for smooth legato)
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales LP 4 bowing offset with (Y+Z)
• Scales output of Jenny’s Main OSC with (Y+Z)
• Scales Jenny OSC output with (Y+Z)
• Scales vibrato width and Frequency with (X+Y+Z)
• Offsets Timbre change (Y+Z)
• Scales Harman output (Y+Z)
205
 Macro Controller Usage 206
SineBank 2 electric bass 1 i: (timbre) – Changes Spectral Balance on OSC 1 offsetting with Z (D)
• X 2 oct down ii: (tone) – Scales all the modulation on OSC 1 creating tone change
• Line Freq Sprd=1 iii: (body) – Adjusts Convolution Index (L) and mix (K) through Wood>Wood-
>Guitar->Waterphone1
Mod iv: (pick) – Changes magnitude of SG1 pulse applied to ModMan 1 Spectral
OSC 3 Mod SL/SR Master Section
LP 2 Dilation creating picking tone changes
• Sine, X 8va (50% wet) Recirculator
OSC 1 v: (sub) – Adjusts input of the SineBank set 2 octaves down from X (R)
• Cascade 4 tbd
• Pulse env * Z L/R (50% Dry) vi: (lowend) – Adjusts the amount of modulation applied to OSC 1 from the low
Mod • 2.5 KHz Cutoff frequency set SineBank.
OSC 5 • Y SpB Ctrl • BW = 1 • Output Z
• Sine, X 8vb Note: This is a good preset to demonstrate Osmose single cycle SG induced initial
scaled (T) attack profile. A quick finger attack will create the plucked effect. If you slowly press
Mod Noise fed OSC 4 defined but not used. the key, you will lose the plucked effect.

SG1 (Freq = 9 Hz) controls the pluck

Noise ModMan 1 Noise OSC 4 envelope component used in A, E, P, and
• Y+Z scaled • Viola Legato • Unity • Waveshaper G (latter Ancillary to output formula C). P
uses iv (pick) to change pulse magnitude.

Library Search:
Category: Strings
Type: Bass
Character: Acoustic, Electric
Setting: Mono Mode {Portamento, Interval: Octave
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) the LP 2 output (C) 50/50 Wet/Dry
• Offsets Spectral Balance timbre change (D)
• Scales (Y+Z) noise that excites ModMan 1 (H)
• Scales (Y+Z) output of low frequency SineBank (R)
• Scales the SL/SR outputs (T) – note value uses ancillary
add of 0.25 to start. Max value T reaches is 0.5 (as the
convolution gain needs to be scaled down from unity).
 OSC 4 electric keys 1
• Sine, 8vb SL/SR
• Multi-Mod
Macro Controller Usage
Mod Mod Master Section i: (key) – Controls the output of the BiqBank (O) and BiqBank modulation of OSC 1 (C) that is triggered
OSC 2 Mod Recirculator on Y/Aftertouch. Basically, another sound component different from the Attack component.
OSC 1 SL/SR
• Sine, 8va Mod Reverb ii: (sub) – Controls output of OSC 4 (scaled Y+Z) which whose frequency is set 8vb (K). Also controls
• Sine
• Quant Harmonics amount of OSC 4 modulation by OSC 1 (P).
• Multi-Mod
Tremolo applied to iii: (ratio) – Quantized frequency scalar set on OSC 2, which itself is set 8va (S).
OSC 3 Mod
SL/SR outputs 180 iv: (body) – Control Convolution through Wood->Metal->Fiber->Wood. Also lessens the secondary
• Sine, 8va degrees out of envelope attack profile on the tremolo control to adjust for convolution change (G)
phase on SL and SR v: (mechanism) –Adjusts (scaled by Z) output of the Toy Piano Harman (J) and adjusts (with Z offset)
BiqBank 2 SL/SR channels (U and V). Harmonic truncation of the Harman.
LP 5
Noise • Freq micro-offset vi: (tremolo) – Controls SG5 Pulse Frequency (D) and associated out of phase tremolo width applied
• X+Z Cutoff
• Unity offset. Pulse attack
by (U and V) through blend.
• Fixed BW (3KHz)
Harman 1 SL/SR
• Toy Piano Strike
• Aftertouch control

Library Search:
Category: Keyboard
Type: Elec. Piano, demo
Character: -
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Controls BiqBank Modulation of OSC 1.
• Scales (Y+Z) amount of modulation of OSC 1 by OSC
2 and OSC 3 (A)
• Scales (Y+Z) output of OSC 4 – the sub oscillator (K)
• Controls self-modulation envelope ramp of OSC 4
sub oscillator (Q)
• Scales (Y+Z) SG shaped output of OSC 1
• Controls self-modulation input of OSC 1 (T)

207
 elsynkey
OSC 1 Macro Controller Usage
• Primary to JOSC SL/SR i: (timbre) – Controls Spectral Balance of Main Osc and both Jenny OSCs
LP 5 Master Section
2 & jOSC 3 (B) and scales outputs (S).
• Cascade 4 Recirculator ii: (cutoff) – Main LP cutoff control offset (X+Y+Z) (F).
• W+X+Y+X Cutoff Summed Delay
Delay/Echo LPF iii: (envAmt) – Controls cutoff offset envelope (E)
jOSC 2 Ctrl with • 50 ms
SL Extend iv: (release) – Adds Blend of Persistence to cutoff controls (E, F)
• Smooth Persistence blend • Amplitude scaled Tap 1 v: (vibrato) – Applies vibrato to Main Osc (OSC 1) and OSC 4 (Q) and
on iv (F) with .2 SR controls SG3 vibrato frequency (R)
• Taps delay Tap 2 • Envelope
jOSC 3 added ramped SG vi: (chorus) – Controls amount of Tapped Delay output (O) as well as the
percentage offset applied to
• Smooth envelope (E) all output (S)
speed of the SG3 that applies the chorus delay offsetting (P)
scaled by +/- for chorus
Aftertouch (K) control (H).
OSC 4
• Saw-like, 8va
• SG vibrato added
Feedback

Library Search:
Category: Keyboard
Type: Elec. Piano, demo
Character: -
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) vibrato speed (R)
• Controls Jenny OSC 3 Frequency multiplier scaling (N).
• Offsets LP 4 cutoff formulas as a scalar (K)
• Scales amount of both JOSC’s input into LP 4 (I)
• Offsets (X+Y+Z) LP 4 cutoff (F)
• Scales (Y+Z) output of LP 4 (D)

208
 Main Graph flute transverse Macro Controller Usage
i: (body) – Sets Convolution index Autoharp1 -> Snap (G)
ii: (vibrato) – Scales SG2 Hann shape vibrato (Y+Z) applied to
Noise BiqGraph outputs as well as BiqGraph modulation of OSC 2 (L).
• Pulsed scaled X+Y Also affects OSC 2 (U). Also applied to BiqGraph Bandwidth(Q).
Offset 1 Graph Noise Note SG2 itself uses SG3 (offset Y+Z) to modulate the vibrato
• Z Ctrl w/ Ancillary frequency as a second order vibrato effect.
Limiter (D) BiqGraph 1 iii: (tone) – Controls Mode Bandwidth Spread of the BiqGraph I)
Master Section iv: (attack) – Controls pulse SG4 Attack scaled (Y+Z) of noise
• 32 Modes
Recirculator component exciting BiqGraph (R).
OSC 1 • Main and Offset v: (fondamental) – Brings up output of OSC 2 (S) which is
SL/SR Reverb
• Waveshaper graph used considered fundamental tone that also has vibrato applied
• Multi-Mod • Noise fed for through (U)
Mod
breath • Outputs vi: (Aftertouch) - Applies (scaled Y+Z) Offset 1 graph (J)
scaled to X

OSC 2 Mod
• Modulated Sine SL/SR

Note formula P is used to apply sine modulation on the SG2 Frequency which in turn is used by
formula L that uses Ancillary formula K to apply Hann vibrato to BiqGraph outputs and OSC
modulation input as well as on OSC 1 outputs and BiqGraph Bandwidth. A nice natural second
order vibrato effect..

Library Search:
Category: Wind
Type: Flute
Single Pole HPF Character: Acoustic, Airy
not defined but Polyphony: 3+
used?
Aftertouch (Y-Based) Controls (full or partial):
• Scales (Y+Z) Offset 1 graph (J) amount
• Scales (Y+Z) vibrato applied as noted in the example formula
OSC 3 not extractions. Also (Y+Z) scales the SG2 frequency used for the
used vibrato (P)
• Scales (Y+Z) noise used to excite BiqGraph (along with OSC 1
that is X dependent for BiqGraph input)
• Scales (Y+Z) OSC 1 output (S) and vibrato applied to that (U)
209
 flutimut Macro Controller Usage
210
i: (timbre) – Controls HarMan modulation of OSC 1 (D)
ii: (body) – Convolution and Convolution Mix control through full range of Wood-
OSC 3 Mod >Fiber_>Wood->Metal.
OSC 2 Mod OSC 1 SL/SR
• Sine Master Section iii: (breathAmt) – Controls Magnitude of noise used to excite the ModMan creating
• Multi-Mod • Multi-Mod
• 4 Oct up Recirculator breath component (shaped by SG in formula H).
Mod
Reverb iv: (breathTone) – Control Spectral Dilation of ModMan (L)
v: (octave) – Controls amount of HarMan output (Clarinet spectral set) whose frequency
Mod • Sine tremolo is set 8va.
HarMan applied on vi: (harmonics) – Controls offset (x Ancillary 1.5) on OSC 3 modulation amount of OSC 1
SL/SR and OSC 2 (Q)
• Clarinet 1 Aftertouch

ModMan SL/SR
Noise • Flute 2
• SG shaped

Library Search:
Category: Winds
Type: Flute, Single Reed
Character: Acoustic, FM
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

LP 4 • Controls Amount of Tremolo to SLSR outputs (F) and Speed
not (frequency of SG1) of the tremolo (E)
used
 211
fm dreampiano Macro Controller Usage
IOSC 1 Mod OSC 2 i: (transients) – Controls output of OSC 2 ramped envelope and OS4 modulated OSCs
• Sine • Sine Master Section (F,G)
Recirculator ii: (trstLength) – Controls attack speed (H) and scaling (Q) of the transient SG
• Freq Scaled iv • Mod BiqBank 2 Reverb envelope (H, Q)
• 48 modes iii: (trstDepth) – Controls amount of transient modulation (E, D)
IOSC 3 • Outputs iv: (trstFreq) – Control frequency scaling of transients (A,B)
Mod OSC 4
• Sine v: (structure) – Controls BiqBank non-linear frequency spread (a timbre control) (V)
• Sine Envelope
vi: (release) – Control the release/sustain applied to the notes and also determines
• Freq scaled iv • Mod controlled the global decay time applied to the outputs (D, E, K, L , N, O, R)
Mod OSC 5 offset Z with
• Sine, Blend of
SineBank 1 Persistence
• Mod
• X detuned * 1.1

Phase

Library Search:
Category: Keyboard
Type: -
Character: Airy, FM, warm
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales secondary (inverse) envelope
inputting OSC 2 into BiqBank and SC2 output
(G+L)
• Scales secondary (inverse) envelope
outputting OSC 5 and SineBank (K+N)
• Offsets SineBank modulation input from OSC
5 (C+P)
• Offsets scaling of all outputs (O+T)
 fourad 212
Macro Controller Usage
OSC 5 i: (resonance) –Controls OSC 5 output as well as input into summed
OSC 1 LP 2 • Waveshaper SL/SR delay
• X, Freq + offset • SpB vi (drive) Master Section
• SG envelope ii: (envAmt) – Controls envelope SG amplitude of LP 2 cutoff
on v, SpB=.7 Recirculator
• X+Y+Z scaled Feedback
iii: (attack) -
Reverb iv: (decay) – Adds Persistence to LP 2 Envelope amount (E) and to OSC 2
cutoff
• BW = 5 modulation of OSC 5 (H) and adds Persistence to LP 2 (X+Y+Z) offset
OSC 3 Summed Delay • Scaling of cutoff.
• X, Freq - offset SL
• 50 ms Tap 1 outputs on vi v: (modulation) – Controls base frequency of SG3 (scales by X) used to
on v, SpB=.7 • 2 Taps in SR (drive) add vibrato on SG4 M) and triangle SG3 modulation on phase input of
• opposite Tap 2 OSC 3(K).
OSC 4 SL/SR fields vi: (drive) –Changes Spectral Balance of OSC 5(S). Also increases LP 2
output (U). Finally scales SL/SR down as the other changes produce to
• X, SG mod on
large an overdrive effect and (T) downscaling of outputs keeps it more
Freq (vibrato) SineBank 1 SL/SR under control.
• X 8vb

Library Search:
Category: Classic
Type: Bass
Character: Analog, Distorted
Setting: Mono Mode: Retrigger T, Interval Octave (default off)
THIS MIGHT CAUSE CONFUSION AS IT IS NOT MENTIONED AS A MONO
MODE OPTION IN OSMOSE MANUAL.
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets LP 2 cutoff with (X+Y+Z) (G)
• Scales output (Y+Z) of LP 4 and also LP 4
inputs into Summed delay (H)
 Simple ModMan Example grains pluck Macro Controller Usage 213
i: (tone) – Controls cutoff of the Band Reject (notch) filter.
Mod Master Section ii: (brightness) – Controls Bandwidth of the BR 2 filter (F) and Spectral Dilation of the ModMan 1
Noise OSC 1 (L).
BR 2 Recirculator
• Unity • Waveshaped SL/SR iii: (body) – Controls convolution index at fixed 40% wet/dry mix moving through Guitar-
• Cascade 4 ModMan Reverb Extend >Waterphone1-> AutoHarp2->Guitar convolution (Q)s
• Spiccato Loud iv: (resonance) – Controls (scaled Z) Bandwidth of the ModMan 1 (O).
Noise • Output offset v: (hiPosition) – Controls ModMan 1 Spectral Set Index (only moving through range of .05 to
SG Pulsed input .305)
• SG Shaped with X
vi: (structure) – Adjusts Frequency Spread of the ModMan 1 (N).
Formula C with its Ancillary R create the pulsed noise sent into the BR2 filter which in turn is sent into the ModMan as the main excite impulse to create the pluck. (C) Uses a 9Hz single cycle SG2 pulse with W trigger and (R)
uses a 9Hz single-cycle SG3 pulse with formula S as trigger which uses a stepped Z function. So as you push down on Z, at initial gate the first pulse will trigger in formula C and as you push down further Z in formula C jumps
to a value >0 a bit pas halfway and another noise pulse will trigger on formula R. If you press fast you won’t hear the multiple trigger. It will sound like a more complex pluck. If you press quickly in top part of Z and then press
quickly to bottom of Z you will hear the multiple pulses/plucks. If you press too lightly however after first pluck you may not hear the second pulse as it is Z scaled with an elongated square function in formula R.

In Conclusion: This preset is mean to

be played with a rather quick
articulation to bottom of Z to get
the best plucking effect.

Formula P increases modulation input into the BR4 as X increases, but

then on Y Value go negative which when added to Z start decreasing
the input which also scales volume down – because formula K reduced
Spectral Balance from a high value bringing in more lower harmonics Library Search:
that intensify the sound. A good example that you need to try and Category: Strings
balance output in numerous way to get an even sound. Type: Plucked
Character: Acoustic, Metallic
Polyphony: 2+

(C) Controls Plucked component and P controls the repeated component. Aftertouch (Y-Based) Controls (full or partial):
• Offsets (with Z) OSC 1 Spectral Balance down (F)
• Reduces OSC 1 input into Band Reject Filter (P)
which scales volume down from the modulation

Note that SG-articulated noise fed into the bandpass filter (C)
creates the plucked component. OSC 1 which is waveshaped
by noise when fed into the band reject filter (P) creates a
repeated zither like effect (its all modulation based, not SG
repetition). Try disabling C and play then reenable and disable
P to hear how the two components work together to create
the total sound.
 Noise OSC 2 BP 1 SL/SR grandmas garden
• Unity • Waveshaper • Cascade 4, .008 B Macro Controller Usage
• Cutoff 8X Master Section i: (grains) – Controls output of BP filter scaled (Y+Z) (Q). Not related to Harman granular. Adds a grainy
Interesting use of Recirculator background noise repetition.
OSC 3 SL
SG1 that has a Noise Mod Delay ii: (speed) – Scales SG1 speed used for continuous triggering of SG2 single cycle SG which in turn is
complex SG4 • Variable • Sine 8va, SG Vib Extend used to control Harman repetitive output ramping and ramping of Harman spectral index (see formulas
modulated for this below (A, J, O and E)
frequency used to XMod
iii: (structure) – Controls ModMan Frequency Spread quantization setting (P)
repetitively trigger OSC 4 iv: (release) – Adds Persistence on BP output (Q) and OSC 3/OSC 4 output (T)
Noise SR
the single cycle
SG2 (formula E). In • Variable • Sine, 8va + SG Vib v: (sines) – Controls output of OSC 3*OSC 4 Frequency modulated sine oscillators
this way the single • Y+Z Freq offset vi: (tape) – Main effect control. Applies vibrato-like frequency modulation on OSC 3&OSC 4 and
cycle shape ModMan Frequency, Frequency Spread and Mode Bandwidth Spread (G), Adds negative detuning
ModMan 1 SL/SR offset on OSC 4 (S), adds noise as a frequency modulator to OSC 3&OSC 4 (H), Controls output of the
generator becomes
continuous based Harman 2 • Metal ModMan 1 (I), adds a SG triangle modulation ModMan Frequency Spread, Mode Bandwidth Spread
on the frequency • Metal SL/SR and Spectral Dilation Direct offsets (J).
of SG1.

Library Search:
Category: Classic
Type: Pad
Character: Woody, Lo-Fi, Evolving, Layered
Polyphony: 3+
Aftertouch (Y-Based) Controls (full or partial):
• Controls base frequency of SG1 (scaled (X+Y+Z) that triggers
SG2 Harman output repetition also use to excite ModMan
• .Offsets the frequency multiplier on HarMan 2 (F)
• Scales (Y+Z) ModMan excitation input from Harman (K)
• Offsets Mode Bandwidth Spread of ModMan (M)
• Scales (Y+Z) BP output (Q)
• Scales (Y+Z) detuning of OSC 4 (S)
• Controls cross modulation inputs of OSC 3&OSC 4 (U)
• Offsets OSC 2 Spectral Balance down from its Unity default
214
 gypsy kinetar OSC 1
SL/SR Macro Controller Usage
• Sine Master Section i: (mute) – Increases Bandwidth of ModMan 2
Anchor
Noise Kinetic 1 • Vibrato Y scaled Recirculator ii: (fretNoise) – Controls noise input to All Pass filter scaled by
• Y scaled • Excited through Reverb (X+Y+Z). Note use of Derivative option on the scaling components Q).
Anchor
anchor ModMan 2 SL/SR iii: (structure) – Controls Frequency Spread of ModMan 1 (B).
• Pizzicato Loud OSC 1 output is iv: (ATnoise) – Controls Z scaled noise into Band Pass filter that is in
turn used to excite Kinetic Bank anchor, along with controlling direct
Mod Aftertouch scaled (N)
AP 4 noise exciting Kinetic anchor (U) .
Noise ModMan output is X
• Cutoff = X/2 v: (damp) – Control Mode Bandwidth Spread of ModMan 2 (V)
• X+Y+Z Scaled scaled (R) vi: (brightness) – Controls noise from AP into ModMan (O).
• BW = 10 Hz Mod OSC 3
Note: L also is tagged with vi control but L is not used.
• Sine, Multi-Mod All outputs and
BP 5 • Vibrato, Y scaled output scalar (M) are
Noise Noise
• Y scaled • Cutoff=SG Mod & Y • SG ramped gated to add attack.
Mod
Offset, BW = 2 KHz
Interesting formula T that uses
Note use of Derivative Aftertouch with S curve to
formula option on control Hann vibrato-like
scaling components in frequency modulation offset to
formula Q that OSC 1, OSC 3 and BP frequency
controls noise into All and ModMan Frequency.
Pass filter.

Library Search:
Category: Strings
Type: Plucked, Character: Acoustic, Shaking
HP 2 used but Setting: Portamento, Interval: 2nd
not defined Polyphony: 2+
OSC 3
modulated Aftertouch (Y-Based) Controls (full or partial):
but not used? • Offsets Kinetic Bank input into ModMan (K)
• Scales noise (X+Y+Z) into All Pass filter (Q).
• Controls Hann Frequency modulation applied to OSC 1 &
OSC 3, BP Frequency and ModMan Frequency (T)
• Controls noise into Band Pass filter (U) – “ATNoise” control)
SG5 uses Phase option but
is not used in the preset. 215
 OSC 1
hybrid strings 1
• Multi-Mod Macro Controller Usage
• Freq Y offset Pos Voice Delay Master i: (cutoff) – Controls LP 4 cutoff frequency scaling (T)
Tap 1 ii: (layer) – Offsets Spectral Balance of OSC 1 & OSC 2 with Aftertouch (P)
Mod • 100ms Section
XMod SR iii: (bow) – Controls output of ModMan used for bowing component (S) and
• 4 taps Recirculator
Spectral Dilation of the ModMan (G)
Tap 2
OSC 2 alternating in Mod Delay iv: (envTime) – Controls Persistence used on ModMan Input (F), LP 4 input to
SL
• Multi-Mod stereo field, VoiceDelay (L), LP 4 filter cutoff envelope increasing rate (N), OSC 1&2
Tap 3
• Freq Y offset Neg with offset envelope into VoiceDelay (Q) & and the SG frequency time that controls all
SR
Mod delay Tap 4 the above envelopes (R) – so add sustain and slows down attacks.
percentages v: (modulation) – Controls rate of SG2 & SG3 continuous SGs scaled (X+Y+Z)
LP 4 (H). These are used to change Tapped offset delays (I & J).
Phase Gen 3
• Cascade 2, SG & Feedback vi: (delay) – Controls tapped output to SL/SR scaled by Z.
• Sum 7 SL/SR
• Y scaled Cutoff

LP 5 ModMan SL/SR
Noise • String Tap 1
• Variable cutoff
• Unity • SG Freq mod
• Fixed BW 7KHz

Library Search:
Category: Strings
Type: Bowed, Pad
Character: Analog
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) LP 5 input to ModMan (F)
• Scales (X+Y+Z) Frequency of SG2 & SG3 (H)
• Offsets with Z Phase Generator Spectral Balance (K)
• Scales (Y+Z) LF4 cutoff (N)
• Scales (Y+Z) detuning offset on OSC 2 & OSC 2 (O)
• Offsets Spectral Balance on OSC 1 & OSC 2 (P)
• Scales (Y+Z) SG1 frequency used for vibrato applied to OSC
1, OPSC2, Phase Gen, and ModMan (V)

216
 Noise HP 4
• Pulsed • Cutoff 3 KHz
hyoshigi Macro Controller Usage
i: (note) – Changes base Midi note used by the percussive preset (Q)
• Z scaled • Bandwidth .6 LP 1 SL/SR Master Section ii: (surface) – Changes ModMan 1’s Interpolation between Spectra setting
• 1KHz cutoff Recirculator creating percussive timbre change as if drum surface material is different.
• Unity Bandwidth iii: (body) – Change Convolution index from Wood->Metal and changes
ModMan 1 SL/SR Analog Echo
convolution mix (scaled 0.2) (B)
• mBiraski iv: (resonance) – Reduces bandwidth of ModMan 1.
• qF based Osc 2 SL/SR
• Output can be v: (waveshaper) - Controls both Spectral Balance and amount of modulation
Mod scaled down
• Waveshaper applied to Waveshaper OSC 2 (P) and adjusts SL/SR output scaling down to
ModMan 2 • Variable SpB on v with MC v (V). account for the extra gain (V)
• Kalimba Hard Mod SL/SR vi: (tone) – Changes Bandwidth mode Spread of ModMan 1 (E)
• sF based
Noise Formula Q controls through blend on i (note) base Midi note
• Pulsed LP 5 applied 0..80. Note use of Relative option on X set “Octave”
• Z scaled • Cutoff 2KHz Also note the quantized change mode and then converted to KHz with Ancillary “nn” option.
past X zero point on formulas C
• Unity Bandwidth
and J (C shown) affecting the
ModMans’ frequency spreads. Secondary=80
This creates a secondary pitch
shift over the base pitch after
the zero point.

Primary=0
Library Search:
Category: Percussion
Type: Atonal
Character: Acoustic
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets and adds high interpolation to the Noise
envelope pulsing of noise into HP 4 and LP 5 (R&S
Aftertouch control of both – called as ancillaries from A&I). Adds an extra
ModMan Bandwidths (T)
noise attack component on aftertouch.

217
 LP 3
• Variable cutoff
insert coins SR Master Macro Controller Usage
WaveBank 1 • BW9, Cascade 3 Section i: (waveform) – Offsets Wavebank1 Amplitude and Duty Cycles of both
• Square Recirculator WaveBanks (N) so adjusts waveform.
SL
• 2 Waves, Y stepped LP 4 Mod Delay ii: (speed) – Scales frequency of SG1 (Q)
• Variable cutoff iii: (cutoff) – Scales cutoff frequency on LP 3 and LP 4
Summed Delay SL iv: (envTime) – Adds Persistence on all 3 LP inputs (D) scaling envelope
• BW9, Cascade 3 Tap 1
WaveBank 2 • 400ms (Y+Z) (E), also adds Persistence on the Envelope applied to SG1 Frequency
SR
• Square LP 5 • 4 taps (C) and slows down the Attack time on SG2 that controls the envelope (B)
Tap 2 v: (modulation) – Applies triangle SG3 modulation to Duty cycle of both
• 2 Waves, Y stepped • Variable cutoff alternating in
Feedback SL WaveBanks (H) and controls speed (scaled Y+Z) of SG3 (I).
• Bandwidth 9 stereo field, Tap 3 vi: (octDelay) – Control Tapped octave delay output (K) and base delay
with offset
SR speed (L).
delay Tap 4
Secondary percentages

Interesting SG1 Frequency control. Envelope using

Primary SG2 with blend of Persistence (formula C) is used to
set base frequency which is then offset on
Aftertouch from 0 to 10Hz (F) and all that is then
scaled by ii (speed) in formula Q. The repetition
functions here make sense for this effects-based
preset.

Library Search:
Category: Keyboard
Type: Lead
Character: Looping, Bright, Echo
Polyphony: 2+

All Wavebank waves are Aftertouch (Y-Based) Controls (full or partial):

Aftertouch Stepped (G). • Speeds up iterations (F)
WaveBank1 has variable • Applies SG3 triangle modulation to Duty cycle of both
amplitude. Each has 2 waves at WaveBanks (H)
X and X*2 (8va). Y scaled Duty • Scales (Y+Z) enveloped inputs to the three low pass filters.
cycle that uses SG modulation. • Scales (Y+Z) speed of SG3
• Controls SG sine modulation applied to the cutoff
frequency as offsets of LP 3 (positive modulation offset)
and LP 4 (negative modulating offset)

218
 Noise jupipad Macro Controller Usage
• Y+Z scaled i: (cutoff) – Applies secondary cutoff envelope scaled by Z (I)
OSC 1 ii: (envAmt) - Applies primary cutoff envelope scaled by Z (C)
Master Section
• SG Freq Mod Recirculator
iii: (attack) – Decrements the SG frequency used for cutoff envelopes
• Fixed SpB = 0.7 iv: (release) – Adds Persistence on cutoff envelope (C), LP 5 output and
LP 5 SL/SR Reverb Extend LP 5 input into SummedDelay (L).
• SG modulated v: (chorus) – Controls Tapped Delay output along with SG5 Frequency (R)
OSC 2
cutoff scaled by Z that applies the triangle chorus modulation in formula Q.
• SG Freq & Phase Summed Delay
with Y offset vi: (modulation) – Controls Frequency of SG4 (P) and Frequency of SG1
Mod, Fixed SpB=0.7 • 100ms
• High Bandwidth 9 (P) – both are offset (Y+Z).
• 2 taps alternating
OSC 3 SL
in stereo field,
• X Freq, Y SpB Ctrl Tap 1 Note formula L that uses a complex chain of Ancillary functions to
with offset delay
• Y SpB Control SR create the desired envelope attack (iii) with release on (iv):
percentages Tap 2 L-> (ancillary) J-> (ancillary) H-> (ancillary) F
OSC 4
• Sine Mod
• Waveshaped by LP
5 scaled by Y

Library Search:
Category: Classic
Type: Pad
Character: Analog
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Controls Waveshaping for OSC 4 as well as LP 5 output and
input to summed delay (L)
• Offsets OSC 3 input into LP and Spectral Balance of OSC 3
(M)
• Offsets OSC 4 input into LP (N)
• Offsets LP Cutoff frequency (O)
• Offsets (Y+Z) SG1 Frequency (U) and also (Y+Z) scales it (U)
• Scales (Y+Z) SG4 Frequency (S)
• Scales (Y+Z) Noise input to LP (V)
219
 jupinard (Basically, “jupipad” with LP Replaced with Kinetic Bank Now Acting as a Low Pass Filter) 220
Macro Controller Usage
Noise i: (cutoff) – Applies secondary Kinetic cutoff envelope scaled by Z (I)
• Y+Z scaled ii: (envAmt) - Applies primary Kinetic cutoff envelope scaled by Z (C)
OSC 1 Master Section iii: (attack) – Decrements the SG frequency used for cutoff envelopes
• SG Freq Mod Recirculator iv: (release) – Adds Persistence on cutoff envelope (C), LP 5 output and
• Fixed SpB = 0.7 Kinetic 1 SL/SR Reverb Extend LP 5 input into SummedDelay (L).
• Emulates filter v: (chorus) – Controls Tapped Delay output along with SG5 Frequency (R)
OSC 2 that applies the triangle chorus modulation in formula Q.
(see “jupipad” for
• SG Freq & Phase Summed Delay vi: (modulation) – Controls Frequency of SG4 (P) and Frequency of SG1
the LP filter that (P) – both are offset (Y+Z).
Mod, Fixed SpB=0.7 • 100ms
takes the place of
Kinetic bank in • 2 taps alternating
OSC 3 SL Note formula L that uses a complex chain of Ancillary functions to
that preset) in stereo field,
• X Freq, Y SpB Ctrl Tap 1 create the desired envelope attack (iii) with release on (iv):
with offset delay
• Y SpB Control SR L-> (ancillary) J-> (ancillary) H-> (ancillary) F
percentages Tap 2
OSC 4
• Sine Mod
• Waveshaped by LP
5 scaled by Y
Library Search:
Category: Classic, Keyboard
TBD Type: -
Character: Analog, Simple, Intimate,
Distorted
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Controls Waveshaping for OSC 4 as well as LP 5 output and
input to summed delay (L)
• Offsets OSC 3 input into LP and Spectral Balance of OSC 3
(M)
• Offsets OSC 4 input into LP (N)
• Offsets LP Cutoff frequency (O)
• Offsets (Y+Z) SG1 Frequency (U) and also (Y+Z) scales it (U)
• Scales (Y+Z) SG4 Frequency (S)
• Scales (Y+Z) Noise input to LP (V)
 Kinetic Bank 1 Kinetic Bowed FDN (Feedback Delay Network)
Single Pole HP 5 • Tap1 excites
• Cascade 4 Delay Anchor
• Cutoff 1Hz Macro Controller Usage
Feedback Master Section i: (damp) – Adjusts Single Pole Low Pass Filter cutoff - damping network (T)
Recirculator ii: (release) – Adds Persistence to Tapped outputs and all 1LPs cutoff scaling D&S)
Tap 1 Mod Delay
SL iii: (spread) – Adjusts tap delay time of Taps 2-4 in parallel (all have different offsets –
Single Pole LP 1 • Offset 1 changes harmonics and tuning) (Q, P & O)
• Cutoff X+Y Ctrl
iv: (harmonics) – Ancillary scaling on Taps 2-3 delay time (changes harmonics and
Complex Delay • Adjustable Persist Micro Delay tuning) (N, M & L ancillary to Q, P and O)
Feedback • 25 ms v: (tune) – Scale factory on All tap delays – adjusts tuning in parallel (F – ancillary to E)
Single Pole LP 2
Network Tap 2 SR • 4 taps vi: (friction) - Adjusts Slipping Friction of Kinetic bank increasing intensity (A)
through 4 Taps • Cutoff X+Y Ctrl • Offset Q alternating in
and a set of 4 • Adjustable Persist
stereo field.
1LP filters with Single Pole LP 3 • Delays scaled to
Tap 3 SL
Kinetic bank for • Cutoff X+Y Ctrl X for tuning
main input fed • Offset P • All Taps feed all
• Adjustable Persist
back the 1HP 1LP filters
filter. Single Pole LP 4 SR
Tap 4
• Cutoff X+Y Ctrl • Offset O
• Adjustable Persist

Library Search:
Category: Other
Taps output in All 1LP filters are Network passes through 1HP.
Type: Atonal
1LPs are fed back
alternating SL & SR fed in parallel by Disable R that and all reverb stops. into the Taps (R). Character: Dark, Evolving, Reverberant, Stereo, Sound Design
stereo fields with all 4 taps. Some Polyphony: 2+^ (allow increased computation rate)
persistence added fed + (U) and some
using ii (release) fed neg (V).
Kinetic Bank used to Drive the sound Aftertouch (Y-Based) Controls (full or partial):
through Anchor excitation through SG3 – • Increases Kinetic Static Friction of Kinetic Bank (G)
Phase option. Disable Z (kinetic input to (minor effect – creates a bit of an overloading sound at
1HP) and preset is silent. max Y)

Static Friction drives a lot of

the big effect. Try disabling G.
Complex interaction of delay
D adds persistence on cutoff using ii (release) T is cutoff control X scaled with I (damp) manipulation for spread, 221
harmonics and tuning.
 klavunk
Macro Controller Usage
LP 5 i: (drive) – Increases modulation scaling on OSC all scaled by X (F).
Noise ModMan 1 SL/SR
• 1KHz cutoff ii: (structure1 – Changes ModMan 2 Frequency Spread (in quantized “1” increments (S).
• Unity • Pizzicato Loud
• Unity Bandwidth iii: (structure2) – Scales OSC 2 frequency (also quantized in “1” increments) which is
• sF based used to modulate OSC 1 (U).
Master Section iv: (resonance) – Changes bandwidth of both ModMans offset Y+Z (A).
OSC 1 Mod
ModMan 2 SL/SR Recirculator v: (keyNoise) – Controls width of the LP 4 pulsed noise (J) output to simulate keyNoise
OSC 2 • Multi-Mod Reverb (J). This noise is actually a noise modulated OSC 3 fed into LP 4 that has this pulse
Mod
• Freq Y+Z • Pizzicato Loud
• Sine Mod enveloped applied to its cutoff.
offset (N) • sF Based
• Quant Harm SL/SR
• Outputs SG vi: (body) – Controls Convolution index and mix through Waterphone2->Waterphone2-
amplitude >Autoharp1 (G). Note that the same formula G is used for both that only goes to .5 (so
modulated (P) max convolution applied is 50% wet/50%dry, however the Convolution Index column is
Mod Noise multiplied by 4 so that will range 0..2 (thus moving through three convolution responses
• Pulsed as noted).
• Y+Z scaled

OSC 3 LP 4 SL/SR
Noise
• Sine • 1KHz cutoff
• Fixed= .1
• Quant Harm • Unity Bandwidth

Library Search:
Category: Keyboard
Type: Elec. Piano
Character: Electric, Clean
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets Resonance control with Z (A)
• Scales the inputs (Y+Z) into ModMan 2 (B)
• Scales (Y+Z) keyNoise (J)
• Offsets (scales Y+Z) OSC 1 output (C, L)
• Control amount of OSC 1 self-modulation (M)
• Scales (Y+Z) detuning offset to OSC 1 (N)

222
 Macro Controller Usage
Noise
• Scaled lalalead i: (modulation) – Adds detuning offsets to OSC 1 (neg) and Wavebank f2
(positive) (D), Controls OSC 3 input into LP 2 & HP 5 (E), Controls
WaveBank 1 amplitude of Wavebank (P) and Controls (scaled Y+Z) speed of SG1 which
• Square, 2 Waves affects triangle SG modulation of OSC 3 and SpB of OSC 4 (H).
LP 2 SL/SR
• 1 Freq Offset ii: (resonance) – Controls amount of LP 2 feedback into LP 2 and LP 5
• Cascade 4
input into HP 5 (E). Also controls amount of noise sent into LP 2 and HP 5
• X+Y+Z Cutoff Ctrl Master Section iii: (cutoff) – Controls filter cutoff (Scaled X+Y+Z) (A, Q, B). Also controls
OSC 1 • High Bandwidth Recirculator
• Freq Var offset SL output of HP 5 (M)
(18) Tap 1 Reverb Extend iv: (release) – Applies blend of Persistence on A, B, C, M, Q. C also sends
• SpB = .7 Summed Delay
• 400 ms SR LP 2 (under Z control) to outputs as well as control amount of LP 2 sent
Tap 2 Outputs are SG into the SummedDelay.
Feedback • 4 taps, delay
OSC 3 SL modulated (D) v: (highpass) – Sets W through blend changing the scaling of HP 5 inputs
percentages
• Multi-Mod Tap 3 and cutoff (G)
HP 5 offset +/- in vi: (delay) – Sets the amount of Tapped Delay out (N) and changes
• SpB = .7 • Cascade 4 stereo field
SR
Tap 4 Summed Delay frequency offset.
• X+Y+Z Cutoff Ctrl Feedback
OSC 4 • High Bandwidth SL/SR
• X 8va (18)
• SG & Z mod SpB
Noise
• Scaled

Library Search:
Category: Lead
Character: Analog
Setting: Portamento, Interval: 2nd
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (X+Y+Z) LP 2 cutoff (A)
• Scales (X+Y+Z) HP 5 cutoff (Q)
• Scales (Y+Z) SG1 frequency use for direct modulation
of OSC 3 and modulating Spectral Balance of OSC 4.
• Offsets (Y+Z) scaling of LP 2 (T)

223
 lampadaire Macro Controller Usage
i: (BPratio) – Quantize scales BP3 cutoff (O)
Noise Mod
Noise ii: (sub) – Main control of Spectral Balance on Sub OSC 5 (D)
• V Control • S&H iii: (cutoff) – Scales Kinetic Cutoff Frequency (H)
Osc 4
SL/SR iv: (envTime) – Adds Persistence/Release on formulas related
Mod • 8va Master Section to envelopes (B, C, G &P). Also adds Persistence to BP3 output
SL/SR Recirculator (K). Finally controls SG1 Frequency used for the envelopes.
Osc 1 Mod
Noise Mod Kinetic 1 Reverb v: (age) – Adjusts Diffuse Property of the Reverb (Q)
• V Control • Multi-Mod • SG Cut Summed SL Extend vi: (ambiance) – Controls Tapped delay output (R) that has a
Envelope Delay Tap 1 chorus effect applied using (U).
Mod • 400ms SR
• 4 Taps Tap 2 Secondary
Noise Mod Osc 2 SL
• V Control Alternating
• Multi-Mod SL/SR to Tap 3
SR
Osc 5 outputs
Tap 4
• 8vb
Noise BP 3
• Unity • Quantized SL/SR
Cutoff

See Inro Material for discussion of Feedback

Kinetic cutoff Envelope. This envelope uses a Pulse on
SG2 added to Ramp on SG2
with adjustable Persistence
for the input envelope of
Kinetic Bank into Summed
Delay.

Formula P also uses Ancillary

Library Search:
(L)that in turn uses Ancillary J to
apply a dual SG envelope for Category: Classic
Kinetic input into Summed Delay Type: Pad
Character: Analog, Lo-fi
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Offsets Spectral Balance of OSC 5 (sub OSC) (N)
• Scales (Y+Z) a number of the envelopes (B, C, L & P)
• Scales (Y+Z) output of BP3 (K) 224
 Macro Controller Usage
Noise (Scaled) larekin i: (cutoff) – Offsets the Kinetic bank frequency with rather high Persistence
OSC 1 Master Section also using offsets X+Y+Z (J)
• Freq and SpB SL/SR ii: (envAmt) – Sets (scaled Z) SG ramp envelope width for Kinetic Frequency
Kinetic 1 Recirculator
use Y Ctrl • All OSCs excite Reverb Extend (B)
iii: (attack) – Adjusts SG1 Frequency used for Kinetic cutoff envelope
OSC 2 Anchor SL
Tap 1 Outputs are Y+Z iv: (release) – Adds persistence using blend to Kinetic cutoff (B), controls
• Freq*SG Mod • Noise affects Summed Delay amount of pre-aftertouch Kinetic input to SummedDelay (T,K),
Friction • 400 ms SR scaled
use Y Ctrl Tap 2 v: (tape) - Adjusts convolution (D), applies SG triangle modulation on
• Only Friction • 4 taps, delay SG modulated SummedDelay time (M), Controls SG4 frequency (scaled Y+Z) that adds
and Anchor SL Convolution
OSC 3 percentages Aftertouch SG sine vibrato on all four oscillators (F) and adds a similar SG
Tap 3 Mix
• Freq Y Scaled programmed – offset in triangle modulation on OSC 2 (R).
SR
all other stereo field Tap 4 vi: (delay) – Adjusts tapped delay output as well as base SummedDelay mix.
OSC 4 properties fixed
Feedback
• Freq and SpB per properties
use Y Ctrl panel

Note formula D uses Controller v (“tape”) as both control for W (0. to 0.1) and also in the Blend (W going Primary
down to 0). This will result in a triangle-like shape (ramp up-down) for W (offset by Aftertouch motion). Secondary
Test this yourself on a simple formula: Set W value at Primary 1 value and Secondary is 0. Set MC also 0..1.
When you move from Primary to Secondary (as Macro I changes) you’ll see this behavior:
Macro i: 0 = 0, 0.5 = 0.25, 1 = 0, So it’s useful to make a triangle shaped control. Making W a value of 4 for
Primary and 0 for Secondary means now the formula will output a triangle to goes from 0 to 1 to 0
BTW it not really a straight-line triangle as the mid points (at cc data values 32 and 96) are at 75%, while a Library Search:
true triangle would be 50%. (Thanks to Ed Eagan for this analysis) Category: Classic
Type: Pad
Character: Analog, Lo-fi
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Controls SG modulation of Frequency of all OSCs (F).
• Offsets Spectral Balance for OSC 1 & OSC 4 and also offsets
OSC 1&OSC 4 input into Kinetic Bank (E)
• Offsets with Z minimal convolution used as part of “tape”
control (D)
• Offsets (X+Y+Z) Kinetic bank Frequency/cutoff
• Scales output up a bit (O)
• Scales (Y+Z) SG4 Frequency used for vibrato (P)
• Secondary OSC 2 modulation offset control – increases
modulation amount with high interpolation (S)
• Increases Kinetic Bank output and Kinetic input into
SummedDelay (T)
225
 IOSC 1 lytiny SL/SR Macro Controller Usage
• X Master Section i: (tone) – Adjusts (Z scaled) Spectral Dilation of both ModMans (B) and controls output
• X+Y SpB Ctrl Recirculator of ModMan 2 (B).
OSC 2 Reverb ii: (excitation) – Controls (Z-scaled) OSC 3 input into LP 5 (C) which in turns excites both
SL/SR
ModMans.
• 4X
• Y SpB Ctrl • SL/SR iii: (sine) – Controls Spectral Balance (scaled Y+Z) of iOSC 1 (P)
amplitude iv: (mute) – Increases Mode Bandwidth Spread of both ModMans (D). Removes
OSC 4 SL/SR modulated for Persistence to ModMan 2 output (F) and ModMan 1 output (O). Removes Persistence
• 2X, Z SpB Ctrl from OSC 4 Spectral Balance and OSC 4 output (H). Removes Persistence from OSC 2
tremolo 180
ModMan 1 Spectral Balance (J). Removes Persistence from OSC 1 output (U).
degrees out of
OSC 3 v: (noteOff) – Controls secondary note that comes in on finger release (H) and to lesser
Noise LP 5 • Viola Legato phase on each
• SG * Z • Waveshaped • qF based
extent (J). Actually noteOff when raised brings in OSC 4 after effect (maybe should be
• X+Y+Z Cutoff Ctrl channel (R & Q) called noteOn).
• SpB=1
• Unity Bandwidth ModMan 1 vi: (tremolo) – Controls SG2 sine amplitude modulation on SL/SR columns 180 degrees
Noise (Z Pulsed) out of phase with each other (R, Q) and also controls SG2 frequency scaled Y (K)
• Viola Legato
• sF based
Note formula H controls output for OSC 4 and OSC 4 v macro (“noteOff”) control on W and also uses blend iv (“mute”). This formula controls he
Primary Secondary output of the OSC 4 release tone. It uses “Derivative Z” with Ancillary “(f Min 0) x 2”. This brings the note in on Release if “noteOff” control is turned
up. When Z Mode is Derivative, the Z value will be the finger’s Z velocity (positive or negative) when the finger is moving, or 0 if the finger stops
moving. Note that even at Minimum Blend value, Persistence value = 9 (fully muted), and this still allows the formula to ring a little to create
the note after release even if Mute is fully engaged. When mute is reduced, that release tone will ring out longer along with all the other
unmuted effects that will ring out in a similar fashion. Also note the “min n” function returns a value of “n” or ay value that is beneath that so
if formula value is -0.12 (f Min 0), -0.12 will be returned. If value is +0.12, 0 is returned, etc.

Library Search:
Category: Tuned Percussion
Type: Struck, Demo
Character: FM, Acoustic, Shaking
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Controls “noteOff” function for OSC 2 output (J)
• Brings in tremolo frequency change (K)
• Offsets Bandwidth on both ModMans (G)
• Scales (X+Y+Z) LP 5 cutoff frequency (M)
• Offsets/increments Noise into LP 5 (N)
• Scales (Y+Z) spectral balance of OSC 1 (P)226
• Scales (Y+Z) output of OSC 1
 marie s birds SL Macro Controller Usage
OSC 1 Master Section
Noise i: (speed) – Controls speed (scaled Y+Z) of SG2 used to trigger SG1 for
• Multi- Recirculator
• MC Ctrl rate of bird call (F, A).
Frequency Reverb Extend ii: (tune) – Frequency scalar on OSC 1 and OSC 4 changing pitch of
Column Mod LPF 5 • Outputs all
FMod the call.
OSC 2 • Variable SpB • Cutoff 9 KHz SL send to either L iii: (fmAmt) – Controls the main amount of modulating OSC 1 & OSC
• Sine, Var • Bandwidth 9 Summed Delay Tap 1 or R channel 3 input into OSC 1 and OSC 4 (the OSCs that are output)(K) and
FMod
Freq offset • Inputs SG • 400 ms SR emphasizing controls the fixed frequency of those modulating OSCs which are
modulated Tap 2 offset in pitch (I) so it also affects pitch of the chirping.
FMod • 4 taps, delay stereo effect
OSC 3 scaled by Z SL • LP Outputs iv: (timbre) – Control Spectral Balance (to 0.5) of the main OSCs (P)
OSC 4 percentages
• Sine, var Tap 3 v: (noise) – Controls frequency column modulating noise input to OSC
• Multi- offset (+/-) in have SG
Freq Offset FMod SR 1 & OSC 4 (V)
Frequency stereo field modulation
Tap 4 vi: (delay) – Controls Z scaled Tap output (L), Frequency offset of SG3
Column Mod applied scaled
Feedback (S) which is used for modulating tapped delay percentage offset (Q)
Noise • Variable SpB by Z (warbling
SR as well as the main Delay time mix (M)
• MC Ctrl effect)

Note formula B controls the frequency of single cycle SG1 which is scaled as usual (Y+Z) so as you press frequency
increases but also note the trigger of SG1 uses formula A which generates pulses based on the frequency of continuous
SG2. So every time you press, SG2 triggers on W and that causes formula A to continuously trigger SG1 which is in turn
used to create the tweeting envelope of formulas E (for frequency modulation) and D for output of the main OSCs1 and
OSC 4 and input into LP. Try replacing formula A with “W”. What happens? You get one chirp because SG1 is not
retriggered by SG2 and you get one single cycle on the SG.

Library Search:
Category: Other
Type: -
Character: Sound Design, FM, Acoustic
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) frequency of SG1-based chirp envelope (B)
• Scales (Y+Z) the main OSC frequency multiplier (E)
• Scales (Y+Z) frequency of SG2 that controls rate of chirps
• Controls Persistence (Y+Z) applied to the main OSCs
frequency multiplier (R) and (O – but O is not used in the
formula and can be reused if needed to modifications).

227
 metarmonix Macro Controller Usage
i: (tune) – Controls X offset BiqBank Frequency that set base pitch (M)
Noise LP 5 ii: (structure) – Controls (X offset) linear frequency spread of BiqBank
BiqBank 1
• Unity • X+Y Cutoff Ctrl SL/SR iii: (mute) – Controls Center of Focus of BiqBank as well as lowers cutoff
• 48 modes Master Section
frequency of single pole LP 3 & 4 scaled (Y+Z) (E)
• Excites • Bandwidth 9 Recirculator iv: (resonance) – Adjusts BiqBank Linear Mode Bandwidth spread (S), adjusts
BiqBank Reverb Extend (lowers) BiqBank bandwidth with fine negative offsets by (Y+Z) from base
value of 0.8 (O) and adjusts cutoff (scaled Y+Z) of 1FP5 which is the main
Full Convolution noise driver exciting BiqBank (B).
Feedback
Waterphone2-> v: (metal) – Controls tapped output that adds a pitched metallic component
Micro Delay 1LP 4 Waterphone 1-> to the sound (D)
• 50 ms Tap1 • X+Y Scaled cutoff Autoharp1-> vi: (body) – Convolution control through full range of Waterphone2-
• 2 taps (one SL/SR
Autoharp2 >Waterphone1->Autohapr1->Autoharp2 using fixed 50% wet/dry mix (H).
scaled by X, Feedback
one not to
SL/SR
create stereo Feedback
effect)
• Small FDN Tap2 1LP 3
• X+Y Scaled cutoff
Feedback
Note interesting formula O used to lower BiqBank Bandwidth from default of
0.8, with Y+Z offsetting (small values here) can be negative as well as positive.

The entire preset is driven by sending unity

noise into the LP 5 which is then pulsed into
Library Search:
the BiqBank with formula Q to get sound. Category: Percussion
The pulsed LP noise is also Type: -Character: Acoustic, Metallic, Analog
Tapped Single Pole FP sent into the MicroDelay (C) Polyphony: 2+
delay loop is sending .5
from taps back into 1LP Aftertouch (Y-Based) Controls (full or partial):
filters that in turn feed All delays are fixed expect for • Scales (Y+Z) cutoff of 1FP5 noise driver (B)
MicroDelay (F) formula J which scales by X • Scales (Y+Z) cutoff frequency
• Offsets (slightly negative) 1LP 3 & 1LP 4 input into
Fixed 27Hz
MicroDelay t1 and t2 (F).
SG pulse • Offsets (Y+Z) BiqBank Bandwidth down
• Offsets width of noise pulse as Ancillary (that is first Z
scaled) into the BiqBank that generates the sound (Q, R)
228
 Macro Controller Usage
mild kisses i: (timbre) – Controls (Scaled Z) amount of OSC 2 modulation applied to OSC 1, which
OSC 1 changes timbre. Also controls amount of modulation applied to OSC 1 from ModMan
LP 4
• Multi-Mod (L). Finally controls LP 3 inputs from OSC 1 (Scaled Z) (A) and OSC 2 (Scaled Y) (S).
• Cascade 2 SL/SR ii: (brightness) – Scales LP 2 cutoff (Q). Controls Spectral Dilation of ModMan (V).
• Y+Z scaled SpB • Adjustable cutoff Master Section
iii: (mute) – Offsets/increases Bandwidth of ModMan (F). Adjusts (with Y offset) Mode
• Bandwidth 9 Recirculator
XMod Bandwidth Spread of ModMan (T)
Reverb Extend
iv: (release) – Adds Persistence to LP 2 inputs from OSC 1 (A), OSC 3 (D) and ModMan
OSC 2 Summed Delay SL/SR (I). Adds Persistence to output scaling (V ancillary of U).
• Sine, Modulated • 200 ms • Outputs v: (body) – Controls Convolution index and mix through Wood->Metal->Waterphone2
• 4X Frequency • Controllable (C) scaled by X (O)
Mod vi: (delay) – Controls SummedDelay delay time (C), output level of the delay (K) and
Feedback amount of delay fed back into LP 4 delay feedback loop (N).
OSC 3 Note LP 5 excites ModMan with unity filtered noise using formula H that pulses
• Multi-Mod the noise scaled by Z with an ancillary offset that scales by (X+Y+Z). Formula H is
• Y+Z Scaled SpB also placed on the direct line. This adds punch and drive to the ModMan
excitement (try disabling H as LP 5 input then restore and disable direct H input.
Notice what each adds.
LP 5 ModMan 1
Noise
• Adjustable cutoff • Ukelele 3
• Unity
• Bandwidth 5 • Pulse excited (H)

Library Search:
Category: Strings
Type: Plucked, Demo
Character: Analog, Soft,
Setting: Portamento, Interval: 2nd
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Controls/Scales amount of OSC 2 input to LP 3 (S)
• Offsets Mode Bandwidth spread of ModMan down (T)
• Scales (Y+Z) spectral balance of OSC 2 and OSC 3 (E)
• Scales offset of OSC 3 into LP 4 (J ancillary of D)
• Offsets (scaled X+Y+Z) LP 5 noise input into ModMan R
Ancillary of H)
229
 Mod montine SL/SR
230

OSC 1 LP 5
Noise • Sine Master Section Macro Controller Usage
Mod • Cascade 2 Feedback
Recirculator i: (timbre) – Adjusts Bandwidth of BiqBank (F) and modulation (scaled
• Y Scaled
OSC 2 Reverb Extend Y) inputs of OSCs (D)
Summed Delay
• Sine, 5X SL ii: (structure) – Quantized adjustment of BiqBank Non-Linear
Noise • 200ms Tap 1
Mod Freq Frequency Spread (H) and Base Frequency of SG2 which is part of
• Y Scaled • 2 Taps sent SR Tape control (I).
Mod to opposite Tap 2 iii: (vibrato) – Adjusts vibrato width on all OSCS (L) though Frequency
stereo is set with ii (structure)
OSC 3
channels iv: (release) – Adds Persistence on all OSCs input into LP (C, M, E)
Noise • Sine, 8va
• Y Scaled Mod v: (tape) – Controls Convolution (0...35) Wood-Metal and Control
S&H amount on the Frequency of SG2 that controls Vibrato – so this
Mod adds randomness to the vibrato adding a tape-like distortion.
OSC 4 SL/SR vi: (delay) – Controls SummedDelay Delay Time (V) and Tapped Delay
Noise BiqBank1
• Y Scaled Mod • Sine, 8vb output (S).
• 24 Modes
Noise
• Pulsed

Library Search:
Category: Keyboard
Type: -
Character: Acoustic
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

4 OSCs: at X, 8va, • Scales modulation of OSCs (D)
8vb and 5x = ca. • Scales (Y+Z) OSC 1&OSC 4 inputs into LP (C)
2octs and a third up. • Scales (Y+Z) SG2 Frequency (I)
• Scales (Y+Z) Vibrato on all OSCs (L)
• Scales down Noise modulation of all OSCs (N) – “Tape” control
• Offsets (Y+Z) LP cutoff frequency (P)

Fixed Detuning (R) offset 4 Taps defined –

on OSCs3, 4 & 5. only 2 used
 neon key
SL/SR
OSC 1 Macro Controller Usage
• X Offset Pos (F) i: (timbre) – Controls OSC 4 input to LP 2 (C) and Spectral Balance scaling
LP 2 Master Section
• Y SpB Control of OSC 1 an OSC 4 (O).
• Cascade 4 Summed Delay Recirculator ii: (envAmt) – Control of LP 2 envelope amount scaled Z (E)
• Complex X, Y, • 50 ms Tap 1 SL Analog Echo iii: (cutoff) – Increases cutoff (scaled X+Y+Z) of LP 2 (G). Also control
OSC 3 Z based • 2 Taps output one SG Mod frequency of SG1 that drives the cutoff envelope (I)
• X Offset Neg (X) Cutoff left, one right • Ramped Z iv: (decay) – Adds Persistence to outputs (D) and cutoff envelope (E)
• Y SPB Control • Control channel. based v: (resonance) – Controls amount of Waveshaped OSC 5 sent into LP 2
• Very high • Tap %s SG Tap 2 SR envelope on (Q) and decreases Bandwidth of LP 2 (G)
Bandwidth modulated SG Mod outputs (D). vi: (Modulation) – Controls outputs of taps with high Interpolation (R)
OSC 4 (28) and frequency of SG5 used to impose triangle delay modulation on the
• Slight fixed
• Freq SG Mod two taps (R).
feedback
• Fixed SpB = .7

SineBank 1 SL/SR
OSC 5 Waveshape Ctrl
• Waveshaper • Only X used on F
Feedback SL/SR
• Y+Z Mod Ctrl

Library Search:
Category: Keyboard
Type: -
Character: Analog
Polyphony: 2+

The main complexity of this preset is how LP is used. It takes all

OSC inputs and has a complex cutoff control that uses a cutoff
Aftertouch (Y-Based) Controls (full or partial):
envelope (E), coupled with X+Y+Z scaled cutoff control (G) with
additional Aftertouch cutoff offsetting (U)
Tap4 set but • Offsets Spectral Balance of OSC 1 and OSC 4 (O)
not used. • LP 2 cutoff offset (U)

231
 notenstrum (1) – Basic Design (Also see next slide for detailed review 232
of how strumming effect is produced)

OSC 1 SL/SR Macro Controller Usage

i (timbre) - Changes Timbre through formula M
• F= X + Z+Y offset Master Section ii (note1) - Changes OSC 1 (1st strummed note) frequency
• Multi-Modulated Summed Delay Recirculator iii (note2) - Changes OSC 2 (2nd strummed note) frequency
• 50 ms SL
Modulation Tap 1 Analog Echo iv (release) - Adds sustain (release) through blend of Persistence
• 2 Taps output one SG Mod on output formulas F, H and I
OSC 2 left, one right • No program Control v (feedback) - Modifies amount of OSC self-phase modulation on
• F= X + Z+Y offset channel. • Fixed output scale formula P
SR vi (chorus) - Modifies amount of tapped SG modulation (chorus
• Multi-Modulated • Tap %s SG Tap 2 (x3) used for SL/SR.
modulated effect) produced by formulas Q & R on Tap time ratios.
Modulation SG Mod You can try adjusting
• No feedback this if you want less
OSC 3 or more output.
• F= X + Z+Y offset SL/SR
• Multi-Modulated
Modulation
SL/SR

Library Search:
Category: Classic
Type: Keyboard
Character: Analog, Strumming
Note: Wavebank and OSC 4 are OSC output Z timed offset Polyphony: 2+
not actually used. They can be pulse (also sent in similar
ignored. They must have been fashion into delay to taps). Aftertouch (Y-Based) Controls (full or partial):
Formula P = Self modulation used for initial versions and • Increases magnitude of formulas F, H and I,
OSC Outputs, Z
feedback controlled by rejected. making sound “boost” in Aftertouch area.
controlled synced to Z
offset SG pulse “strum”. v=“Feedback”
SG trigger formulas G and J use
discrete Z pressure differences to
Tapped output controlled by vi=“Chorus”
create “strum” (see next slide)

Formula M controls timbre

through I (“timbre”)
SG Taps Freq control formulas Q
and R use dynamic SG modulation
OSC 3 is base freq. OSC 1 and OSC 2 use Note1 and Note2 controls to change pitch based on
to create chorus effect.
0.5 quantization through 12 scaling values creating harmonic overtone frequency change.
Formulas N (ii controlled) and O (iii controlled).
 notenstrum (2) – Details on How “Strum” is Created 233

Three Oscillators
output t SL/SR
using formulas:
I, H and F
OSC 2 (Main OSC) - Note: OSC 4 and Wavebank A
SG2 – Triggers OSC 1 - SG1– Trigger OSC 2 – SG3– Trigger ¾ are not actually used. Must
Immediately on ½ way down Z (1st way Down Z (2nd have been experiments when
W (Gate) strummed) strummed) designing the preset.

Three Shape Generators that control

the envelope attack of the three OSCs.
OSC 1 (1st of the two
On SG Trigger (W), OSC 1 will single cycle pulse to notes strummed)
SL/SR. Z starts out > 0 so note comes in with some
Triggers on formula G
volume (0.13) and Z then controls volume from there.
OSC 3 (Main Osc)
Triggers on W (Key
press gate)
OSC 2 (2nd of the two
When Z gets to Midway point, formula G will trigger notes strummed
OSC 1 pulse as T goes > 0. Z will be non-zero a bit triggers on formula J)
before that, in formula F and control volume.
Note: If you don’t want that
third note coming in (you
want power chord on full
press) just disable formula J.
When Z gets to a bit past ¾ point, formula J will
trigger OSC 2 pulse as T goes > 0. Z will be non-zero
a bit before that, in formula H and control volume.
 oblivion Feedback
Macro Controller Usage
i: (bow) – Adjusts Bandwidth with Z offset on both BiqBanks (C).
Summed Delay Adjusts Center of Focus on BiqBank1 (B). Controls/scales BP3
• 200 ms Tap 1 SL cutoff (internally scaled Y+Z)
• 2 Taps output one left, Master Section ii: (subTimbre) – Controls OSC 4 & OSC 5 Spectral Balance (O)
SG Mod iii: (highLayer) – Controls output and associated dual envelope
one right channel. Recirculator
of OSC 4 (K, F) both scaled Z.
• Tap %s SG modulated Reverb Extend
Tap 2 SR iv: (envTime) – Controls Persistence on OSC envelope (K) and
OSC 5 offset Pos Tap1 and the frequency of OSC 1 that drives the envelope (H) and
Neg Tap2 SG Mod • Outputs scaled
• Multi-Mod Persistence on OSC 3 modulation of OSC 1 (A). Adds Persistence
• SG Pulse + Y SpB SL/SR with high on OSC 5 output (N) and adds Persistence on OSC 4 & OSC 5
Persistence (L) Spectral Balance.
Mod Mod
SL/SR • Y+Z Scaled v: (tape) – Applies triangle modulation to BP cutoff (G). Controls
Noise OSC 4 Reverb frequency (scales Y+Z) of SG2 that applied alternating SL/SR sine
• Pulse *Z • Multi-Freq SL/SR • SG modulated amplitude modulation to BiqBank outputs (U, T). And modulates
• SG Pulse + Y SpB BiqBank 2 BiqBank 1
Convolution both SG3 and SG5 frequencies (G) used for applying triangle
• 8 Modes • 24 Modes modulation to tap delays and triangle modulation to
SL/SR convolution index and mix and R1 Reverb Diffuse (G).
vi: (delay) – Sets (scaled Y+Z) SG5 Frequency (R) and controls
BP 3 SummedDelay feedback (M).
Noise HP 2 Mod OSC 1
• SG Mod scaled
• Unity • 2X Cutoff, BW=9 • Waveshaper
Y+Z Cutoff

Library Search:
Category: Strings
Type: Bowed, Pad
Character: Ensemble, Layered, Stereo, Lo-fi, Evolving
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Scales (Y+Z) BP cutoff multiplier (E)
• Offsets BiqBank1 Linear Mode Bandwidth Spread. Factor (D)
• Controls OSC 4 modulation of OSC 5 (I)
• Controls BiqBank2 Center of Focus (J)
• Scales (Y+Z) OSC 5 input into SummedDelay (N)
• Offsets Spectral Balance of OSC 4 & OSC 5 (O)
• Offsets BiqBank1 & BiqBanks2 modulation of OSC 5 (Q)
• Scales (Y+Z) Recirculator mix (R) [note use of finger averaging]
• Scales (Y+Z) SG2 Frequency used in BiqBank SL/SR output
modulation.
234
 octalive drum (see Metarmonix for a slightly simpler treatment – Magenta blocks/text are major changes)
Noise LP 5 BiqBank 1 SL/SR Macro Controller Usage
• Unity • X+Y Cutoff Ctrl • 8 modes Master Section i: (tune) – Control base frequency (offset X) of both BiqBanks (M)
• Feeds the • Bandwidth 9 BiqBank 2 SL/SR Recirculator ii: (structure) – Controls the Linear Frequency Spread of both BiqBanks (N).
preset • 48 Modes Reverb Extend iii: (brightness) – Controls (scaled Y+Z) LP 5 cutoff (B)
iv: (resonance) – Controls Bandwidth (offset Y+Z) of both BiqBanks (O).
OSC 1 SL/SR No Convolution v: (harmonics) – Center of Focus Control (Main Control for BiqBank1 and Offset
• Freq scaled Sine applied here vs.
to X for BiqBank2) – emphasizes higher harmonics as brought up (S).
vi: (metallic) – Controls amount of tapped output scaled by X (D).
Feedback Metarmonix
Micro Delay 1LP 4
Note: This is a good preset to experiment with Pressure Sensitivity. Set it
• 50 ms Tap1 • Z based cutoff NoteOn pressure high and see how you lose a lot of dynamic control. Now
• 2 taps (one SL/SR
set if pretty low and see how you can make very fine dynamic changes in the
scaled by X, Feedback percussion attacks.
one not to
SL/SR
create stereo Feedback
effect)
• Small FDN Tap2 1LP 3
• Z Based Cutoff
Feedback

Library Search:
Category: Percussion
Type: Atonal
Character: Acoustic, Layered, Metallic
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) LP 5 cutoff (B)
• Controls amount of OSC 1 output (E)
• Offsets Band with (Y+Z) of Both BiqBanks.
• Controls Offset amount of LP 5 input into both BiqBanks
(L ancillary of Q)
• Offsets (Y+Z) amount of tapped delay fed into both
BiqBanks (P)
235
 osf dsf (1) Top level (see next page for formula analysis)
mod
SL Macro Controller Usage
OSC 1 Master i: (timbre) – Changes Spectral Balance of OSCs1&2 (C)
SL
• X Freq OSC 3 Section with Z scaling and scales SpB control of OSC 5 (M).
• Y+Z Scaled Neg Freq mod • Y+Z Scaled - Offset Recirculator ii: (modulation) – Increases the SG offset modulation
Offset Summed Delay SL Reverb “detuning” of OSCs 1-4 (B) – Y+Z scaled
• Sine, SG Freq Mod Tap 1
• SG Freq Mod • 400 ms iii: (vibrato) – Controls the SG based frequency
mod SR
• SpB Z scaled • 4 taps, delay modulation on all OSCs (H).
OSC 5 Tap 2
percentages iv: (envTime) – Controls frequency of SG1 used for
• X 8va, Z SpB offset (+/-) in
SL
output envelope scaling but also controls blend of
• SG Freq Mod mod Tap 3
stereo field Persistence on outputs.
SR v: (sub) – Brings up the attenuation of the SineBank
OSC 2 • Inputs scaled .1 Tap 4
• X Freq mod sub-oscillator (P)
OSC 4 vi: (delay) – Controls Tapped Delay output
• Y+Z Scaled Pos Freq • Y+Z Scaled + Offset Feedback
Offset • Sine, SG Freq Mod SR
• SG Freq Mod SR
• SpB Z scaled
mod SineBank 1 SL/SR
• X 8vb (sub oscillator)
OSC outputs (A, E, P), Main OSC modulation input (D ), output scaling (G) and main SG1
envelope frequency all use Blend on iv (envTime) to add Persistence/Sustain.

Library Search:
Category: Percussion
A slow (fixed once every 10
OSCs apply Type: Atonal
seconds) SG5 modulation of
alternating +/- Character: Acoustic, Layered, Metallic
Recirculator R1 (“Diffuse”) is
detuning The key to all the Polyphony: 2+
applied using V.
offsets (B) internal modulation (D,
controlled by ii F, ) is to keep input
(modulation) values low or you will Same formulas (A, E)
using X+Y start getting very noisy used to output OSCs as to Aftertouch (Y-Based) Controls (full or partial):
scaling modulation not desired input them into delay • Affects the Detuning of OSCs1-4 with Z
here. • Secondary volume output for OSCs1-4 taking
Formula G applies The SineBank adds a
over when Z ends (A,E)
a pulsed envelope low sub oscillator
R1 Mod w/SG5
• Increases modulation input to OSCs3-4 (F)
on outputs adding sine tone (O).
• Increases frequency (with Z and iii) of vibrato
to shaping of
sound for short Numerous SummedDelay
All OSCs have Frequency Modulation
attacks. modulated inputs – see how its all 236
applied (H) controlled with iii (vibrato)
scaled to .1 to limit overloading.
osf dsf (2) – Looking at the main formulas in this preset
Formula A controls output of OSC 1 and OSC 2. Formula D is identical only it does not
include the Z component, so the extra scaling there only applies on Aftertouch. Here
the output is Gated with fixed .84 value. It is always a good idea to gate Y or Y+Z
attenuation control if you can as it can avoid unwanted internal voice output. Bringing
up iv (envTime) here brings up the persistence that adds sustain to the output (iv is
used in other places for similar effects)
Formula G applies envelop scaling to the SL/SR outputs. It uses a single cycle SG
(SG1) pulse scaled to Z with SG frequency decreasing (from 20 Hz to 0.8 Hz) as iv
(envTime) is increased in addition to increasing persistence. The overall effect is
to add punch to the attack at low settings and create more gradual attack as you
bring up iv.
Formula B is used as a modulation frequency offset (applied positive and
negative) for OSCs1-4’s Frequency (in effect creating detuned vibrato)
increasing in speed as you bring up iii (vibrato) in formula I. Both use Y+Z
scaling off of a base 1 Hz modulation width so the effect is subtle.
However, formula H applies another Frequency modulation on top of that
as a multiplier and that create a big vibrato effect as you bring up iii.

Formula C controls the timbre of OSC 1 &

OSC 2 scaling to Z using I (timbre) with
rather high persistence. OSC 2 & 4 are sine
tones. OSC 5 uses formula N for timbre
control which is similar to C only W is a
constant so Z totally controls the change.

SG2 uses an interesting formula to set

frequency using iv (envTime) from a value Another interesting function is the use of a slow moving (.1 Hz)
of 20 to 0.8. It adds a negative offset SG5 (formula V) applied to R1 (Diffuse) of the recirculator
decreasing from 0 to -9.6 to a Z constant of imposing a background subtle timbre modulation. Note the SG 237
10, and then uses Ancillary * 2. Effective is set free running with a 1 in the trigger column so this will be
result are values ranging from 20 to 0.8 active as soon as the preset loads.
 padorgan Macro Controller Usage
BP 3 SL Summed Delay i: (timbre) – Z scaled modulation control of WaveBank Duty
Summed Delay
• SG * Y+Z Cycle (S) and Control offset (Y+Z) of OSC 2 Spectral Balance (Q).
• 50 ms Master Section
ii: (sub) – Z scaled control of OSC 3 Output, modulation of OSC
Noise Wavebank 1 cutoff
• 2 Taps output one left, Noise (S&H) Recirculator
• Var • Square SR Mod Delay
1 and input into SummedDelay (N).
BP 4 one right channel. iii: (cutoff) – Y+Z scaled multiplier/scalar on both BP filters’
4 Mods • 4 waves
• SG * Y+Z • Tap %s SG modulated Extend cutoff (E) with envelope applied.
cutoff offset Pos Tap1 and Tap 1 SL iv: (envTime) – Controls Z scaled Persistence on outputs of
Neg Tap2 • Outputs scaled both BP filters, their modulation of OSC 1 and their input into
SG Mod
OSC 3 Mod Mod • S&H Noise applied to SL/SR with high the Summed delay (H). Controls Persistence on OSC 3 output
• Sine, 8vb Persistence (L) (blend in N) and controls Persistence on OSC 2 outputs (O).
• Y+Z Mod Ctrl OSC 1 randomize each Tap’s Tap 2 SR • Y+Z Scaled Finally controls SG2 Frequency used for envelopes.
Mod • Multi-Mod Delay percentage to SG Mod Reverb v: (tape) – Controls downscaling of SL/SR outputs (I), controls
SL/SR • SG modulated noise modulation on Frequency of OSC 2 and Wavebank waves
OSC 2 Mod
• Waveshaper (L) and controls Noise modulation on delay of Taps (U) and
create part of the “tape” Convolution
• SG Mod Freq Noise (S&H) SG4&SG5 delays (U) used for modulating Tap delay percentage.
control effect.
• Y+Z SpB Ctrl vi: (modulation) – Controls Persistence on SG1 & SG5
frequencies (B). Controls SG modulation on inputs to BP2 (F)
SL/SR
and BP5(G). Controls detuning offsets to the WaveBank waves,
Feedback two applied positive and two negative (J).
Noise
• Var

Library Search:
Category: Classic
Type: Organ, Pad
Character: Lo-Fi, Stereo
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) SG1 and SG5 Frequency (B)
• Scales (Y+Z) the cutoff of both BP filters (E)
• Scales (Y+Z) output of OSC 2, its modulation
of OSC 1 & OSC 3 and its input into the
SummedDelay (O)
• Offsets (Y+Z) Spectral Balance of OSC 2.

238
 petit carillon (One of a few very simple Osmose System Presets)
Macro Controller Usage
Harman 1 LP 5 SL/SR Master Section i: (structure) – Modifies BiqBank’s Non-Linear Frequency Spread (H).
BiqBank 2
• Sprong • Adjustable Cutoff Recirculator
• 24 Modes ii: (brightness) – Controls (offset by X) HarMan 1 Harmonic Truncation
• Bandwidth 9 Reverb Extend and Spectral Dilation (B)
SL/SR iii: (damping) – Reduces (Scales Y+Z) Linear Mode Bandwidth Spread
• Adjustable output factor of BiqBank2 (I). But note Control is inverted. Raising it actually
scaling (Q) – undamps.
reduces output for iv: (resonance) – Controls Bandwidth of the BiqBank2 offset
convolution X+Y(constant)+Z (D)
amplitude v: (body) – Convolution Index and Mix control running through
increase. Waterphone1->Waterphone2->Autoharp1. Note output scaled down as
convolution is brought up (Q) to adjust for convolution gain change.
vi: (mechanism) – Controls output of LP 5 component (L) Scaled by Y

Convolution control ranges 0-2 so will

move through the first three convolutions
(0-1-2).

Library Search:
Category: Tuned Percussion
Type: Struck
Character: Acoustic, Shaking, Metallic
Polyphony: 4+
Aftertouch (Y-Based) Controls (full or partial):
• Controls output of LP 5 “mechanism” component (L).
Slow Triangle SG5 modulation applied • Controls Frequency scaling of HarmMan1 (F)
to R1 (Reverb Diffuse property) (N) • Scales (Y+Z) Linear Mode Bandwidth Spread factor of
BiqBank (I)
• Functions as amplitude offset of HarMan 1 (increasing
its output on Aftertouch) (J). This is used because a
different amplitude scaling was desired versus just using
Note formula O is multiplied by 2, Range=0..2, while (Y+Z) scaling in formula A that is Z scaled.
Mix goes through full wet/dry range (0..1) 239
 podracer Macro Controller Usage
i: (layer) – Controls output o the two main OSCs (layers). OSC 2 is
OSC 1 OSC 2 SL/SR
Mod Master Section output offset by X scaled by Z (D). OSC 3 is output scaled (X+Z). So
• Waveshaped • Mod, 3 oct down things are very frequency dependent in this effects preset.
• SpB SG env * Z Recirculator
• SpB SG env * Z Summed Delay ii: (shape) – Controls Duty Cycle (offset by Y) of both WaveBanks (J)
Reverb Extend
iii: (power) – Controls (offset Z) amount of WaveBank1 modulation
Mod • 400 ms
of OSC 1 (A) and amount of LP 3 feedback (M) – basically increasing
• 4 taps, delay Tap 1 • Taps sent to
WaveBank 1 SL output level through this - mapping to Podracer “power”
1 LP 3 percentages SR alternating
• Triangle Tap 2 iv: (release) – Controls Persistence on OSC 2 & OSC 3 output (D, E)
• Cutoff SG offset (+/-) in stereo and on LP 3 cutoff envelope (K).
• 3 waves envelope Ctrl stereo field SL channels. v: (body) –Convolution Index and Mix control moving through full
Tap 3
WaveBank 2
with Y + Z • Input scaled .5 • Y+X based range Wood->Wood>AutoHarp1->Waterphone1. Also scales SL/.ST
offsets SR outputs according to convolution increase (V – ancillary of T&S)
• Triangle Tap 4 output scaling
where X is vi: (chorus) – Scales the summed delay amount that affects the
• 3 waves
Feedback scaled in “chorus” effect (O) of different Delay Tap SG modulations – not
SL/SR Tap1&Tap2 are triangle modulated by SG3 (P) at one rate and Tap3
opposite
& Tap 4 are modulated in a similar way but using SG2 at a different
Feedback directions on SL
rate and modulation width (Q).
& SR (T & S)

Library Search:
Category: Other, Type: -
Character: Sound Design
Setting: Portamento, Interval: Maximum
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Offsets Duty cycle of both WaveBanks (J)
• Controls OSC 2 Spectral Balance (I)
• Offsets (Y+Z) LP 3 cutoff (L)
• Offsets (X+Y) SL/SR output scaling (T, S) that
is also adjusted by v (Body) convolution
control.

240
 polysynthetix Macro Controller Usage
i: (cutoff) – Controls main cutoff value of both LPs (R) with additional
Master Section offsetting on (X+Y) (R).
IOSC 1 Recirculator ii: (resonance) – Bandwidth control of both LPs (H)
LP 4
• SG Freq Mod Voice Delay Reverb Extend iii: (envTime) – Controls frequency of SG1 (J) used to apply cutoff envelope
• Cascade 4
• Fixed SpB = .8 • 500 ms to both filters (I) also controls enveloped shaped output of filters (L).
• X+Y Freq
Mod cutoff + • 4 taps, delay • Taps sent to iv: (detune) – Applies sine detuning modulation to iOSC 1 (O) and detuning
percentages SL alternating offset to OSC 1 & OSC 2 D) where detuning offset is positive on one and
WaveBank 1 SG offsets Tap 1
SH modulated stereo negative on the other.
• Square, 1 Wave SR v: (chorus) – Controls tapped delay output (U) which has out of phase SG5
180 degrees Tap 2 channels.
• SG Mod Duty modulation applied to the two taps (S, T) using a very specific SG5
LP 5 out of phase • Y+X based
frequency of .5130.
• Cascade 4 (S & T) output scaling vi: (sub) – Controls WaveBank1 input (set 8vb so this is treated as a sub
IOSC 2 • X+Y Freq where X is oscillator) to the two filters (C) and downscales output to adjust (E).
• X Freq Offset Ctrl Mod cutoff + scaled in
• Fixed SpB = .8 SG offsets opposite Library Search:
directions on SL Category: Classic
& SR (T & S) Type: Keyboard,
Character: FM
Polyphony: 2+

Good Example for Study as it’s not complex but uses a

number of common techniques:
• Filter envelopes
• Chorus effects and Simple Tap usage
• Frequency detuning with detuning modulation
• Output scaling in response to amplitude increase
• Use of Sub-Oscillator (Wavebank in this case)

Aftertouch (Y-Based) Controls (full or partial):

• Offsets (X+Y) cutoff of LP 4 & LP 5 (G)
• Scales (Y+Z) Filter output and shaped filter
input into summed delay (V ancillary to L)

241
 Excite
Wavebank
Kinetic 1
pulzz 242
Mods OSC 1 & OSC 3
OSC 2 but they • X 8vb • Excited thru anchor Master Section Macro Controller Usage
are disabled & excite input SL/SR i: (pulse) – Modifies even/odd harmonic amplitudes of the WaveBank Square wave (N).
for output
• Y scaled SpB Recirculator
Anchor ii: (cutoff) – Offsets Kinetic Frequency that acts as cutoff function (B is Z scaled ,M is Y scaled).
Reverb
iii: (envAmt) – Controls (scaled Z) Cutoff envelope ramp amount (O)
Mod iv: (attack) – Controls (scaled Y) SG3 Frequency (R) used to apply cutoff envelope.
OSC 2 Wavebank
Anchor v: (decay) – Applies Persistence to Kinetic outputs (C) and to Kinetic Cutoff/frequency (B) (also
• Square, 2 waves
Mod applied to D which is ancillary to C but D Blend on v does not appear to do anything).
OSC 2 • X and X 8vb
vi: (resonance) – Controls Kinetic Bank Viscosity which acts like Bandwidth in normal filter (H).
Formula O applies cutoff Envelope to Kinetic Frequency Control sSG2 frequency (Scaled Y)
Formula H Controls
Further increased by Kinetic Viscosity
formula M on Aftertouch which ats like
(note negative value but it Bandwidth /
is subtracted on direct Resonance control.
row so it actually adds)
Formula B is main Z scaled cutoff control

Formula L modulates the

Kinetic Spring Constant using
SG2 which sets attack rate for
the modulation. This affects
the sound like a filter opening.

Library Search:
Category: Classic
Type: Bass
Character: Analog
Setting: Mono Mode: Legato T, Interval: Octave
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets Kinetic Frequency (controlling cutoff) (M)
• Scales SG2 Frequency used for applying modulation to Kinetic Spring
Constant (K).
• Controls input of OSC 3 into Kinetic Bank (F)
 quiet carriers (Few presets use as much OSC modulation as this one)
Mod
OSC 2 Macro Controller Usage
Mod OSC 1 i: (timbre) – Controls Modulation of OSC 1 & OSC 5 by OSC 2 T ancillary D).
• Y+Z Freq Offset • Sine, Multi-Mod Master Section
• SG Mod SpB Recirculator Controls Modulation of OSC 1 & OSC 5 by OSC 3 S ancillary E).
SL
Mod • Y+Z Freq Offset ii: (tone) – Controls Spectral Balance of OSC 3 & OSC 4 (F)
• Freq offset is Mod Delay
iii: (modRate) – Controls (scaled Y+Z) detuning offset for OSC 2 (G), Controls
OSC 3 Mod Pos Extend
(scaled Y+Z) Frequency of SG2 & SG3 (J) used for ramping OSC 4 modulation of
• 3X Mod OSC 1 & OSC 5 (K) and ramping SineBank2 modulation of OSC 1 & OSC 5 (R).
• Variable SpB • Outputs use Y iv: (envelope) – Controls persistence of the Envelope applied to OSC 1 & OSC 5
SineBank 2 SL/SR Ctrl for modulation input from OSC 1 (A), similar input from OSC 3 (E). Controls OSC 1 &
Mod • X = 8vb increasing
OSC 4 OSC 5 SL/SR output (B), and similar SineBank Output (P). Finally controls
OSC 5 • Y Ctrl Mod Spread amplitude frequency of SG1 envelope (U) that is applied to all the above.
• X 8vB Mod
• Variable SpB • Same as OSC 1 v: (FMamt) – Controls (scaled Z) the amount of SineBank1 modulation of OSC 1 &
only Freq Offset SR OSC 5 (N)
Mod vi: (FMratio) – Controls Linear Frequency Spread of Sinebank1 that affects the
is Neg
SineBank 1 modulation.
• Freq=X Mod • But OSC 5 is
Mod not a
• Var Freq Spread
modulator as
OSC 1 is.
Library Search:
Category: Classic
Type: Pad
Character: FM, Analog, Reverberant
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

Symmetrical • Scales OSC 2 modulation of OSC 1 & OSC 5 (D)
Multiple • Offsets SL/SR output scaling (C)
Modulation • Scales (Y+Z) detuning offset to OSC 2 (G) that has effect of
OSC 1 & OSC 5
changing modulation rate.
• Scales (Y+Z) SG2 & SG3 frequency (J)
• Offsets OSC 4 modulation of OSC 1 & OSC 5 (K)
• Scales (Y+Z) OSC 1 and OSC 5 detuning offsets (applied
positive to OSC 1 and Negative to OSC 5)
• Scales SineBanl1 modulation of OSC 1 & OSC 5 (N)
• Scales (Y+Z) SineBank2 output (P)
• Offsets OSC 1 modulation of OSC 1 & OSC 5 (Q Ancillary to
A)
• Offsets OSC 3 modulation of OSC 1 & OSC 5243 (S Ancillary to
E)
 radioactive zone (simpler treatment of “quiet carriers”)
Mod

Mod
OSC 1 Macro Controller Usage
OSC 2 • Sine, Multi-Mod Master Section
Recirculator i: (fmTune1) – Controls Frequency Scaling of OSC 2 (A)
• X 8vb • Y+Z Freq Offset SL ii: (fmTune2) - Controls Frequency Scaling of OSC 3 (B)
• Y+Z Freq Offset Mod
• Freq offset is Reverb Extend
iii: (fmTune3) – Controls Static frequency of OSC 4 used to modulate OSC 3 (range 0Hz (off) to
Pos 7.9 (7.9KHz) (G)
Mod iv: (modulation) – (Y+Z) scaled frequency offsets applied to OSC 1&OSC 2 (positive) and OSC 3
OSC 3 & OSC 5 (Negative). Changing these offsets impose small beating frequency shifts that are
• Y+Z Freq + Offset Mod
heard as changes in modulation.
• Freq Var scaled Mod v: (release) – Adds Persistence to the outputs (C)
OSC 5 vi: (waveform) – Changes Spectral Balance of OSC 2 & OSC 3 (L)
• Same as OSC 1
SR
Mod only Freq Offset
OSC 4 is Neg
• Y+Z Freq - Offset • But OSC 5 is
Mod
• Freq Var scaled not a
modulator as
OSC 1 is.

Library Search:
Category: Other
Type: Keyboard, Pad, Demo
Character: FM, Analog, Reverberant
Polyphony: 4+

Aftertouch (Y-Based) Controls (full or partial):

• Controls OSC 1 modulation of itself and OSC 5 (J), so
adds another layer of modulation on Aftertouch.
• Scales (Y+Z) the detuning/modulating Offsets (K)

244
 Noise Master Section
random trigger (One of the simplest Osmose presets)
BiqBank 1 SL/SR
• Var with SG • 48 Notes Recirculator Macro Controller Usage
envelope (N+M) Delay HPF i: (speed) – Scales Frequency of SG1 (I)
ii: (amount) – Applied S&H randomization to Linear Frequency Spread value (H)
The random nature of the preset is primarily controlled by using Sample and Hold iii: (structure) – Adds Quantized offset to the Linear Frequency Spread of the BiqBank (L)
Noise (B) to modulate the frequency of SG1 but more importantly produce the iv: (resonance) – Offsets the Bandwidth of the BiqBank (J)
random triggering of single cycle SG2 (in formula A) by adding formula B. SG2 is used v: (excitation) – Controls noise excitation of BiqBank (M, N) and Direct BiqBank Envelope (C)
to randomly ramp the BiqBank excitation input (C) and also randomize the BiqBank vi: (tone) – Scales the outputs down (O)
Linear Frequency Spread using S&H of SG1 in formula H.

N Uses Z SG1 frequency Library Search:

scaled single is randomized Category: Other
cycle ramp using S&H of Type: Atonal
ancillary (M) Noise (B) Character: Acoustic, Random, Echo,
that in turn Reverberant, Sound Design, Stereo
Polyphony: 4+
Aftertouch (Y-Based) Controls (full or partial):
Formula O • Offsets output scaling of SL/SR (O)
Scales output
• Scales (Y+Z) SG1 frequency (E)
amplitude
down with
• Controls BiqBank Linear Mode Bandwidth Spread factor
Aftertouch (F)

245
 SineBank 1
• X scaled (iii)
replicants dreams (see classicana key for simpler treatment) 246

Mod Mod Mod Mod Summed Delay Macro Controller Usage

• 100 ms i: (feedback) – Controls (Z scaled) self modulation (feedback) of OSC 1, OSC 3,
OSC 1 SL
OSC 4 and OSC 5 (O)
• Multi-Mod Master ii: (fmAmt) – Controls (X scaled) SineBank modulation of all four OSCs (L)
Mod
OSC 4 Section iii: (fmRatio) – Quantized frequency scalar on SineBank Frequency (Q)
Mod • Multi-Mod SL/SR iv: (envTime) – Controls SG1 frequency (B), SG2 frequency (C) and SG3
XMod Recirculator
Reverb frequency (J). Control Persistence on OSC 1 & OSC 3 inputs into Summed delay
Mod Mod SR Extend (D) and OSC 4 inputs to Summed Delay (G).
OSC 3
v: (modulation) –Controls Width of Frequency Modulation (vibrato) applied to
• Multi-Mod all four OSCs (K) and detuning offsets on OSC 1 & OSC 3 (U) that add subtle
SL/SR Outputs are
Mod OSC 5 complexity to the modulation).
SG vi: (effect) – Controls outputs of the Tapped delay (K) and LP 2 Feedback into
SR
• Multi-Mod Tap 1 modulated Summed delay (S & V)
SL (D)
Mod
Tap 2
Feedback SL
LP 2 Tap 3
• Fixed cutoff & SR
bandwidth (6KHz) Tap 4

Library Search:
Category: Classic
Type: Keyboard, Pad, Demo
Character: FM, Analog, Reverberant
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) OSC 3 modulation of OSC 4 (H)
• Offsets (Y+Z) SG4 Frequency used for applying
Vibrato-like frequency modulation to all four Oscs.
• Scales (Y+Z) SineBank output (M)
• Controls OSC 4 modulation of OSC 5 (N)
• Scales (Y+Z) detuning offsets for OSC 1 and OSC 3 (U)
 ringmod harmonica Macro Controller Usage
i: (timbre) – Controls Spectral Balance of OSC 1 (H) that‘s in turn modulated by SG2 (K)
ii: (tone) – Controls cutoff of BR3 (M).
Master Section iii: (body) – Set Convolution index moving Wood->Metal
BR 3 SL/SR
Recirculator iv: (flutter) – SG2 Ramps noise as secondary control for OSC 1 Spectral Balance I) while
MULT 2 • X 8vB also applying (Z scaled) direct Hann SG2 modulation to it as well (K). Also applies SG3
OSC 1 • Variable SpB Reverb Extend
• Inputs from same SL/SR amplitude modulation on SL/SR column (p). So all that modulation creates the flutter
• Freq & SpB SG OSC (OSC 1) effect.
noised mod • Outputs use v: (breathe) – Controls cutoff of BP filtered noise (N) and output (scaled Z) of that noise
Summed Delay amplitude (O)
• 400 ms SL/SR modulated to vi: (delay) – Controls SummedDelay time (G) and Delay output (L).
• Var delay with provide flutter (P)
LP 5
high
• Cutoff 7Khz
Interpolation
• Bandwidth = 5
Feedback

BP 4 SL/SR
Noise • Freq=X
• Unity • Controlled by v

Library Search:
Category: Wind
Type: Double Reed
Character: Acoustic, Distorted
Polyphony: 2

Aftertouch (Y-Based) Controls (full or partial):

• Offsets Spectral Balance of OSC 1 (H)
• Scales (Y+Z) SG2 frequency used for
modulation Spectral Balance of OSC 1 (I, K)

247
 Macro Controller Usage
rusty square i: (resonance) – Adjusts/offsets (Y+Z) Viscosity of Kinetic bank (J)
Master Section ii: (shape) – Direct row change applied to modulation column of
SL/SR
OSC 1 Recirculator OSC 2 (B)
Kinetic 1
• X 8vb Reverb Extend iii: (envTime) – Controls (scaled Z) Persistence and SG2 ramp
• Inputs
• Fixed SpB .45 LP 3 amount on Kinetic cutoff frequency envelope (H) and offsets
• Cutoff to 5KHz excite (scaled Z) the Kinetic Bank input into the SummedDelay (L
Summed Delay Outputs are Y+Z
OSC 2 • Bandwidth 4 Anchor, Z Ancillary of F)
• 50 ms SL scaled
• X 8vb w/Mod amplitude iv: (cutoff) – Controls cutoff of the LP 3 (E)
• 2 taps, delay Tap 1 SG modulated
• Fixed SpB .45 controlled v: (drive) – Controls down ramping modulation width of Kinetic
percentages SR Convolution
Tap 2 Mass (I), Controls Kinetic Bank Height (P) and scales SL/SR output
Neg/Pos offset Mix
OSC 5 OSC 4 up (Q).
Mod in stereo field vi: (chorus) – Controls tapped Delay output (K), Delay feedback
• X • Sine, 8vb
(O), Delay time of SG1 used for triangle chorus modulation (T, U)
• SpB = .7 • Fixed Mod Feedback
and scaling of Outputs (V).

Library Search:
Category: Classic
Type: Keyboard, Pad, Demo
Character: Analog
Setting: portamento, Interval: Maximum
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) Kinetic Viscosity (resonance)
• Offsets Kinetic cutoff frequency up to 1.4KHz.

248
 rusty bass SL/SR
FMod OSC 1 Macro Controller Usage
Mod • X 8vb Voice Delay Master Section i: (timbre) – Controls (Z scaled) SG shaped output of OSC 3 & OSC 4 (P,
OSC 2 • Y Mod Ctrl • Sine Recirculator Q).
• X 2 oct down Mod • X Scaled by ii
SL Reverb ii: (fmRatio) – Control Frequency scalar of OSC 5 used to modulate OSC 2
OSC 4 Tap 1
• Multi-mod (C)
• X 3 oct up SR
OSC 5 Tap 2 Outputs are Y+Z iii: (envAmt) – Controls OSC 5 SG2 envelope amount used to modulate
• Y Mod Ctrl scaled OSC 2 (B).
• X Mod iv: (feedback) – Controls the Self-modulation (Feedback) of OSC 3 (D)
• Var X offset SG modulated
SL/SR v: (chorus) – Control tapped delay (chorus) output (E) applied 180
Ctrl Convolution
Mix degrees out of phase to Tap delays (G, H).
Mod OSC 3 vi: (chorusSpeed) – Control Speed of SG3 from base .5130 Hz value (I)
SL/SR
• X
• Y Mod Ctrl
Mod

Library Search:
Category: Classic
Type: Bass
Character: FM, Dark, Soft, DIgital
Setting: portamento, Interval: Octave
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets modulation input for OSC 1, OSC 3 &
OSC 4 (A)
• Offsets self-modulation (Feedback) amount
of OSC 3 (D).
• Scales SG1 SL/SR output envelope (R)

249
 scarlet
OSC 1 Master Section Macro Controller Usage
Kinetic Bank 2
• X w/SG Mod Recirculator i: (release) – Adds Persistence to OSC 1 & OSC 2 inputs to Kinetic Anchor (G,H), Kinetic
• Inputs excite Output (I) and Kinetic cutoff frequency (J).
• SpB = .5 the anchor Reverb Extend
ii: (resonance) – Changes Kinetic Viscosity (K)
• Var X Freq is SL/SR
iii: (interval) – Scales Wavebank f1 frequency quantized .5 (range 0.5 to 6.0)(Q Ancillary of E)
OSC 2 Outputs amplitude
Y+Z scaled iv: (cutoff) – Controls base Cutoff frequency (P)
• X Quant scaled scales down with
v: (body) – Controls Convolution index only to .38 between Autoharp1->Metal. Scales SG
• SpB = .7 Wavebank 1 application of Phase Generator output applied to SG3 (L) and Downscales SL/SR outputs to adjust for
• Square Autoharp 1 convolution change (N)
• Wave X Quant convolution that vi: (vibrato) – Control sSG2 speed (A) that is used for vibrato and SG2 sine vibrato width (B)
OSC 3 SL/SR increases volume
• Sine
(N & M)
• X Quant scaled

Library Search:
Category: Keyboard
Type: No Type defined
Character: Analog, Warm
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offset SG2 vibrato speed (A)
• Scales (Y+Z) Kinetic Bank output (I)
• Scales (Y+Z) Kinetic cutoff (J)

250
 sentimental mood Macro Controller Usage
Noise i: (body) – sets Convolution Index Snap->Fiber and mix set 100% wet (G)
• X dependent ii: (darkness) – Adjusts Mode Bandwidth Spread factor of BiqGraph (I)
• Z scaled BiqGraph 1 Master Section iii: (tongue) – Adjusts Z scaling on the envelope applied to exciting BiqGraph with noise (A)
• 48 modes Recirculator iv: (flutter) – Adjusts SG2 Frequency (Speed of flutter), adjusts Z-scaled Flutter amplitude
OSC 1 • Use Amplitude OSC 2 Reverb SG modulation on BiqGraph inputs (M), Adjust similar modulation amplitude on BiqGraph
• Sine offsets 1 & 2 • Sine, Quant • Uses Snap->Fiber Mode Bandwidth Spread factor (N) for the similar amplitude (Y+Z scaled) on BiqGraph
Mod Harmonic freqs convolution (G) Bandwidth (O).
• Waveshaper Mod
v: (harmoAmt) – Adjusts amount of Z scaled OSC 2 output (Q)
vi: (harmoRatio) – Adjusts the quantized frequency scaling of OSC 2 running -.5 to 4.0 in
increments of .5 (R)

Main Graph

Amp 1 Offsets – Aftertouch Controlled

Amp 2 Offsets – X Controlled

Library Search:
Category: Winds
Type: Single Reed
Character: Acoustic, Airy, Clean, Woody
Y control for Amp 1 Offsets scaled 0.4 (D)
Polyphony: 2+
X control for Amp 2 offsets (J)
Aftertouch (Y-Based) Controls (full or partial):
• Controls Amptiude 1 Offset (D)
BiqGraph modulation of OSC 1 Z scaled
(B) and modulation of OSC 2 (Y+Z) scaled
• BiqGraph Bandwidth control with Z (C) and bandwidth Mod scaling
(P) with Z (O)
• Controls (reduces) BiqGraph Bandwidth as Y+Z where both use
reducing functions (C)
• Brings in the first set of Graph offsets as a squared function of Y (D)
• Scales (Y+Z) SG2 flutter speed (L) and Flutter amplitude (O)
• Scales amount of BiqGraph modulation of OSC 2 (P).
251
Category says BM but should say BH.
 Macro Controller Usage
shakepad IOSC 1 i: (structure) – Controls Quadratic Spread Frequency of both ModMans (M)
SL/SR ii: (timbre) – Controls Spectral Dilation of ModMan 1(R) and Mode Bandwidth
• Y Timbre, X Pitch
Spread of both ModMans (O)
Master Section iii: (body) – Controls Convolution Index and Mix, running from 0..2.5 through
IOSC 2 Recirculator (Wood->Metal->Waterphone1->Metal)
SL/SR
• X 8va, Z Timbre Ctrl Reverb Extend iv: (resonance) -
Summed Delay v: (shake) – Controls the shake function using derivative X + Derivative Z scaling in
SL/SR
• 100 ms formula L. applied to noise excitement input of ModMan 2.
ModMan 1
Noise vi: (layer) – Controls Bandwidth of both ModMans (N) and Persistence on OSC1 &
• Toy Piano 1 Released SL/SR ModMan2 inputs into Summed delay (G)
• Z scaled
Note: This preset uses the Derivative X & Z functions with variable persistence to create
ModMan 2 the shaking effect. Formula F down ramps a pulse of noise (W set Initial) into the ModMan
Noise SL/SR
that is used for main percussive Tap, but it adds Ancillary (L) which uses (Derivative X +
• SG Ramped • Toy Piano 1 Strike Derivative Z) scaling to create the shaking effect (controlled by v) which is ModMan
affected by aftertouch gating using a S curve (B).

Library Search:
Category: Strings
Type: Struck
Character: Acoustic, Shaking
Polyphony: 2+
Outputting
HP4 & HP5
that are not Aftertouch (Y-Based) Controls (full or partial):
defined? • Adds an offset to the shaking effect (B) Ancillary of L
which is Ancillary of F.
• Controls inputs of OSC2 into summed delay
• Offsets with Z mode Bandwidth Spread of both ModMans
(timbre affecting).
Formula J does not do anything? 252
 IOSC 1 simple anakey1 Macro Controller Usage
• X SG Mod scaled i: (timbre) – Adds Persistence to and controls Spectral Balance of the three
Y+Z offset Pos Master Section IOSCs with one Y-scaled envelope (G,N) added another Z-Scaled timbre
SL/SR
Recirculator affecting envelope (A).
IOSC 2 Reverb Extend ii: (sub) – Controls envelope driven output of IOSC 3 (H) which is set down
• X SG Mod scaled an octave with an Ancillary as there is always frequency modulation used on
Y+Z offset Neg SG ramp the multiplier row (Q).
Summed Delay
envelope iii: (impact) – Controls (Z-scaled) OSC 4 shaped output, self-modulation
• 50 ms SL feedback and input into SummedDelay (E).
IOSC 3 • 2 taps, delay Tap 1 applied to
iv: (decay) – Controls Speed of SG3 used to apply the Spectral Balance
• X SG Mod scaled percentages SR outputs (D)
Tap 2 envelopes
Y+Z offset Pos Neg/Pos offset v: (vibrato) – Controls speed of SG4 (O) and width of vibrato applied to the
in stereo field three IOSCs (P).
OSC 4 vi: (chorus) – Adds detuning offset to IOSC 1 & IOSC 2 that adds beating for
• Sine SG Mod chorus (B). Controls SG5 frequency (K) used to apply the triangle shaped
LP 5 SL/SR chorus as positive and negative offsets on the two taps (L). Finally, it
Noise
Mod • Cascade 2 controls the amount of tapped chorus delay output (K).
• Fixed .2
• Cutoff Z Ctrl

Library Search:
Category: Keyboard
Type: -
Character: Analog, Simple
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Controls Spectral Balance of the three iOSCs with one
IOSC Formula
Q is set 8vb envelope (G,N) - a second Z controlled component is
with Ancillary added with (A)
• Offsets output level of IOC1&IOCS2 (F Ancillary of C)
• Offsets IOSC 3 output self-modulation and Delay input (I
Ancillary of H).
• Scales (Y+Z) Speed (O) and width (P) of SG4 induced
vibrato.
253
 Mod
Master Section
sinefeel
OSC 1 SL/SR Recirculator
Mod Macro Controller Usage
SineBank 1 • Sine Mod Delay
Mod i: (ratio1) – Adjusts SineBank1 Linear Frequency Spread, quantizing by .5 (range 0.0 to 9.5)
• Mods SineBank 2 • Y+Z Mod Ctrl Extend
SL/SR ii: (ratio2) - Adjusts SineBank2 Linear Frequency Spread, quantizing by .5 (range 0.0 to 9.5
Freq * 2 iii: (tone) – Adjust SineBank1 & SineBank2 Even/Odd Partial amplitude setting (B)
iv: (release) – Adds Persistence to OSC 1 outputs (C), to the Multiplier5 outputs (M) and SineBank
Mult 5 SL/SR outputs (P,A)
XMod • SineBank Inputs v: (feedback) – Controls the Z-scaled and SG shaped cross modulation feedback between SineBank1
and SineBank2 Each modulates he Frequency of the other (I, L).
SineBank 2
vi: (ringmod) – Controls (Z-scaled) the Multiplier output (M)
• Mods SineBank 1 SL/SR
Freq * 4

Library Search:
Category: Tuned Percussion
Type: Struck
Character: FM
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) OSC 1 output (C)
• Scales (Y+Z) SineBank modulation of OSC 1 (J)
• Controls OSC 1 self-Modulation/feedback (K)

254
 smooth mouth
Macro Controller Usage
OSC 3 Mod OSC 5 BiqMouth 2 Master Section i: (mouth) – Controls the quantized changes in BiqMouth Shape (E, L)
• Sine • X Freq, SpB is • SineBank Inputs Recirculator ii: (modulation) – Adds SG2 triangle modulation to OSC 5 Spectral Balance (Q)
• X 8va • SG * Y+Z Ctrl SL/SR Reverb Extend iii: (formant) – Controls (Offset Y) BiqMouth Formant Frequencies (G)
iv: (body) – Convolution Index control through full range of Metal->Metal->Fiber->
Noise • Y scaled wood with fixed 30% wet mix (T)
• Var Z Ctrl output v: (breath) – Adds Z-scaled noise as a BiqMouth input simulating breath on Z
pressure (O).
vi: (timbre) – Controls Z-scaled modulation of OSC 5 by OSC 3 thus altering timbre
(V)
Mod OSC 4
Noise
• Sine
• Var Z Ctrl
• X 4 oct up

OSC 4 defined but not used

Library Search:
Category: Wind, Vocal
Type: -
Character: Acoustic
Polyphony: 4+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets BiqMouth formant frequencies (G).
• Scales SL/SR outputs and wet/dry L/R mix (K)
• Scales (Y+Z) Spectral Balance of OSC 5 (M)

255
 OSC 2 Mod
OSC 1
smooth operator
• X 8vb
• Y SpB Ctrl • Sine Macro Controller Usage
• Multi-Mod Master Section i: (timbre) – Controls modulation of OSC 1 by OSC 2 (B)
OSC 3 Recirculator ii: (pickRatio) – Scales OSC 3 Frequency quantized in increments of 0.25 (range 1.0 to 6.0)
L/R
• Sine Mod Delay – LPF iii: (pickDelay) – Adds Persistence to Envelop applied for modulation of OSC 3 by OSC 1 (C)
(.5)
Extend iv: (body) – Controls convolution Index through full range of Wood->Metal->Fiber->Wood with
• Freq Quant
fixed 60% wet/dry mix (Q).
Scaled SL/SR v: (extraTone) – Controls HarMan 1 Spectral Dilation and Harmonic Truncation (H). Also bring
(.5) Outputs scaled .5 in the modulation of OSC 1 by LP 4 (low extra tone) (J)
HarMan 1 LP 4 Mod and output 50/50 vi: (friction) – Brings in (X+Y+Z scaled) modulation of OSC 1 by LP 5 (L)
• Viola Legato • Cutoff 5KHz Wet/Dry
• Bandwidth 5

Noise LP 5 Mod Note formula L that controls modulation of OSC 1 only has effect when the finger is in motion on the key as follows:
• Unity • Var Cutoff • If X Mode is Derivative, the X value will the finger’s X velocity (positive or negative) when the finger is moving, or 0 if the
• Bandwidth 5 finger stops moving.
• If Y Mode is Derivative, the Y value will the finger’s Y velocity (positive or negative) when the finger is moving, or 0 if the
finger stops moving.
• If Z Mode is Derivative, the Z value will be the finger’s Z velocity (positive or negative) when the finger is moving, or 0 if the
finger stops moving. If Z mode is “Release Only via Z”, a release pulse is generated when the finger is lifted (select “finge r
lift”) or if “Release Only via Sustain or Sostenuto End” when sustain/sostenuto is ended (select “sus/sost pedal end”). A
formula can use Release Only combined with high persistence to create finger-lift noise.

Library Search:
Category: Strings
Type: Bass
Character: Acoustic, FM
Setting: Portamento, Interval: Octave
Polyphony: 2
Aftertouch (Y-Based) Controls (full or partial):
• Controls/Scales modulation of OSC 1 by OSC 2 (B)
• Controls/Scales Spectral Balance of OSC 2 (F)
• Scales (X+Y+Z) modulation of OSC 1 by LP 5 (see
formula L above).

256
 sweethrice Mod
Macro Controller Usage
OSC 1 SL/SR i: (structure1) – Adjusts the quantized Linear Frequency Spread of BiqBank1 (S).
• Sine Master Section ii: (structure2) - Adjusts the quantized Linear Frequency Spread of BiqBank2 (R).
• Quant scaled Recirculator iii: (structure3) – Controls the quantized OSC 1 Frequency multiplier moving
SL/SR Mod Delay through 1st 8 harmonics (U).
BiqBank 1
Extend iv: (resonance) – Controls Bandwidth of BiqBank1&BiqBank2 (offset Y+Z) (B)
• 48 Modes and adjusts both BiqBank’s Linear Mode Bandwidth Spread factor (D). Controls
Mod
Mod
• Outputs Persistence on BiqBank outputs Persistence on BiqBank modulation of OSC 1 (E)
LP 5 OSC 2 SL/SR
Noise scaled to X and adjusts Persistence on OSC 1 outputs and modulating inputs to OCS1 and
• Var Cutoff • Multi-Mod OSC 2 (M)
• Fixed .5 • Cutoff Z Ctrl BiqBank 2
Mod (V*F)
v: (body) – Controls Convolution Index and Mix with motion through Wood-
• 48 Modes >metal->Fiber->Wood (H) and scales output (scaled by X) accordingly (V).
SL/SR vi: (harmonic) – Controls Center of Focus on the BiqBanks (I) and offsets (Scaled
Z) Mode Bandwidth Spread factor of both BiqBanks.

Persistence change with Blend iv

Primary Secondary

Library Search:
Category: Strings
Type: Plucked
Formula M single Character: Acoustic, Shaking
cycle pulses Polyphony: 2+
inputs to get the
plucked attack
with blend on Aftertouch (Y-Based) Controls (full or partial):
Persistence for iv
• Offsets (Y+Z) BiqBank1 Bandwidth (B)
(Resonance)
• Controls OSC 2 output (A)
• Scales OSC 1 output after Z has done it (L Ancillary of
M)
• Scales BiqBank2 inputs (after Z has done it) (Q Ancillary
of P)

257
 Macro Controller Usage
Mod tabec i: (fmAmt) – Controls (Y+Z) Spectral Balance of OSC 1 & OSC 2 but as you
increase this the amount of Y control decreases to zero at max (B). Controls
OSC 1
Mod amount of OSC 5 modulation of OSC 1 & OSC 2 (U)
• Multi-Mod
ii: (fmRatio) – Increases quantized (to 1) frequency scaling OSC 5 that
• X 8va LP 3 Master Section
BiqGraph 1 modulates OSC 1 & OSC 2 on Y (Q) – range 1 .. 10 in increments of 1.
• Cutoff Z Recirculator
• 8 Modes Mod iii: (body) – Controls Convolution index and mix through Wood->Fiber-
Ctrl Reverb Extend
Noise
BP 4 • Uses Main OSC 5 SL/SR >Metal->Wood (S) and offsets output level to adjust for it (T Ancillary of V)
• Cutoff Y Ctrl • SG Env iv: (modulation) – Controls (Scaled Z) SG2 Frequency (D). Controls (scaled
• Unity and 1A • Sine, X Quant
• SG Env offsets • SG mod on X) BiqGraph modulation of OSC 1 & OSC 2 (P) and Controls sine amplitude
(see Mod outputs (V) modulation on outputs using SG2 (V).
Mod v: (attack) – Controls Amplitude (scaled Z) of LP 3 envelope (O) and attack
below)
OSC 2 envelope applied to the LP 3 and BP4 inputs (R).
• Multi-Mod vi: (breath) – Controls (Z scaled) BiqGraph’s BP filtered noise input (I) and
• X 4 oct up offsets (with Aftertouch) the cutoff of the BP filter (K)

Main Graph – decreasing 1A Offsets –

harmonics according to emphasizing
physical model. odd harmonics

Library Search:
Category: Wind
Type: Flute
Character: Acoustic
Setting: Portamento, Interval: min 3rd
Polyphony: 3+
Aftertouch (Y-Based) Controls (full or partial):
• Inversely scales (with Z) OSC 1 input to LP 3 (A).
• Controls Spectral Balance of OSC 1 & OSC 2 (see i
description above)(B).
• Offsets LP & BP inputs (E Ancillary of R)
• Offsets Cutoff of BP (K)
• Scales (Y+Z) OSC 2 modulation of OSC 1 (F)
• Controls OSC 2 input into LP 3 (M)
• Controls BiqGraph 1A offsets (N)
• Controls amount of OSC 5 modulation of OSC 1 & OSC 2
(U) 258
 LP 5
tales of feathers
Noise Macro Controller Usage
• Unity • Env w/X=Z Ctrl
Micro Delay OSC 2 SL/SR Master Section i: (brightness) – Scales (X+Z) LP 5 (B)
• SG Env
• 12.5 ms • Sine, up 4 oct Recirculator ii: (impact) – Scales (X) tapped output (S)
iii: (structure) – Controls Tapped delay into BiqBank (G) and controls BiqBank Linear
• Single Tap Reverb Extend
LP 4 Frequency Spread (I) quantized with range 1..5 in increments of 1.
SL/SR
• Z Cutoff Ctrl Tap 1 iv: (resonance) – Controls Persistence on OSC 1 outputs (M) and OSC 2 outputs (O)
• SG mod on
• Bandwidth 9 v: (noteOff) – Controls output level of OSC 2 through Y (O)
outputs (V) vi: (ATtimbre) – Controls (with X offset) Harmonic Truncation of HarMan 2 (Q)
Feedback
Note formula O which controls through Aftertouch the output of OSC 2 through i (noteOff). Y
SL/SR is set derivative and Ancillary [(f x 1) Min 0]. If Y was set “Continuous” the formula’s value
Mod BiqBank 1
OSC 1 would always be zero because it would never go beneath Min 0. But being set Derivative, the
• 8 Modes
• Sine, 8va Y value can become negative on key up motion – allowing tone to be output on release for as
SL/SR
• Fixed Mod long as Persistence keeps it sustained moving back to zero..
SL/SR
HarMan 2
• Viola Legato

Library Search:
Category: Strings
Type: Plucked, Demo
Character: Acoustic, Airy, Bright, Clean, Soft
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Controls Output of OSC 2 (O)
• Offsets output of OSC 1 (N Ancillary of M)
• Controls HarMan 2 Amplitude (P)
• Offsets HarMan 2 spectral set index (R)
259
 Macro Controller Usage
i: (waveform) – Scales output down (J) in response to Scaling
Mod Excite terjintro Spectral Balance of OSC 2 (U).
OSC 3 Feedback ii: (resonance) – Controls Viscosity of Kinetic Bank that acts as a
• X 8va filter (C).
• Z SpB Ctrl Kinetic Bank 1 iii: (cutoff) – Controls the height of Kinetic Bank with Z offset (E) and
• Inputs excite Master Section Kinetic Frequency Scalar (P)
Summed Delay
Mod the anchor & Recirculator
• 200 ms SL iv: (envTime) – Controls Persistence (scaled Y+Z) on Kinetic
OSC 4 self-excitation. Tap 1 Reverb Frequency (cutoff) (F, K), Controls Persistence and amount of Kinetic
• 2 taps, output
• Fixed X Offset Five to alternate input (G), Persistence on OSC 1/OSC 2 & OSC 5 inputs to Kinetic
• Z SpB Ctrl Anchor properties
stereo fields SR Lowers output Bank (A, B), Control Persistence on Kinetic outputs (T) and finally
programmed Tap 2 level as controls Frequency (Scaled Z) of SG1 (S) that is used for envelope of
with SG mod the Kinetic cutoff (K) and Kinetic outputs (T)
OSC 1 waveform
270 degrees v: (interval) – Applies a negative offset to Kinetic inputs from iOSC 1
• Quant Freq Mod changed (J)
out of phase. & OSC 2 basically decreasing their input to zero at full pressure and
• Z Mod Ctrl OSC 5 Anchor SL/SR max V value (F Ancillary of A). Increases quantized Frequency scaling
• Waveshaper on iOSC 1 from 0.25 (2 oct down) to 4.0 (4 oct up) in increments of
OSC 2 • Multi-Mod 0.25
• Fixed X Offsets vi: (modDelay) – Controls tapped delay output (N) and scales the
• Z SpB Ctrl Mod Anchor SummedDelay (V)

Library Search:
Category: Keyboard
Type: -
Character: Analog
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Scales (Y+Z) Kinetic inputs (A, B)
• Offsets (Y+Z) Kinetic Viscosity (resonance) (C)
• Scales (Y+Z) Kinetic cutoff frequency (F)
• Scales (Y+Z) input into Kinetic bank (G)
• Controls IOSC 4 excitation of Kinetic Anchor
(R)

260
 th x
WaveBank 1 SL
• Saw Macro Controller Usage
Feedback
• 5 waves LP 4 i: (waveform) – Offsets OSC 1&OSC 2 Spectral balance down (so removes
• Y,Z cutoff Ctrl Voice Delay harmonics) (M)
• Y BW Ctrl Mult 3 ii: (harmonics) – Changes Wavebank even/odd harmonic weighting (R)
• 50 ms Master Section
OSC 1 • Two sets of iii: (cutoff) – Adjusts (Scaled Z) cutoff frequency of LP 4 & LP 5 (
• 4 taps Recirculator
• X Off Y Pos Mult inputs SL Reverb iv: (release) – Adds Persistence to the Wavebank f1-f4 Frequency scalars
alternating Tap 1 (A, B, C, D), to VoiceDelay inputs from LP 4&LP 5, to the OSC 1&OSC 2
• Z Freq scale from OSCs
output in SR Frequency scalars (G, H) and to the cutoff of both LPs (L).
and LPs used. Outputs are Y
stereo field Tap 2 v: (ringmod) – Controls output of the Multiplier (Q).
OSC 1 with separate SL
scaled to vi: (chorus) – Control Chorus SG1 & SG2 modulation width (I, J) and
• X Off Y Neg controllable Tap 1 increase level Controls Delay feedback into the VoiceDelay (P)
• Z Freq scale LP 5 SG % mod SR
• Y,Z cutoff Ctrl Tap 2

WaveBank B used
• Y BW Ctrl
but not defined.
Too many resources
used and had to be SR
removed?

Library Search:
Category: Other
Type: -
Character: Sound Design, Ensemble
Polyphony: 2+
Aftertouch (Y-Based) Controls (full or partial):
• Offsets cutoff Frequency up to 10KHz (O)
• Controls Wavebank detuning offsets (N)
• Controls OSC 4 & OSC 5 inputs into the
multiplier (S)
• Scales output (T)
• Decreases Bandwidth of both filters (U).

261
 SL/SR
theo s bicycles
HarMan 2 Macro Controller Usage
Master Section
• Metal i: (speed) – Controls (Scaled Y+Z) SG1 Speed used to trigger single cycle SG2 pulses (A). Has pretty big
Recirculator
Mult 2 range going from ca. 2 Hz to 50 Hz – used to pulse HarMan 2 input and Spectral Set index.
Reverb
• Uses 2 inputs ii: (tone) – Scales the Spectral Dilation of the HarMan 2 (K) which is offset by Z in (C).
OSC 1 on one input iii: (structure) – Modifies Non-Linear Mode Frequency of BiqBank (N)
SL/SR Convolution:
• Sine and one on iv: (resonance) – Controls Bandwidth and Linear Mode Bandwidth Spread Factor of BiqBank (M, O)
Waterphone 1->
• Freq scaled another v: (body) – Changes fixed 100% wet Convolution Index through Waterphone2->Metal_WaterPhone1-
Metal -> >Autoharp2 (I)
Waterphone 1 -> vi: (ringmod) – Controls frequency offset of OSC 1 which is one of multiplier inputs (P).
BiqBank 1 Autoharp1
• 8 Modes
SL/SR

Library Search:
Category: Other
Type: -
Character: Sound Design, Metallic
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) frequency of SG1 that dictates overall
bicycle rotation period (A).
• Scales (Y+Z) Harman input pulse amplitude – Y
negatively offsets Z (B) – note Ancillary multiplies by 5.
• Offsets HarMan 2 frequency (F)
• Offsets (Y+Z) HarMan 2 output, input into multiplier and
input into BiqBank (G).
• Controls SG3 triangle modulation applied to HarMan 2
Spectral set Index (H)
• Offsets SG3 Speed (J)
• Offsets BiqBank1 Bandwidth (O)
262
 tine
HarMan 2 SL/SR Master Section Macro Controller Usage
1LP 4 • mBiraski Recirculator i: (strike) – Control output (Z-scaled) of Band Pass Filter – the strike component (M)
Noise • Cutoff ii: (damping) – Changes Bandwidth on the BiqGraph (B)
BiqGraph 1 Reverb
• Unity 700Hz iii: (tremDepth) – Adjusts the out of phase tremolo depth on the outputs (P, Q)
• 48 Modes BP 3 SL/SR iv: (tremSpd) – Adjusts SG4 speed (scaled X+Y+Z) used for tremolo (R)
• 1A and 2A Output amplitude
• Cutoff Z Ctrl SG mod 180 out
v: (relNoise) – Controls (scaled Z) 1LP 4 input into the BiqGraph (G)
1LP 5 offsets • Bandwidth .2 vi: (body) –Changes Convolution mix from none to 100% wet using fixed Wood
Noise • Cutoff X+Z of phase on the
used convolution (V). Output is also scaled as convolution is increased (S).
• .5 Ctrl stereo channels
IOSC 2 (P &Q)
SL/SR
• X Freq
• Y SpB
Main Graph

1A Offsets – Increases with X using squared function

2A Offsets – Decreases linearly with X to 0 at Zero Point

Library Search:
Category: Keyboard
Type: Electric Piano
Character: Acoustic, Clean, Dry, Electric, Intimate
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) tremolo amount (H)
• Scales (X+Y+Z) tremolo speed (R)

263
 tubular bell
Macro Controller Usage
SL/SR Master Section i: (timbre) – Scales modulation inputs of OSC 1 & OSC 3 (H). Also controls
OSC 1
Recirculator (Scaled Z) LP 5 cutoff (L). Finally controls Non-Linear Frequency Spread of
Mod • Sine, Off Pos
Tap 1 SL Reverb BiqBank (S).
OSC 2 • Multi-Mod Voice Delay ii: (structure) - Scales frequency of OSC 2 & OSC 4 (A).
• Sine • 50 ms SG Mod
Mod • Taps output iii: (mix) – Controls amount of BiqBank sent into Voice Delay (T Ancillary of O)
• Freq Ctrl ii • Two taps sent and output of OSC 1 and OSC 3 that are sent to SL and SR using
50/50 mix
to opposite different/opposite envelope formulas (B, D).
Tap 2 SR to alternate
stereo channels iv: (release) – Controls Persistence on OSC 1 & OSC 3 outputs (B, D)
OSC 4 channels
Mod with opposite SG Mod v: (body) – Controls Convolution through full range of Wood->Metal->Fiber-
• Sine, 8va using
OSC 3 offsets >Wood (Q) with static 50/50 wet/dry mix (I).
• Freq Ctrl ii Aftertouch
• Sine, Of Neg vi: (detune) – Adds positive detuning offset to OSC 1 and negative offset to OSC
Mod • Multi-Mod SL/SR based delay 3 (E) – controlled by Aftertouch. Also adds positive and negative delay offsets to
offsets. the two taps (V).

LP 5 SL/SR
Noise BiqBank 1
• Cutoff Z
• Unity • 8 Modes
Ctrl, BW 5

Library Search:
Category: Tuned Percussion
Type: Struck
Character: FM
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Controls detuning of OSC 1 & OSC 3 (E)
• Offsets output of OSC 1&OSC 2 (F – Ancillary
of B & D)
• Controls modulation of OSC 1 & OSC 3 by
OSC 4 (G)
• Offsets (Y+Z) input into BiqBank (M)

264
 under the weather SL
Macro Controller Usage
i: (timbre) – Changes Duty Cycle (Offset Z) of WaveBank 1(C)
OSC 1 Master Section ii: (noise) – Controls (scales X) Noise envelope that frequency modulates
Noise
• SG Ramp • SG Freq Mod Recirculator the 5 WaveBank1 waves (J). Adjusts Spectral Balance on OSC 1 & OSC 3
• Y SpB Ctrl Voice Delay offset by Y (K).
Mod Delay
• 50 ms Tap 1 SL iii: (dirt) – Controls WaveBank modulation (dirt effect) input to OSC 1 &
Extend
Mod • Two taps sent SG Mod OSC 3 (M). Also controls output (scaled Y+Z) of OSC 4 (O) which is
WaveBank 1 to opposite waveshaped by the Left submix.
Note the use iv: (release) – Adds Persistence to WaveBank Amplitude envelope (A), LP
Noise • Triangle LP 5 stereo channels Tap 2 SR of submix to 5 cutoff (B), OSC 1&OSC 3 inputs into VoiceDelay (F, N), Spectral Balance
• 5 copies • 5 Waves • Cutoff Z with opposite SG Mod waveshape setting of OSC 1&OSC 3 (K) and OSC 4 output (O).
• Complex Freq Ctrl, BW 5 offsets, 180
OSC 4 for part v: (detune) – Controls the numerous detuning offsets on he waves of the
Offsets & Scaling degrees out of SL/SR
of “dirt” Wavebank (H, E, I).
phase – rotates vi: (chorus) – Applies 180 degrees out of phase SG3 triangle modulation
Mod OSC 2 delay left-right- Sub L
• Waveshaper OSC 4 to the two taps (Q, U). Controls (scaled Z) SG3 frequency (R). Adds offset
left, etc. Waveshaped
Mod
Noise OSC 3 to the S&H used for adding randomness to Voice Delay time (T Blend)
Noe Submix based on formula G (though W in formula T is it seems always set to zero
• SG Ramp • SG Freq Mod input SL/SR
• Y SpB Ctrl so S&H does not seem to be applied).

SR Note chorus oscillation between SL and SR channels, especially when

chorus is set at a low value.

Library Search:
Category: Classic
Type: Pad
Character: Dark, Distorted, Low-Fi
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets Spectral Balance of OSC 1 & OSC 3 (K)
• Controls WaveBank modulation input to OSC
1 & OSC 3 (M)
• Scales (X+Y+Z) LP 5 cutoff (B)
• Scales (Y+Z) OSC 4 output (O)
265
 upibanks Macro Controller Usage
SL
Master Section i: (timbre) – Controls pulsed noise (scales Y+Z) into LP 5 (A) which is fed into both
BiqBank 1 Recirculator BiqBanks.
LP 5 • 16 Modes Reverb ii: (structure) – Controls Linear Frequency Spread of BiqBank 1 quantized in
Noise
• Cutoff Y+Z range 1..10 in steps of 1 (O).
• Pulse with SR iii: (drive) – Controls output SL/SR scaling (Q) (also in relation to changing v
Y+Z Ctrl Ctrl, BW 7 BiqBank 2 (body). Also Scales with X modulation of OSC 4(T).
• 16 Modes iv: (mute) – Controls Bandwidth (offset X+Z) of both BiqBanks (though Z will
reduce it a bit) (C)
Mod Mod
SL/SR v: (body) – Controls Convolution Mix and Index through full range of Wood-
OSC 4 >Metal->Autoharp2->Autoharp1 (R) and Scales outputs for it (Blend v on Q)
• Waveshaper vi: (modulation) – Controls All Pass Filter (AP3) outputs and SG4 Hann
SL/SR
Mod Mod modulation on them (M, D). Has secondary output scaling to adjust for it (F, G
Mod
OSC 2 Ancillary of Q). Scales (offset Z) AP3 cutoff (J). Controls frequency of SG4used for
Mod AP 3 SL/SR
OSC 1 • X 8va modulation (P).
• Multi-Mod • SpB X & Z Ctrl • SG Mod + Z
• SpB X & Z Ctrl Cutoff, BW 3
SL/SR

Library Search:
Category: Keyboard
Type: Electric Piano
Character: Acoustic
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) noise input into LP 5 (A)
• Scales (Y+Z) both BiqBank’s direct input control (B)
• Scales (Y+Z) OSC 1 output and input into SP3 (H)
along with secondary offset of it (K)
• Controls OSC 2 output (I)
• Offsets Frequency of SG4 as vi is increased (P)

266
 viollaggio Macro Controller Usage
i: (timbre) – Changes Harmonic Truncation and Spectral Dilation of HarMan 1 (O)
BP 2 ii: (tone) – Controls the OSC modulation input from HarMan (P)
Noise ModMan 2 SL/SR Master Section
• X*Z Cutoff iii: (shape) – Controls (scaled X+Y+Z) OSC 4 modulation of OSC 1 (D)
• Unity • Viola Legato Recirculator iv: (bow) – Controls (Z-scaled) BP noise input/excitation into ModMan 2 (E).
• BW 9 Reverb v: (vibrato) – Controls (scaled Y+Z) frequency modulation applied to OSC 1 (U). Note that this
uses SG2 which scales with X+Y+Z and has noise modulation the frequency (N) to give a more
OSC 3 Mod OSC 4 natural vibrato.
Mod OSC 1
• Sine • Sine vi: (body) – Controls convolution Index and Mix but in a very specific way. First Convolution
• X*9 • Sine
• X = 8va * 4 SL/SR mix has SG3 modulation applied (T) on a base .1 value that can be increment only .127 with
• SG*(Y+Z) FMod R. Convolution index ranges R*9 so max range there is 0 to 1.143 (a very specific range
desired) that moves between Waterphone2->Metal.
HarMan 1 Mod OSC 5
• Viola Legato • Sine
• SG*(Y+Z) FMod
Mod
SL/SR

Library Search:
Category: Strings
Type: Bowed
Character: Acoustic
Polyphony: 3+

Aftertouch (Y-Based) Controls (full or partial):

• Controls OSC 5 modulation input from HarMan (P)
• Scales X+Y+Z (with high Persistence) SG2 Frequency which is
also randomized with S&H noise.
• Scales (X+Y+Z) OSC 4 modulation of OSC 1 (D)
• Scales (Y+Z) OSC 1 outputs (F)
• Scales (Y+Z) Harman amplitude (G)
• Scales (Y+Z) OSC 1 detuning offset (L) again to add a more
human like pitch control.
• Offsets HarMan 1 Harmonic Truncation and Spectral Dilation
(O) for subtle timbre changes
• Offsets HarMan Spectral set index (once again to give slight
tone changes)
• Scales (Y+Z) the Vibrato put on OSC 1 (U) 267
 vorgaphone Macro Controller Usage
i: (structure1) – Controls Quadratic Frequency Spread of ModMan 1 (C)
Noise LP 1 Master Section ii: (structure2) – Controls Frequency Spread of ModMan 2 (S)and Quantizes
• Unity • Cutoff Z Ctrl ModMan 2 Recirculator frequency scaling of ModMan 2 in range 1..3 in increments of 0.5 with
• BW 8 • Ukelele 2 Reverb moderate Persistence (E)
How out of phase LP 4 iii: (mute) – Controls Mode Bandwidth Spread factor on both ModMans (F)
SL/SR
tremolo works here: • SG (X+Y) Cutoff Outputs have and controls amount of (Z-scaled) Modulation of OSC 2 by ModMan 2 (N)
J Primary starts Z=1, no • BW 3 adjustable SG iv: (brightness) – Controls (Z-scaled) cutoff of LP 1 (A). Controls (Z-Scaled)
mod width increasing to ModMan 1 amplitude envelope on both ModMans’ Spectral Dilation (H).
max width and lowing Z at • Ukelele 2 modulation
v: (body) – Controls Convolution index (though goes past max range so that
full Secondary setting. I
OSC 3 SL/SR will be ignored) through Wood->Metal->Fiber->Wood (Q)
(SG4) controlling tremolo applied 180 vi: (tremolo) – Controls 180 degrees out of phase tremolo applied to output
also increases speed as • X 8va degrees out of
width increases. R does same only 180 degrees out of phase. (J,R) and Frequency (Y+Z scaled) of SG4 used for the tremolo (I)
• Y+Z SPB Ctrl phase on SL
and SR
OSC 2 SL/SR (J & R)
• X, Mod
• Y+Z SPB Ctrl

Library Search:
Category: Keyboard
Type: Organ
Character: -
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Scales IY+Z) SG4 tremolo speed (I)
• Scales (Y+Z) OSC 1 output (L)
Convolution (O) • Controls (Y+Z) Spectral Balance of OSC 1 (M)
ranges to 4 – was it • Controls output of OSC 3 (T)
meant to be scaled?

J & R apply SG amp Mod (tremolo)

180 degrees out of phase. 268
 IOSC 2 defined but
not used?
walking elephants
Mod Macro Controller Usage
OSC 2 i: (bass) – Controls (scaled Y+Z) IOSC 5 output (H) which is set 8vb.
Kinetic 2 • Waveshaper ii: (keys) – Controls ModMan 1 output (H)
• Internally Master Section iii: (vibrato) – Controls (X offset) SG5 6Hz sine modulation on HarMan 2 Frequency (C).
Excited SL/SR
LP 4 ModMan 1 Recirculator iv: (reeds) – Controls output of OSC 1 (U) and HarMan 2 output (offset X) (V)
• Cutoff 16 KHz • mBiraski Reverb Extend v: (timbre) – Controls HarMan 2 Harmonic Truncation and Spectral Dilation (S)
• BW 1 vi: (tonging) – Scaled the amplitude of the SG3 envelope applied to HarMan 2 Spectral
Index that uses Amplitude for Phase (D ancillary of T). Note there is also Continuous SG4 0.5
Hz triangle modulation offset applied on this as well (P)
Harman 2 Mod IOSC 1 SL/SR
• Clarinet 2 • Sine
• Waveshaper
SR
Mod IOSC 5
• X 8vb
• Sine

Library Search:
Category: Winds
Type: Brass
Character: Acoustic, Warm, Woody
Setting: Portamento, Interval: Maj 3rd
Polyphony: 2+
SG Amplitude from Phase uses
W RMS option (M & N). SG2
Aftertouch (Y-Based) Controls (full or partial):
does not appear to be used (B)
• Offsets SG 2 Amplitude from Phase (F Ancillary of M).
• Scales (Y+Z) IOSC 5 output (H)
• Offsets (Y+X) Kinetic frequency (K)
• Controls (Y+Z) HarMan 2 amplitude (R)
• Scales (Y+Z) HarMan 2 Harmonic Truncation and
Spectral Dilation (S)
• Offsets HarMan 2 Spectral Index envelope control (T)

269
 One of the simpler Osmose presets
wallface
Macro Controller Usage
i: (timbre) – Controls (Scaled-Z) modulation input of OSC 3 from OSC 2 (L)
Master Section ii: (wave) – Controls the self-modulation feedback of OSC 1 through
OSC 2 Recirculator Aftertouch (P)
Mod • Sine, X 8vb Reverb iii: (shaper) – Scales (offset Y+Z) OSC 3 modulation inputs (M)
• X+Y Mod Ctrl Voice Delay iv: (envTime) – Adds Persistence to LP 4 envelope (R)
OSC 1 Tap 1 SL
• 50 ms • Outputs have SG v: (cutoff) – Scales LP 4 cutoff frequency (T). Controls SG2 frequency
• X 8vb Mod 30 % that’s used for VoiceDelay scaling in turn used for chorus (O) (is this an
• Two taps sent to pulse envelope
• X+Y SpB Ctrl Mod error and should be on vi as that affects chorus).
opposite stereo applied with Z
OSC 3 vi: (chorus) – Controls the tapped outputs (A) of the simple Z-scaled
channels with Ctrl (G)
Mod • Waveshaper SR pulsing chorus effect applied in (G).
different delay Tap 2
• Multi-Mod
% offsets 40 %

LP 4
SL/SR
• Cascade 4
• X+Y Cutoff Ctrl

Library Search:
Category: Classic
Type: Bass, Demo
Character: Digital, FM,
Setting: Portamento, Interval: Octave
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Offsets OSC 3 input into LP 2 (B)
• Offsets Spectral Balance of OSC 1 (D) (Z decreasing and Y
increasing by same amount from base value of 0.59 SO
this ranges from 0.59 down to 0.09 back up to 0.59 as
you press through the key bed.
• Offsets (Y+Z) OSC 3 input modulation (M)
• Controls OSC 1 self modulation feedback (P)
• Controls (Y+Z) modulation input to OSC 2 & OSC 3 (Q)
• Offsets (Y+Z) LP 4 cutoff frequency.
270
 woodorgan One of the simpler Osmose presets

Master Section Macro Controller Usage

OSC 2 OSC 1 SL/SR i: (pluck) – Controls (Z-scaled) modulation of OSC 1 from OSC 2 (B)
• Sine w/ Recirculator
• Sine Reverb
ii: (vibrato) – Controls amount of sine SG1 vibrato applied to OSC 3 (G)
Quantized • Fundamental iii: (tremolo) – Controls amount of Hann SG1 180 degrees out of phase
Harmonics tremolo applied to the outputs (J, M).
Mod • Outputs have tremolo iv: (modSpeed) – SG1 vibrato & Tremolo speed offset by Aftertouch (I)
SL/SR
applied 180 out f v: (body) – Controls Convolution mix up to 50/50 wet/dry and uses fixed
phase on stereo Convolution index of zero – base Wood convolution.
Note: When using Ancillary
OSC 3 SL/SR channel (see Quantize function add at least .1 to
vi: (harmonics) – Scales the OSC 2 frequency with quantized harmonic
• X offset 4th “vorgaphone” for W range so you move through your numbers from 2 to 6 in increment of 1 (N)
• SG Mod more complete full desired set of values. Here the
values desired are 2..6. IF W = 4.0,
description of range would only go 2..5.
technique –only here
separate MCs used to
control tremolo width
(J, M) and speed (I).

Library Search:
Category: Keyboard
Type: Organ
Character: Woody, Warm, Soft
Polyphony: 4+ (note higher Polyphony set here than
on most presets because this preset is so simple)

Aftertouch (Y-Based) Controls (full or partial):

• Scales (Y+Z) OSC 1 output (A)
• Scales (Y+Z) OSC 2 output (C)
• Scales (Y+Z) OSC 2 output (D)
• Controls Self Modulation feedback on OSC 1 (F)
• Offsets SG1 vibrato/tremolo speed by up to 1 HZ (I)

N offsets X with Ancillary (X Qnt 1)+2 – So starts offsetting at 2nd harmonic and increases through 6th harmonic
271
 Noise Anchor Macro Controller Usage
• Z scaled with blend Persist
Kinetic Bank 1 zapzap i: (ensemble) – Controls Spectral Balance of OSC 4 & OSC 5 (O). Controls
• 4 Inputs excite MSG modulated Tapped output (R). Also controls OSC 5 exciting of Kinetic
OSC 1 the anchor, 1 Summed Delay Master Section Anchor (M). Also controls Noise exciting of Kinetic Anchor (N).
Anchor mods SL
• +Z Freq Ctrl, SpB = .7 • 200 ms Tap 1 Recirculator ii: (resonance) – Controls Kinetic bank Viscosity (K)
• Z Pos Freq Offset frequency • 2 taps, output Mod Delay iii: (cutoff) – Scales Kinetic bank Frequency/cutoff (H)
to alternate SR Extend iv: (envTime) – Adds Persistence to OSC 1 Frequency and all Kinetic bank
stereo fields Tap 2 Anchor exiting inputs (B, M, N). Also adds Persistence (scaled Z) to Kinetic
OSC 3 cutoff (C).
Freq with Pos and
• Fixed X, Y+Z v: (filterFM) – Controls OSC 3 frequency modulation of Kinetic bank (I).
Freq Scale Neg offsets vi: (FilterFMtune) – Scales Frequency of OSCs offset by inverting Y+Z values
applied SL/SR (Z offsetting up 0.05 and Y offsetting back down 0.05) (J).
OSC 4 (Q).
Anchor
• Y+Z Freq Scale Note use of formula A on OSC frequency to create pitch
• ii Adjust SpB OSC 2 effect. Z will start changing it based on offset and when Y
Aftertouch kicks in it starts adding to Z, effectively moving
• Modulated frequency back in other direction until Y+Z = 0 (not shift)
OSC 5 Anchor but not used? at bottom of Y.
• X+Y+Z Freq Ctrl
• SpB=.7, Z Neg Freq Offset

Library Search:
Category: Other
Type: Atonal
Character: Sound Design, Analog,
Looping,
Polyphony: 2+

Aftertouch:
• Scales (Y+Z) OSC 1, OSC 4 & OSC 5 frequencies (A)
• Controls/scales SG1 frequency used to triangle modulate
Kinetic cutoff (E)
• Inversely with Z offsets OSC 3 frequency scaling (J)

272
 zenpercs Macro Controller Usage
i: (thump) – Controls Kinetic Bank Viscosity
ii: (excitation) – Control Kinetic Bank output scaling
iii: (structure) – Controls Linear Frequency Spread of the BiqBank
iv: (ATtone) – Controls bandwidth of the BiqBank
Noise v: (ATRate) – Controls the frequency of the SG used for pulse attacks on
SL/SR
• X *.25 BiqBank 2 Master Section
Kinetic Bank Bandwidth and Frequency.
• 48 Mode Recirculator vi: (Resonance) – Controls Mode Bandwidth Spread factor of the
Kinetic Bank 1 • Kinetic input Mod Delay BiqBank.
• Bow Speed and Frequency Y+Z scaled Extend
have SG pulsing applied to
generate the repetitions

Library Search:
Category: Tuned Percussion
Type: Struck
Character: Acoustic, Intimate, Soft,
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• Brings in repeitions

Formula L (J is similar) brings on the

SG1 pulsed repetitions on Aftertouch
(Y) 273
APPENDICES

274
 Template Components (for adding additional preset analyses) 275

Macro Controller Usage

i: (TBD) -
Master Section ii: (TBD) -
Recirculator iii: (TBD) -
tbd iv: (TBD) -
Noise v: (TBD) -
• Unity • tbd vi: (TBD) -
SL/SR

SL
Mod OSC 3 Tap 1
Tbd • X SR
• Tbd Tap 2
• Y Mod Ctrl
• tbd SL
Tap 3
FMod
Mod SR
Tap 4

Library Search:
Category: Keyboard
Type: -
Character: Airy, Bright, Clean, Digital
Polyphony: 2+

Aftertouch (Y-Based) Controls (full or partial):

• TBD

TBD
 Additional (Simplified)
Preset Block Diagrams

All Presets now have Block diagrams, either in this section or

the more analytical section above.

Notes in red point out discrepancies in EaganMatrix preset design, mostly

resources defined but not used in presets (which is ok) that might confuse
those studying them. A few cases of things used but not being defined
which is more problematic. Hopefully, Expressive E will clean up the
presets in a later edition.
 babrass Library Search:
Macro Controllers Category: Winds
i: (timbre) Type: Brass
Mod ii: (wave) Character: Acoustic
ModMan 1 Polyphony: 2+
iii: (body)
Viola Legato SL/SR iv: (breath)
OSC 2
Master Section v: (sub)
Mod Mod SL/SR Recirculator vi: (ATmod)
OSC 4
OSC 3 Reverb Extend
Mod
Note:
• SG2 defined as Phase from Amp but not used.
SL/SR
Noise LP 1 HarMan 2
Oboe 1

bass monster Macro Controllers Library Search:

Noise i: (resonance) Category: Classic
ii: (cutoff) Type: Bass
iii: (drive) Character: Dry, Synthetic, Analog
iv: (attack) Polyphony: 3+
WaveBank 1 1LP 5 Setting: Portamento: Maj 3rd,
Saw v: (detune)
Rounding
vi: (modulation)
Feedback

Mod
Mod SL/SR
OSC 3
OSC 1 Master Section
Mod SL/SR
OSC 4 Recirculator
Analog Echo
SL/SR
1HP 2
277
 bazambar
Macro Controllers Library Search:
i: (release) Category: Strings
ii: (structure) Type: Plucked
Noise iii: (resonance) Character: Acoustic,
SL/SR Shaking,
ModMan 1 iv: (hollow)
Polyphony: 2+
v: (ATtimbre)
Noise LP 4 String Tap 1
Master Section vi: (ATfilter)
Recirculator
Feedback Note:
Reverb Extend
• OSC 1 defined but not used
HarMan 2 SL/SR • OSC 3 defined but not used (disabled)
Noise LP 5
String Tap 1

Macro Controllers Library Search:

bells of digul i: (Balance) Category: Tuned Percussion
ii: (structure) Type: Struck
iii: (ratio) Character: Acoustic, Metallic
Polyphony: 3+
SL/SR iv: (body)
OSC 2 v: (tremolo)
vi: (fondamental)

OSC 1 SL/SR
Master Section
Mult3
Recirculator
SineBank1 Reverb Extend

HarMan 2 SL/SR
Bell LP 4

278
 beny’s territory

Macro Controllers
Library Search:
Mod i: (ratio) Category: Classic
Noise SL ii: (shape) Type: Pad
Master Section iii: (bells) Character: Acoustic, Layered
Mod OSC 1 iv: (envTime)
Recirculator Polyphony: 2+
SL Reverb Extend v: (noise)
Tap 1 vi: (delay)
OSC 3 Mod
Voice Delay
Mod 800 ms SR
Tap 2
Mod OSC 2
Noise SR

Mod SL
Tap 3
Noise BiqBank1 SL/SR
Multiple 48 Modes
SR
Tap 4
OSC 4
Feedback
SL/SR

279
 biquide harp (FDN Example) Macro Controllers
i: (brightness)
ii: (impact)
SL/SR iii: (body)
iv: (resonance)
OSC 1 v: (ATratio)
vi: (harmoType)
SL/SR
OSC 2
Master Section
Feedback SL/SR Recirculator Library Search:
TAP 1 Reverb Category: Strings
Micro Delay Type: Plucked
Character: Acoustic, Soft, Clean
LP 4 Polyphony: 2+

TAP 2 SL/SR
BiqBank
Micro Delay
Feedback 8 Modes
Noise LP 5
TAP 3
Micro Delay SL/SR
Feedback
(all 12.5 ms)
LP 3
Feedback TAP 4
(Micro Delay)

280
 biquide steel (FDN Example – Variant of “biquide harp”)
Macro Controllers
i: (tune1)
SL/SR ii: (tune2)
iii: (impact)
OSC 1 iv: (resonance)
v: (excitation)
SL/SR vi: (body)
OSC 2
Master Section
Feedback SL/SR Recirculator Library Search:
TAP 1 Reverb Category: Tuned Percussion
Noise Micro Delay Type: Struck
Character: Acoustic, Metallic
LP 4 Polyphony: 2+

TAP 2 SL/SR
BiqBank
Micro Delay 8 Modes
Feedback
LP 5
TAP 3
Micro Delay
(all 12.5 ms) SL/SR
LP 3 Feedback
Noise

Feedback TAP 4
(Micro Delay)

281
 bowedsymphfm
Macro Controllers Library Search:
SL i: (pluck) Category: Keyboard
Master Section ii: (timbre) Type: Struck
OSC 1
Character: Acoustic, FM, Clean,
Recirculator iii: (modAmt)
Shaking, Stereo Soft
OSC 3 XMod Reverb iv: (modSpeed)
Polyphony: 2+
SR Extend v: (resonance) Special: Derivative (on Z, S curve)
OSC 2 vi: (vibrato)

Kinetic 1
ModMan 2 SL/SR
String Tap 3
Noise LP 4

brassfm
Macro Controllers Library Search:
SpB i: (timbre) Category: Winds
Noise SL/SR ii: (tone) Type: Brass
Master Section iii: (body) Character: Acoustic, FM
Mod Recirculator iv: (growl) Setting: Portamento, Interval: 2nd
OSC 2 BR5 SL/SR Reverb v: (breath) Polyphony: 2+
Cascade 2 vi: (morph)
Mod
OSC 3 OSC 1
Mod
Mod SL/SR
SineBank 1 OSC 4
Freq = X
Mod
SineBank 2
8vb
Mod
282
 brassfm2
SL/SR
Noise IOSC 1 Macro Controllers Library Search:
Master Section
SL/SR i: (timbre) Category: Winds
Recirculator ii: (tone)
Mod BR 3 Type: Brass, Demo
Mod
Reverb iii: (body) Character: Acoustic, FM
Cascade 2 Mod
Mod iv: (modulation) Setting: Portamento, Interval: 2nd
v: (shape) Polyphony: 2+
Noise Mod
OSC 2 vi: (breath)
OSC 4 SL/SR
Mod SL/SR
Noise BP 5
Cascade 2 SL/SR

brassfm3 Macro Controllers Library Search:

i: (tone) Category: Winds
SL/SR ii: (timbre) Type: Brass
Noise OSC 1 iii: (body) Character: Acoustic, FM , Midi
Master Section iv: (modulation) Setting: Portamento, Interval: 2nd
BR3 SL/SR Recirculator v: (breath) Polyphony: 2+
Mod
Mod Cascade 1 Reverb vi: (size)

HarMan 1 Mod Note:

Brass OSC 2 • OSC 5 defined but not used
OSC 4 • OSC 4 defined with multiple inputs, but not used.
Noise Mod

SL/SR

BiqBank2 SL/SR
Noise
8 Modes 283
 brassimple
Macro Controllers Library Search:
i: (waveform) Category: Classic
OSC 1 ii: (cutoff) Type: Brass
SL/SR iii: (envAmt) Character: Analog
Mod iv: (envTime) Polyphony: 2+
XMod
v: (vibrato)
Master Section vi: (chorus)
OSC 2 Recirculator
LP 5
Mod • Cascade 4 SL Reverb Extend
Summed Delay Tap 1
IOSC 3 50 ms
SR
Tap 2
WaveBank 1
• Square

Feedback

brasswind Macro Controllers Library Search:

i: (mix) Category: Wind
SL/SR
ii: (tone) Type: Brass, Flute
OSC 2
Master Section iii: (body) Character: Acoustic
SL/SR iv: (flutter) Setting: Portamento,
Recirculator Interval: 2nd
OSC 3 SL/SR Reverb Extend v: (vibrato)
Polyphony: 2+
vi: (delay)
SL
LP 4 Tap 1
Noise
BiqBank1 SR
48 Modes Tap 2
OSC 1 Voice Delay
400 ms SL
Tap 3
Mod Feedback
SR
Tap 4

Delay Feedback 284

 bright organ
Mod
Mod OSC 2 SL/SR
OSC 1 Macro Controllers Library Search:
OSC 3
i: (release) Category: Keyboard
ii: (sub) Type: Organ
Mod
SL/SR Master Section iii: (resonance) Character: Acoustic, FM
OSC 4 iv: (brightness) Polyphony: 2+
Recirculator
Reverb Extend v: (vibratoAmt)
SL/SR vi: (vibratoFreq)
Noise BiqBank 1
8 Modes

LP 5 SL/SR
WaveBank2
Square Cascade 4

brightbank
SL/SR Macro Controllers Library Search:
i: (structure) Category: Tuned Percussion
IOSC 1 ii: (tone) Type: Struck
iii: (brightness) Character: Acoustic, Shaking
iv: (resonance) Polyphony: 2+
SL Master Section
Tap 1 v: (delayAmt)
LP 4 Recirculator
vi: (delayTime)
Voice Delay Reverb Extend
Delay Feedback
SR
400 ms Tap 2

SL/SR
BiqBank1 IOSC 2
48 Modes
Noise LP 5
SL/SR
285
 carbon marimba Macro Controllers Library Search:
i: (body) Category: Tuned Percussion, Midi
ii: (ATRate) Type: Struck
Noise iii: (mix) Character: Acoustic, Looping,
BiqBank1 SL/SR iv: (resonance) Warm, Woody
48 Modes Master Section v: (structure1) Polyphony: 2+

Recirculator vi: (structure2)

Noise LP 4
Reverb
BiqBank2 SL/SR

Noise 48 Modes

carifem Macro Controllers Library Search:

i: (timbre) Category: Classic
ii: (rario1) Type: Pad
Mod SL/SR iii: (ratio2) Character: Looping, FM
OSC 4 Polyphony: 2+
iv: (ratio3)
Mod
v: (rate)
SL
OSC 1 vi: (envTime)

Master Section
Mod
OSC 3 XMod Recirculator
Mod Delay
Mod SR Extend
OSC 2

Mod
Mod SL/SR
OSC 5

286
 celestial

Note: LP 4 is sent
into OSC 1 but it LP 4 Macro Controllers
has no input and i: (structure1)
OSC 1 SL/SR ii: (structure2)
no Bandwidth?
OSC 3 SL/SR iii: (timbre)
iv: (body)
SL/SR v: (noteOff)
OSC 2 Master Section vi: (tremolo)
Recirculator
BiqBank1 SL/SR Reverb Extend Library Search:
Noise LP 5 Category: Tuned Percussion
16 Modes
Type: Struck
Character: Acoustic
SL/SR Polyphony: 2+
HarMan 2
Toy Piano Strike

celestial basin Macro Controllers

i: (harmonics)
ii: (timbre)
iii: (body)
Master Section iv: (release)
Index SL/SR v: (mechanism)
Noise HarMan 2 BiqBank2 Recirculator
vi: (structure)
Metal 48 Modes Mod Delay
Library Search:
Category: Other
Type: Atonal
Character: Airy, Metallic,
Reverberant, Sound Design
Polyphony: 4+

287
 cellove Macro Controllers
i: (timbre)
SL/SR ii: (tone)
HarMan 2 iii: (body)
Vla Legato Mod Mod
iv: (bowNoise)
v: (vibrato)
Mod Master Section vi: (waves)
OSC 3 SL/SR Recirculator
OSC 2 Reverb Extend Library Search:
Mod
Category: Strings
Phase Gen 4 LP 5 SL/SR Type: Bowed
Character: Acoustic
Mod Setting: Portamento 2nd
Polyphony: 2+
ModMan 1
Noise LP 1 SL/SR
Vla Legato

cellovir Macro Controllers

i: (color)
ii: (timbre)
SL/SR iii: (tone)
HarMan 1 iv: (bow)
Vla Legato Mod Mod v: (vibrato)
vi: (body)
Mod Master Section
OSC 2 OSC 1 SL/SR
Recirculator Library Search:
Reverb Extend Category: String
Type: Bowed
Mod Character: Acoustic
ModMan 2 Polyphony: 2+
Noise LP 4 SL/SR
Vla Legato

288
 chamber mellobow Macro Controllers
i: (timbre)
ii: (bow)
SL/SR iii: (bowColor)
HarMan 1 iv: (body)
Vla Marcato Mod v: (vibrato)
SL vi: (release)
OSC 2
Mod Master Section
Recirculator
Library Search:
Mod Reverb Extend Category: Strings
SR
Type: Bowed
Mod OSC 3 Character: Acoustic, Ensemble, Lo-Fi, Stereo
LP 4 ModMan 2 Polyphony: 2+
Noise SL/SR
Vla Marcato

chamber strings Macro Controllers

i: (size)
SL/SR
ii: (vibrato)
iii: (ambience)
HarMan 1 SR
sHP 4 iv: (delayTime)
Vla Legato v: (Body)
SL Master Section
Tap 1 Recirculator vi: Not Used
Voice Delay
SR Reverb Extend
200 ms Tap 2
HarMan 2 SL
sHP 5 Library Search:
Vla Legato Category: Strings
SL/SR Type: Bowed
Character: Acoustic, Clean, Ensemble
Polyphony: 2+ ^ (Increased Computation)

289
 Mod cherie fm
Macro Controllers
Mod SL/SR i: (saw)
OSC 2 ii: (fmAmt)
iii: (fmRatio)
Mod OSC 1 SL iv: (cutoff)
OSC 3 Tap 1 v: (timbre)
Master Section
LP 5 SR vi: (delay)
Mod Recirculator
OSC 4 Tap 2
Voice Delay Reverb Extend
SL Library Search:
400 ms Tap 3 Category: Classic
SR Type: Lead
WaveBank Character: FM
Tap 4
Saw Setting: Portamento Octave
Feedback Polyphony: 2+

chick s lead
Macro Controllers
i: (cutof)
ii: (resonance)
OSC 1 SL/SR iii: (chorus)
iv: (sub)
v: (filterEnv)
IOSC 2 SL vi: (filterEnvTime)
LP 4 Tap 1 Master Section
Voice Delay
SR Recirculator
OSC 3 50 ms Tap 2 Reverb
Library Search:
Category: Classic
WaveBank Type: Lead
Saw Character: Analog, Soft, Clean,
Warm, Dark, Demo
Setting: Portamento Octave
Polyphony:

290
 choir Macro Controllers
i: (vowelType)
ii: (vowelDepth)
SL/SR iii: (formant)
Noise LP4 iv: (voiceSpread)
Master Section v: (release)
BiqMouth 2 SL vi: (chorus)
LP 5 Tap 1 Recirculator
WaveBank Summed Delay Mod Delay
200 ms SR
Saw Tap 2 Extend
Library Search:
Category: Vocal
Type: Pad
Character: Synthetic
Polyphony:

choir additive
Macro Controllers
i: (vibrato)
SL/SR ii: (size)
IOSC 1 iii: (ohLvl)
iv: (ahLvl)
Master Section v: (release)
SL/SR Recirculator vi: (sine)
Additive 1 Mod Delay
Extend
SL/SR Library Search:
Additive 2 Category: Vocal, Classic
Type: Pad
Character: Clean,
Polyphony: 1+

291
 chordead
Macro Controllers
i: (minMaj)
OSC 4 ii: (5/7)
Mod iii: (cutoff)
Mod OSC 1 Master Section iv: (release)
OSC 3 SL/SR Recirculator v: (feedback)
Kinetic 1
Delay LPF vi: (modulation)
Extend
OSC 2 Library Search:
Category: Classic
Mod OSC 5 Type: Bass
Character: Chords, Analog
Setting: Portamento Octave
Polyphony: 2+

Note: OSC2 not defined but fed church organ

into Summed Delay Macro Controllers
SL/SR
i: (timbre)
OSC 1 ii: (harmonics)
iii: (pipe)
iv: (body)
SL/SR
v: (tremolo)
OSC 3 SL vi: (chorus)
Summed Delay Master Section
Tap 1
50 ms Recirculator
SL/SR Reverb Extend
WaveBank
LP 4 SR Library Search:
Saw Tap 2 Category: Keyboard
Type: Organ
SL/SR Character: Acoustic
Noise BiqGraph Polyphony: 2+
LP5
48 Modes
292
 claribreath Macro Controllers
i: (harmonics)
SL/SR ii: (breath)
iii: (attack)
Noise LP 4 ModMan 2 iv: (modulation)
Clarinet 2 Mod v: (bodyAmt)
Master Section vi: (bodyType)
SL/SR
OSC 2 Recirculator
Mod Reverb Extend
HarMan 1 Library Search:
Data SL/SR
Noise OSC 1 Clarinet 2 Category: Winds
Index
Type: Double Reed, Atonal
Character: Acoustic, Noise, OG?
Note: Interesting use of Noise Modulated Setting: Portamento Octave
OSC to control HarMan data index to add Polyphony: 2+
natural randomization to the output.

Main BiqGraph Offsets:

clarinet
Macro Controllers
i: (body)
Noise ii: (darkness)
BiqGraph OSC 2 iii: (tongue)
Master Section
48 Modes Recirculator iv: (flutter)
OSC 1 Aftertouch Controlled Offsets 1: v: (harmoVol)
Reverb
vi: (harmoRatio)
Feedback Mod

Library Search:
Category: Wind
Z Controlled Offsets 2: Type: Single Reed
Character: Acoustic, Clean,
Woody
Polyphony:

293
 classipad
SL/SR Macro Controllers
WaveBank i: ()
Saw SL ii: ()
Tap 1 iii: ()
SR iv: ()
Tap 2 v: ()
OSC 1 Summed Delay Master Section vi: ()
50 ms SL Recirculator
LP 5 Tap 3
Reverb Extend
SR
OSC 2 Tap 4
Library Search:
Category: Classic
Type: Pad
Phase Gen 3 Character: Analog, Ensemble, Simple
Mod SL/SR
Sum 7 Polyphony: 2+
OSC 4

clav1 Macro Controllers

i: (timbre)
ii: (tone)
SL
iii: (filter)
AP 1
iv: (mute)
SineBank v: (modulation)
SL/SR vi: (speakers)
Master Section
LP 5 ModMan 1
Noise SL/SR Recirculator
Ukelele 2 OSC 3 BP4
Reverb Extend
Library Search:
Category: Keyboard
Type: Demo, Electric Piano
SR Character: Electric
Mod AP 2 Polyphony: 2+

SL/SR 294
 clavichord
Noise Macro Controllers
(Aftertouch) Noise i: (tone)
SL/SR ii: (detune)
SG1 Pulse
BiqBank 1 iii: (must)
48 Modes iv: (2nd.string)
v: (bend)
SG1 SL/SR
Master Section vi: (sine)
BP 4 1HP 5 OSC 1
Pulse Recirculator
Reverb
BiqBank 2
SL/SR Library Search:
Var Modes
Noise Category: Keyboard
Type: Struck
SG1 Pulse Character: Acoustic, Clean
Polyphony: 2+

Mod
clavichorda
Macro Controllers
Mod i: (release)
ii: (sub)
Mod OSC 1 SL/SR iii: (reeds)
iv: (body)
Mod v: (modulation)
HarMan 2 SL/SR Master Section vi: (vibrato)
OSC 5 OSC 2 SineBank 1
Ukelele 1 LP 4 Mod Recirculator
Mod Reverb
Library Search:
SL/SR Category: Keyboard
Mod OSC 3 Type:
Character: Digital, FM, Shaking, Stereo
Polyphony: 2+

295
 clawha
Mod Macro Controllers
OSC 4 i: (timbre)
SL/SR ii: (tone)
Mod iii: (sub)
OSC 3 SL/SR iv: (autoWha)
v: (body)
OSC 1 Master Section vi: (modulation)
Mod BP 2 SL/SR Recirculator
SineBank 2 Reverb
Mod
Library Search:
BiqBank 1 Category: Keyboard
Noise LP 5 Type: Electric Piano
8 Modes Character: Electric
SL/SR Polyphony: 2+

clings Macro Controllers

i: (harmonics)
ii: (atSpeed)
iii: (structure)
SL/SR iv: (damp)
Noise LP 4 v: (body)
Master Section vi: (material)
BiqBank 1
Recirculator
32 Modes BiqBank 2 SL/SR
Noise LP 5 Reverb
32 Modes
Library Search:
Category: Tuned Percussion
Type: Struck, Demo
Character: Metallic, Acoustic,
Note: OSC1 is defined and noise Stereo, Intimate, Shaking
Polyphony:
waveshaped but not used.
296
 cold lead
Macro Controllers
SL/SR i: (cutoff)
OSC 2 ii: (filterReso)
iii: (envAmt)
Mod
iv: (noise)
SL/SR v: (timbre)
OSC 1
ModMan 1 Master Section vi: (delayAmt)
Noise LP 5 String Tap 3 SL/SR Recirculator
Reverb
SG2 SL/SR
ModMan 2 Library Search:
Pulse String Tap 2 Category: Clean
Type: Lead, Demo
Mod SL/SR Character: Noise, Simple, TO?,
Noise OSC 3 LP 4
Analog, Stereo
Polyphony: 4+

column of eternity
Mod Macro Controllers
SL
i: (timbre)
ii: (wave)
OSC 1 iii: (modulation)
Mod SL iv: (envTime)
Tap 1
v: (stereoMod)
SR Master Section vi: (delay)
Mod Mod Tap 2
Voice Delay Recirculator
Mod LP 5
OSC 2 400 ms SR Reverb Extend
Tap 3
OSC 4 Feedback
SL Library Search:
Mod
Tap 4 Category: Classic
OSC 3 Type: Pad
Character: Stereo, FM, Simple,
SR Clean
Polyphony: 2+
Note: Stereo effect of preset sending 297
components to either SL or SR.
Note: Very Similar to “cold lead”
copey
Macro Controllers
SL/SR i: (drive)
OSC 2 ii: (mechanism)
iii: (bellAmt)
Mod
iv: (bellRatio)
SL/SR v: (body)
SG2 OSC 1
ModMan 2 Master Section vi: (tremolo)
Pulse String Tap 2 SL/SR Recirculator
Reverb Library Search:
SL/SR Category: Keyboard
Noise LP 5 ModMan 1
Type: Electric Piano
String Tap 3 Character: Electric
SL/SR Setting: Portamento 3rd (but not activated?)
Mod
Noise OSC 3 LP 4 Polyphony: 2+

copper club
Feedback Macro Controllers
i: (detune)
SL/SR ii: (envAmt)
OSC 1 SL iii: (envTime)
Tap 1 iv: (release)
SL/SR v: (ATvibrato)
OSC 2 SR vi: (delay)
Summed Delay Tap 2
200ms Master Section
SL/SR Recirculator
OSC 3
SL Reverb
Tap 3 Library Search:
Category: Classic, Keyboard
SL/SR
OSC 4 Type: Lead
SR Character: Analog
Tap 4 Polyphony: 2+

OSC 5 SL/SR
298
 coridor
Mod
SL/SR Macro Controllers
Mod i: (tone)
OSC 2
Feedback ii: (timbre)
SL iii: (modulation)
Mod
OSC 3 OSC 1 Tap 1 iv: (envTime)
v: (saws)
Mod SR Master Section vi: (delay)
OSC 4 Tap 2 Recirculator
Summed Delay
Mod Reverb
200ms SR
SineBank 1 Tap 3
Library Search:
Mod SL Category: Classic
Tap 4 Type: Pad, Demo
Phase Gen 5 Character: FM, Reverberant
Sum 7 SL/SR Polyphony: 2+

cork in the bottle Macro Controllers

i: (feedback)
ii: (speed)
iii: (modulator)
Mod Mod SL/SR iv: (carrier)
v: (body)
OSC 1 OSC 2 HP 4 vi: (crossFM)
Mod Master Section
Voice Delay SL/SR Recirculator
50ms Reverb
Library Search:
Category: Other
Type: Atonal
Character: Dry, Electric, Sound Design
Polyphony: 4+

299
 cosmic blues
Mod Macro Controllers
i: (timbre)
Mod ii: (color)
OSC 3
Master Section iii: (body)
Recirculator iv: (modulation)
Harman OSC 1 SL/SR v: (breathe)
Metal LP 4 Mod Delay
vi: (brightness)
Extend

Noise BP 5 Library Search:

Category: Wind
Type: Brass
Character: Acoustic
Setting: Portamento 2nd
Note: OSC2 is defined and modulates itself but is not used. Polyphony: 3+

cp eight
Mod
SL Macro Controllers
i: (brightness)
OSC 1 Mod ii: (structure)
Mod
iii: (drive)
SG1 Mod iv: (mute)
Pulse ModMan 2 v: (detune)
Viola Legato Mod SL/SR vi: (mechanism)
Mod OSC 2
Master Section
Mod OSC 3 SR
Recirculator
SL/SR Reverb Extend
Library Search:
Mod Category: Keyboard
Type: Electric Piano
Noise LP 5 BiqBank 1 SL/SR Character: Electric
48 Modes Polyphony: 2+

SL/SR
Noise LP 4 300
 Mod
crackling things
FMod Macro Controllers
Noise i: (intensity)
OSC 1 ii: (highpass)
FMod Mod
Noise OSC 2 iii: (lowpass)
iv: (release)
HP 4 v: (body)
Noise SL/SR Master Section vi: (noise)
LP 5
Mod Recirculator
Noise OSC 3 Reverb Extend
Library Search:
Category: Other
Noise
Type: Atonal
Anchor SL/SR Character: Sound Design
Noise Kinetic 1 Polyphony: 2+

creaker
SR
Macro Controllers
T1 i: (body)
FMod T3 ii: (highpass)
Noise OSC 1 HP 4
SL iii: (noise)
T1 Tap 1 iv: (ringmod)
T2
Micro
v: (timbre)

Tap Feedback
SR
Delay Tap 2 vi: (delay)
400 ms Master Section
MULT 3 SL/SR Recirculator
T3 SL Reverb
Tap 3 Library Search:
Category: Other
FMod T4 SR
Tap 4 Type: Atonal
Noise OSC 2 HP 5 Character: Sound Design, Acoustic,
T2
Intimate, Looping
T4 Polyphony: 3+
SL
301
 crossmod
Mod SL/SR Macro Controllers
OSC 3 Mod i: (modulation)
ii: (fmAmt)
Mod OSC 1 SL iii: (fmRatio)
Mod
Tap 1 iv: (envTime)
Mod Summed Delay SR Master Section v: (crossFM)
100 ms Tap 2 Recirculator vi: (chorus)
SineBank 1 OSC 4 XMod
Mod SL Reverb Extend
Tap 3
Mod SR
Mod Tap 4
Mod OSC 2
Library Search:
Mod SL/SR Category: Classic
Type: Pad
OSC 5 Character: FM, Stereo
SL/SR Polyphony: 2+

crossynthar Macro Controllers

i: (tone)
SL/SR ii: (timbre)
iii: (body)
iv: (resonance)
Mod v: (structure)
OSC 2
vi: (delay)
Mod SL/SR
SL
Mod Tap 1 Master Section
Noise OSC 3 OSC 1 Recirculator
SR Library Search:
BR 4 Voice Delay Tap 2 Reverb Extend Category: Strings
Mod 400 ms SL Type: Plucked
BiqBank Tap 3 Character: Acoustic
LP 5 32 Modes Polyphony: 2+
SR
Tap 4
Feedback 302
 crystal harmonics
Macro Controllers
ModMan 1 SL/SR
i: ()
Crystal ii: ()
Noise LP 2 iii: ()
ModMan 1 SL/SR iv: ()
Master Section v: ()
Ukelele 3
Recirculator vi: ()
SL/SR Mod Delay
IOSC 3 Extend
SL/SR Library Search:
IOSC 4 Category: Tuned Percussion
Type: Struck
SL/SR Character: Acoustic, Airy, Shaking
Note: LP 1 defined with Bandwidth but IOSC 5 Polyphony: 2+
not used. This should be cleaned up.

cs80+ladder / cs80+ladder II
Macro Controllers
i: (structure)
Mod Feedback ii: (brightness)
IOSC 1
“cc80+ladder”

SL/SR iii: (body)

Tap 1
Mod SummedDelay Master Section iv: (resonance)
IOSC 2 SR Recirculator v: (layerAmt)
400 ms Tap 2
LP 5 IOSC 4 Delay - HPF vi: (layerStructure)
SL
IOSC 3
SL/SR

Saw Bank 1 Library Search:

Category:
“cc80+ladder II” Type:
Character:
Polyphony:
Note: “cc80+ladder II” is similar to “cs80+ladder”
but sends a WaveBank (Saw) with 4 waves 303
defined into the LP5 instead of separate OSCs.
 cumulus Macro Controllers
i: (mute)
ii: (release)
SL/SR iii: (speed)
IOSC 1 iv: (structure)
v: (body)
SL/SR vi: (layer)
Master Section
Noise LP 5 Recirculator
BiqBank 2
SL/SR Mod Delay Library Search:
48 Modes Voice Delay Category: Tuned Percussion
Sine Freq SineSpray 200 ms
Noise Type: Struck
& Phase Character: Acoustic, Bright,
Offset Feedback Echo, Looping, Metallic, Stereo
Polyphony: 3+

cycle and duty

Feedback
SL Macro Controllers
i: (pulseWidth)
WaveBank 1 ii: (modulation)
1LP 4 SL
Square Tap 1 iii: (cutoff)
iv: (release)
SR v: (envTime)
OSC3 Summed Delay Tap 2 Master Section
vi: (delay)
400 ms SL Recirculator
Tap 3 Reverb Extend
WaveBank 2
1LP 5 SR
Square Tap 4
SR Library Search:
Category: Classic
Type: Pad
Character: Analog, Stereo
Polyphony: 2+
OSC 2 SL/SR
304
 Mod dabka 2022
Mod Macro Controllers
IOSC 2
i: (fmAmt)
Mod ii: (layer2)
IOSC 3 SL/SR iii: (tone)
OSC 1 iv: (modulation)
Mod Master Section v: (vibrato)
SL/SR
IOSC 4 Recirculator vi: (timbre)
Mod Delay
Mod
Extend
Mod Library Search:
HarMan Category: Classic
SL/SR Type: Lead, Double Reed
Oboe 1
Character: Digital, Acoustic
Setting: Portamento Octave
WaveBank 1 SL/SR Polyphony: 2+
LP 5
Square

SL/SR
delclanche
Mod SL/SR Macro Controllers
IOSC 1 i: (FMamt)
ii: (FMratio)
OSC 2 Mod SL/SR
IOSC 3 iii: (speed)
iv: (release)
Mod SL/SR v: (layer)
IOSC 4 Master Section vi: (delay)
Summed Delay Tap 1 SL Recirculator
400 ms Reverb Extend
SR
Tap 2
WaveBank 1 SL/SR Library Search:
Triangle Category: Keyboard
Tap 3 SL Type:
Character: FM, Looping
Tap 4 SR Polyphony: 2+

LP 4
305
Feedback
 deep corners
Macro Controllers
i: (interval)
WaveBank 2 Anchor ii: (cutoff)
SL/SR iii: (envAmt)
Square
Kinetic 1 iv: (decay)
Anchor Master Section v: (resonance)
IOSC 1 Recirculator vi: (drive)
Reverb Extend
Mod Library Search:
SL/SR Category: Classic
IOSC 2 Type: Bass
Character: Analog, Chords
Setting: Portamento Octave
Polyphony: 2+

deven
SL/SR
Macro Controllers
i: (mechanism)
Mod ii: (sub)
BiqBank 1
16 Modes iii: (drive)
OSC 1 Mod SL/SR iv: (brightness)
Mod OSC 2 v: (body)
Noise LP 5 Master Section vi: (tremolo)
Mod Mod
Recirculator
Mod SL/SR Reverb
OSC 3
Library Search:
BiqBank 1 SL/SR Category: Keyboard
8 Modes Type: Electric Piano
Noise LP 4 Character: Electric
SL/SR Polyphony: 2+

306
 dfm
Mod
Macro Controllers
Mod i: (timbre)
OSC 2 ii: (waveform)
SL
OSC1 iii: (modulation)
Mod iv: (release)
OSC 3 v: (fmAmt)
Master Section vi: (fmRatio)
Mod Mod Mod Recirculator
SR Analog Echo
OSC 4
Library Search:
Mod Mod Category: Keyboard
Type:
OSC 5 Character: Stereo, FM
Polyphony: 2+

dirt acid
Macro Controllers
Excite i: (shape)
Mod ii: (resonance)
Mod Anchor iii: (cutoff)
OSC 2 OSC 1 iv: (envAmt)
Kinetic 1 v: (feedback)
SL/SR vi: (drive)
Anchor
OSC 3 Master Section
Recirculator
Anchor Reverb Extend
WaveBank 2 Library Search:
Square Category: Classic
Type: Bass
Mod Character: Analog, Distorted
SL/SR Setting: Portamento Octave
OSC4 Polyphony: 2+

307
 dirty osc pad
SL Macro Controllers
Multi-
Noise OSC 2 i: (timbre)
Mod ii: (octave)
Mod SR iii: (random)
Multi- iv: (tape)
Noise OSC 3
Mod SL v: (release)
Summed Delay Master Section vi: (ambiance)
Mod Tap 1
800 ms Recirculator
Multi- Anchor SR
Noise IOSC 1 Tap 2 Swept Echo
Mod
1HP 4 Extend Library Search:
SL/SR Category: Classic
Anchor Kinetic 1
OSC 5 Type:
Character: Airy, Evolving, Echo.
Synthetic
Q&S
Noise Polyphony:
Feedback

Anchor disco dawn

Macro Controllers
i: (noise)
Anchor ii: (envAmt)
Noise iii: (resonance)
iv: (decay)
Anchor v: (release)
OSC 1 Master Section vi: (PWM)
Kinetic 1 SL/SR Recirculator
Anchor Analog Echo
OSC 2 Extend
Library Search:
Anchor Category: Classic
OSC 3 Type: Keyboard
Character: Analog, Simple,
Intimate, Dry
Anchor
OSC 4 Polyphony: 2+

Mod 308
 distortion guitar
Macro Controllers
Mod i: (amp)
ii: (drive)
ModMan 1 iii: (cabinet)
Noise sLP 5
Pizz Soft iv: (mute)
Mod OSC 2 SL/SR Master Section v: (fretNoise)
HP 4 Recirculator vi: (fuzz)
Analog Echo
OSC 1 ModMan 2
Pizz Loud Mod
Library Search:
Mod Category: Strings
SL/SR Type: Plucked
OSC 3 Character: Acoustic
Setting: Portamento 2nd
Polyphony: 2+

dolce cristallo
Macro Controllers
i: (release)
ii: (mute)
SL/SR
Noise BiqBank iii: (structure)
48 Modes Master Section iv: (pressNoise)
Recirculator v: (bodyAmt)
Reverb vi: (bodyType)
SL/SR
OSC 1
(sine)
Library Search:
Category: Tuned Percussion
Type: Struck
Note: Preset ported from Continuum. In general, many Continuum Character: Acoustic, Intimate,
presets use simpler constructions as they were not geared to Metallic
define all Macro Controllers for every preset. There is still a world Polyphony: 6+
of simple presets to be explored on the Osmose as they tend to be
309
complex with lots of modulation.
 double reed
Macro Controllers
i: (size)
BiqBank SL/SR ii: (tone)
iii: (flutter)
Noise 8 Modes
iv: (breath)
Master Section
v: (bodyAmt)
Recirculator vi: (bodyType)
Mod SL/SR Reverb
LP 4 OSC 1
HarMan SL/SR
Oboe 1 Library Search:
Category: Wind
SL/SR Type: Double Reed
HP 5 Character: Acoustic, Bright,
Clean, Warm
Polyphony:

double saw
Macro Controllers
SR i: (Interval)
WaveBank 1
LP 4 ii: (cutoff)
Saw iii: (envAmt)
SL iv: (release)
v: (detune)
WaveBank 2 SL vi: (delay)
LP 5 Tap 1 Master Section
Saw Voice Delay
Recirculator
400 ms SR
Tap 2 Reverb
SL Library Search:
Tap 3 Category: Keyboard
LP 3 SR Type:
Tap 4 Character: Analog, Simple, Chords
Polyphony: 2+
Feedback

310
 double slap
Excite +
Noise Anchor Kinetic 1 ModMan 2 SL/SR Macro Controllers
Flute 1 i: (mute)
ii: (overdrive)
Mod iii: (structure)
SL/SR iv: (damp)
Multi- Master Section
v: (tone)
Noise Mod OSC 1 Mod Recirculator vi: (body)
SL/SR Reverb Extend
Mod OSC 2 LP 3
Library Search:
OSC 4 SL/SR Category: Classic
Type: Bass
SL/SR Character: Acoustic, Shimmer, Woody, Warm
OSC 5 Setting: Portamento 3rd
Polyphony: 2+

duocello
Macro Controllers
i: (timbre)
Noise
ii: (bow)
SL/SR iii: (body)
BiqBank iv: (vibrato)
LP 4 Mod SL/SR v: (harmonic)
32 Modes
OSC 1 vi: (fondamental)
Master Section
(Primary to SL/SR
Mod JOSC 2 Recirculator
JOSC) Smooth Reverb Extend
HarMan SL/SR
Viola Legato Library Search:
Category: Strings
Type: Bowed
Character:
Setting: Portamento 2nd
Polyphony: 2+

311
dx1 Mod SL/SR Macro Controllers
i: (ratio1)
ii: (ratio2) Library Search:
OSC 1 SL Category: Keyboard
Tap 1 iii: (timbre)
Voice Delay Master Section Type:
iv: (release)
50 ms SR Recirculator Character: FM
v: (ringmod)
Tap 2 Polyphony: 3+
Reverb vi: (chorus)
Mod Mod
SL/SR
OSC 2 OSC 4
MULT 5 SL/SR
OSC 3

dx2 Mod Macro Controllers

i: (ratio1)
SL ii: (ratio2) Library Search:
Mod OSC 1
Master Section iii: (timbre) Category: Keyboard
Mod Type:
OSC 3 OSC 2 Recirculator iv: (release)
Character: FM
Mod Mod Delay v: (modulation)
Polyphony: 3+
SR
OSC 4 Extend vi: (feedback)

Mod

dx3 Macro Controllers

i: (ratio1) Library Search:
Category: Keyboard
Mod ii: (ratio2/3)
Type:
IOSC 3 Master Section iii: (timbre)
Mod SL/SR Character: FM
Mod OSC 2 OSC 1 Recirculator iv: (release) Polyphony: 3+
Reverb v: (waveform)
IOSC 4
vi: (tremolo)
312
 dx4
Mod
SL/SR Macro Controllers
Mod i: (ratio1)
SL ii: (ratio2)
OSC 2 XMod Tap 1 iii: (timbre)
OSC 1
SR Master Section iv: (release)
Tap 2 Recirculator v: (feedback)
Mod
Voice Delay SL Reverb Extend vi: (modDelay)
Mod Tap 3
OSC 3 400 ms
SR
Tap 4
LP 4
Library Search:
Category: Keyboard
Feedback Type:
Character: FM
Polyphony: 3+

Mod dxim
OSC 3 Macro Controllers
SL/SR
OSC 2 i: (fm1Amt)
SL/SR ii: (fm1Ratio)
iii: (fm2Ratio)
Mod iv: (release)
OSC 1
Mod v: (color)
SL/SR vi: (chorusDelay)
Mod
SL
Master Section
OSC 4 Tap 1 Recirculator
Mod Voice Delay SR Reverb Extend
400 ms Tap 2 Library Search:
SineBank Category: Keyboard
SL Type:
Tap 3
Character: FM
SR Polyphony: 3+
Tap 4
Feedback
313
 ebosin
SL/SR
Macro Controllers
i: (color)
ModMan 1 Mod SL
OSC 1 ii: (synth)
Noise sLP 5
Ukelele 1 iii: (bow)
Mod SR iv: (envTime)
OSC 2 Master Section v: (modulation)
Recirculator vi: (layer)
SL/SR Reverb Extend
Phase LP 4
Library Search:
Sum 7
Category: Strings
Type: Pad, Bowed
HarMan 2 SL/SR Character: Acoustic, Ensemble,
Viola Legato Layered
Polyphony: 2+

edgy fm
Macro Controllers
SL i: (timbre)
Tap 1
ii: (wave)
SR iii: (ratio)
WaveBank Mod Voice Delay Tap 2
OSC 5 iv: (cutoff)
Saw 50 ms SL v: (modulation)
Tap 3
Master Section vi: (chorus)
Mod SR
Tap 4 Recirculator
LP 2 Mod Delay Library Search:
OSC 1 sLP3 SL Extend Category: Classic
Type: Bass
SR Character: FM
sLP 4 Setting: Portamento Octave
SL/SR Polyphony: 2+

314
 efferie
Mod Macro Controllers
i: (ratio1)
Mod SL/SR ii: (ratio2)
OSC 4
Noise iii: (crossMod)
Mod OSC1
iv: (release)
Mod SL Master Section v: (feedback)
BiqBank Tap 1 Recirculator vi: (chorus)
LP 5 Voice Delay
32 Modes XMod 50 ms SR Mod Delay
OSC 2
Mod Tap 2 Extend

SL/SR Library Search:

Mod Category: Keyboard
OSC 3
Type:
Character: FM, Strumming
Polyphony: 2+
Mod

efmope
Macro Controllers
i: (fmAmt1)
Phase
ii: (fmRatio1)
iii: (fmAmt2)
SineBank 1 Mod SL iv: (fmRatio2)
8 Partials OSC 3 v: (release)
Master Section vi: (feedback)

Mod Recirculator
Mod Mod Delay
Extend
SR Library Search:
SineBank 2 Mod Category: Keyboard
OSC 4
8 Partials Type:
Character: Bright, Simple, FM
Polyphony: 3+
Phase

315
 eightiki
SL/SR Macro Controllers
Mod IOSC 2 i: (timbre)
ii: (fm)
iii: (cutoff)
Mod iv: (release)
SL Master Section
OSC 3 Summed Tap 1 v: (vibrato)
Recirculator
OSC 1 Delay vi: (chorus)
Kinetic 1 SR Reverb Extend
Mod 50 ms Tap 2

OSC 4
Library Search:
Category: Keyboard
IOSC 5 Type:
Character: Analog, FM
Polyphony: 2+

eighty neon
Macro Controllers
i: (resonance)
SL/SR
OSC 1 ii: (envAmt)
iii: (cutoff)
iv: (decay)
OSC 3 SL v: (delay)
Voice Delay Tap 1 vi: (drive)
LP 2 100 ms Master Section
SR
OSC 4 Tap 2 Recirculator
Reverb Extend
Library Search:
OSC 5 Category: Classic, Demo, Midi?
SL/SR Type: Bass
Character: Analog
Polyphony: 2+
Feedback SL/SR
SineBank
8 Partials
316
 ekeynox
Macro Controllers
SL/SR
Noise i: (vibrato)
ii: (cutoff)
iii: (envAmt)
Mod Master Section iv: (decay)
SL
Voice Delay Tap 1 Recirculator v: (release)
OSC 3 LP 5
50 ms SR Analog Echo vi: (chorus)
Tap 2
Wavebank Library Search:
Square Category: Keyboard
Type:
Character: Analog
Note: LP5 feeds OSC4 but OSC4 then not used. Polyphony: 3+

electric bass 2
Mod Macro Controllers
Mod
i: (timbre)
OSC 2 Mod ii: (color)
iii: (tone)
Mod iv: (fretNoise)
SL/SR v: (bodyAmt)
OSC 3 vi: (bodyType)
OSC1 Master Section
Recirculator
Library Search:
Mod Reverb Category: Strings
ModMan
SL/SR Type: Bass
Noise LP5 String Tap 1 Character: Acoustic, Electric
Setting: Portamento Octave
Mod Polyphony: 2+
Harman 2
Viola Legato SL/SR

317
 electric keys 5
Macro Controllers
ModMan 1 SL/SR i: (structure)
String Tap 1 OSC 1 ii: (timbre)
SL/SR Master Section
Noise iii: (brightness)
Recirculator iv: (body)
LP5 v: (detune)
BiqBank 2 Reverb
OSC 4 8 modes vi: (vibrato)
SL/SR
SL Library Search:
OSC 2
Category: Keyboard
SR Type: Electric Piano
OSC 3
Character: Electric
Setting: Rounding 1 (?)
Note: OSC 4 modulated with Noise but not used. Polyphony: 2+

electric keys 6
Macro Controllers
Mod i: (timbre)
SL ii: (structure)
Mod OSC 1 iii: (hammer)
iv: (brightness)
Mod v: (body)
ModMan 1 Mod
SR vi: (modulation)
Ukelele 2 Master Section
LP5 OSC 2
Noise Recirculator
Mod SL/SR Reverb Library Search:
Category: Keyboard
Type: Electric Piano
OSC 3 Character: Electric, Clean
BiqBank 2 Polyphony: 2+
16 modes SL/SR

318
 electric wazoo Macro Controllers
i: (pitch)
ii: (structure)
iii: (body)
SL/SR iv: (resonance)
Phase Gen v: (modulation)
Sum 7 SL vi: (ambiance)
BiqBank 1 Tap 1 Master Section
MULT 4 Voice Delay
48 Modes SR Recirculator
200 ms
OSC 2 Tap 2 Reverb
Library Search:
Feedback Category: Other
Type: Atonal
Character: Dry, Electric, Sound
Design, Synthetic
Polyphony: 2+

electrical bacher
Noise Mod
SL
Macro Controllers
Mod i: (release)
OSC 1 ii: (timbre)
Mod
Mod iii: (metal)
iv: (structure)
Mod Mod Mod v: (vibrato)
Mod Master Section vi: (ATmod)
OSC 2 Recirculator
ModMan SR
Metal OSC 4 Reverb Extend Library Search:
Mod Category: Classic, Keyboard,
OSC 3 Other
Type: Struck
Character: Acoustic, Dark,
OSC 5 Reverberant, Metallic, Stereo,
Mod TO?
Polyphony: 2+
SL/SR

319
 ellis guitar
Feedback
SL Macro Controllers
Tap 1 i: (timbre)
SR ii: (brightness)
Summed Tap 2 iii: (body)
Delay iv: (resonance)
SL Master Section
400 ms Tap 3 v: (mechanism)
ModMan 1 Mod SR
Recirculator vi: (delay)
Noise LP 2 String Tap 3 Reverb
OSC 4 Tap 4
OSC 3
SL/SR Library Search:
Category: Strings
SL/SR Type: Plucked
SL/SR Character: Acoustic
Setting: Portamento 2nd
Polyphony: 2+
Note: OSC1 multi-modulated but not used.

emancikey
Macro Controllers
SL/SR i: (timbre)
SL/SR ii: (noteOffTune)
OSC 1 iii: (cutoff)
iv: (release)
SL
LP 4 Tap 1 v: (modulation)
vi: (delay)
SR
Summed Tap 2 Master Section
Delay SL Recirculator
Tap 3 Reverb Extend Library Search:
400 ms Category: Keyboard, Midi?
SR Type: -
OSC 2 Tap 4 Character: Analog
OSC 3 LP 5 Polyphony: 2+
Feedback
SL/SR
SL/SR

320
 FMod
empyrean
Noise Phase Gen Macro Controllers
1..0 i: (body)
SL/SR ii: (balance)
Mod
iii: (timbre)
Mod In 1
Noise OSC 2 iv: (modulation)
v: (breath)
Mod vi: (delay)
SL/SR Master Section
Mod In 1 MULT 3
Noise Recirculator Library Search:
OSC 4 Voice Delay
Mod Delay Category: Wind
Mod 50 ms Type: Single Reed
Character: Acoustic, Warm
In 2 Polyphony: 2+
Mod
Noise OSC 5
SL/SR Note: A multiple can have more than 2 inputs but must have both
inputs used.

entanglement Macro Controllers

i: (feedback)
Feedback
ii: (body)
SL
Tap 1 iii: (modSpeed)
iv: (drop)
SR v: (chorus)
Tap 2
Voice Delay vi: ()
400 ms SL Master Section
Tap 3
Mod SR
Recirculator
Library Search:
Noise HP 4 Tap 4 Reverb Extend Category: Other
OSC 2
SL/SR Type: Atonal
Character: Aggressive, Big, Echo,
FMod Evolving, Reverberant, Sound Design
Polyphony: 2+
WaveBank 1 Mod SL/SR
Saw OSC 1
WaveBank 2 SL/SR
Triangle 321
 envinkin
Macro Controllers
i: (resonance)
Anchor SL/SR ii: (cutoff)
OSC 1 iii: (envAmt)
iv: (release)
SL Master Section v: (modulation)
Anchor Summed Tap 1 Recirculator
OSC 3 Delay vi: (chorus)
Kinetic 1 LP 2 SR Reverb Extend
Mod 50 ms Tap 2
OSC 5 Library Search:
Anchor
OSC 4 SL/SR Category: Keyboard
Type:
Character: Analog
Polyphony: 2+

Macro Controllers
envinkon i: (resonance)
ii: (cutoff)
iii: (attack)
Anchor SL/SR iv: (release)
OSC 1 v: (modulation)
vi: (delay)
SL Master Section
Anchor Summed Tap 1 Recirculator
OSC 3 Kinetic 1 Delay SR Reverb Extend
LP 2 Library Search:
Mod 50 ms Tap 2 Category: Keyboard
OSC 5 Type:
Anchor
OSC 4 SL/SR Character: Analog
Polyphony: 2+

Note: Variant of “envinkin”. Additions noted in red.

322
 Mod epiano1
OSC 2 Mod
Macro Controllers
SL/SR i: (pickRatio)
Mod ii: (pickTimbre)
Mod
iii: (body)
OSC 3 SL/SR iv: (detune)
Master Section v: (color)
Mod OSC 1 Recirculator
SL/SR vi: (sub)
OSC 4 Reverb

SineBank Mod Library Search:

Category: Keyboard
8 Partials
Type: Electric Piano
Character: Electric
Mod Polyphony: 2+
Noise LP 5 BiqBank 1
8 Modes SL/SR

epiarom Macro Controllers

i: (ratio1)
SL/SR ii: (ratio2)
Mod iii: (stringAmt)
OSC 2 OSC 1 iv: (stringFriction)
v: (body)
Mod vi: (tremolo)
Mod
Master Section
OSC4 Recirculator Library Search:
Reverb Category: Keyboard
SL/SR Type: Electric Piano
Character: FM, OG?
Noise Mod Polyphony: 2+
LP 5
BiqBank 1 Mod SL/SR
OSC 3
8 Modes
SL/SR

323
 Mod erumi
OSC 1
SL/SR Macro Controllers
OSC 3
Mod i: (timbre)
OSC 2 ii: (tone)
iii: (shape)
SL/SR iv: (bowNoise)
OSC 4 Master Section
v: (vibrato)
Recirculator
vi: (body)
Reverb
SL/SR
HarMan
Viola Legato Library Search:
Category: String
Type: Bowed
Character: Acoustic
Noise LP 5 ModMan SL/SR Setting: Portamento 2nd
Viola Legato Polyphony: 2+

essendar Macro Controllers

i: (cutoff)
ii: (envAmt)
OSC 1 iii: (envTime)
SL/SR
iv: ()
v: ()
SL vi: ()
Tap 1
OSC 2 LP 4 Master Section
SR
Tap 2 Recirculator Library Search:
Summed Delay Reverb Extend Category: Classic
400 ms SL
Tap 3 Type: Lead
Character: Echo, Simple, Soft,
OSC 3 SR Analog
Tap 4
Polyphony: 2+
Feedback

Note: The multiple envelopes applied to the LP 4.

324
Note: LP 4 feed OSC4 but it is not used.
 etalophone
Macro Controllers
i: (structure)
Noise
ii: (tone)
Pulse
iii: (sine)
Master Section iv: (reconanee) [resonance?]
Mod ModMan Recirculator v: (body)
Noise SL/SR
OSC 1 Viola Legato Reverb vi: (tremolo)

Mod Library Search:

Noise OSC 2 Category: Tuned Percussion
Type: Struck
Character: Acoustic
SL/SR Polyphony: 2+
OSC 3

etherry Macro Controllers

SL/SR i: (mix)
Mod ii: (timbre)
Noise BP 5 IOSC 3
Noise SL/SR iii: (noise)
Mod Pulse iv: (release)
SL/SR v: (shimming?)
OSC 1 vi: (chorus)
OSC 2 Mod
Voice Delay SL
Tap 1
50 ms Master Section Library Search:
Mod SR Category: Keyboard
Tap 2 Recirculator
Mod Delay Type: Struck, Demo
SL Character: Acoustic, OG?
Noise Tap 3 Extend Polyphony: 2+
Pulse ModMan 1
SR
Kalimba Hard Tap 4
Mod
Noise OSC 4 SL/SR

325
 Mod SL/SR
etines mk1
ModMan 1 OSC 1
Macro Controllers
Ukelele 1 SL/SR i: (drive)
ii: (tine)
Noise LP 5 Master Section iii: (mechanism)
ModMan 1 SL/SR Recirculator iv: (release)
Toy Piano 1 Reverb v: (body)
Strike vi: (tremolo)
Mod SL/SR
Noise OSC 3 LP 4 Library Search:
Category: Keyboard
SL/SR Type: Electric Piano
IOS 2 Character: Electric, Acoustic
Polyphony: 2+

Mod expluck
Mod
Macro Controllers
OSC 2 Mod SL/SR i: (tone)
OSC 1 ii: (drive)
Mod iii: (excitation)
iv: (resonance)
Mod v: (Body)
BR 4 Note: BR 4 is sent multiple inputs but vi: (harmoRatio)
OSC 3 Master Section not used. This should be cleaned up as it
Recirculator is confusing.
SL/SR Library Search:
Delay LPF
Category: String
Extend
Type: Plucked
Noise LP 5 Character: Shaking, Acoustic
ModMan 1 SL/SR Polyphony: 2+
Marimba Hard

Kinetic 2

326
Note: Interesting use of Kinetic Bank to excite ModMan, though Kinetic Bank not excited in normal manner through excitation input or Anchor.
 fancy brass
Macro Controllers
WaveBank 1 i: (cutoff)
Saw SL ii: (fanciness)
IOSC 1 LP 4 iii: (envTime)
iv: (detune)
Master Section v: (sub)
Recirculator vi: (ATspeed)
WaveBank 2 Reverb
Library Search:
Saw
SR Category: Classic
LP5 Type: Brass
Character: Clean, Chords,
Ensemble, Looping, Bright,
IOSC 2 Stereo
Polyphony: 2+

fat model d Macro Controllers

i: (cutoff)
ii: (resonance)
iii: (detune)
iv: (filterEnv)
WaveBank 1 v: (filterTime)
Saw vi: (drive)
SL/SR
Master Section
LP 4
Noise Recirculator Library Search:
Reverb Category: Classic
Type: Bass
Character: Analog, Noise, Big, Warm
OSC 1 Setting: Portamento Octave
Polyphony: 2+

327
 fdn craziness (FDN Network) WaveBank SL/SR
Saw Macro Controllers
Mod i: (modulation)
Mod ii: (fxMix)
Noise SL/SR iii: (fxTune)
iv: (fxModAmt)
OSC 5 v: (fxModSpeed)
vi: (fxTone)

1LP 1 1LP 2 1LP 3 1LP 4

SL Library Search:
Master Category: Other
Tap 1 Section Type: Atonal,
Recirculator Character: Aggressive, Big,
Reverb electric, Evolving, Reverberant,
SR Sound Design
Extend
Polyphony: 2+^ (Increase
Tap 2 Computation)

SL

Tap 3

SR

Tap 4

MicroDelay 200 ms

328
 feleaz
Mod
SL/SR
OSC 1 Macro Controllers
i: (feedback)
Mod
SL ii: (fmRatio)
Tap 1
iii: (fmAmt)
Mod SL iv: (release)
Mod OSC 2 v: (modulation)
Master Section vi: (noteoff)
Mod Summed SR
Tap 2 Recirculator
Delay
SineBank 1 Mod Reverb Extend
OSC 3 Mod 50 ms Library Search:
OSC 5 SR
8 Partials Category: Keyboard
Mod Type:
Mod Character: FM, Simple, Stereo
Mod OSC 4 Polyphony: 2+

Mod

feltgrains
Macro Controllers
i: (noiseGrains) Library Search:
Noise BiqBank ii: (structure1) Category: Tuned Percussion
24 Modes iii: (structure2) Type: Struck
iv: (damping) Character: Noise, OG?, Woody,
Mod Master Section v: (body)
Acoustic, Airy
Noise OSC 1 Recirculator Polyphony: 2+
vi: (material)
Reverb
BiqGraph
24 Modes
Noise
Main Graph (Offset graphs not used).

Note: LP 5 defined and sent values but not used. 329

 fleme Macro Controllers
i: (waveform)
SL/SR ii: (timbre)
Mod Mod iii: (shaper)
WaveBank 1 OSC 1 OSC 4 iv: (release)
Triangle Master Section v: (tone)
Summed Delay
Mod Recirculator vi: (decay)
400 ms
SL/SR Reverb Extend
Mod Library Search:
OSC 2 OSC 3 LP 5 Category: Keyboard
Type:
Character: FM
Feedback Polyphony: 2+

flip tube
Macro Controllers
SL/SR
i: (structure)
BiqGraph 1 ii: (brightness)
Noise BiqBank 2 iii: (speed)
8 Modes 8 Modes SL
Tap 1 iv: (echoAmt)
Summed Delay Master Section
v: (delayFB)
400 ms Recirculator
SR vi: (body)
Tap 2 Reverb
LP 5
Library Search:
Category: Wind
Feedback Type:
Character: Acoustic, Airy, Echo,
Looping
Polyphony: 2+
Note: The BiqGraph uses only mode 1
with the others fully attenuated.

330
 Dly
floppy disk lands S&H Noise
Tap 1 SL

uDelay Macro Controllers

FMod Feedback SL i: (fmAmt)
Noise ii: (fmRatio)
Dly
Mod OSC 2 S&H Noise iii: (Modulation)
SR iv: (envTime)
Tap 2 v: (noise)
Mod uDelay
vi: (ambiance)

32 Partials
SineBank
Feedback Master Section
XMod OSC 1 Dly Recirculator
OSC 5 OSC 4 XMod S&H Noise
SL Reverb Extend Library Search:
Mod Tap 3 Category: Other
Type: Pad
uDelay
Mod OSC 3 SR Character: Random, Lo-Fi, FM,
Feedback
Stereo, Morphing
FMod Dly Polyphony: 2+
Noise S&H Noise
SR
Tap 4
uDelay
Feedback
SL/SR

flunkly
Feedback
Macro Controllers
WaveBank 1 i: (timbre)
Saw SL/SR
OSC 4 Master ii: (cutoff)
Section iii: (envAmt)
Mod iv: (decay)
OSC 1 Mod Recirculator
Reverb v: (feedback)
Mod OSC 2 LP 5 vi: (sub)

OSC 3
Library Search:
Mod Category: Classic
WaveBank 2 Type: Bass
Saw Character: Analog
Setting: Portamento Octave
Polyphony: 2+ 331
 fm2612
Mod SL/SR
OSC 2 Macro Controllers
i: (fmRatio)
Tap 1
Mod ii: (fmAmt)
OSC 3 OSC 1 SR iii: (pluck)
Tap 2
Mod Master Section iv: (envAmt)
Mod IOSC 4 SL v: (attack)
SineBank 1 Voice Delay Tap 3 Recirculator
8 Partials vi: (release) SL
50 ms SR Mod Delay
Phase Offset Tap 4 Extend
Library Search:
Category: Classic
SineBank 2 Type: Pad
8 Partials Feedback Character: FM
SL/SR
Polyphony: 2+

Note: LP 5 defined and sent values but not used.

Macro Controllers
fm basic 4-ops i: (carrier)
ii: (mod1)
Mod iii: (envTime)
SL/SR iv: (mod2)
OSC 2 Mod
OSC 1 v: (release)
Master Section vi: (modDepth)
Recirculator
Mod Reverb
SL/SR Library Search:
OSC 4 Mod OSC 3 Category: Keyboard
Type:
Character: FM, Big, Strumming
Polyphony 3+

332
 fm brassypoly
Mod Macro Controllers
i: (vibrato)
Mod SL ii: (envAmount)
OSC 2
iii: (attack)
OSC 1 iv: (decay)
Mod v: (harmonics)
OSC 4 SL Master Section
vi: (feedback)
Recirculator
Reverb
Mod Library Search:
Category: Classic
SL/SR Type: Brass
OSC 5
Character: Ensemble, FM, Soft,
Digital, Clean, Stereo
Polyphony: 2+
Note: OSC 3 defined and self modulated but not used

fm clav1 Macro Controllers

i: (fm1Amt)
Mod ii: (fmRatio)
SL/SR iii: (fm2)
iv: (vibrato)
Mod Mod
Noise BR 4 v: (tone)
SL vi: (delay)
Tap 1
Mod Mod Voice Delay
Master Section Library Search:
OSC 3 OSC 2 OSC 1 200 ms SR Category: Keyboard
Tap 2 Recirculator
Reverb Type: Electric Piano
Mod OSC 5 Character: FM
Mod Feedback Polyphony: 2+
SineBank 1 SL/SR
8 Partials SL/SR

333
 fm darkness
Mod Macro Controllers
SL/SR i: (fmAmt)
Mod ii: (fmRatio)
OSC 2 iii: (envTime)
SL iv: (feedback) [of OSC1 & OSC4]
OSC 1 Tap 1 Master Section v: (sub)
Mod Voice Delay
Mod Mod Recirculator vi: (chorus)
50 ms SR
OSC 4 OSC 3 Tap 2 Reverb
Library Search:
SL/SR Category: Classic
OSC 5 Type: Bass
Character: Dark, Big, Ensemble,
FM, Noise, Aggressive, Digital
Polyphony 3+

Mod fm doublebass Macro Controllers

i: (fmAmt)
Mod ii: (fmRatio1)
OSC 3 iii: (fmRatio2)
iv: (cutoff)
OSC 1 v: (feedback) [of OSC1 & OSC2]
Mod vi: (layer)
Mod
OSC 2 SL/SR Master Section
LP 5
Mod Recirculator Library Search:
Reverb Category: Classic
Type: Bass
Character: FM, Clean
BiqBank 2 Setting: Portamento Maj 3rd
Noise LP 4 Polyphony: 2+
8 Nodes

334
 fm dreampiano
Macro Controllers
SL/SR i: (transients)
Mod ii: (transLengt)
OSC 1 OSC 2 iii: (transDepth)
BiqBank 2 SL/SR iv: (transFreq)
Mod 8 Nodes v: (structure)
OSC 3 Master Section vi: (release)
OSC 4 SL/SR Recirculator
Reverb
SL/SR Library Search:
Category: Keyboard
SineBank 1 OSC 5
Type: Demo
8 Partials SL/SR Character: Airy, Warm, Strumming
Polyphony: 2+
Feedback

fm glacier Macro Controllers

i: (brightness)
ii: (fmRatio1)
SL/SR iii: (fmRatio2)
Mod
OSC 2 iv: (release)
OSC 1
SL v: (timbre)
Tap 1 vi: (delay)
Voice Delay Feedback
400 ms SR Master Section
Tap 2 Recirculator Library Search:
Mod Category: Tuned Percussion
OSC 4 Feedback Reverb Type: Struck
OSC 3 SL/SR Character: Echo, FM,
Mod Reverberant, Big, Clean,
OSC 5 Digital, Icy, Metallic
Polyphony: 2+

335
 fm hang perc
Macro Controllers
SL/SR i: (brightness)
Mod Noise
ii: (fmRatio)
Mod iii: (envTime)
Mod Mod Mod SL/SR iv: (noise)
OSC 1 OSC 2 Voice Delay Master Section
Tap 1 Recirculator v: (feedback)
200 ms Feedback vi: (delayAmt)
OSC 5 Reverb
Mod
Mod SL/SR
Library Search:
OSC 3 OSC 4 Category: Tuned Percussion
Type: Struck
Character: FM, Noise, TO?, Woody,
Digital
Polyphony: 2+

fm piano 1 Macro Controllers

i: (carrier1)
ii: (mod1)
SL/SR iii: (carrier2)
OSC 5 iv: (mod2)
v: (release)
Mod vi: (feedback)
Mod Master Section
OSC 4
SL/SR Recirculator Library Search:
Analog Echo Category: Keyboard
OSC 3 Type: Electric Piano
Mod Character: Big, FM
OSC 2 XMod
OSC 1 SL/SR Polyphony: 2+

336
 Mod fm reed
Noise2 Mod Macro Controllers
i: (timbre)
WaveBank Mod ii: (tone)
Square iii: (body)
OSC 1 iv: (modulation)
Mod
Mod v: (harmonics)
OSC 2 vi: (breath)
SL/SR Master Section
Sp Bal BR 5 Recirculator
Mod Reverb Library Search:
Phase Gen Category: Wind
Type: Single Reed
0..1..0
Mod Character: Acoustic, FM
Setting: Portamento 2nd
Mod OSC 3 Polyphony: 2+

fm slapman Macro Controllers

i: (brightness)
OSC 2 ii: (fmRatio)
SL/SR iii: (envTime)
iv: (sub)
Mod Mod OSC 1
Mod v: (ATvibrato)
OSC 3 Master Section vi: (feedback)
OSC 4 Recirculator
Delay HPF
Mod Library Search:
SL/SR Category: Classic
OSC 5 Type: Bass
Character: FM, Big, Digital Stereo
Setting: Portamento Octave
Polyphony: 2+

337
 fmwood&strings
Mod
Macro Controllers
Mod i: (release)
OSC 2 ii: (timbre)
iii: (ATtremolo)
Mod SL/SR Master Section
iv: (body)
OSC 3 OSC 1 Recirculator v: (vibratoAmt)
Reverb Extend vi: (vibratoFreq)

OSC 4 XMod
Library Search:
Category: Keyboard, Strings
Type:
Character: Acoustic, Metallic
Polyphony: 2+

fof variableRes Macro Controllers

Mod SL/SR i: (formant1)
ii: (formant2)
OSC 2
iii: (sub)
Mod MULT 3 SL iv: (release)
^3 MULT 4
OSC 5 Tap 1 v: (drive)
Phase Gen 1 ^3 Master Section vi: (body)
1..0 SR Recirculator
Tap 2
Reverb Library Search:
Micro Delay Category: Keyboard, Vocal
25 ms ms Type:
Character:
Phase SL/SR Polyphony: 2+
SineBank 1
Offset
8 Partials

Feedback

338
Note use of row value cubed (^3) operators in this preset.
 foming
Mod
Mod
Macro Controllers
Mod
i: (fmAmt)
OSC 2 Mod ii: (fmRatio)
IOSC 3
SR iii: (timbre)
Master Section iv: (release)
SL v: (modulation)
Mod Mod OSC 1 Recirculator
Mod Mod Delay vi: (ringmod)
MULT 5 SL/SR
OSC 4 Mod
Mod SL/SR Library Search:
Category: Keyboard
Type:
Mod SL/SR Character: Big, FM
SineBank 1 Polyphony: 2+
8 Partials
Note extensive use of modulation in this preset.

forgotten animal
Macro Controllers
i: (timbre)
Excite ii: (envAmt)
OSC 1 iii: (cutoff)
SL/SR iv: (decay)
LP 4 v: (resonance)
Excite Master Section vi: (drive)
OSC 2 Kinetic 1 Recirculator
SL/SR Delay LPF Library Search:
Excite OSC 5 Category: Classic
OSC 3 Type: Bass
Character: FM, Analog
Setting: Portamento Maj 3rd
Polyphony: 2+
Feedback

339
 forty eight db
Macro Controllers
SL/SR i: (timbre)
OSC 3 ii: (cutoff)
iii: (envAmt)
iv: (envTime)
OSC 1 SL/SR Master Section v: (FB-/+)
Recirculator vi: (drive)
WaveBank 1 Mod
Delay LPF
Saw SL/SR Extend
LP 5 Library Search:
LP 4 Category: Classic
WaveBank 2 Type: Bass
Square Feedback Character: Analog, Distorted
Setting: Portamento Octave
Polyphony: 2+

fourad Macro Controllers

i: (resonance)
ii: (envAmt)
OSC 1 iii: (attack)
SL/SR iv: (decay)
OSC 3 v: (modulation)
LP 2 vi: (drive)

OSC 4 Tap 1 Master Section

Summed Delay Recirculator Library Search:
SR
50 ms Tap 2 Mod Delay Category: Classic
OSC 5 Extend Type: Bass
Character: Analog, Distorted
Feedback Polyphony: 2+
SineBank SL/SR
8 Partials

340
 fretless bass
Mod Macro Controllers
i: (noise)
Mod ii: (drive) Mod
OSC 2 iii: (fmAmt)
OSC 2
iv: (fmRatio)
Mod SL/SR v: (sub) Mod
Noise OSC 3 OSC 1 Master Section OSC 3 vi: (body)
L/R
Recirculator
Mod
Reverb Mod
SineBank 1 IOSC 4 Library Search:
Mod 8 Partials Category: Strings
LP 5 BiqBank 1 Type: Bass, Demo
16 Modes Phase Offset Character: Acoustic
SL/SR
Setting: Portamento Octave
Polyphony: 2+

fruku Macro Controllers

i: (tone)
Noise ii: (darkness)
SL/SR iii: (body)
iv: (resonance)
Tap 1 v: (friction)
BR 1 LP 2 ModMan 1 vi: (chorus)
String Tap 2 SR
Tap 2
Voice Delay Master Section
SL Recirculator Library Search:
50 ms Tap 3
Category: Strings
SR Mod Delay
Type: Plucked
Tap 4 Extend Character: Acoustic
OSC 3 SL/SR
Setting: Portamento 2nd
Polyphony: 2+

341
 fukuel
Macro Controllers
SL/SR i: (structure)
ii: (tone)
Noise BR 1 LP 3 Tap 1 iii: (body)
ModMan 1 iv: (resonance)
Ukelele 1 SR Master Section
Mod Tap 2 v: (shine)
Noise OSC 2 BR 4 Recirculator vi: (decay)
Voice Delay
SL Reverb Extend
400 ms Tap 3
SR Library Search:
OSC 5 Tap 4 Category: Tuned Percussion
Type: Struck
Feedback Character: Acoustic, Metallic,
Shaking
Polyphony: 2+

Macro Controllers
funky lead i: (highpass)
ii: (envAmt)
Freq
Noise iii: (vibrato)
iv: (resonance)
v: (cutoff)
WaveBank 1 Anchor vi: (movement)
Saw SL/SR Master Section
Kinetic 2 Library Search:
Recirculator
Category: Classic
Gravity Reverb Extend Type: Lead
WaveBank 3 Character: Analog, Simple
Square Polyphony: 2+

Anchor

342
 futazz Macro Controllers
i: (detune)
Mod ii: (cutoff)
SL iii: (resonance)
OSC 1 LP 5 iv: (attack)
Master Section v: (release)
Double
Recirculator vi: (modulation)
Mod Feedback
SR Mod Delay
OSC 2 LP 4
Library Search:
Category: Keyboard
Type: Brass
Character: Clean, Analog
Polyphony: 2+
Note: Voice Delay used with 4 taps but not output.

futur engine Macro Controllers

SL i: (speed)
ii: (engine)
iii: (gravity)
OSC 1 In 1 SL/SR iv: (nitro)
Mod
v: (valve)
SL
Tap 1 vi: (space)
Mod In 1 Voice Delay Master Section
SR
100 ms Tap 2 Recirculator
In 2 Library Search:
OSC 4 MULT 5 Swept Echo
IOSC 2 SL Category: Other
Tap 3 Extend Type:
Mod SR Character: Sound Design, Digital
Mod In 2 Tap 4 Polyphony: 2+
OSC 3
SR

343
 gabber 21
Mod Macro Controllers
SL/SR
i: (timbre)
Mod
OSC 2 ii: (shape)
iii: (vibrato)
SL iv: (wave)
FMod Tap 1
OSC 3 Master Section v: (pitchEnv)
IOSC 1 Voice Delay SR vi: (delay)
Tap 2 Recirculator
Mod 200 ms Reverb
OSC 4 SL
Tap 3 Library Search:
Category: Classic
Mod SR Type: Lead
WaveBank 1 Tap 4 Character: Digital, Aggressive
Square LP 5 Setting: Portamento Octave
Polyphony: 2+
Feedback

game invader
Mod SL/SR Macro Controllers
i: (mix)
In 1 SL ii: (waveform)
OSC 1 Tap 1 iii: (ringmod)
Mod In 1 SR iv: (decay)
Tap 2 v: (layer)
OSC 2 vi: (octDelay)
SL/SR
SL/SR Master Section
In 2 MULT 4
OSC 3 Voice Delay SL Recirculator
Tap 3 Reverb
400 ms
In 2 SR Library Search:
Tap 4 Category: Keyboard
WaveBank 1 Type:
Square SL/SR Character: Shaking, Lo-Fi,
DIgital
WaveBank 2 Phase SL/SR Polyphony: 2+
Triangle Feedback Sum 7
344
 gamelan spinner
Macro Controllers
In 1 i: (timbre)
OSC 1 ii: (spinLevel)
MULT 3 iii: (spinSpeed)
In 2 iv: (mute)
OSC 2 BiqBank 1 SL/SR v: (mechanism)
48 Modes Master Section vi: (release)
Recirculator
Reverb
Library Search:
HarMan 2 LP 5 Category: Tuned Percussion
Toy Piano Release Type: Struck
SL/SR Character: Clean, Looping, Metallic
HP 4 Polyphony: 2+

geiger insects Macro Controllers

i: (body)
ii: (layer)
SL iii: (speed)
iv: (tremolo)
OSC 1 Sub R v: (wings)
vi: (particles)
Mod Master Section
Noise OSC 2 HP 4 SR Recirculator
Voice Delay Library Search:
Reverb
Mod 50 ms Sub L Category: Other
Noise OSC 3 Type: Atonal
Character: Intimate, Looping,
Nature, Stereo
Polyphony: 2+

345
 ghabla (Feedback Delay Network) – Colored to Better See Feedback Paths
Macro Controllers
i: (structure)
ii: (surface)
Noise iii: (body)
iv: (resonance)
v: (harmonics)
vi: (sine)
LP 5
Mod
Library Search:
OSC 1 SL/SR Category: Percussion
LP 2 LP 3 LP 4 BiqBank 1 Type:
(Sine)
Character: Acoustic
Tap 1 SL Polyphony: 2+

SR
Master
Tap 2
Section
Recirculator
Reverb
Extend
Tap 3 SL/SR

MicroDelay
12.5 ms
SL/SR

Note: Tap 4 defined but not used Note: This FDN uses LP filters instead of single pole LP filters 346
 ghost voice
Macro Controllers
i: (waveform)
ii: (FMamt)
iii: (FMratio)
FMod SL/SR iv: (tape)
Noise v: (vibratoAmt)
vi: (vibratoRate)
Mod Mod OSC 1 SL
Tap 1
OSC 3
Library Search:
Mod Category: Classic
SR
Tap 2 Type: Lead, Vocal, Demo
Voice Delay Character: Lo-Fi
FMod
Noise 100 ms SL/SR Setting: Portamento Octave
OSC 2 Polyphony: 2+
SineBank 1 Master Section
8 Partials Recirculator
FMod SL Reverb
Noise Tap 3
OSC 4
Mod

SR
FMod Tap 4
Noise
OSC 5 SR
Mod

Feedback

347
 gimmirez
Macro Controllers
Anchor i: (cutoff)
OSC 1 ii: (envAmt)
iii: (attack)
Anchor SL/SR iv: (release)
Master Section
OSC 2 Kinetic 1 v: (vibrato)
Recirculator
vi: (resonance)
Analog Echo
Anchor
OSC 3
Library Search:
Category: Keyboard
Type: Brass
Excite Feedback Character: Analog
Polyphony: 2+

gowind
Macro Controllers
i: (harmonics)
ii: (breath)
SL/SR
iii: (body)
BiqBank 1 Mod iv: (attack)
Noise v: (vibrato)
24 Modes Mod
vi: (flutter)
SL/SR Master Section
Mod Mod
OSC 4 BP 3 OSC 1 OSC 2 Recirculator
Mod Reverb Extend Library Search:
Category: Winds
OSC 5 ModMan 2 Type: Flute
Mod
Ukelele 1 Character: Acoustic, Clean
SL/SR Setting: Portamento 2nd
Polyphony: 2+

348
 graceful integrated
FMod
Noise Macro Controllers
IOSC 1 SL i: (timbre)
Tap 1
Summed ii: (noise)
Delay SR iii: (fm)
FMod Tap 2
200 ms Master Section iv: (release)
SineBank 1 Noise SL/SR
IOSC 2 Recirculator v: (modulation)
8 Partials
SL Delay LPF vi: (moddelay)
Tap 3
Extend
SL/SR
IOSC 3 Library Search:
SR Category: Keyboard
Tap 4
Type:
SL/SR Character: Soft, Simple,
Analog, FM
Noise BP 4 Polyphony: 2+
Feedback

Master Section
grandfather clock Macro Controllers
i: (mute)
BiqGraph SL/SR
Noise Recirculator ii: (damping)
48 Modes iii: (structure)
Reverb 1F Offsets iv: (surface)
v: (body)
vi: (ATspeed)
Main Graph
Library Search:
Category: Tuned Percussion
Type: Struck
Character: Metallic
2A Offsets Polyphony: 2+

349
 grandma’s garden
SL/SR Macro Controllers
HarMan 2 ModMan 1 i: (grains)
Metal Metal ii: (speed)
SL/SR iii: (structure)
iv: (release)
v: (sines)
Mod Master Section
Noise OSC 2 BP 1 vi: (tape)
Recirculator
Mod Delay
Extend Library Search:
FMod SL
Noise OSC 3 Category: Classic
Type: Pad
Character: Woody, Lo-Fi,
XMod Evolving, Layered
FMod SR Polyphony: 2+
Noise OSC 4

granu osc
SL/SR Macro Controllers
OSC 1
i: (timbre)
ii: (fmAmt)
XMod iii: (speed)
SL/SR Master Section iv: (grainSize)
OSC 2 Recirculator v: (sub)
Mod Delay vi: (envTime)
Mod
SL/SR
OSC 4 Library Search:
Category: Classic
Al outputs Type: Pad
continuously Character: FM, Looping, Stereo
pulsed Polyphony: 2+

OSC 3 & OSC 5 modulates themselves but are not sent to any destination. 350
 grittysaw
Macro Controllers
Noise
i: (timbre)
ii: (decay)
SL/SR iii: (cutoff)
OSC 1 LP 4 iv: (envAmt)
Master Section v: (noise)
Mod Recirculator vi: (drive)

OSC 3 Mod Reverb

SL/SR Library Search:
OSC 2 Category: Classic
Mod Type: Bass
WaveBank 1 Character: Analog, Distorted
Saw LP 5 SL/SR Setting: Portamento Octave
Polyphony: 2+

grubbead Macro Controllers

i: (timbre)
Mod Mod
Noise OSC 1 ii: (fmAmt)
SL/SR
Mod iii: (fmRatio)
iv: (dirt)
Mod Mod v: (envTime)
Noise SL vi: (detune)
SineBank 1 OSC 2
Mod Master Section
8 Partials OSC 4 Recirculator
Mod Mod Reverb Extend Library Search:
Noise SR
OSC 3 Category: Classic
Mod Type: Lead
Character: Distorted,
SL/SR Aggressive, FM
Noise Mod
Polyphony: 2+

Summed Delay is used but not output. This should be removed for clarity. LP5 also defined but not used. 351
 hammers brushed
Macro Controllers
i: (structure)
HarMan 2 SL/SR ii: (brightness)
String Tap 3
iii: (mechanism)
Mod iv: (resonance)
SL/SR
OSC 3 v: (modulation)
Master Section vi: (body)
Mod Recirculator
SL
ModMan 1 OSC 4 Reverb Extend
Noise HP 1 LP 2 Library Search:
mBiraski
Category: Keyboard
Mod SR Type: Electric Piano
OSC 5
Character: Acoustic, Soft, Shaking
SL/SR Polyphony: 2+

hantpad
Mod SL/SR Macro Controllers
FMod Sub L/R i: (timbre)
Noise ii: (noise)
OSC 1 SL iii: (sub)
Summed Tap 1 iv: (envTime)
Delay SR v: (modulation)
100 ms Tap 2 vi: (chorus)
SL Master Section
OSC 2 SubMix L Recirculator Library Search:
SR
Reverb Extend Category: Classic
Type: Pad, Demo
OSC 5 Sub R Character: Dark
Setting: Portamento engaged but set to Off?
SL/SR Polyphony: 2+
OSC 3 BP 4
Note: This preset should also be tagged Stereo
WaveBank 1 SL/SR
Triangle 352
Note: Extensive use of SubMix (L/R) in this preset.
 SB=Spectral
harmbrass
Macro Controllers
Balance i: (size)
ii: (timbre)
SL/SR
SB BR 2 iii: (body)
Noise iv: (harmonic)
Master Section v: (eq)
OSC 1
Recirculator vi: (strength)
HarMan 1 Mod Mod Reverb
Alto Sax OSC 3 Library Search:
Category: Wind
Type: Brass
Character: Acoustic
Setting: Portamento 2nd
Polyphony: 2+

harmod
Macro Controllers
i: (timbre)
Noise BP 5 ModMan 2 SL/SR
ii: (bow)
String Tap 2 iii: (body)
iv: (vibrato)
SL/SR v: (fondamental)
OSC 1 vi: ()
Master Section
OSC 2 SL/SR Recirculator Library Search:
Reverb Extend Category: Strings
Type: Bowed
SL/SR Character: Acoustic
OSC 3 Setting: Portamento 2nd
Polyphony: 2+

HarMan 1 SL/SR
Viola Legato
353
 harpichord
Macro Controllers
i: (tone)
SL/SR ii: (detune)
Noise BiqBank 1 iii: (mute)
Var Modes Mod iv: (string.bal)
SL/SR Master Section v: (bend)
Noise HP 4 OSC 1 Recirculator vi: (sine)
Mod (Sine) Reverb
BiqBank 2 Library Search:
SL/SR
Noise Var Modes Category: Keyboard
Type: Struck
Character: Acoustic, Clean
Polyphony: 2+
Suggest Osmose Pitch Bend be turned off for this preset.

harpsytron Macro Controllers

i: (release)
Noise ii: (pluck)
iii: (fmAmt)
SL/SR iv: (fmRatio)
Mod v: (vibrato)
OSC 1 vi: (structure)
Mod SL/SR Master Section
SineBank OSC 2
OSC 5 Recirculator
8 Modes BiqBank 1 Library Search:
Delay LPF
8 Modes Category: Keyboard
SL/SR Type:
OSC 3 Character: FM, Electric, Dry
Polyphony: 2+
Mod XMod
OSC 4

354
 hollowres
Anchor Macro Controllers
OSC 1
i: (cutoff)
ii: (envAmt)
Anchor SL/SR iii: (attack)
OSC 2 Kinetic 1 iv: (decay)
Master Section
Recirculator v: (resonance)
Anchor Reverb vi: (modulation)
OSC 3
Library Search:
Excite Category: Classic
Feedback Type: Bass
SL/SR Character: Analog
OSC 4 Setting: Portamento Octave
Polyphony: 2+

hoovasquare Macro Controllers

Mod i: (cutoff)
ii: (resonance)
Perhaps BP4 was
iii: (envAmt)
supposed to go to Kinetic iv: (decay)
BP 4 Mass? This preset needs v: (vibrato)
Mod to be cleaned up. vi: (phasor)

OSC 1 WaveBank 1 SL/SR Master Section

WaveBank 3
Square Recirculator
Mod Square
Anchor Reverb
SL Library Search:
Mass Kinetic 2 AP 2 Category: Classic
LP 5 Type: Lead, Demo
SR Character: Analog, Simple
AP 3 Setting: Portamento engaged
but set Off?
Polyphony: 2+
355
Note: BP 4 is used and sent values but not sent to any output. Note: Interesting use of “Phasor” Control on All Pass filters.
 horn ytorink
Mod Macro Controllers
Noise
i: (timbre)
OSC 2 ii: (shape)
Mod Mod
OSC 3 iii: (tone)
SL/SR iv: (body)
Mod OSC 1 Master
OSC 5 Section v: (vibrato)
Recirculator vi: (breath)
Mod Reverb
Harman 1
Library Search:
Brass SL/SR
Category: Wind
Type: Brass
Character: Acoustic, Warm
SL/SR
Noise BP 4 Polyphony: 2+

howling sines (A Study in Modulation)

Mod Macro Controllers Library Search:
i: (detune) Category: Other
FMod ii: (fmAmt) Type: Sound Design
OSC 1 SL iii: (fmTune) Character: Dark, Atonal
FMod Master iv: (body) Polyphony: 3+
Mod Section v: (release)
SineBank1 Noise OSC 3 LP 5 vi: (noise)
OSC 4 XMod Recirculator
Cascade 4
FMod Reverb
SR Extend
FMod OSC 2
Mod

356
 hp tales
Macro Controllers Library Search:
SL/SR i: (resonance) Category: Keyboard
OSC 5
LP 3 Master Section ii: (HPfilter) Type: -
HP 2 Character: Analog
Cascade 2 Recirculator iii: (LPfilter)
Cascade 2 iv: (envTime) Polyphony: 3+
WaveBank1 SL/SR Mod Delay
v: (timbre)
Saw OSC 4 Extend vi: (modulation)
Feedback Waveshaper

hybrid harp Macro Controllers

i: (mix)
ii: (structure)
SL/SR iii: (ratio)
Noise LP 5 BiqBank
iv: (resonance)
24 Modes v: (body)
Master vi: (brightness)
Mod
OSC 2 Section
Recirculator
Library Search:
Mod SL/SR Reverb Category: Strings
OSC 4 OSC 1 Type: Plucked, Demo
Character: Acoustic, Soft, FM,
Mod Polyphony: 2+

OSC 3 SL/SR

Mod
357
 hybrid strings 1
Macro Controllers
Mod SL i: (cutoff)
ii: (layer)
OSC 1 SL iii: (bow)
Tap 1 iv: (envTime)
XMod v: (modulation)
SR
vi: (delay)
OSC 2 SR
Voice Delay Tap 2 Master Section
Mod Recirculator
100 ms
SL/SR Mod Delay
Phase Gen 3 LP 4 Library Search:
Sum 7 SL Category: Strings
Tap 3
Type: Bowed, Pad
SL/SR Character: Analog
ModMan 1 Polyphony: 2+
Noise LP 5 String Tap 1 SR
Tap 4

Feedback

hybrid strings 2
Macro Controllers
i: (color)
ii: (dir)
Mod
OSC 1 iii: (cutoff)
iv: (envTime)
FMod SL/SR Master Section v: (vibrato)
HarMan 2 Noise Phase Gen 2 Kinetic 1
Recirculator vi: (tape)
Viola Legato Sum 7
Reverb Extend
Mod Library Search:
OSC 5 Category: Classic, Strings
SL/SR Type: Plucked
Character: Lo-Fi, Noise, Analog,
Polyphony: 2+

358
 Mod hybrid strings 3
Mod SL/SR Macro Controllers
Mod OSC 1 i: (timbre)
ii: (bow)
OSC 3 XMod Mod iii: (saws)
Mod iv: (envTime)
OSC 2 v: (vibrato)
Master Section vi: (body)
Mod Mod Recirculator
Mod Delay
Extend Library Search:
ModMan 1 SL/SR Category: Strings
Noise LP 5
String Tap 1 Type: Bowed
Character: Analog, Acoustic
Polyphony: 2+
WaveBank 2 SL/SR
LP 4
Saw

ikia Macro Controllers

i: (delay)
Mod ii: (speed)
SL/SR iii: (layer)
iv: (release)
SL v: (fmAmt)
Mod OSC 1 Tap 1
Mod SL/SR vi: (fmratio)
Mod
Summed Delay SR Master Section
OSC 3 OSC 4 Mod Tap 2 Recirculator
OSC 2 400 ms
Mod WaveBank 1 SL/SR Reverb Library Search:
Saw SL
Category: Keyboard
Tap 3 Type:
Character: FM, Looping
SR
Tap 4 Polyphony: 2+
LP 5
Feedback
359
 interkin
Macro Controllers
i: (interval)
Mod Anchor ii: (cutoff)
IOSC 1 iii: (envAmt)
WaveBank 2 SL/SR Master Section
iv: (attack)
Saw Mod Anchor Kinetic 1 Recirculator v: (release)
OSC 2 Reverb Extend vi: (resonance)

Excite
Library Search:
Feedback
Category: Classic
Type: Pad
Character: Analog
Polyphony: 2+

Noise
ishango bone Macro Controllers
From seed i: (pitch)
Noise Noise ii: (mix)
iii: (slap)
iv: (ring)
SL/SR v: (body)
BiqBank 1
vi: (ATrate)
Mod 48 Modes
Master Section
LP 5
HP 4 Recirculator Library Search:
OSC 1
Reverb Category: Percussion
Type: Atonal
BiqBank 2 SL/SR
Character: Woody
8 Modes Polyphony 3+

Note: Noise from Seed used in OSC 3 slot (this will produce 360
noise even though nothing is defined in columns for it)
 iziki
Mod
SL/SR
Macro Controllers
SL/SR i: (timbre)
Mod
OSC 2 SL ii: (structure)
Tap 1 iii: (impact)
SL iv: (decay)
Mod OSC 3 v: (detune)
SR
OSC 1 Summed Delay Tap 2 vi: (release)
Master Section
50 ms SR
Mod Recirculator
OSC 4
SL Reverb Library Search:
Tap 3 Category: Keyboard
SL/SR Type: Electric Piano
Mod Phase SineBank 1 Character: Analog, FM, Simple, Clean
BiqBank 2 Offset 8 Partials SR Polyphony: 2+
SG Pulse 8 Modes Tap 4
Mod Feedback
SL/SR

jamar toy piano Macro Controllers

i: (color)
Mod ii: (mechanism)
SL/SR iii: (surface)
OSC 1
iv: (release)
v: (sine)
SL/SR
IOSC 2 vi: (mecaTone)
Master Section
HarMan 1 Recirculator
SL/SR Reverb
Toy Piano 1HP 5 LP 4 Library Search:
Strike Category: Keyboard
Type: Struck
Character: Acoustic, Clean, Dry,
HarMan 2 SL/SR
Intimate
Toy Piano Polyphony 3+
Release
361
 jenny choir SL/SR

SL/SR Macro Controllers

i: (mix1/2)
Primary JOSC 2
IOSC 1 ii: (formant1)
Smooth SL iii: (formant2)
Tap 1 iv: (vowel2)
Master Section
Voice Delay SR v: (release)
Tap 2 Recirculator
50 ms vi: (ensemble)
Reverb Extend
SL
Tap 3
SR Library Search:
Tap 4 Category: Classic, Vocal
Type: Pad
SL/SR Character: Ensemble
Phase 3 Polyphony: 2+
Sum 7 BiqMouth 1

jenny fm Macro Controllers

i: (timbre)
ii: (ratio)
OSC 1 iii: (cutoff)
Mod
SL iv: (envTime)
JOSC 3 Kinetic 1 v: (waveform)
Primary Sharp vi: (modulation)
Master Section
OSC 2
Recirculator
Library Search:
Mod Delay Category: Classic
Extend Type: Pad
Mod SL Character: FM, Looping, Stereo
Kinetic 2 Polyphony: 2+
OSC 4

362
 jenny pulse
Macro Controllers
i: (ratio)
SL/SR ii: (shape)
Primary Mod
JOSC 2 Master Section iii: (bandwidth)
OSC 3
OSC 1 Recirculator iv: (release)
SL/SR Analog Echo v: (fondamental)
Extend vi: (speed)

Library Search:
Category: Classic
Type: Struck
Character: Analog, Echo, Looping,
Reverberant, Synthetic
Polyphony 4+

jennybrass Macro Controllers

i: (timbre)
Mod ii: (tone)
iii: (body)
FMod iv: (flutter)
Noise
v: (harmonic)
SB vi: (breath)
Noise
Primary SL/SR Master Section
BR 4 Library Search:
OSC 1 Recirculator
JOSC 2 Mod Category: Wind
Mod Delay Type: Brass
Mod Extend Character: FM
OSC 3 Setting: Portamento 2nd
Polyphony: 2+ ^ (Increased Computation)
Mod
OSC 5

363
 jentenot
Macro Controllers
i: (timbre)
SL/SR ii: (sync)
Primary
JOSC 2 iii: (cutoff)
OSC 1 iv: (fondamental)
LP 4 SL Master Section v: (body)
Tap 1
Recirculator vi: (delay)
Voice Delay SR Reverb Extend
400 ms Tap 2
SL Library Search:
Tap 3 Category: Classic
Type: Lead
LP 5 SR
Tap 4 Character: Analog
Setting: Portamento Octave
Feedback Polyphony: 2+

juknow that bass Macro Controllers

i: (cutoff)
ii: (resonance)
Noise iii: (chorus)
SL iv: (filterEnv)
Tap 1 v: (filterTime)
Voice Delay
IOSC 1 SR Master Section vi: (drive)
LP 4 50 ms Tap 2 Recirculator
IOSC 2 Delay HPF Library Search:
SL/SR
Category: Classic
Type: Bass
SL/SR
WaveBank 1 IOSC 3 Character: Big, Simple, Soft, Analog,
Square Clean, Stereo
Setting: Portamento Octave
Polyphony: 2+

364
 julia
Macro Controllers
Noise i: (cutoff)
ii: (sub)
iii: (square)
SL/SR
iv: (envTime)
Noise
v: (envAmt)
LP 2 HP 3
Summed SL Master Section vi: (chorus)
Tap 1
IOSC 3 Delay Recirculator
50 ms SR Delay HPF
Tap 2 Library Search:
Category: Classic
Type: Lead
Character: Analog, Simple
Setting: Portamento Octave
Polyphony: 2+

jumpare Macro Controllers

i: (timbre)
ii: (interval)
iii: (speed)
SL iv: (cutoff)
LP 4 v: (detune)
WaveBank 1 WaveBank 2
Master Section vi: (release)
Square Saw
SR Recirculator
LP 5 Delay LPF Library Search:
Extend Category: Classic, Keyboard
Type:
SL/SR
Character: Looping, Analog
OSC 3 Polyphony: 2+

365
 june sunset
Macro Controllers
i: (shape)
ii: (vibrato)
Noise
iii: (cutoff)
SL/SR iv: (release)
Excite
Master Section v: (resonance)
OSC 1 vi: (chorus)
Anchor LP 5 Summed SL Recirculator
HP 4 Tap 1
Kinetic 1 Delay Reverb Extend
XMod 50 ms SR
Anchor Tap 2 Library Search:
OSC 2 Category: Keyboard, Midi?
Feedback Type: Demo
Character: Analog
OSC 3 Polyphony: 2+

jx10 1b Macro Controllers

OSC 1 i: (tone1)
ii: (tone2)
SL/SR iii: (tone3)
Primary
iv: (cutoff)
JOSC 2 v: (chorus)
Hann SL Master Section vi: (release)
Voice Tap 1
Anchor Delay Recirculator
OSC 3 LP 5 SR
100 ms Tap 2 Reverb Extend
Mod Kinetic 1
Primary

JOSC 4 SL/SR
Library Search:
Hann Category: Keyboard
Type:
Character: Analog, Soft
WaveBank 1 Polyphony: 2+
Square
366
 kaitof
Macro Controllers
i: (structure)
SL/SR ii: (brightness)
ModMan 1 iii: (decay)
Noise HP 1 LP 2
mBiraski iv: (resonance)
Master Section
Recirculator v: (ATspeed)
Mod vi: (body)
SL/SR Reverb Extend
OSC 3
Library Search:
Category: Percussion
Type:
Character: Acoustic, Noise, TO?
Polyphony: 2+

kakey
SL/SR Macro Controllers
i: (structure)
SL/SR ii: (drive)
iii: (tine)
Mod SL/SR iv: (mechanism)
OSC 1 v: (mute)
TAP 1 BiqBank 1
vi: (body)
8 Modes Mod Master Section
Noise LP 5 Micro Mod SL/SR Recirculator
OSC 3 Reverb Library Search:
Delay Category: Keyboard
12.5 ms Mod Type: Electric Piano
SL/SR Character: Electric
OSC 2 Polyphony: 2+
BiqBank 2
8 Modes SL/SR

LP 4
Feedback 367
 karkup (Feedback Delay Network) – Colored to Better See Feedback Paths
Macro Controllers
i: (damping)
ii: (release)
Noise iii: (brightness)
iv: (layer)
v: (structure)
vi: (body)
LP 5

Library Search:
BiqBank 1 SL/SR Category: Strings
1LP 1 1LP 2 1LP 3 1LP 4 Type: Plucked, Demo
48 Modes
Character: Acoustic, Shaking
SL/SR Polyphony: 2+
Tap 1

SL/SR
Master
Tap 2
Section
Recirculator
Analog Echo
Extend
Tap 3

Tap 4

MicroDelay 50 ms

368
 karplus & modman
Macro Controllers
i: (brightness)
Mod SL/SR ii: (color)
OSC 2 iii: (ATspeed)
ModMan 1 iv: (body)
Pizz Loud v: (sine)
Master Section vi: ()
Noise LP 5 Voice Delay
Recirculator
50 ms
SL/SR Reverb Library Search:
Category: Strings
Type: Plucked
1HP 3 Character: Clean, Strumming,
Warm
Polyphony: 2+
Feedback

1 LP 4

369
 kick bass slide
Macro Controllers
Mod Mod SL/SR i: (tone)
OSC 3 OSC 2 ii: (pitchEnv)
OSC 1 SL/SR
iii: (pitchDecay)
Mod iv: (release)
OSC 5
Master Section v: (drive)
SL/SR Recirculator vi: (snap)
Noise LP 4 Reverb
Library Search:
Category: Percussion
Type: Bass
Character: Analog
Setting: Portamento Maximum
Polyphony: 2+

kinaflap Macro Controllers

Feedback i: (resonance)
Anchor
ii: (envAmt)
OSC 1 Kinetic Self- SL/SR iii: (cutoff)
Excitation iv: (release)
Anchor SL v: (modulation)
OSC 2 Tap 1 vi: (delay)
Master Section
Kinetic 1 SR
Summed Recirculator
Anchor Tap 2
OSC 3 Delay Reverb Library Search:
SL
Category: Keyboard
• 50 ms Tap 3 Type:
SR Character: Analog
Tap 4 Polyphony: 2+
Feedback

Note: Almost identical to “kinafun” only this has a delay feedback loop added.
370
Note: HP 5 defined but not used
 Feedback
kinafun
Anchor
OSC 1 Kinetic Self- Macro Controllers
SLSR
Excitation i: (resonance)
ii: (envAmt)
Anchor SL
OSC 2 iii: (cutoff)
Tap 1 iv: (release)
Kinetic 1 SR v: (ATmod)
Anchor Summed Tap 2 Master Section vi: (chorus)
OSC 3 Delay SL Recirculator
• 50 ms Tap 3 Reverb
SR Library Search:
Tap 4 Category: Classic, Keyboard
Type:
Character: Analog, Looping
Polyphony: 2+
Note: OSC 4 defined but not used

kinespeech Macro Controllers Library Search:

Feedback Category: Classic, Vocal
Anchor i: (vowelTune)
Type: Bass
IOSC 1 Kinetic Self- ii: (vowelAmt)
Character: Analog
Excitation iii: (cutoff) Polyphony: 2+
iv: (decay)
Anchor
OSC 2 v: (drive) Note: Triangle Wavebank
vi: (feedback) defined but not used
Kinetic 1 Master
SLSR Section
Freq Uses: F, A, K,
OSC 3 V, H Recirculator
Delay LPF
Anchor
IOSC 4

Mod
SLSR
OSC 5
371
 kinetic analog Macro Controllers
i: (cutoff)
ii: (noise)
Anchor Kinetic Self- iii: (height)
Noise Excitation Master iv: (decay)
SLSR
Section v: (release)
Kinetic 1 Recirculator vi: (tone)
Anchor Analog Echo
WaveBank 2 Extend Library Search:
Saw SLSR Category: Keyboard
Type: -
Character: Analog
Polyphony:3+

kinetic anaseq
Macro Controllers
i: (resonance)
ii: (interval)
iii: (cutoff)
Mod
iv: (speed)
SLSR v: (noise)
Noise LP 4 IOSC 1 LP 5 vi: (modulation)
Master
Section
Anchor SLSR Recirculator
Noise Analog Echo Library Search:
Category: Classic
Kinetic 1 Extend Type: -
WaveBank 2 Anchor Character: Aggressive, Analog, Echo, Looping,
Saw Stereo, Synthetic
Polyphony: 3+

372
 kinetic dragon
MicroDelay Macro Controllers
12.5 ms i: (body)
Mod Anchor
SL ii: (feedback)
Tap 1 iii: (surface)
iv: (harmonics)
Mod SR Master v: (excitation)
Tap 2 vi: (color)
Section
OSC 3 Mod Anchor Recirculator
Kinetic 1 SR
Tap 3 Reverb Library Search:
1LP 2 1HP 1
Extend Category: Other
Mod Type: Atonal
Tap 4 SL Character: Aggressive, Distorted,
Reverberant, Sound Design
SL/SR Polyphony: 2+

kinetic micromotor Macro Controllers

i: (motorSpeed)
MicroDelay ii: (feedback)
12.5 ms iii: (surface)
Mod Anchor
SL iv: (harmonics)
Tap 1
v: (body)
vi: (excitation)
Mod SR Master
Tap 2
Section
Anchor Library Search:
OSC 3 Mod Recirculator
Kinetic 1 SR Category:
Tap 3 Reverb Type:
1LP 2 1HP 1
Extend Character:
Mod Polyphony: 2+
Tap 4 SL

SL/SR

Note: Identical to “kinetic dragon” only different Macro Controls programmed 373
 kinetic overtones
Macro Controllers
i: (tune)
SL ii: (cracks)
Anchor
sHP 5 iii: (addTone)
1HP 3 sHP 4 SR iv: (cycling)
Kinetic 1 SL v: (speed)
Feedback Master Section vi: (release)
Anchor Recirculator
SR
Analog Echo Library Search:
Voice Delay
Kinetic 2 50 ms Category: Other
Mass
Type: Atonal
OSC 1
Character: Aggressive, Digital, Distorted,
Feedback Reverberant, Stereo, Synthetic, Sound Design
Polyphony: 2+

kinetic satpad Macro Controllers

i: ()
Anchor SL/SR ii: ()
IOSC 1
iii: ()
iv: ()
Anchor Master Section v: ()
IOSC 2 SL
Recirculator vi: ()

Summed Delay SR Delay HPF

Anchor Kinetic 1
IOSC 3 100 ms Tap 1 Extend
Library Search:
Anchor Category:
IOSC 4 Type:
Character:
Note: One of the few single tap preset
Anchor Polyphony:
IOSC 5 (though it is ported from the
Continuum set) 374
 kinetic soundboard
Noise BR 2 LP 5 Macro Controllers
i: ()
ii: ()
iii: ()
Anchor Master Section iv: ()
1HP 3 1LP 4 SL/SR
IOSC 1 Delay Voice Delay Kinetic 1 Recirculator v: ()
Time 50 ms Reverb Extend vi: ()

Feedback

Note: Interesting Feedback path for Voice Delay through Kinetic Bank.

klavunk
Mod Macro Controllers
i: (drive)
Mod ii: (structure1)
OSC 2
iii: (structure2)
iv: (resonance)
Mod SL/SR
v: (keyNoise)
ModMan 1 OSC 1 vi: (body)
Pizz Loud SL/SR
Noise Master Section
LP 5
Mod Recirculator
Reverb Library Search:
Category: Keyboard
ModMan 2 Type: Electric Piano
SL/SR
Pizz Loud Character: Electric, Clean
Noise Polyphony: 2+

SL/SR
Noise OSC 3 LP 4

375
 koto Macro Controllers
i: (mute)
ii: (tone)
iii: (shake)
Master Section iv: (body)
ModMan 1 SL/SR
Noise LP 5 v: (ATspeed)
Pizz snap Recirculator
vi: (brightness)
Reverb

Library Search:
Category: Strings
Type: Plucked
Character: Acoustic, Clean, Intimate, Strumming
Note: As Simple as ModMan presets get. Polyphony: 2+

labello
Macro Controllers
OSC 4 i: (bellAmt)
ii: (bellRatio)
Mod Mod
Mod iii: (FMratio)
Mod
iv: (release)
SL/SR v: (FMtimbre)
Mod
XMod
OSC 3
OSC 1 vi: (body)
SL/SR
BiqBank 1 SL/SR Library Search:
Master Section Category: Percussion
Noise LP 5 16 Modes Recirculator Type: Struck
Mod Mod Delay Character: FM, Acoustic
Extend Polyphony: 2+
Mod
SL/SR
OSC 2
Mod
SineBank 2
8 Partials 376
 lacous bass
Macro Controllers
i: (timbre)
SL/SR ii: (tone)
Noise iii: (body)
OSC 3
Summed SL iv: (stringnoises)
Tap 1 v: (sub)
Mod Delay Master Section
ModMan 1 SR vi: (chorus)
BR 2 50 ms Tap 2 Recirculator
String Tap 2 Reverb Extend
OSC 1 SL/SR Library Search:
Category: String
Type: Bass
Character: Acoustic
Setting: Portamento Octave
Polyphony: 2+

ladagcer Macro Controllers

i: (octave)
ii: (envAmt)
iii: (cutoff)
IOSC 1 SL/SR iv: (release)
v: (modulation)
LP 5 vi: (chorus)
IOSC 2
Summed SL Master Section
Tap 1
Delay Recirculator Library Search:
OSC 4 50 ms SR Category: Keyboard
Tap 2 Mod Delay
Type:
Character: Analog
Polyphony: 2+
OSC 3 SL/SR

377
 lamelias
Macro Controllers
Noise i: (tone)
LP 2 ModMan 1 SL/SR ii: (harmonic1)
Kalimba Hard iii: (harmonic2)
Noise OSC 1
iv: (resonance)
Master Section v: (body)
Noise vi: (modulation)
Recirculator
(Row) ModMan 2 SL/SR
Reverb Extend
Metal
Noise Library Search:
(Seed) Category: Tuned Percussion
Type: Struck
SL/SR Character: Acoustic, Metallic, Strumming
OSC 4
Setting: Rounding=24?
(Sine) Polyphony: 2+

larekin 2 Macro Controllers

i: (cutoff)
ii: (envAmt)
OSC 1 SL/SR iii: (attack)
iv: (release)
v: (modulation)
OSC 2 SL vi: (chorus)
Tap 1 Master Section
Kinetic 1 SR
Voice Recirculator
OSC 3 Tap 2 Library Search:
Delay Reverb Extend
Category: Classic
• 50 ms Type: Pad
OSC 4 Character: Analog
Polyphony: 2+

Feedback

Note: LP4 is sent into Kinetic Ban but not defined – This should be removed. 378
 lavaya
SL/SR Macro Controllers
OSC 2 i: (fmRatio)
ii: (shape)
SL Master Section iii: (timbre)
OSC 3 Tap 1 Recirculator iv: (envAmt)
OSC 1 Voice SR Delay LPF v: (attack)
LP 5 Delay Tap 2 vi: (release)
OSC 4 • 50 ms

Library Search:
Category: Keyboard
Type:
Character: FM
Polyphony: 2+

Noise leadio Macro Controllers

Mod SL/SR i: (waveform)
SL/SR ii: (subfm)
iii: (redux)
SL iv: (vibrato)
BR 2 Tap 1 v: (attack)
SR
OSC 3 OSC 1 vi: (delay)
Voice Tap 2 Master Section
Delay SL Recirculator
OSC 4 • 200 ms Tap 3 Reverb Library Search:
SR Category: Clean
Tap 4 Type: Lead
LP 5 Character: Analog
Feedback Setting: Portamento Octave
SL/SR
WaveBank 1 Polyphony: 2+
Square

379
 legacy dx ep
Macro Controllers
Mod i: (transLevel)
SL/SR ii: (mainMod)
iii: (attDepth)
SL/SR iv: (attTune)
IOSC 1 Mod Master Section v: (modDecay)
OSC 2 Recirculator vi: (modSus)
SL/SR Reverb
sHP 5 Library Search:
Category: Keyboard
Mod Type: Electric Piano
OSC 4 Character: Clean, Digital
IOSC 3 SL/SR Setting: Round Initial On? (Carry over mistake
from Continuum?)
Polyphony: 2+

libellule Macro Controllers

i: (ratio)
ii: (structure)
OSC 3 XMod iii: (body)
SL/SR iv: (release)
OSC 1 v: (layer)
Mod vi: (tremolo)
OSC 2
Master Section
Recirculator Library Search:
SL/SR
Noise BP 4 Mod Delay Category: Tuned Percussion
Type: Struck
Character: Acoustic, FM,
Strumming, OG?
ModMan 1 SL/SR Polyphony: 2+
Noise LP 5 Ukelele 1

380
 lighthouse
Macro Controllers
i: (shape)
SL/SR ii: (timbre)
OSC 1 iii: (cutoff)
SL iv: (modulation)
Tap 1 v: (vibrato)
Primary SR Master Section vi: (delay)
Summed Tap 2 Recirculator
LP 5
JOSC 2 Delay SL Reverb
• 200 ms Tap 3 Library Search:
SR Category: Classic
OSC 4 Tap 4 Type: Lead
Character: Analog
Feedback Setting: Portamento Octave
Polyphony: 2+

lililead Macro Controllers

i: (brightness)
ii: (waveform)
IOSC 2 iii: (envAmt)
iv: (envTime)
v: ()
WaveBank 1 SL/SR vi: ()
LP 1 Master Section
Triangle
Recirculator
Delay LPF Library Search:
Extend Category: Classic
WaveBank 2 Type: Lead
Square Character: Analog
Setting: Portamento Octave
Polyphony: 2+
IOSC 4

Note: IOSC 3 used but not output 381

Good example of a simple filtered preset with dual WaveBanks, fully populated.
 lily
SR
Macro Controllers
i: (release)
Mod OSC 2
XMod ii: (body)
iii: (buzz)
OSC 3
Mod Mod Mod OSC 1 SL iv: (envelope)
Master Section v: (vibratoAmt)
Mod Recirculator vi: (noteOff)
LP 5 Reverb Extend
IOSC 4
Mod Library Search:
Category: Keyboard
HarMan 1 Type:
SL/SR Character: Soft, FM, Acoustic, Stereo
Drum Polyphony: 2+

lino Macro Controllers

i: (modulation)
ii: (cutoff)
Primary SL/SR
iii: (envAmt)
OSC 1 JOSC 2 iv: (release)
Sharp SL Master Section v: (layer)
Voice Tap 1 Recirculator vi: (chorus)
Delay SR Mod Delay
50 ms Tap 2
WaveBank 2 Library Search:
LP 5 Category: Keyboard
Square SL/SR Type:
Character: Analog
Polyphony: 2+

382
 lips steel
Macro Controllers
i: (tone)
Mod SL/SR ii: (brightness)
Mod
Mod OSC 1 iii: (body)
Master Section iv: (resonance)
v: (harmonics)
OSC 2 Recirculator
Mod Summed vi: (delay)
SL Mod Delay
Mod OSC 3 Delay Tap 1
200 ms SR Library Search:
Tap 2 Category: Strings
ModMan 1 Type: Plucked
Noise LP 5 String Tap 1 Character: Acoustic
Feedback
SL/SR Setting: Portamento 2nd
Polyphony: 2+

living pad Macro Controllers

i: (mix1/2)
ii: (modulation1)
Mod iii: (detune2)
OSC 1 iv: (release)
SL/SR
OSC 2 v: (layerPress)
Master Section vi: (layerSpeed)
Phase Gen 3
Recirculator
Sum 7
Analog Echo
Library Search:
Extend Category: Classic
WaveBank 1 SL/SR
Type: Pad
Saw Character: Analog, Looping, Evolving
Polyphony: 2+

383
 lonely data
Mod SL/SR Macro Controllers
i: (speed)
Mod ii: (timbre)
Noise OSC 1 In 1 iii: (range)
iv: (feedback)
Master Section v: (decay)
SL/SR vi: (noise)
In 1 Recirculator
Noise MULT 4 Reverb
Library Search:
Category: Other
Mod Type: Atonal
Character: Digital, Intimate, Looping, Sound
Mod In 2
OSC 2 Design, Synthetic
Noise
Polyphony: 8+? (lower if needed)

lonely square Macro Controllers

i: (shape)
ii: (cutoff)
iii: (envAmt)
SL/SR iv: (envTime)
OSC 1 v: (vibrato)
SL vi: (delay)
Tap 1
OSC 2 LP 5 SR Master Section
Summed Tap 2 Recirculator Library Search:
Delay SL Reverb Extend Category: Classic
• 400 ms Tap 3 Type: Lead
WaveBank 2 Character: Reverberant, Analog, Simple
Square SR Setting: Portamento Octave
LP 4
Tap 4 Polyphony: 2+
Feedback

384
 lost beacon
Macro Controllers
i: (envAmt)
Noise ii: (speed)
SL/SR iii: (cutoff)
BP 4 iv: (release)
Master Section
OSC 2 v: (noiseMix)
Recirculator vi: (steroWidth)
Mod Delay
OSC 1 Library Search:
SL/SR
BP 5 Category: Other, Keyboard
Type:
OSC 3 Character: Airy, Analog, Intimate,
Looping, Reverberant, Synthetic, Warm
Polyphony4+

lost choir Macro Controllers

i: (vowel)
ii: (tone)
iii: (formant)
iv: (saw)
v: (width)
SR
vi: (vibrato)
Phase Gen 4 Master Section
Sum 7 BiqMouth 2 1LP 5 Summed Recirculator Library Search:
SL
Delay Reverb Category: Vocal
ModMan 1 • 400 ms Type: Pad
Noise Character: Airy, Ensemble,
Clarinet 1
Evolving, Synthetic
Polyphony: 2+

Note: IOSC 1 defined but not used and has a Macro Controller attached
(but that macro also controls Phase Gen input to BiqMouth so this is ok). 385
 Lost ensemble
Mod
Mod Macro Controllers
SL i: (timbre)
Mod
OSC 2 ii: (modulation)
iii: (body)
Noise Mod iv: (release)
SL/SR Master Section v: (vibrato)
HarMan 2
Phase LP 5 Recirculator vi: (waves)
Viola Legato SL/SR
Gen 4 ModMan 1 Reverb Extend
Sum 7 Viola Legato Mod
LP 1 Library Search:
Mod Category: Strings
SL
Mod Type: Bowed, Demo
OSC 3 Character: Acoustic, Analog,
Mod Reverberant
Polyphony: 2+

Lost operator
Mod Macro Controllers
SL i: (timbre)
Mod OSC 1 LP 4 ii: (ratio)
SineBank 2 SineBank 1 iii: (cutoff)
8 Partials 8 Partials Mod iv: (envelope)
SR
LP 5 v: (modulation)
OSC 2 vi: (delay)
Master Section
SL
Recirculator
Tap 1 Library Search:
SR Reverb Extend Category: Classic
Voice Tap 2 Type: Pad
Delay SL Character: FM
Feedback 400 ms Tap 3 Polyphony: 2+

LP 3 SR
Tap 4 386
Feedback
 SL/SR
magic pluck
Noise BP 2 Macro Controllers
i: (layerAmt)
Mod SL/SR ii: (layerRatio)
OSC 5 OSC 1 iii: (shimmer)
SL/SR iv: (release)
OSC 4 Master Section v: (fmRatio)
Recirculator vi: (ATnoise)
Noise Mod Delay
BiqBank 2 SL/SR
Extend
qF 48 Modes Library Search:
Noise Category: Keyboard
Type: Struck
Character: Acoustic, Shaking, Big,
ModMan 1 SL/SR Airy, Layered
Toy Piano 1 Strike Polyphony: 2+

Note: Noise fed into BP 3 but not used

main square Macro Controllers

i: (timbre)
ii: (modulation)
Mod iii: (cutoff)
SL/SR
OSC 2 iv: (ratio)
v: (detune)
Mod OSC 1 SL
OSC 3 vi: (delay)
Tap 1
SR Master Section
LP 5 Voice Recirculator
Tap 2
Delay SL Reverb Extend
WaveBank 1 Library Search:
200 ms Tap 3 Category: Classic
Square
SR Type: Lead
Tap 4 Character: Analog
Setting: Portamento Octave
Feedback Polyphony: 2+

387
 malabel
Mod SL/SR
OSC 2 Macro Controllers
SL/SR i: (structure)
OSC 1
SL/SR ii: (sructure2)
Mod Master
OSC 3 iii: (brightness)
Section iv: (resonance)
Recirculator v: (sub)
SL/SR Mod Delay vi: (mechanism)
OSC 4

ModMan 1 SL/SR Library Search:

Noise 2 Category: Tuned Percussion
Type: Struck
Noise LP 5 Character: Acoustic, Strumming, Shaking
ModMan 2 SL/SR Polyphony: 2+
Noise 2

malgo
Mod Macro Controllers
i: (ratio)
SL/SR ii: (shape)
OSC 2 iii: (tone)
Master
Section iv: (envAmt)
SL v: (attack)
OSC 3 OSC 1 Recirculator
VoiceDelay Tap 1 vi: (release)
LP 5 SR Delay LPF
50 ms Tap 2 Extend
OSC 4
Library Search:
Category: Classic
Type: Pad
Character: FM
Polyphony: 2+
388
 marlin perkins 1
Macro Controllers
i: (surface)
ii: (harmonic)
SL/SR iii: (sub)
OSC 1 iv: (resonance)
Master

Phase
v: (ATrate)
Section

SG
vi: (brightness)
Recirculator
BiqBank 1 Reverb
Noise LP 2
8 Modes Library Search:
SL/SR Category: Percussion
Type:
Character: Clean, Intimate, Woody
Polyphony 7+

marombox Macro Controllers

i: (structure)
ii: (brightness)
iii: (sine)
Noise BP 1 iv: (resonance)
SL/SR
Master v: (body)
ModMan 2
Section vi: (mechanism)
Ukelele2
Harman 1 Recirculator
LP 2
Metal SL/SR Swept Echo Library Search:
Category: Tuned Percussion
Type: Struck
SL/SR Character: Acoustic, Shaking
IOSC 3 Polyphony: 2+

389
 martine
Macro Controllers
i: (structure1)
ModMan 1 ii: (structure2)
Marimba Hard Mod iii: (body)
SL/SR iv: (resonance)
Mod Master
OSC 1 v: (timbre)
Noise SL/SR Section
LP 5 Mod LP 4 vi: (tremolo)
Recirculator
Mod SL/SR Reverb
BiqBank 1 Library Search:
8 Modes OSC 2 Category: Tuned Percussion
OSC 3 SL/SR Type: Electric Piano
Character: Acoustic, Strumming
Polyphony: 2+
Note: Ideally this should be tagged as Organ too.

mattalo Macro Controllers

i: (structure)
SL/SR ii: (damping)
Noise ModMan 1 iii: (body)
LP 1
String Tap 1 iv: (resonance)
SL
Tap 1 v: (delay)
SR vi: (sine)
Summed Tap 2
LP 5 Delay Master Section
SL
400 ms Recirculator Library Search:
Tap 3 Category: Tuned Percussion
Feedback SR Reverb Extend
Type: Struck
Tap 4 Character: Acoustic, Metallic
Polyphony: 2+
IOSC 3 SL/SR

SL/SR
IOSC 2
390
 mbiraski
SL/SR Macro Controllers
Noise i: (vibrators)
Sub L ii: (body)
BR 2
Sub R iii: (mute)
HP 4 ModMan 1 iv: (color)
Noise Master
mBiraski v: (ATtimbre)
Sub L Section vi: (brightness)
sHP 3 Recirculator
Noise LP 5 Sub R Reverb
Library Search:
Category: Tuned Percussion
HarMan 2 SL/SR Type: Struck
mBiraski Character: Clean, Intimate,
Metallic
Polyphony 3+

metarmonix Macro Controllers

i: (tune)
LP 5 ii: (structure)
Noise iii: (mute)
iv: (resonance)
v: (metal)
SL/SR vi: (body)
1LP 3
TAP 1 Master
Feedback Library Search:
BiqBank 1 SL/SR Section
Category: Percussion
48 Modes Recirculator
Type:
Reverb Character: Acoustic, Metallic, Analog
1LP 4 SL/SR
TAP 2 Polyphony: 2+
Feedback

MicroDelay
50 ms

391
Note: A small FDN
 Microdelay pipeWG
Macro Controllers
i: (inFilter)
Noise ii: (formant)
iii: (tone1)
iv: (frmtLevel)
v: (bodyAmt)
LP 5 SL/SR vi: (bodyType)
OSC 2

Master Library Search:

Section Category: Wind
^3
Recirculator Type: Flute, Demo
Reverb Character: Acoustic, Airy, Clean
^3 Setting: Rounding Initial On? Carry Over
TAP 1 Extend
from Continuum?
SL/SR Polyphony 3+
BiqMouth 1LP 3
1LP 1

Feedback
Feedback

1LP 4
Feedback TAP 2

MicroDelay
12.5 ms

392
 minimando Macro Controllers
i: (brightness)
ii: (tone)
OSC 3 iii: (body)
iv: (resonance)
Master v: (exitator)
ModMan 1 SL/SR Section
Noise BR 1 LP 2 vi: (ATspeed)
Ukelele 1 Recirculator
Reverb
SL/SR Library Search:
ModMan 2 Category: Strings
Ukelele 1 Type: Plucked
Character: Acoustic, Strumming
Polyphony: 2+

minor de fond Macro Controllers

i: (5th)
Mod Anchor ii: (7th)
OSC 2 iii: (cutoff)
iv: (envTime)
Mod Anchor SL/SR v: (modulation)
OSC 2 vi: (chorus)
Master
SL Section
Mod Anchor Kinetic 1 Tap 1
OSC 5 OSC 3 VoiceDelay Recirculator Library Search:
SR Category: Classic
50 ms Tap 2 Reverb Type: Lead
Mod Anchor Character: Analog, Chords
OSC 4 Setting: Portamento Octave
Polyphony: 2+
Freq

393
 394
model string wind Macro Controllers
i: (air)
ii: (tone)
iii: (attack)
iv: (body)
SL/SR v: (vibrato)
Mod Master Section vi: (flutter)
Noise OSC 1 BiqBank 1 HP 4 Recirculator
Reverb
Library Search:
Mod Category: String
Feedback
Type: Flute
Character: Acoustic, Airy,
Morphing
Polyphony: 4+

modowel Macro Controllers

SL i: (timbre)
OSC 3 IOSC 1 SR ii: (modulation)
Mod iii: (sub)
XMod Master Section iv: (release)
VoiceDelay SL
IOSC 2 Tap 1 Recirculator v: (voices)
• 50 ms vi: (vowel)
SR Mod Delay
Tap 2 Extend
Mod SL Library Search:
Tap 3 Category: Other, Vocal
Type: Pad
SR
Character: Stereo, Soft
Tap 4 Polyphony: 2+
Phase Gen 4 LP 5
BiqMouth 1
SL/SR

SL/SR
 mojo of FDN (Feedback Delay Network) – Colored to Better See Feedback Paths
Macro Controllers
i: (damp)
ii: (release)
Noise iii: (spread)
iv: (delta)
v: (tune)
vi: (color)
LP 5
Library Search:
Category: Other
1LP 2 Type: Atonal
1LP 1 1LP 3 1LP 4 SL Character: Acoustic, Echo,
Reverberant, Sound Design,
Tap 1 Strumming
Polyphony: 2+

SR
Master
Tap 2 Section
Recirculator
SL
Analog Echo
Extend
Tap 3

SR

Tap 4

MicroDelay 25ms

395
 Mod moving slate SL/SR
Macro Controllers
Mod SL i: (ratio1)
OSC 2 ii: (ratio2)
SL
iii: (timbre)
Tap 1
Mod SR iv: (envTime)
OSC 1 Master Section v: (modulation)
OSC 3 VoiceDelay Tap 2 Recirculator vi: (delay)
Mod 400 ms SR Reverb Extend
OSC 4
SineBank 1 Mod SL
8 Partials Tap 3 Library Search:
Category: Classic
SR
Type: Pad
Tap 4
LP 5 Character: Stereo
Polyphony: 2+
Feedback

munsplen Macro Controllers

Noise SL i: (vibrato)
ii: (cutoff)
Mod iii: (attack)
IOSC 2 LP 4 iv: (release)
SL v: (modulation)
Tap 1 vi: (delay)
SR
Summed Tap 2 Master Section
Delay Recirculator
IOSC 1 SL
400 ms Tap 3 Reverb Extend Library Search:
Noise Category: Classic
WaveBank 1 SR
Type: Pad, Demo
Square Tap 4
Character: Analog
Mod
Mod Polyphony: 3+
LP 5 Feedback
IOSC 3 SR

396
 music box bells
Macro Controllers
i: (mute)
ii: (tone)
Master iii: (body)
Noise ModMan 1 SL/SR Section iv: (structure)
AP 5
mBiraski Recirculator v: (ATspeed)
Reverb vi: (release)

Library Search:
Category: Classic
Type: Struck
Character: Acoustic, Dry, Intimate, Metallic
Polyphony 5+
Note: A great example that a very simple program can create a complex and elegant sound.

mystaring Macro Controllers

i: (tune)
ii: (ATtune)
iii: (modulation)
In 2
SL iv: (release)
MULT 2 v: (feedback)
In 1
vi: (body)
Master
SineBank 1 Mod OSC 3 OSC 1 In 1 Section
8 Partials Recirculator Library Search:
In 1 Category: Other
Reverb Type: Atonal
In 2 SR Extend Character: Sound Design, Dark, FM
MULT 5 Polyphony 3+
In 1
OSC 4

397
 nails on metal
Noise
Kinetic 2 BiqBank 1 SL/SR Macro Controllers
LP 2
(Self Excited) 48 Modes i: (mix)
HP 3
ii: (brightness)
iii: (tune)
iv: (body)
Noise LP 5 TAP 1 Master Section v: (release)
Recirculator vi: (harmoRatio)
Reverb Extend
Library Search:
Category: Other
Noise LP 4 TAP 2 Type:
Character: Sound Design, Shaking,
Acoustic
Micro Delay Polyphony: 2+
50 ms

nband Macro Controllers

i: (timbre)
SineBank 1 SL/SR ii: (noiseType)
8 Partials Mod SL/SR iii: (ATratio)
iv: (release)
Mod IOSC 1 v: (octaveShake)
IOSC 2 SL/SR vi: (delay)

Summed SL Master Section

Tap 1 Recirculator Library Search:
Delay SR
Noise Reverb Extend Category: Keyboard
400 ms Tap 2 Type: Organ
SL/SR Character: Noise, Airy
Mod BP 3
OSC 5 Polyphony: 2+
Noise
SL
BP 4 Tap 3
SR
Tap 4
Feedback 398
 neon key dreams
Mod Summed SL Macro Controllers
Noise OSC 1 Tap 1 i: (timbre)
Delay
Mod ii: (interval)
OSC5 50 ms SL/SR Master
Mod iii: (cutoff)
Noise OSC 3 Section
LP 2 Feedback SR iv: (release)
Tap 2 Recirculator v: (tape)
Analog Echo vi: (modulation)
Mod Feedback
Noise OSC 4 Extend
Library Search:
SineBank Category: Keyboard
8 Partials Type:
Character: Analog, Lo-Fi, Chords
Polyphony: 2+

ngoni
Macro Controllers
i: (release)
ii: (body)
iii: (mechanics)
ModMan 1 SL/SR iv: (mecaColor)
Noise LP 1
Spiccato Loud v: (harmoAmt)
vi: (harmoTune)
Master
SL/SR Section
BiqBank 2
Recirculator Library Search:
16 Modes
SG Phase

Noise Reverb Category: Strings

Type: Plucked
Character: Acoustic, Clean, Strumming
SL/SR
OSC 2 Setting: Rounding Initial On? Carry
over from Continuum?
Polyphony: 2+

Note: Use of BiqBank and ModMan input to SG Phase controlling OSC 2 output with a Macro Controller. 399
 night bass
Macro Controllers
Anchor i: (sync)
OSC 1 ii: (timbre)
iii: (cutoff)
Anchor
Master iv: (envAmt)
Mod
OSC 3 OSC 2 Kinetic 1 SL/SR Section v: (release)
Recirculator vi: (drive)
Primary JOSC 4 Anchor Reverb
Sharp Anchor Library Search:
Category: Classic
Feedback Mod Type: Bass
SL/SR Character: Analog
OSC 5 Setting: Portamento Octave (but turned off)?
Polyphony: 2+

nimbus Macro Controllers

i: (speed)
ii: (structure)
iii: (tone)
Mod SL iv: (resonance)
OSC 1 v: (body)
OSC 2 vi: (layer)
Mod SR Master
OSC 3 Section
Library Search:
Recirculator

SG Phase
Category: Tuned Percussion
Mod Delay Type: Struck
Character: Acoustic, Airy, Echo,
HarMan 1 Looping
Freq BiqBank 2 SL/SR
Noise Toy Piano 1 Polyphony: 2+
8 Modes
Strike

Note: OSC 4 defined but not used. 400

 nofiad
FMod Macro Controllers
Noise Phase Gen 1
LP 2 SL/SR i: (instability)
Sum 7
ii: (timbre)
Mod Summed SL iii: (noiseLayer)
FMod Tap 1 iv: (release)
Noise Delay
Master v: (modulation)
Noise OSC 3 50 ms
SL Section vi: (tape)
Recirculator
FMod XMod Mod SR Mod Delay
LP 5 BiqBank 1 Noise Tap 2 Extend Library Search:
16 Partials Category: Other
OSC 4 SR
Type: Pad
sF Character: Evolving, Layered, Lo-Fi
Noise
Polyphony: 2+
SL/SR

noisyman Macro Controllers

i: (structure)
ii: (tone)
Mod SL/SR iii: (body)
Noise OSC 3 iv: (resonance)
ModMan 1 SL v: (noise)
BR 1 LP 4 Tap 1 vi: (delay)
Noise Clarinet 1 SR Master
Voice Delay Section Library Search:
Tap 2 Category: Tuned Percussion, Strings
400 ms SL Recirculator
Type: Bowed
Tap 3 Reverb Character: Acoustic
SR Extend Setting:
LP 5
Tap 4 • Note Priority=Same (most set
“Oldest” but Osmose internally
Feedback SL/SR uses same)
OSC 2 • Portamento 2nd set but
deactivated.
Polyphony: 2+
401
 noisypad Macro Controllers
SL/SR i: (tone)
SL/SR ii: (brightness)
iii: (body)
HP 4 Master iv: (resonance)
SL v: (shine)
Tap 1 Section
ModMan 1 vi: (delay)
Mod SR Recirculator
Noise OSC 1 Ukelele 1 Summed Delay Tap 2 Reverb Library Search:
SL Extend Category: Strings
400 ms Type: Bowed
Tap 3
Character: Acoustic Noise
SR Setting:
LP 2 Tap 4 • Note Priority=Same (most set “Oldest”
but Osmose internally uses same)
Feedback • Legato TZ 5th set but deactivated.
Polyphony: 2+

noisything
Macro Controllers
SL/SR i: (noise)
ModMan 1 ii: (structure)
Mod SL iii: (resonance)
Noise OSC 3 Ukelele 1 Tap 1
Master iv: (release)
LP 5 SR v: (tone)
BR 1 Summed Delay Section
Tap 2 vi: (ambiance)
Noise 200 ms SL Recirculator
BiqBank 2 Tap 3 Reverb
8 Modes SR Extend Library Search:
Tap 4 Category: Strings
Type: Struck
Character: Acoustic
Setting: Legato TX 5th
(deactivated)
Feedback SL/SR Polyphony: 2+
OSC 2
Note: More complex “Noisy Pad” 402
 Mod nostalgia
Noise Mod OSC 5 Macro Controllers
i: (feedback)
Mod ii: (dirt)
Feedback SL/SR
iii: (cutoff)
Mod OSC 1 iv: (envTime)
Noise LP 2 SL
Tap 1 v: (modulation)
Master
XMod SR vi: (effect)
Mod Summed Delay Tap 2 Section
Mod Recirculator
200 ms SR
Mod OSC 3 Tap 3 Reverb
Noise OSC 4 Library Search:
Extend Category: Classic
SL
Tap 4 Type: Lead
Mod Character: Analog, Lo-Fi
Noise Delay Time Setting: Portamento 5th
Polyphony: 2+
Noise
Note: Virtually every block self-modulates/feedback on itself.

notiseq Macro Controllers

Mod
SL/SR i: (timbre)
ii: (speed)
iii: (layer)
SL iv: (fmAmt)
FMod OSC 1 Mod Tap 1
Noise v: (modulation)
SL/SR Master vi: (delay)
OSC 2
Section
Voice Delay SR Recirculator
Tap 2 Library Search:
Mod 400 ms Reverb Category: Classic
Mod SL/SR Type: Pad
Extend
OSC 4 OSC 3 Character: FM, Looping, Chords
SL
Tap 3 Polyphony: 2+
SR
LP 5 Tap 4

Feedback
403
 numens strings
Macro Controllers
Mod ModMan 1 SL/SR i: (timbre)
Noise Phase Gen 1
Ukelele 1 ii: (bow)
Sum 7 Master iii: (modulation)
Mod SL Section iv: (sub)
Recirculator v: (vibrato)
Mod OSC 2 Mod SR
Reverb vi: (body)
Mod OSC 3
HarMan 2 Mod
Viola Legato SL/SR Library Search:
OSC 4 Category: Strings
SL/SR Type: Bowed
Character: Acoustic
Polyphony: 2+

nynx Macro Controllers

i: (sync)
ii: (modulation)
Feedback iii: (cutoff)
Mod iv: (envTime)
Mod SL v: (fmAmt)
OSC 1 LP 4 vi: (fmRatio)
Master
SineBank 2 JOSC 2 Section
Primary Wavebank 1 Recirculator
8 Partials Smooth Library Search:
Triangle Mod Delay
Mod Category: Classic
SR Type: Pad
OSC 3 Character: FM, Looping Stereo
Mod LP 5
Polyphony: 2+

Feedback

404
 oblivon Macro Controllers
Noise FMod SL/SR i: (bow)
Noise OSC 4 ii: (subTimbre)
SL/SR iii: (highLayer)
Master iv: (envTime)
HP 2 Section v: (tape)
Mod
SL/SR Recirculator vi: (delay)
BiqBank 1 Mod Reverb
BP 3 24 Modes OSC 5
Extend
Summed Delay SL
Mod Mod 200 ms Tap 1 Library Search:
SR
Category: Strings
OSC 1 Tap 2 Type: Bowed, Pad
BiqBank 2 Character: Ensemble, Lo-Fi,
8 Modes Feedback Stereo, Layered, Evolving
SL/SR Polyphony: 2+

oboreed
Macro Controllers
i: (timbre)
Noise SL/SR ii: (tone)
ModMan 1
iii: (body)
Noise BP 5 Brass
Master iv: (modulation)
Section v: (fmAmt)
Mod vi: (breath)
SL/SR Recirculator
Mod Reverb
OSC 2
OSC 1 SL/SR Library Search:
HarMan 2 Category: Wind
Mod
OSC 3 Oboe 1 Type: Double Reed
Character: Acoustic, FM
Setting: Portamento Octave
Polyphony: 2+
Note: OSC 4 defined but not used.
405
 ocean triggs Macro Controllers
i: (structure) Library Search:
ii: (timbre) Category: Tuned Percussion
iii: (speed) Type: Struck
Noise LP 5 Master iv: (resonance) Character: Acoustic, Looping,
ModMan 2 SL/SR Section v: (noise) Metallic
Recirculator vi: (body) Polyphony: 2+
String Tap 1
Mod Delay
Kinetic
Extend
(Self Excited)

Note: OSC1 defined by not used

ocherry
SL/SR
OSC 1
SL/SR Macro Controllers
OSC 2 Sub L/R i: (timbre)
ii: (mix)
iii: (ratio)
Noise Master iv: (release)
SL/SR v: (strumTune)
Interp ModMan 1 Section
Noise Recirculator vi: (body)
Ukelele 1 Sub L/R
Analog Echo
Library Search:
Category: Strings, Keyboard
Noise OSC 4 SL/SR Type: Plucked
Character: Acoustic, FM, OG?
BP 3 Sub L/R
Polyphony: 2+

Duty SL/SR
WaveBank 2
Noise
Triangle LP 5 Sub L/R
406

Note: Preset with one of the most extensive uses of SubMix. One of few presets that program a strum effect.
 octecho
OSC 3 SL/SR Macro Controllers
i: (waveform)
Sub L/R
ii: (modulation)
WaveBank 1 LP 1 Master iii: (cutoff)
Square SL Section iv: (release)
Tap 1 Recirculator v: (envAmt)
SR vi: (octDelay)
Reverb
Voice Delay Tap 2
WaveBank 2 LP 2 Extend
800 ms SR
Square Tap 3 Library Search:
SL Category: Keyboard
LP 4 Tap 4 Type:
OSC 5 Character: Analog, Echo
Feedback Polyphony: 2+

Note: One of a few presets using long 800 ms delay (creates a big echo effect when engaged)

old pad machine Macro Controllers

i: (filter)
ii: (resonance)
iii: (chorus)
Noise SL/SR
iv: (noise)
v: (modulation)
SL/SR
Master
vi: (tape)
Phase Gen 1 BiqBank 1 Tap 1 Section
Sum 7 48 Modes LP 4 SL/SR Recirculator
Summed Delay Tap 2 Library Search:
Reverb Category: Keyboard
50 ms
Phase Gen 2 SL/SR Type: Organ
0..1 Character: Analog, Ensemble, Evolving,
Synthetic
Polyphony 3+

407
 op offset Macro Controllers Library Search:
i: (fmTune) Category: Classic
Mod SL ii: (fmRatio) Type: Pad
Anchor Master iii: (fmAmt) Character: FM, Looping,
OSC 2 Mod OSC 1 Kinetic 1
Section iv: (envTime) Stereo
Recirculator v: (cutoff) Polyphony: 2+
Reverb vi: (modulation)
Mod Anchor SR Extend
OSC 3 OSC 4 Kinetic 2
Mod

op repeat
Macro Controllers Library Search:
i: (speed) Category: Classic
Mod ii: (fmRatio1) Type: Keyboard
SL/SR iii: (fmAmt1) Character: FM, Looping,
IOSC 1
Mod iv: (fmRatio2) Stereo
v: (fmAmt2) Polyphony: 2+
OSC 2 vi: (release)
Master
Mod Section
Recirculator
SL/SR
OSC 3 Delay LPF
Mod Extend

Mod
OSC 5 SL/SR
Mod IOSC 4

408
 Mod op2bell Macro Controllers
SL/SR Library Search:
i: (fmAmt) Category: Tuned Percussion
SL ii: (ratio1) Type: Struck
OSC 1 iii: (ratio2)
Tap 1 Character: FM, Strumming
Mod Summed Delay SR Master iv: (release) Polyphony: 2+
Mod
200 ms Tap 2 Section v: (ringMod)
OSC 2 SL Recirculator vi: (panChorus)
Mod (Triangle Tap 3 Mod Delay
modulation on SR Extend
MULT 5 Taps for Tap 4
PanChorus)
OSC 3 SL/SR

Mod Feedback
SL/SR
OSC 4

opead Macro Controllers

Library Search:
i: (feedback) Category: Classic
Mod ii: (fmRatio) Type: Lead
iii: (fmAmt) Character: Analog
Mod
Mod OSC 1 iv: (cutoff) Setting: Portamento:
v: (vibrato) Interval: Octave
vi: (sub) Polyphony: 2+
Mod Master
OSC 3 LP 5 Section
OSC 2 Recirculator
Mod Reverb

OSC 4
Mod
409
 Mod
opeal
Macro Controllers
i: (attackRatio)
Mod ii: (fmRatio)
iii: (fmAmt)
Mod
OSC 2 iv: (envTime)
OSC 1 SL/SR Master v: (extraFM)
Section vi: (feedback)
Mod Recirculator
Mod Reverb Library Search:
OSC 3 Category: Classic
Type:
Character: FG.Bonneau?
Mod Mod Setting: Mono Mode Legato T?
OSC 4 OSC 5 Mistake?
Polyphony: 4+

opikey Macro Controllers

i: (fmAmt)
Mod
SL ii: (fmRatio)
OSC 1 iii: (modulation)
SL
Tap 1 iv: (release)
OSC 2 v: (shape)
SL/SR Master
Section vi: (ambiance)
SineBank 1 Summed Delay SR
Mod Mod Tap 2
8 Partials 200 ms Recirculator
SR Reverb
Mod OSC 3
SL Extend Library Search:
Tap 3 Category: Keyboard
Mod Mod
SR Type: Electric Piano
Tap 4 Character: FM
OSC 5 OSC 4 Polyphony: 2+
Feedback Delay Time

Noise
410
 organ 1
Macro Controllers
i: (timbre)
Mod Mod ii: (harmonic) Library Search:
Noise LP 5 OSC 1 Category: Keyboard
iii: (drive)
Master Type: Organ
BiqGraph 1 iv: (mute) Character:
8 Modes Mod OSC 3 SL/SR Section v: (vibrato)
OSC 3 Polyphony: 2+
WaveBank 2 (1A/2A used) Recirculator vi: (body)
Saw Reverb
Mod
OSC 4

organ 2
SL/SR

SineBank 1
8 Partials SL/SR
IOSC 3
IOSC 1 Macro Controllers
i: (oddeven)
SL/SR ii: (harmonic)
Summed Master iii: (3rd)
SL/SR Section iv: (vibrato)
Noise Delay OSC 4
BiqGraph 2 Recirculator v: (body)
50 ms SL/SR
8 Modes vi: (chorus)
Mod Delay
OSC 2 (1A used) SL/SR Extend
IOSC 5 Library Search:
Category: Keyboard
Type: Organ
Tap 1 Character:
SR Polyphony: 2+
Tap 2
SL
Tap 3
SR
Tap 4 411
 SL/SR
organ 3
OSC 1
SL Macro Controllers
Tap 1 i: (oddeven)
OSC 2
ii: (osc1)
iii: (3rd)
OSC 3 SL/SR Master iv: (oct2)
Section v: (timbre)
Summed Delay
vi: (modulation) [more a vibrato)
OSC 4 50 ms SL/SR Recirculator
Reverb
SL/SR Library Search:
OSC 5 Category: Keyboard
SR Type:
Tap 2 Character: Organ
BiqBank 1 SL/SR Polyphony: 2+
8 Modes

SL/SR organ 4
Noise
Macro Controllers
SL/SR i: (waveform)
IOSC 1
ii: (harmonic)
SL/SR iii: (tone)
Master iv: (drive)
IOSC 2 OSC 5 v: (vibrato)
Section
Recirculator vi: (tremolo)

IOSC 3 SL/SR Reverb

Library Search:
Category: Keyboard
IOSC 4 SL/SR Type: Organ
Character: Electric
Polyphony: 2+
WaveBank 2 SL/SR
Kinetic 1
Triangle SL/SR
412
 organ barbar
OSC 1 SL/SR Macro Controllers
Summed i: (release)
Mod SL
Tap 1 ii: (vibrato)
Delay
iii: (tape)
OSC 2 50 ms SL/SR
iv: (organ)
Master
SR v: (tone)
OSC 5 Tap 2 Section vi: (tremolo)
OSC 4 SL/SR Recirculator
Mod Delay
SL
Extend Library Search:
BiqBank 1 Tap 3 Category: Keybord
Noise 8 Modes SL/SR Type: Organ
SR Character:
Tap 4 Setting: Portamento On (but set Interval Off)
Polyphony: 2+
BiqMouth 2 SL/SR
SL/SR
Feedback SL/SR

Noise OSC 3

organ voxy
Macro Controllers
SL/SR i: (timbre)
Noise BP 2
ii: (I/II)
IOSC 1 SL/SR iii: (III/IV)
OSC 3 iv: (amp)
Master v: (drive)
WaveBank 1 SL/SR Section vi: (chorus)
Triangle LP 5 Mod
OSC 4 SL/SR
Recirculator
Tap 1 Reverb Library Search:
Voice Delay Category: Keyboard
WaveBank 2 50 ms SL/SR Type: Organ
Tap 2 Character:
Triangle
Polyphony: 2+ 413
 organo wereYouThere
Macro Controllers
i: (animation)
OSC 1 SL/SR ii: (harmLevel)
iii: (harmBright)
Master iv: (ambience)
SL/SR v: (body)
IOSC 2 Tap 1 Section
Recirculator vi: (delayTime)
LP 5 SL/SR
Summed Delay Tap 2 Mod Delay
IOSC 3 800 ms Library Search:
SL/SR Category: Keyboard
Type: Organ
IOSC 4 Character: Electric, Reverberant
Feedback
Setting: Rounding tagged but not set
Polyphony: 2+

Mod os2dx
SL/SR Macro Controllers
i: (fmRatio1)
SR ii: (fmratio2)
Tap 1
Mod
OSC 1 iii: (fmAmt)
OSC 2 SineBank 1 SL/SR iv: (envTime)
8 Partials v: (feedback)
SL Master
OSC 3 Mod Tap 2 vi: (ambiance)
Summed Delay Section
SL
100 ms Tap 3 Recirculator
Mod Mod Mod Reverb Library Search:
SR
Extend Category: Keyboard
OSC 4 SL/SR
Type:
Character: FM
Polyphony: 2+
Mod Mod Mod Tap 4
OSC 5 SL/SR

Feedback
414
 osc five
Mod
Macro Controllers
SL/SR i: (waveform)
Mod OSC 1
ii: (feedback)
Mod iii: (detune)
SL
Master iv: (envTime)
Mod OSC 2 Section v: (sub)
JOSC 4 Recirculator vi: (fm)
Mod Reverb
SR Extend
Mod Library Search:
OSC 3 Category: Keyboard
Primary Type: Brass
SL
Character: Analog, Simple, Stereo
Primary Polyphony: 3+
SR Note: Two Jenny Oscillators (JOSC 4 and JOSC 5) used next to
JOSC 5
each other. So the primary for both will be the leftmost OSC 3.

outspoken Macro Controllers

i: (cutoff)
ii: (envAmt)
iii: (envTime)
Wavebank 1 SL/SR iv: (modulation)
Saw v: (resonance)
LP 5 Master
vi: (detune)
Section
OSC 1 Recirculator
Mod Delay Library Search:
Feedback Category: Classic
Extend Type: Bass
Character: Analog
SL/SR Polyphony: 2+
OSC 2

415
 Pad 101
Mod

OSC 1 Macro Controllers

SL i: (cutoff)
Mod
ii: (resonance)
LP 4 iii: (envelope)
SR
Tap 1 iv: (noisiness)
Master v: (ATratio)
OSC 3 Wavebank 1 Voice Delay SL Section vi: (delay)
Square 400 ms Recirculator
Reverb Library Search:
Category: Classic
Feedback Type: Pad
LP 5 SR Character: Airy, Chords, Echo,
Mod
Simple, Noise, Big, Clean, Icy, Stereo
OSC 2 Polyphony: 3+

Pad awan Macro Controllers

i: (timbre)
ii: (fmAmt)
Mod SL/SR iii: (fmRatio)
iv: (release)
Mod v: (feedback)
SL Master
OSC 1 Tap 1 vi: (delay)
OSC 2 Mod
SR Section
Voice Delay Tap 2 Recirculator Library Search:
400 ms SL Reverb Category: Classic, Midi?
Tap 3 Extend Type: Pad
SR Character: Simple, BF?
LP 5 Tap 4 Polyphony: 2+

Feedback

416
 padding time
Macro Controllers
i: (resonance)
SL/SR ii: (cutoff)
IOSC 1 iii: (attack)
Master iv: (release)
SL v: (octave)
Summed Tap 1 Section
Noise vi: (modulation)
HP 2 Kinetic 1 Delay SR Recirculator
50 ms Tap 2 Reverb
Library Search:
IOSC 3 Category: Classic
Type: Pad
Character: Ensemble, Stereo,
Warm, Clean Analog, Soft
Polyphony: 2+
Note: Basically, just a Kinetic filter

Noise
padorama Macro Controllers
SR i: (timbre)
OSC 1 ii: (sub)
HarMan 1 iii: (oct)
Viola Legato SL iv: (envTime)
v: (vibrato)
Master vi: (modSpeed)
Noise Section
SL
OSC 2 Recirculator
Library Search:
HarMan 2 Reverb Category: Classic
Viola Legato SR Extend Type: Pad
Character: SC?, Looping
Polyphony: 2+
Phase Gen 3 SL/SR
LP 4
Sum 7
SL/SR
OSC 5
417
 Mod pajestric SL
Mod OSC 1 SL Macro Controllers
Tap 1 Master i: (timbre)
SR Section ii: (shape)
Mod
Tap 2 Recirculator iii: (layer)
SR Reverb iv: (envTime)
HarMan 1 Mod OSC 2
SL Extend v: (vibrato)
Viola Legato Voice Delay Tap 3 vi: (modulation)
Mod 50 ms SR
OSC 5 Tap 4
Library Search:
SL/SR Category: Strings
Type: Bowed
Character: Layered
Phase Gen 3 SL/SR Polyphony: 2+
LP 4
Sum 7

panpipe solo
Macro Controllers
Noise LP 5 i: (breath)
ii: (body)
iii: (overtone)
^3 ^3 iv: (tone)
SL v: (attack)
1LP 1 vi: (modulation)
Master
TAP 1
Section
SL/SR Recirculator Library Search:
Feedback OSC 3 Reverb Category: Wind
Feedback
Extend Type: Flute, Demo
Character: Acoustic, Airy, Clean, Noise
OSC 2 1LP 4 TAP 2 SR Polyphony 3+

MicroDelay
12.5 ms
418
 paperheart
SL/SR
BiqBank 1 Macro Controllers
Noise LP 5
8 modes SL i: (timbre)
Tap 1 Master ii: (structure)
SL/SR Section iii: (layerLevel)
OSC 1 Recirculator iv: (layerRatio)
SR v: (body)
Voice Delay Tap 2 Reverb
Mod 800 ms Extend vi: (delay)
SL/SR
OSC 2
Library Search:
Mod SL/SR Category: Keyboard
Noise OSC 4 BP 3 Type: Demo
Character: Acoustic, Shaking
Polyphony: 2+
Feedback

paris texas Macro Controllers

Noise LP 5 i: (brightness)
SL/SR ii: (bendNoise)
Mod BiqBank 1 iii: (body)
Noise OSC 1
48 modes SL iv: (mute)
Tap 1
Master v: (delay)
Mod SL/SR Section vi: (tremolo)
OSC 3
Summed Recirculator
SR
IOSC 2 Feedback Delay Tap 2 Reverb
Library Search:
200 ms Extend
SL/SR Category: Strings
Type: Plucked
SL/SR Character: Acoustic, Metallic
OSC 4 Polyphony: 2+
BiqBank 2 SL/SR
48 modes

Feedback 419
 patacalbas
Macro Controllers
SL/SR i: (structure)
Noise ModMan 1 ii: (timbre)
Drum iii: (mix)
BP 1 Master iv: (resonance)
Section v: (tone)
SL/SR
LP 5 ModMan 2 Recirculator vi: (body)
mBiraski Reverb

Mod SL/SR Library Search:

Noise OSC 2 LP 4 OSC 3 Category: Percussion
Type:
Character: Acoustic
Polyphony: 2+

pcs dandelion Macro Controllers

i: (harmonics1)
ii: (harmonics2)
iii: (level1)
Mod In 1 iv: (level2)
OSC 2 v: (modulation)
vi: (body)
In 1 Master
Mod MULT 3 SL/SR
OSC 4 Section
Phase Gen 1 Library Search:
Recirculator Category: Other
1..0
In 2
Delay HPF Type:
Extend Character: Big, Echo, Evolving,
Mod Icy, Synthetic
OSC 5 SL/SR Polyphony: 2+

420
 perseus supernova
SL Macro Controllers
Mod
Phase Gen 1 SL i: (drive)
Primary JOSC 2 Tap 1 ii: (modulation)
Sum 7 Master
Summed Delay SR Section iii: (cutoff)
400 ms Tap 2 Recirculator iv: (envTime)
Freq
OSC 3 SL/SR Reverb v: (layer)
vi: (delay)
Kinetic 1 Extend
SR
Primary
OSC 4 JOSC 5 SL Library Search:
Tap 3 Category: Classic
SR Type: Pad
Anchor Tap 4 Character: Big, Analog,
Noise Reverberant
Feedback Polyphony: 2+

Note: OSC 4 is only used a JOSC5 primary.

phase machine Macro Controllers

i: (tone)
ii: (detune)
iii: (modSpeed)
iv: (modAmt)
Master v: (stereo)
Noise SL/SR Section
Mod Phase Gen 1 BR 4 vi: (Q)
Noise HP 2 HP 3 Recirculator
Sum 7 Mod Delay
Noise Library Search:
SL/SR Extend
BR 5 Category:
Type:
Character:
Note: BR4 and BR5 are Polyphony: 8+ (not sure why
differentiated through different so high for Osmose that is 6x)
cutoff frequency configuration
421
 pickope
Macro Controllers
i: (fmAmt)
Mod ii: (fmRatio)
OSC 2 SL/SR iii: (timbre)
Excite iv: (cutoff)
OSC 1 Kinetic 1 SL Master
Mod Tap 1 v: (resonance)
OSC 3 SR Section vi: (delay)
Voice Delay Tap 2 Recirculator
400 ms SL Reverb
Tap 3 Extend Library Search:
Category: Clean
LP 5 SR
Type: Lead
Tap 4 Character: Analog
Feedback Setting: Portamento tagged but not set.
Polyphony: 2+

Macro Controllers
piercing bass i: (cutoff)
ii: (filterReso)
iii: (waveshaper)
SL/SR iv: (fifth)
OSC 1
v: (decay)
IOSC 2 Master vi: (tremolo)
SL
OSC 3 Summed Tap 1 Section
LP 4 Delay SR Recirculator
Tap 2 Reverb Library Search:
WaveBank 1 50 ms Category: Classic
Type: Bass
Saw
SL/SR Character: Big, Dark, TO?,
OSC 5 Aggressive, Digital
Polyphony: 2+

422
 pine strummer
Macro Controllers
i: (structure)
ii: (timbre)
ModMan 1 SL/SR
Master iii: (body)
Ukelele 1 iv: (mute)
Section
v: (tone)
Noise LP 1 Recirculator
vi: (brightness)
SL/SR Reverb
ModMan 2
Library Search:
Ukelele 2 Category: Strings
Type: Plucked
Character: Acoustic, Shaking
Polyphony: 2+

pinkphone
Noise Macro Controllers
i: (surface)
Noise Mod ii: (body)
iii: (brightness)
OSC 2 iv: (release)
SL/SR v: (chorus)
vi: (inharmonicity)
BiqBank 1
Master
16 Modes SL
Summed Tap 1 Section
LP 3 LP 4 SR Recirculator Library Search:
Delay
50 ms Tap 2 Reverb Category: Tuned Percussion
Extend Type: Struck
BiqBank 2 Character: Acoustic
16 Modes SL/SR
Polyphony: 2+

423
 pipopi
SL/SR Macro Controllers
OSC 2 i: (structure)
ii: (harmonic)
SL/SR
Mod iii: (body)
iv: (breath)
BiqBank 1 Mod v: (timbre)
8 Modes OSC 1 SL/SR Master Section vi: (fluter)
OSC 4 SL/SR Recirculator
Noise Mod Reverb
BP 5 Library Search:
Category: Wind
BiqBank 2 Mod Type: Flute
OSC 3
8 Modes Character: Acoustic
SL/SR Setting: Portamento 2nd
Polyphony: 2+

pitchoune Macro Controllers

i: (pitchEnv)
ii: (cutof)
SL iii: (ATrate)
LP 4 iv: (attack)
SL v: (release)
Tap 1 Master Section vi: (modulation)
IOSC 1 Recirculator
VoiceDelay Tap 3
Mod Delay
• 50 ms Library Search:
IOSC 2 Extend Category: Keyboard, Classic
Type:
Tap 2 Character: Analog, Looping
SR Polyphony: 2+
Tap 4
LP 5

424
 pl-bass
Macro Controllers
i: (cutoff)
ii: (resonance)
iii: (envAmt)
Mod Anchor iv: (decay)
OSC 1 Master Section v: (ATvibrato)
WaveBank 1 SL/SR
Square Kinetic 2 Recirculator vi: (drive)
Anchor Reverb
Library Search:
Category: Classic
Type: Bass
Character: Dry, Analog, Warm
Setting: Portamento Maximum
Polyphony: 2+

plastigorien
Macro Controllers
i: (vowel)
ii: (layer2)
SL/SR
iii: (layer2Vowel)
Phase Gen 2 iv: (release)
Sum7 LP 1 BiqMouth 1 v: (vibrato)
SL
Summed vi: (chorus)
Tap 1 Master Section
Delay SR
Recirculator
50 ms Tap 2 Library Search:
Reverb Extend
Category: Other
OSC 3 BiqMouth 2 Type: Pad
LP 4 SL/SR Character: Vocal
Polyphony: 2+

425
 plinkies Macro Controllers
i: (thump)
ii: (ring)
SL/SR iii: (loReso)
Noise
LP 4 iv: (structure)
(pulsed) v: (ATspeed)
Master Section vi: (ATimpact)
Recirculator
SL/SR Reverb
Noise BiqBank 2 Library Search:
BiqBank 1
Category: Tuned Percussion
(pulsed) 8 Modes 8 Modes Type: Struck
Character: Acoustic, Intimate, Looping,
Polyphony: 2+

pluckead
Macro Controllers
i: (waveform)
SL ii: (square)
OSC 1 Tap 1 iii: (envelope)
Voice Delay iv: (cutoff)
SR
50 ms v: (octave)
Tap 2
OSC 2 vi: (detune)
LP 5 SL/SR
Master Section
Recirculator
Library Search:
OSC 3 Mod Delay Category: Classic
Type: Lead
Character: Analog, Simple, Clean
Setting: Portamento Octave
WaveBank 1
Polyphony: 2+
Square

OSC 4 used but not output. 426

 pluckeon
Macro Controllers
SL/SR
f1 i: (noise)
Noise WaveBank 1 ii: (sub)
Sub L/R
Triangle iii: (cutoff)
iv: (envTime)
v: (layer)
Sub L/R Master Section
vi: (modulation)
FMod Recirculator
Noise OSC 1 Mod Delay
LP 2
SL/SR Library Search:
LP 5 Category: Keyboard
OSC 3 Type:
Character: Lo-Fi, Analog
Feedback Polyphony: 2+

polys20
Macro Controllers
i: (resonance)
Feedback
ii: (HPfilter)
iii: (LPfilter)
OSC 1 iv: (envTime)
Master Section v: (timbre)
SL/SR vi: (drive)
HP 2 LP 3 OSC 4 Recirculator
WaveBank 1
Square Analog Echo
Library Search:
Category: Keyboard
OSC 5 Type:
Character: Analog, Distorted
Polyphony 4+
427
 potendu
Macro Controllers
i: (tune)
ii: (structure)
Mod iii: (harmonics)
Noise OSC 1 iv: (resonance)
ModMan 1 SL/SR Master Section v: (ATspeed)
mBiraski Recirculator vi: (body)
Reverb
Noise LP 5
Library Search:
Category: Percussion
Type: Atonal
Character: Acoustic, Woody
Polyphony: 2+

pressow Macro Controllers

i: (brightness)
ii: (tone)
iii: (body)
SL/SR iv: (resonance)
OSC 2 v: (bow)
vi: (bowMod)
Mod
Mod SL/SR Master Section
Library Search:
Noise LP 4 OSC 1 Recirculator Category: Strings
ModMan 1 Reverb Type: Plucked, Bowed
String Tap 2 Character: Acoustic
SL/SR Polyphony: 2+
Noise LP 5

428
 psy squelches
Macro Controllers
i: (fmAmt)
ii: (cutoff)
iii: (drive)
Mod SL/SR iv: (envTime)
Master
Noise OSC 3 v: (modulation)
Section
vi: (noise)
BP 5 Recirculator
Mod SL/SR Mod Delay
OSC 2 OSC 1 Extend Library Search:
Category: Other
Type:
Character: Sound Design, Aggressive, FM, Atonal
Polyphony: 2+

pulse pluck Macro Controllers

i: (pulseWidth)
ii: (cutoff)
SL/SR iii: (envAmt)
OSC 1 iv: (decay)
Master v: (release)
Section vi: (resonance)
Recirculator
Anchor SL/SR Mod Delay Library Search:
Wavebank 2 Kinetic 1 Extend Category: Keyboard
Square Type:
Character: Analog
Polyphony: 2+

SL/SR outputs
Single Cycle Pulsed
(see formulas O
and C)
Note: Simple example of Tap gesture on outputs. 429
 pusher
SL/SR Macro Controllers
OSC 2 i: (structure)
ii: (tremolo)
SL/SR Master iii: (body)
BiqBank 1 Mod Section
SG Pulse OSC 1 HP 4 iv: (release)
8 Modes Recirculator v: (harmoAmt)
Voice Delay SL/SR
Reverb vi: (harmoRatio)
50 ms
OSC 3
Library Search:
Category: Strings
Feedback Type: Plucked
Mod Feedback Character: Synthetic
Note: Voice Delay feeds back into OSC 3 but that is not output? Polyphony: 3+
Was this meant to go back into delay?

pxlize Macro Controllers

i: (fmAmt)
Mod ii: (fmRatio)
iii: (envTime)
Mod
OSC 2 iv: (topLayer)
SL/SR v: (feedback)
OSC 1 vi: (delay)
Master
Mod
Mod SL Section
Voice Tap 1 Recirculator
OSC 4 Delay Library Search:
Mod SR Reverb Category: Classic, Keyboard
400 ms Tap 2 Type:
OSC 3 SL/SR Character: FM, Big, Layered, Stereo, TO?
Polyphony: 4+

430
 rateanis
Feedback
SL Macro Controllers
i: (waveform)
SL ii: (lfoRate)
1LP 4 Tap 1 iii: (cutoff)
SR Master iv: (envTime)
Summed Tap 2 Section v: (layer2)
Delay Recirculator vi: (delay)
WaveBank 1 OSC 3 OSC 2 Phase Gen 1
400 ms Analog Echo
Saw Sum 7 WaveBank 2 SL/SR
Extend Library Search:
Saw
Category: Classic
1LP 5 Type: Pad
Feedback
Character: Analog, Stereo
SR Setting: Mono Mode activated
but set off?
Feedback Polyphony: 2+

reesotto
SL/SR Macro Controllers
OSC 1 Mod i: (waveform)
OSC 4 SL ii: (fmAmt)
Tap 1 iii: (detune)
Summed Delay SR Master iv: (modulation)
Mod Mod 50 ms Tap 2 v: (drive)
Section
WaveBank 1 Mod vi: (chorus)
LP 5 OSC 2 SL/SR Recirculator
Saw
Feedback

SL
Reverb Library Search:
Tap 3 Extend Category: Classic
SR Type: Bass
Tap 4 Character: Aggressive, Digital
BR 3 Polyphony: 2+
SL/SR

431
 reesy rider
Macro Controllers
SL/SR i: (detune)
ii: (modulation)
SL iii: (cutoff)
Tap 1
iv: (bandpass)
Mod Summed Delay SR v: (drive)
OSC 3 50 ms Tap 2 Master
LP 1 Mod SL vi: (chorus)
Section
Recirculator
Mod SR
Mod Mod Delay Library Search:
WaveBank 1 Category: Classic
OSC 5 SL Extend
Saw Mod OSC 4 Tap 3 Type: Bass
BP 2 SR Character: Analog, Stereo, Distorted
Tap 4 Setting: Portamento Octave
Polyphony: 2+

releasy Macro Controllers

i: (structure)
ii: (ratio)
Mod SL/SR iii: (noteoff)
OSC 2 OSC 1
iv: (release)
SL Master v: (shake)
Mod Summed Delay Tap 1 Section vi: (modulation)
50 ms SL/SR Recirculator
Noise LP 5 BiqBank 1 Mod Delay
SR Library Search:
48 Modes Tap 2 Extend Category: Tuned Percussion
Type: Struck
OSC 3 SL/SR Character: Acoustic, FM, Shaking
Polyphony: 2+

Note: ModMan 2 is output and used as a modulator and sent into delay but not defined?
Was something left out or programming error?
Also LP4 is defined but not used. 432
 ren keyboard
SL/SR Macro Controllers
HarMan 1 i: (body)
Marimba Hard ii: (tone)
iii: (color)
SL iv: (delayAmt)
Summed Delay Master v: (delayTime)
BR 5 Tap 1
800 ms SR Section vi: (delayFB)
Tap 2 Recirculator
Feedback
Reverb
Extend Library Search:
Category: Keyboard
Primary JOSC 2 Type: Struck, Electric Piano
OSC 1 SL/SR Character: Acoustic, Intimate, Echo
Hann
Polyphony: 2+

Note: OSC 1 not used but acts as JOSC 2 primary OSC.

resizable guitar Macro Controllers

i: (body)
ii: (tone)
iii: (brightness)
SL/SR iv: (mute)
OSC 2 v: (fretNoise)
Master vi: (ATtype)
Section
1LP 4 SL/SR Recirculator Library Search:
OSC 1 BiqBank 1 Delay LPF Category: Strings
LP 3
48 Modes Type: Plucked
1LP 5 Character: Acoustic, Echo, Strumming
Setting: Portamento 2nd
Polyphony: 3+

433
 reso nable
Mod Macro Controllers
SL/SR i: (resoType)
OSC 1 Anchor ii: (cutoff)
SL/SR Master
iii: (envAmt)
Section iv: (envTime)
Mod Recirculator
LP 5 SL v: (vibrato)
Summed Delay Tap 1 Reverb vi: (chorus)
OSC 2 Anchor + Kinetic 1
50 ms Extend
Freq SR
Tap 2
Library Search:
IOSC 3 Category: Classic
Anchor +
Type: Pad
Freq
Character: Analog
Feedback Polyphony: 2+

resonant drum 1 Macro Controllers

i: (pitch)
ii: (structure)
iii: (noiseSwp)
Noise iv: (resonance)
v: (body)
Master
SL/SR vi: (ATrate)
Noise Mod OSC 1 BiqBank 1 Section
8 Modes Recirculator
Reverb Library Search:
Noise HP 4 Category: Percussion
Type: Demo
Character: Atonal, Airy, Noise, Woody
Polyphony: 6+

434
 rewind time
SL Macro Controllers
i: (waveform)
Noise FMod ii: (notes)
SL
OSC 1 Tap 1 iii: (sped)
Mod Voice Delay SR iv: (timbre)
Tap 2 Master v: (tape)
800 ms Section
FMod vi: (delay)
Noise SL/SR Recirculator
Mod OSC 2 SL
Noise OSC 4 Mod Swept Echo
Tap 3 Library Search:
Extend
SR Category: Classic
Noise FMod Tap 4 Type: Pad
OSC 3 SR Character: Lo-Fi, Evolving,
Mod Echo, Looping, Chords
Feedback Polyphony: 2+

ringad Macro Controllers

i: (ringAmt)
SL/SR
In1 ii: (ringTune)
SL iii: (cutoff)
OSC 1 Tap 1 iv: (envTime)
Master
SR v: (resonance)
MULT 3 Tap 2 Section vi: (delay)
In2 LP 4 Summed Delay Recirculator
OSC 2 SR
Anchor Kinetic 1 400 ms Reverb
+ Freq Tap 3
Extend Library Search:
SL Category: Classic
OSC 5 Anchor Tap 4
Type: Pad
SL/SR Character: Analog
Polyphony: 2+
Feedback Feedback Feedback

435
 riseandbe
SL Macro Controllers
i: (cutoff)
IOSC 1 ii: (resonance)
LP 4 iii: (release)
iv: (riseSpeed)
SL Master v: (risePitch)
Voice Delay Tap 1 vi: (modulation)
Wavebank 1 50 ms SR Section
Triangle Tap 2 Recirculator
Reverb Library Search:
Category: Keyboard
LP 5 Type:
Character: Analog, Simple, Soft, Big, Digital
IOSC 2 SR Polyphony: 2+

rising pad Macro Controllers

i: (cutoff)
ii: (resonance)
iii: (release)
iv: (riseSpeed)
LP 4 SL v: (detune)
vi: (pitchFall)
IOSC 1 IOSC 2 Wavebank 1
HP 3 Saw Master
Section Library Search:
Recirculator Category: Classic
Type: Pad
Reverb
Character: Chords, Simple, Analog,
SR
Evolving
Polyphony: 2+
LP 5

Wavebank 2
Saw 436
Note: HP3 used but no input supplied
 roto string
Macro Controllers
i: (release)
ii: (damping)
Kinetic 1 SL/SR
Master iii: (bowColor)
BiqBank 1 Section iv: (bowType)
(Self
48 Modes Recirculator v: (body)
Excited) vi: (structure)
Reverb

Library Search:
Category: String
Type: Bowed
Character: Acoustic, Airy,
Looping, Noise
Polyphony: 3+

sawVI Macro Controllers

i: (modulation)
Anchor ii: (detune)
WaveBank 1 iii: (cutoff)
Master
Saw SL/SR iv: (envelope)
Kinetic 2 Section
v: (decay)
Recirculator
Anchor vi: (resonance)
Reverb
IOSC 1
Feedback Library Search:
Category: Keyboard
Waveshape
Type:
Character: Analog, Simple
Polyphony: 2+

437
 saxoon
Macro Controllers
Mod OSC 2 SL i: (harmonics)
ii: (breath)
Mod SR iii: (tremogrowl)
Mod Index OSC 3 Master
Noise OSC 1 HarMan 1 iv: (timbre)
Viola Legato Mod
Section v: (bodyType)
SL/SR Recirculator vi: (bodyAmt)
OSC 5
SR Reverb
Extend Library Search:
Category: Wind
SL/SR Type: Single Reed, Atonal
Noise LP 4 ModMan 2 Character: Acoustic, Noise, Reverberant
Alto Sax Setting: portamento 2nd
Polyphony: 2+
Note: Has a Crumhorn-like sound.

scie tard Macro Controllers

i: (L1size)
ii: (L3tone)
Noise LP 5 iii: (layermix)
ModMan 1 SL/SR iv: (resonance)
String Tap 2 v: (body)
Noise LP4 Master vi: (detune)
Section
SL/SR Recirculator
HarMan 2 Library Search:
Swept Echo Category:
Noise 1 Extend Type:
Character:
Mod SL/SR Setting: Portamento 2nd
OSC 1 Polyphony: 2+
OSC 2
SL/SR

Note: Has a Tanpura like sound. 438

 scratching fdn (Feedback Delay Network) – Colored to Better See Feedback Paths
Macro Controllers
i: (damp)
ii: (release)
Noise iii: (spread)
iv: (harmonics)
v: (tune)
vi: (body)
LP 5
Library Search:
Category: Other
1LP 2 Type: Atonal
1LP 1 1LP 3 1LP 4 SL Character: Acoustic, Echo,
Reverberant, Sound Design,
Tap 1 Shaking
Polyphony: 3+

SR
Master
Tap 2 Section
Recirculator
SL
Reverb
Extend
Tap 3

SR

Tap 4

MicroDelay 25ms

Note: Nearly identical to Mojo of FDN 439

 seventies lead
Mod Feedback Macro Controllers
i: (cutoff)
OSC 1 ii: (resonance)
iii: (fifth)
Voice Delay SL/SR
Master iv: (sub)
800 ms LP 5 Section v: (delay)
OSC 2 LP 4 Recirculator vi: (delayTime)
Reverb
Wavebank 1 Library Search:
SL/SR
Square Category: Classic
Type: Lead, Echo. Analog, Warm
Character:
Setting: Portamento Octave
Polyphony: 2+

shpad 1 Macro Controllers

i: (timbre)
S&H
S&H ii: (speed)
Noise iii: (cutoff)
Noise
Duty Cycle iv: (envTime)
Cutoff
v: (fmAmt)
Mod
vi: (fmRatio)
SL
Mod OSC 1 LP 4 Master
Mod Section Library Search:
Wavebank 2 Noise OSC 3 Category: Classic
Square Recirculator
Mod Type: Pad
SR Delay LPF Character: Analog, FM,
OSC 2 LP 5 Extend
Mod Looping, Random, Stereo
Polyphony: 2+

S&H
Noise
440
 simple anakey2
Mod
SL Macro Controllers
OSC 1 i: (timbre)
SL ii: (sub)
Mod Summed Delay Tap 1
iii: (impact)
OSC 2 50 ms SL/SR Master iv: (decay)
Section v: (vibrato)
Mod SR Recirculator
Tap 2 vi: (chorus)
Reverb
OSC 3 SR
Extend
Library Search:
Noise LP 4 Category: Keyboard
BiqBank 1 Type:
Character: Analog, Simple
48 Modes Polyphony: 2+
SL/SR
Noise LP 5

simple anakey4 Macro Controllers

i: (detune)
SL/SR ii: (resonance)
OSC 1 iii: (cutoff)
Master iv: (decay)
SL v: (vibrato)
OSC 2 Tap 1 Section
Summed Delay vi: (sub)
LP 3 SR Recirculator
50 ms Reverb
Tap 2
OSC 4 Extend Library Search:
Category: Keyboard
Type:
OSC 5 Character: Analog, Simple
Polyphony: 2+

441
 simple fm 2 ops
SL/SR Macro Controllers
OSC 1 i: (carrier)
ii: (modulator)
XMod Master iii: (attDepth)
SL/SR iv: (vibrato)
sHP 5 Section
v: (modDecay)
OSC 2 SL/SR Recirculator
vi: (modSus)
Analog Echo
Library Search:
OSC 3 SL/SR Category: Keyboard
Type:
SL/SR Character: FM
OSC 4 Polyphony: 4+^ (Increased computation) – not
sure why this is needed on such a simple model.

Mod
simple fmkey Macro Controllers
Mod i: (timbre)
SL/SR ii: (ratio)
XMod OSC 2 iii: (tone)
iv: (envTime)
Mod v: (vibrato)
Mod SL/SR Master vi: (sub)
OSC 1 OSC 3 Section
Recirculator
Library Search:
Mod Mod Mod Delay
Category: Keyboard
SL/SR Type:
Mod OSC 4 Character: FM, Simple
Polyphony: 4+
SL/SR
OSC 5

442
 simple lead even
Macro Controllers
i: (timbre)
ii: (envAmt)
SL/SR
iii: (cutoff)
OSC 1
iv: (vibrato)
LP 5 Master v: (octave)
Summed Delay
SL/SR Section vi: (delay)
OSC 2 400 ms
Recirculator
Reverb
Library Search:
LP 4 Category: Classic
Type: Lead
Feedback Character: Analog, Simple
Setting: Portamento Octave
Polyphony: 3+

Macro Controllers
simple lead odd i: (timbre)
ii: (envAmt)
iii: (cutoff)
iv: (vibrato)
SL/SR v: (octave)
vi: (delayTime)
WaveBank 1 Master
Saw LP 5
Summed Delay Section
400 ms SL/SR Recirculator Library Search:
Reverb Category: Classic
Extend Type: Lead
LP 4 Character: Analog, Simple
Setting: Portamento Octave
Feedback Polyphony: 4+

443
 simple saw pad
Macro Controllers
i: (timbre)
OSC 1 SR ii: (cutoff)
iii: (attack)
LP 4 iv: (release)
SL
Master v: (modulation)
Tap 1 Section vi: (chorus)
WaveBank 1 Summed Delay
OSC 3 Recirculator
Saw 50 ms SR
Tap 2 Reverb
Library Search:
LP 5 Category: Classic
SL Type: Pad
OSC 2 Character: Analog, Stereo
Polyphony: 2+

Macro Controllers
simple square pad i: (pulse)
ii: (cutoff)
iii: (attack)
iv: (release)
SL/SR
v: (modulation)
IOSC 3
Master vi: (chorus)
SL Section
LP 5 Tap 1
Summed Delay Recirculator
WaveBank 1 SR Library Search:
50 ms Reverb
Square Tap 2 Category: Classic
Type: Pad
Character: Analog, Simple
Polyphony: 2+

444
 simpledecay
SL/SR Macro Controllers
OSC 1
i: (waveform)
ii: (cutoff)
WaveBank 1 iii: (envAmt)
Square iv: (decay)
LP 4 v: (feedback)
WaveBank 2 vi: (drive)
Saw Master
Section
Library Search:

Feedback
Recirculator Category: Classic
OSC 3 Reverb Type: Bass
Mod Character: Analog, Distorted
SL/SR Polyphony: 3+

LP 5 SL/SR
OSC 4 OSC 2

simplephasemod Macro Controllers

i: (decay)
ii: (timbre)
Mod iii: (fmAmt)
SL/SR iv: (fmRatio)
Mod OSC 1 Master v: (vibrato)
Section vi: (body)
OSC 4 Recirculator
Mod
SL/SR Swept Echo Library Search:
Mod Extend Category: Keyboard
OSC 3 Type:
Character: FM, Simple, Shaking
Polyphony: 4+

Note: OSC 2 defined but not used. 445

 simplerez
Macro Controllers
SL/SR i: (resonance)
OSC 5
ii: (cutoff)
Anchor iii: (envAmt)
IOSC 1 Master
iv: (attack)
Section v: (decay)
OSC 2
Anchor Recirculator vi: (feedback)
Kinetic 1 Reverb
SL/SR
Anchor
OSC 3 Library Search:
Category: Classic
Type: Bass
Feedback Character: Analog
Setting: Portamento Octave
Polyphony: 2+^ (Increased Computation)
Bank B (WaveBank) not defined but used to modulate OSCs. Bad programming. Expressive E must fix this one.

sinespray pad
Macro Controllers
Feedback i: (timbre)
ii: (tone)
Mod SL/SR
OSC 1 iii: (subShape)
Master iv: (envTime)
Mod SL Section v: (feedback)
Tap 1 vi: (modulation)
Voice Delay Recirculator
SineSpray 1 HP 4 Mod
50 ms SR Reverb
OSC 3 LP 5 Tap 2
Extend Library Search:
In 2
Category: Classic
In 1
Type: Pad
MULT 2 Character: Digital
Polyphony: 2+

MULT 2 is fed with inputs put not used? Is this a mistake. If not remove as it is very confusing. 446
 skoto Macro Controllers
i: (tone)
ii: (brightness)
iii: (harmonics)
ModMan 1 SL/SR iv: (resonance)
Master v: (body)
Ukelele 1
Section vi: (ATspeed)
Noise
BR 4 Recirculator
ModMan 2 SL/SR Reverb
Library Search:
Ukelele 1 Category: Strings
Type: Plucked
Character: Acoustic
Polyphony: 2+
HP 5 sent inputs but not used as output.

slappinperc
Macro Controllers
i: (pitch)
ii: (structure)
iii: (hitposition)
ModMan 1 SL/SR
Mod iv: (mute)
Kalimba Soft v: (snare)
OSC 3
Mod vi: (layer)
Noise Master
OSC 1 Section
Recirculator Library Search:
ModMan 2 SL/SR Reverb Category: Percussion
Type:
LP 2 Kalimba Soft Character: Acoustic, Woody, Atonal
Polyphony: 2+
Noise

447
 smeeb
Macro Controllers
i: (timbre)
SL/SR
ii: (ratio)
OSC 2 iii: (cutoff)
Anchor SL iv: (envTime)
OSC 1 Tap 1 Master
Kinetic 1 v: (modulation)
Section
OSC 3 SR vi: (delay)
Tap 2 Recirculator
Voice Delay Reverb
400 ms SL Extend Library Search:
Tap 3
Category: Classic
SR Type: Lead
LP 4 Tap 4 Character: Analog
Polyphony: 2+
Feedback

Note: Good simple Kinetic Filter example.

solid square
Macro Controllers
i: (pulseWidth)
SL/SR ii: (cutoff)
Master iii: (envAmt)
OSC 1 Anchor Section iv: (decay)
Recirculator v: (resonance)
SL/SR Analog Echo vi: (detune)
Kinetic 1
WaveBank 2 Extend
Square
Library Search:
Category: Classic
Type: Bass
Character: Analog
Setting: Portamento Octave
Polyphony: 2+

Note: Good simple Kinetic Filter example. 448

 solima
SL/SR
Macro Controllers
OSC 3 SL i: (octave)
BP 1 ii: (filter)
iii: (attack)
Phase Gen 4 SL iv: (release)
Sum 7 Tap 1 Master v: (ensemble)
LP 5 SR Section vi: (fxmod)
Tap 2 Recirculator
WaveBank 1 Summed Delay
100 ms SL Reverb
Saw Tap 3
Extend Library Search:
SR Category: Classic
Tap 4 Type: Pad
WaveBank 2 Character: Analog
Saw SR Polyphony: 2+
BP 2

sonogram Macro Controllers

i: (tune)
ii: (redux)
iii: (cutoff)
Phase Master iv: (release)
Offset Section v: (body)
Noise SL
Recirculator vi: (pressAT)
Phase SineSpray 1 HP 4 LP 5
Offset SR Mod Delay
Voice Delay
OSC 3 Extend Library Search:
200 ms
Category: Other
Type: Atonal
Character: Looping, Noise,
Sound Design, Stereo
Polyphony: 2+

449
 soprano recorder
SL/SR Macro Controllers
Noise LP 5 Noise BiqBank 2
i: (breathTone)
48 Modes ii: (body)
^3 ^3 iii: (overtone)
Master iv: (tone)
1HP 1 Section v: (ATspeed)
SL vi: (harmonics)
TAP 1 Recirculator
OSC 2 Reverb
Extend Library Search:
Feedback
Feedback Category: Wind
Type: Flute, Demo
SR Character: Acoustic, Airy, Clean,
1LP 4 TAP 2
BiqGraph 1 Setting: Portamento Maximum
48 Modes Polyphony: 2+
Feedback MicroDelay
12.5 ms

Note: Basically the same as “Tin Whistle”

soulfm
Macro Controllers
i: (pluck)
Noise
ii: (structure)
Mod
iii: (resonance)
SL/SR Master iv: (release)
Mod OSC 1
OSC 2 SL/SR Section v: (vibrato)
Mod BiqBank 2 Recirculator vi: (modulation)
8 Modes Reverb
OSC 4 OSC 3 SL/SR
Library Search:
Category: Keyboard
SineBank 1 OSC 5 SL/SR Type:
8 Partials Character: FM, Simple
Polyphony: 2+
450
 soundboard
Macro Controllers
i: (bodyAmt)
Noise ii: (bodyType)
iii: (excitation)
iv: (tune)
v: (vibrato)
LP 5 vi: (tremolo)

Library Search:
Category: Other
SL Type: Atonal, Demo
Tap 1 Character: Acoustic,
Aggressive, Reverberant
Polyphony: 2+

SR
Tap 2 Master
Section
Noise OSC 1 Recirculator
Reverb
SL
Extend
Tap 3

SR
Tap 4

MicroDelay 25ms

451
 Mod SL/SR souvenirs Macro Controllers
Noise IOSC 1
i: (noise)
ii: (vowel)
Extreme SL/SR
BP 2 iii: (chimes)
Update Master
Mod OSC 3 iv: (envTime)
Noise Section v: (sub)
BiqBank 2 Recirculator vi: (modulation)
SL/SR Mod Delay
48 Modes
Noise Extend Library Search:
Category: Classic, Vocal
Phase Gen 4 SL/SR Type: Pad
BiqMouth 1 Character: Noise, Lo-Fi, Evolving, Layered
Sum 7 Polyphony: 2+

space flammenco
Noise Noise
Noise Macro Controllers
Mod i: (excitation)
LP 5 ii: (tone)
SL/SR
OSC 2 iii: (body)
SL/SR Master iv: (resonance)
1LP 3 v: (modulation)
Section
TAP 1 vi: (chorus)
Recirculator
Mod SL/SR Reverb
OSC 1 ModMan 1
Noise Extend
1LP 4 mBiraski
Library Search:
Category: Strings
TAP 2
Type: Plucked
Character: Acoustic, Shaking
Polyphony: 2+

SL
TAP 3

SR
TAP 4 452
 Mod
spracher
Mod SR
Macro Controllers
Mod i: (timbre)
OSC 2 SR ii: (fmAmt)
Mod Master
Mod Section iii: (fmRatio)
SL
Mod OSC 1 Voice Delay Tap 1 iv: (release)
Mod Recirculator
Mod OSC 3 400 ms v: (modulation)
OSC 4 SR Reverb vi: (delay)
Mod Tap 2 Extend
Mod
SineSpray 1
Library Search:
Category: Keyboard
Type:
Character: FM
Polyphony: 2+

spring shimmering bell Macro Controllers

i: (release)
ii: (shimming)
iii: (ring)
iv: (shimTune)
SL/SR v: (ATratio)
OSC 2 Master
vi: (tremolo)
Section
SL/SR Recirculator
Noise Reverb Library Search:
Kinetic 1 Kinetic 2 OSC 1
Category: Tuned Percussion
Type: Struck
Character: Intimate, Looping, Soft
Setting: Rounding Initial On,
Continuum left over?
Polyphony: 2+

453
 squaluk
Feedback Macro Controllers
SL/SR
i: (timbre)
OSC 1 SL ii: (modulation)
Tap 1 Master iii: (cutoff)
Section iv: (envTime)
SR
Tap 2 Recirculator v: (envAmt)
OSC 2 Summed Delay
LP 3 Reverb vi: (delay)
200 ms SL Extend
Tap 3
OSC 4
SR Library Search:
Tap 4 Category: Keyboard
WaveBank 1 Feedback Type:
LP 5 Character: Analog
Square SL/SR
Polyphony: 2+

squarynights
Noise
Macro Controllers
i: (timbre)
ii: (fmRatio)
LP 4
iii: (pluck)
Mod SL/SR iv: (resonance)
Mod v: (tremolo)
OSC 1 vi: (body)
Mod Master
SL/SR Section
OSC 5 OSC 3 BiqBank 1 Recirculator Library Search:
8 Modes Mod
Delay HPF Category: Keyboard
Mod SL/SR Extend Type:
OSC 2 Character: Acoustic, FM, Clean,
Mod
Shaking, Stereo, Soft
Polyphony: 2+
454
 squazodia
SL/SR Macro Controllers
i: (timbre)
IOSC 3 SL ii: (speed)
Tap 1 iii: (cutoff)
Master
SR iv: (envTime)
Voice Delay Tap 2 Section v: (layer)
WaveBank 1 400 ms Recirculator vi: (delay)
Noise LP 5 SL/SR
Square Reverb
SL Extend
Tap 3 Library Search:
SR Category: Keyboard
LP 4 Tap 4 Type:
Character: Looping, Analog, Lo-Fi
Feedback Polyphony: 2+

Note: OSC 1 and defined and OSC 2 modulated but neither are used.

squeaky sine Macro Controllers

SL i: (release)
IOSC 1 ii: (ATtimbre)
iii: (squeaks)
SR iv: (squeaksTone)
IOSC 5 Master v: (vibrato)
Section vi: (body)
SL/SR
Recirculator
Delay HPF Library Search:
Kinetic 2 SL/SR Extend
ModMan 1 Category: Keyboard
(Self Excited) LP 4 Type: Organ, Demo
mBiraski
Character: Strumming
Polyphony: 2+
IOSC 2 LP 3

Note: LP 3 fed data but not used as output Is this error?

455
 st-rum dx
SL, R Macro Controllers
i: (fmAmt)
SL
OSC 1 Tap 1 ii: (fmRatio)
Mod Mod iii: (waveform)
SL, R Master
OSC 3 iv: (release)
Mod Mod Section v: (feedback)
SR
OSC 4 Voice Delay Tap 2 Recirculator vi: (delay)
Mod 200 ms
Mod SR, L Reverb
OSC 2 Extend
SL Library Search:
Tap 3 Category: Keyboard
SR Type:
LP 5 Tap 4 Character: Strumming, FM
Polyphony: 2+
Feedback
SL, R = Two outputs one to SL and the other to SubMix R.
Note: An interesting modulation feedback design.

stadium candy Macro Controllers

SL/SR i: (timbre)
ii: (layer)
OSC 1 SL iii: (cutoff)
Tap 1 iv: (release)
OSC 3 v: (delay)
SR Master
WaveBank 1 vi: (hpverb)
LP 5 Tap 2 Section
Saw HP 2 Voice Delay
200 ms SL Recirculator
Tap 3 Reverb Library Search:
OSC 4 Category: Keyboard
SR Type:
Tap 4 Character: Analog
Feedback Feedback Polyphony: 2+

456
 stadoor
Macro Controllers
Mod i: (timbre)
Mod ii: (cutoff)
Mod OSC 3 Master iii: (envAmt)
OSC 2 Mod SL/SR Section iv: (envTime)
LP 4 LP 5 Recirculator v: (release)
Reverb vi: (resonance)
WaveBank 1
Extend
Saw
Library Search:
Feedback
Category: Classic
Type: Lead
Character: Analog
Polyphony: 4+
Note: OSC 1 mods itself but is not output.

stellaris
Macro Controllers
SL i: (filter)
Mod ii: (waveform)
Noise OSC 1 iii: (modulation)
iv: (release)
SR
Mod Master v: (dirt)
Noise OSC 3 Summed Section vi: (delay)
Delay SL Recirculator
Tap 1
Freq 400 ms Reverb Library Search:
OSC 2 SR Extend Category: Classic
Anchor Tap 2
OSC 5 Kinetic 1 Type: Pad
Mod
Character: Analog, Echo,
1HP 4 Feedback Reverberant, Distorted
Polyphony: 2+

457
 stereolead
SL Macro Controllers
i: (timbre)
OSC 1 SL ii: (modulation)
Tap 1 iii: (envAmt)
SR iv: (release)
Master
v: (sub)
OSC 2 SR Section
vi: (chorus)
Voice Delay Tap 2 Recirculator
Mod 50 ms SL Mod Delay
Tap 3 Extend Library Search:
SL/SR Category: Classic
OSC 3 Type: Lead
SR Character: Analog, Simple, Stereo, Looping
Tap 4 Setting: Portamento Octave
Polyphony: 2+

steroids
Macro Controllers
Excite i: (cutoff)
Noise ii: (resonance)
iii: (pwm)
Anchor iv: (timbre)
IOSC 1 Master v: (decay)
SL/SR Section vi: (noise)
Kinetic 1
Anchor Recirculator
OSC 2 Reverb Library Search:
Category: Classic
Type: Bass
Anchor
IOSC 3 Character: Noise, Analog
Polyphony: 2+
Waveshape Feedback

458
 stormy weather
Macro Controllers
SL/SR i: (drops)
Mod
Noise OSC 1 ii: (rain)
SL iii: (highWind)
Tap 1 Master iv: (lowWind)
SL/SR Section
Noise v: (body)
BP 2 Summed Recirculator vi: (delay)
SR
Delay Tap 2 Reverb
200 ms Extend
Mod SL/SR
Noise Input BP 4
Noise OSC 5
Cutoff Library Search:
SL/SR Category: Other
Freq Type: Atonal
Kinetic 1 Character: Sound Design, Noise
Polyphony: 2+
Feedback

street pluck
Macro Controllers
i: (resonance)
Anchor ii: (cutoff)
OSC 1 Master iii: (envAmt)
Kinetic 1 SL/SR Section iv: (decay)
WaveBank 2 Anchor (Pulsed Recirculator v: (release)
Saw output) Mod Delay vi: (modulation)

Library Search:
Category: Keyboard
Type:
Character: Analog
Polyphony: 2+
Note: A very simple preset – one of the few that has lots of free formula space available to experiment and expand.
459
 strings machine
Macro Controllers
i: (detune)
Phase Gen 4 SL ii: (cutoff)
Sum 7 LP 1 iii: (attack)
Master iv: (release)
Section v: (vibrato)
OSC 3 Recirculator vi: (modulation)
Reverb
SR
Library Search:
LP 2
Category: Strings
Phase Gen 5 Type: Pad
Sum 7 Character: Analog, Stereo, Ensemble
Polyphony: 4+

strings machine 2
Macro Controllers
Noise i: (detune)
SL
ii: (cutoff)
WaveBank 1 iii: (attack)
LP 4 iv: (release)
Saw SL
Tap 1 v: (modulation)
Master
vi: (subnoise)
SR Section
OSC 3 Summed Tap 2 Recirculator
Delay
SL Reverb Library Search:
100 ms Tap 3 Category: Strings
Type: Pad
WaveBank 2 SR
LP 5 Tap 4 Character: Analog, Ensemble, Stereo
Saw Polyphony: 2+
SR
Noise

460
 stringtroen
Macro Controllers
Mod i: (timbre)
IOSC 1 ii: (bow)
iii: (body)
Mod SL/SR iv: (resonance)
HarMan 2 Master
OSC 2 v: (sinus)
Viola Legato SL/SR Section
vi: (sub)
Recirculator
Mod Reverb
ModMan 1 Extend Library Search:
Noise LP 5 Category: Strings
SL/SR
Viola Legato Type: Bowed
Character: Acoustic
Polyphony: 2+

sub bass 1 Macro Controllers

i: (attack)
ii: (timbre)
Mod SL/SR iii: (noise)
iv: (waveShape)
OSC 1 SL/SR v: (fifth)
OSC 2 vi: (drive)
Master
Section
Noise SL/SR Recirculator Library Search:
LP 4
Category: Classic
Reverb
Type: Bass
SL/SR Character: Analog
IOSC 3 Setting: Portamento Maximum
Polyphony: 4+

461
 subway
Macro Controllers
Mod i: (waveform)
OSC 1 ii: (fmAmt)
Master
OSC 3 iii: (fmRatio)
Mod SL/SR Section iv: (envAmt)
OSC 2 Recirculator v: (square)
LP 5 Reverb vi: (drive)
SL/SR Extend
WaveBank 1 OSC 4
Square Library Search:
Category: Classic
Type: Bass
Character: Analog, Clean, Dark, Simple FM
Setting: Portamento Octave
Polyphony: 2+

syncat Macro Controllers

i: (timbre)
ii: (sync)
iii: (cutoff)
JOSC 2 iv: (envTime)
OSC 1 Primary Smooth v: (envAmt)
SL/SR Master vi: (drive)
JOSC 3 LP 5
Section
Primary Hann Recirculator
Library Search:
Mod Delay Category: Classic
Phase SineBank 1 Extend Type: Bass
Offset 8 Partials Character: Analog
Feedback Polyphony: 2+
Feedback
SL/SR
OSC 4

462
Note: Summed delay used (OSC 4 and LP5 feed it) but tapped output disabled (so delay not shown here).
 synclit
Macro Controllers
i: (timbre)
SL/SR ii: (cutoff)
iii: (envAmt)
JOSC 2 Master iv: (envTime)
OSC 1 Primary Smooth Section v: (vibrato)
Summed SL Recirculator vi: (chorus)
JOSC 3 LP 5 Tap 1
Delay Delay LPF
Primary Hann 400 ms SR Extend
Tap 2 Library Search:
OSC 4 Category: Classic
Type: Lead
Feedback Character: Analog
Polyphony: 2+

Note: Variation of “syncat”

Macro Controllers
tablast i: (tune)
ii: (structure)
iii: (brightness)
Noise LP 5 iv: (harmonics)
v: (pitchDrop)
ModMan 1 SL/SR
Master vi: (body)
Metal Section
Noise OSC 1 Recirculator
Reverb Library Search:
Mod Category: Percussion
Type: Atonal
SL/SR
Character: Acoustic
OSC 2 Polyphony: 2+

463
Note: OSC 3 defined but not used
 talking kine
Macro Controllers
i: (vowelTune)
Phase Gen 1 Anchor SL/SR ii: (vowelAmt)
Sum 7 Master iii: (cutoff)
LP 4 Section iv: (envTime)
Anchor v: (resonance)
OSC 2 Kinetic 1 Voice SL Recirculator
Delay Tap 1 Delay LPF vi: (chorus)
50 ms SR Extend
Freq Tap 2
OSC 3 Library Search:
Category: Keyboard, Vocal
Type:
Character: Analog
Polyphony: 2+

tap sitar Macro Controllers

i: (fairyDust)
ii: (timbre)
SL/SR
OSC 2 iii: (body)
iv: (harmoAmt)
v: (harmoTune)
SL/SR vi: (attack)
Noise BiqBank 2
48 Modes Master
Section
Mod Recirculator Library Search:
SL/SR Category: Strings
OSC 1 Mod Delay
Type: Plucked
HarMan 1 Character: Acoustic, Clean,
Viola Marcato SL/SR Reverberant
HP 4 Setting: Portamento Min 3rd
Polyphony: 2+
SL/SR

464
 tape melody
Noise Macro Controllers
i: (cutoff)
Mod SL ii: (resonance)
Noise IOSC 2 LP 4 Master
Section iii: (vibrato)
iv: (release)
SL Recirculator
Summed Tap 1 v: (tape)
Mod Reverb vi: (delay)
Noise IOSC 1 Delay SR
400 ms Tap 2
Library Search:
Mod LP 5 SR Category: Classic
Noise IOSC 3 Type: Keyboard
Character: Analog, Warm, Airy,
Soft, Simple, Clean, Lo-Fi
Noise Polyphony: 2+

taste of june Macro Controllers

i: (cutoff)
Noise ii: (resonance)
SL/SR iii: (chorus)
IOSC 1 Master iv: (envTime)
Section v: (ATtune)
Voice SL Recirculator vi: (movement)
Tap 1 Reverb
IOSC 2 Delay
50 ms SR
LP 4 Tap 2 Library Search:
Mod Category: Classic
Type: Pad
IOSC 3 Character: Chords, Ensemble,
Soft, Analog, Stereo, Warm
Polyphony: 2+
WaveBank 1
Square

465
 tender stuck
Mod Macro Controllers
i: (FMamt)
IOSC 2 ii: (FMtune)
SL/SR
iii: (body)
iv: (resonance)
v: (impact)
OSC 3 Voice SL Master
Tap 1 vi: (chorus)
OSC 1 Delay Section
50 ms SR Recirculator
OSC 4 Tap 2 Reverb Library Search:
Category: Tuned Percussion
Type: Struck
Character: Acoustic, Soft
LP 5
Polyphony: 2+
Noise BiqBank 1
48 Modes

test bench
Macro Controllers
i: (sineL)
SL/SR ii: (sineR)
Noise iii: (noise)
Master iv: (sweep)
Section v: (noisephase)
SL/SR vi: ()
OSC 1 Recirculator
Reverb
SL/SR Library Search:
OSC 2 Category: Utility
Type:
Character:
Polyphony:4+

Note: Preset for testing output

466
 the touch guitar
Macro Controllers
i: (mechanics)
Noise 1LP 5
ModMan ii: (mute)
iii: (body)
Pizz Soft Master
Noise Mod iv: (timbre)
Section v: (ATsine)
HP 4 SL/SR Recirculator vi: (drive)
Mod OSC 2
IOSC 3 Analog Echo
Library Search:
Extend
Mod Category: Strings
Type: Plucked, Demo
OSC 1 ModMan Character: Acoustic, Echo, Intimate,
Pizz Loud Mod
Reverberant
Feedback Setting: Rounding Initial On?
Polyphony: 2+

thick organ Macro Controllers

i: (sub)
ii: (odd/even)
Anchor
iii: (harmonics)
OSC 2 Mod iv: (body)
Anchor v: (tremolo)
IOSC 1 vi: (vibrato)
Mod
Anchor
Master
OSC 3 SL/SR Section
Kinetic 1 Recirculator Library Search:
Excite Category: Keyboard
Reverb
OSC 4 Type: Organ
Character: Simple. Soft, Digital, Dry
Polyphony: 2+
Anchor
OSC 5

467
 thoria Macro Controllers
SL/SR i: (attackRatio)
Noise 1LP 5 ii: (ATnoise)
ModMan SL iii: (vibrato)
Tap 1 iv: (release)
Pizz Snap
Summed SR Master v: (body)
Delay Tap 2 Section vi: (chorus)
OSC 2 Mod 50 ms SL/SR Recirculator
OSC 1 SL Reverb Library Search:
Mod Tap 3
OSC 3 Extend Category: Tuned Percussion
SL/SR Type: Struck
OSC 4 SR Character: Acoustic, Noise
Tap 4 Polyphony: 2+

three waves
SL
Tap 1 Macro Controllers
SR i: (waveform)
Summed Delay Tap 2 ii: (sub)
50 ms SR iii: (attack)
LP 4 Tap 1 iv: (release)
SL
v: (tape)
Tap 2 vi: (ambience)
SL/SR Master
OSC 1 OSC 2 OSC 3 Section
SL Library Search:
Recirculator Category: Classic
SR Reverb Type: Pad
Character: Big, Ensemble,
LP 5 Synthetic
SL/SR Polyphony: 2+

SineBank 1 SL/SR
468
8 Partials
 thrilla bass
Anchor
Noise Macro Controllers
Anchor i: (pulse)
ii: (decay)
IOSC 1 Mod Anchor
iii: (bite)
iv: (cutoff)
Mass Master
SL/SR v: (noise)
Mod
Phase Gen 3 HP 4 Section
Kinetic 2 vi: (sub)
OSC 2 Sum 7 Recirculator
Anchor + Gravity
Reverb Library Search:
Category: Classic
Mod Type: Bass
WaveBank 1 Character: Analog, Dry
Anchor
Square Setting: Portamento Maximum
Polyphony: 2+
Note: Kinetic Bank uses inputs for Gravity and Mass as well as standard Anchor

tin whistle Macro Controllers

SL/SR i: (breathTone)
Noise LP 5 Noise BiqBank 2 ii: (body)
48 Modes iii: (overtone)
iv: (tone)
^3 ^3
v: (ATspeed)
Master
1HP 1 vi: (harmonics)
SL Section
TAP 1 Recirculator
OSC 2 Reverb Library Search:
Category: Wind
Extend
Feedback Type: Flute, Demo
Feedback Character: Acoustic, Airy, Clean,
SR Setting: Portamento Maximum
1LP 4 TAP 2 Polyphony: 2+
BiqGraph 1
48 Modes Feedback MicroDelay
12.5 ms

469
 tinolin Macro Controllers
i: (structure)
SL/SR ii: (fmLayer)
ModMan iii: (fmRatio)
Noise LP 5 Toy Piano
SL iv: (resonance)
Strike 1 Tap 1 Master v: (body)
SL/SR Section vi: (chorus)
Mod Recirculator
OSC 4 OSC 1 Summed SR Reverb
Tap 2 Library Search:
Delay Category: Tuned Percussion, (Should be
Mod 50 ms
OSC 3 SL/SR in Keyboard category as well)
OSC 2
Type: Electric Piano
Character: FM, Acoustic
Polyphony: 2+

tiny wish
Macro Controllers
SL/SR i: (timbre)
SineBank 1 ii: (vibrato)
iii: (cutoff)
8 Partials
SL iv: (envTime)
(Set as Sub) Tap 1 v: (sub)
Master
SR Section vi: (delay)
OSC 1 Summed Tap 2 Recirculator
Delay
SL Reverb Library Search:
400 ms Tap 3
OSC 2 LP 4 Extend Category: Classic
SR Type: Lead
Tap 4 Character: Analog
IOSC 3 Setting: Portamento Octave
SL/SR Polyphony: 2+

Note: Good example of simple filter using delay.

470
 Mod
tinytine
Macro Controllers
Mod i: (ratio1)
OSC 3
OSC 1 ii: (ratio2)
iii: (ratio3)
SineBank 1 Mod iv: (release)
8 Partials Master v: (tremolo)
LP 5 SL/SR Section vi: (brightness)
IOSC 2 Recirculator
Reverb
Library Search:
Category: Tuned Percussion
BiqBank 2
Noise Type: Struck
8 Modes Character: FM
Polyphony: 2+
Note: Good example of Quantized ratios – here three are used for harmonic control.

trepizacto Macro Controllers

i: (size)
ii: (timbre)
iii: (body)
HarMan 1 SL/SR iv: (attack)
Viola Legato v: (tremolo)
vi: (vibrato)
Master
SL/SR Section
ModMan 2
Noise LP 5 Recirculator Library Search:
Viola Legato Category: Strings
Reverb
Type: Bowed
Primary SL/SR Extend Character: Acoustic
OSC 1 JOSC 2
Polyphony: 2+
Smooth

Note: Good example of simple three-layered sound.

471
 trumpey
Macro Controllers
i: (sub)
Anchor
SL/SR ii: (envAmt)
OSC 1
iii: (cutoff)
Master iv: (release)
Anchor SL
OSC 2 Kinetic 1 Tap 1 Section v: (vibrato)
Summed Recirculator vi: (chorus)
Anchor Delay SR Analog Echo
OSC 3 50 ms Tap 2
Library Search:
Category: Keyboard
Type: Brass
Character: Analog,
Polyphony: 2+
Note: Good example of simple Kinetic Bank filter with chorus.

twelve strings Macro Controllers

i: (timbre)
ii: (brightness)
iii: (body)
SL/SR
iv: (mute)
v: (fretNoise)
ModMan 1
SL/SR Master vi: (detune)
Noise 2 OSC 1 Section
Noise LP 5 Recirculator
Library Search:
Reverb Category: Strings
SL/SR Extend
ModMan 2 OSC 2 Type: Plucked
Noise 2 Character: Acoustic, Strumming
SL/SR Polyphony: 2+

Note: Good example of simple, symmetrically designed preset. 472

 two banks
OSC 1 SL
Macro Controllers
LP 2 i: (timbre)
In 1
ii: (modulation)
WaveBank 1 iii: (cutoff)
Square In 1 iv: (envTime)
Master v: (resonance)
SL/SR
MULT 5 Section vi: (ringMod)
In 2 Recirculator
IOSC 4 Mod Delay
LP 3 Library Search:
SL Category: Classic
WaveBank 2 Type: Pad
In 2 Character: Analog
Saw
Polyphony: 2+

Note: Multiplier can take multiple sets of inputs but must have at least one “In 1” and one “In 2” connected.

twozing
Macro Controllers
i: (tune)
ii: (mix1/2)
SL/SR
iii: (structure1)
ModMan 1 iv: (structure2)
mBiraski In 1 v: (resonance)
SL/SR Master
vi: (body)
OSC 1 Noise LP 5 MULT 5 Section
In 2 Recirculator
ModMan 2 Reverb Library Search:
SL/SR Category: Percussion
mBiraski
Type: Atonal
Character: Acoustic, Metallic
Polyphony: 2+

Note: OSC 3 modulates OSC 2 but OSC not output so neither are shown here. 473
 uki pizz 1
Macro Controllers
SL/SR i: (timbre)
OSC 1
ii: (body)
Master iii: (resonance)
HarMan 1 Section iv: (release)
v: (sine)
Ukelele 1 SL/SR Recirculator
vi: (ATtone)
LP 5 Reverb
HarMan 2 Library Search:
Ukelele 1 Category: Strings
Type: Plucked
Character: Acoustic, Clean, Intimate,
Setting: Rounding Initial on?
Polyphony: 7+ (overkill for Osmose)

underwater
Macro Controllers
i: (shape)
IOSC 1 SL/SR ii: (mix)
iii: (structure1)
IOSC 2 SL iv: (structure2)
Tap 1 Master v: (excitor)
Section vi: (delay)
IOSC 3 SR
LP 5 Tap 2 Recirculator
Voice Delay Reverb
SL Library Search:
OSC 4 200 ms Tap 3 Category: Tuned Percussion
Type: Struck, Demo
SR
Kinetic 1 Tap 4 Character: Acoustic, OG?, Dark
Polyphony: 2+
(Self Excited) Feedback

474
 unstable sum
Mod
SL/SR Macro Controllers
Mod OSC 1 i: (noise)
Noise ii: (tape)
Noise
iii: (cutoff)
Delay
Master
iv: (envtime)
Noise Mod Phase Gen 2 Section v: (layer)
0..1 Summed SL Recirculator
Kinetic 1 Tap 1 vi: (layerSpeed)
Delay Reverb
100 ms SR
OSC 3 Tap 2 Library Search:
Category: Classic
SL/SR Type: Pad
Phase Gen 2 Character: Lo-Fi, Noise, Analog
OSC 5 Sum 7 Polyphony: 2+

utopia Macro Controllers

i: (mute)
ii: (pluck)
iii: (filter)
iv: (noise)
Freq
Mod SL/SR v: (ATtimbre)
Noise Kinetic 1 BiqBank 1 OSC 1 Master vi: (Body)
8 Modes SL/SR Section
Recirculator
Library Search:
Analog Echo
Category: Keyboard
Freq
SL/SR Extend Type: Organ
Noise LP 4 Character: Noise, Strumming
Polyphony: 2+

Note: HP 2 used but not output. Not shown here. 475

 vbrass 1
Macro Controllers
i: (drive)
SL/SR ii: (puff)
IOSC 1 OSC 3
iii: (screamSpeed)
Master iv: (screamAmt)
Section v: (breath)
Noise Recirculator vi: (body)
SL/SR Reverb
HP 4
Library Search:
IOSC 2 Category: Wind
Type: Brass
Character: Acoustic
Setting: Rounding 19 (?)
Polyphony: 4+

Macro Controllers
velsquare i: (timbre)
ii: (envAmt)
iii: (cutoff)
Mod Mod
iv: (decay)
SL/SR v: (resonance)
OSC 2 XMod OSC 1 OSC 3 vi: (shaper)
Master
SL/SR Section Library Search:
LP 5 Recirculator
OSC 4 Category: Classic
Reverb Type: Bass
Character: Analog
Wavebank 1 Polyphony: 2+
Square

476
 versaille
WaveBank 1 Mod SL/SR Macro Controllers
Square OSC 1 LP 3 i: (waveform)
ii: (layer)
iii: (release)
Master iv: (interval)
Noise Section v: (tremolo)
TAP 1 Recirculator vi: (tone)
OSC 2 Reverb
SL/SR
LP 4 Extend
Library Search:
Category: Keyboard
SL/SR Type:
TAP 2 Character: Analog, Acoustic
Polyphony: 2+

Micro Delay
25 ms

Note: Noise Fed into HP5 but HP5 not output. Not shown here. Tap 3 and Tap 4 are sent inputs but are not output. Actually, no taps are output?
But Bank C is output even though it’s defined as Micro Delay? Very confusing programming – Expressive E should clean this one up.

versaille brass Macro Controllers

i: (vibrato)
ii: (envAmt)
iii: (attack)
IOSC 2 iv: (decay)
LP 4 SL v: (detune)
Master vi: (cutoff)
OSC 1 Section
Recirculator Library Search:
SR Reverb Category: Classic
LP 5 Type: Brass, Keyboard
IOSC 3 Character: Big, Ensemble,
Simple, Soft, Analog, Warm
Polyphony: 2+
477
 vibrim
Noise ModMan 1 SL/SR Macro Controllers
LP 5 Marimba Hard i: (structure)
Mod ii: (brightness)
Noise OSC 3 iii: (sub)
SL/SR Master
OSC 2 iv: (resonance)
Section v: (ATtype)
Recirculator vi: (tremolo)
OSC 4 SL/SR Reverb
Extend
Library Search:
Mod SL/SR Category: Tuned Percussion
HarMan 2 OSC 1
Type: Struck
Metal SL/SR Character: Acoustic, Simple
Polyphony: 2+

Noise
vinkeilyd Macro Controllers
i: (sub)
FMod
Noise OSC 1 ii: (dirt)
SL iii: (cutoff)
Tap 1 iv: (release)
FMod
Noise OSC 3 SR v: (vibrato)
Tap 2 vi: (chorus)
Summed
FMod
Noise OSC 4 Delay Master
LP 2 50 ms SL/SR Section Library Search:
Recirculator Category: Keyboard
Analog Echo Type: Demo
OSC 2 Character: Analog, Lo-Fi
Extend
OSC 5 Polyphony: 2+
SL/SR

WaveBank 1
Saw
478
 vintage wide brass
SL/SR Macro Controllers
OSC 3
i: (cutoff)
ii: (resonance)
iii: (detune)
SL iv: (envAmt)
LP 4 Master
Section v: (envTime)
vi: (drive)
Recirculator
IOSC 1 IOSC 2 WaveBank 2 WaveBank 1 Delay HPF
Saw Triangle Library Search:
Category: Classic
SR
Type: Bass
LP 5
Character: Big, Analog, Warm,
Stereo
Setting: Portamento Octave
Polyphony: 2+
Note: Voice delay used with taps but no taps and no Bank C output. Not shown here. Clean this up.

violloiv
Macro Controllers
i: (intensity)
Mod SL/SR ii: (tone)
OSC 1 iii: (body)
HP 4 SL/SR iv: (vibrato)
Master v: (delayAmt)
SL Section vi: (DelayTime)
Summed Tap 1 Recirculator
HarMan 1
Delay Reverb
Viola Legato SR Library Search:
sHP 5 800 ms Tap 2 Category: Strings
Type: Bowed
Feedback Character: Acoustic, Echo
Setting: Portamento 2nd
Polyphony: 2+^ (Increased Computation)

Note: Good example of filtered HarMan usage for string emulation.

479
 Vln vla cel bass 2
Macro Controllers
i: (size)
SL/SR ii: (expression)
sHP 5 iii: (vibrato)
HarMan 1 SL/SR
Master iv: (noise)
Viola Legato Mod v: (body)
Section
SL/SR Recirculator vi: (timbre)
OSC 1 Reverb
Mod
Library Search:
BiqBank 2
Noise Category: Strings
48 Modes SL/SR
Type: Bowed, Demo
Character: Acoustic, Clean
Polyphony: 2+^ (Increased Computation)

vocalise Macro Controllers

i: (vowel)
ii: (vowelAT)
iii: (bodyAmt)
iv: (bodyType)
v: (formant)
SL/SR vi: (vibrato)
BiqMouth 1 Master
Mod Section
Noise LP 4 Library Search:
OSC 1 SG Phase Recirculator
Category: Vocal
Mod Delay Type: Brass
BiqMouth 2 Character: Clean, Synthetic
SL/SR Setting: Portamento Maj 7th
Polyphony: 2+

480
 walking blues
Macro Controllers
Mod
i: (L2amt)
IOSC 2
SL/SR ii: (L2timbre)
Mod OSC 3 iii: (tone)
Master iv: (shaper)
SL/SR Section v: (bodyAmt)
Noise LP 5 ModMan 1 vi: (bodyType)
Recirculator
Ukelele 1 Mod
Mod Reverb
SL/SR Library Search:
OSC 4 Category: Strings
Mod
Type: Bass
OSC 1 Character: Acoustic
Setting: Portamento Octave
Polyphony: 2+

wardrum Macro Controllers

i: (tune)
ii: (tone)
Noise SL/SR iii: (body)
LP 4 HP 5 OSC 2 iv: (drive)
WaveBank 2 v: (hit)
SL/SR Master vi: (resonance
Triangle
BR 3 Section
Recirculator
Reverb Library Search:
Category: Percussion
SL/SR Extend
BiqBank Type:
32 modes Character: Big, Acoustic, Analog
Noise
Polyphony: 3+

Note: One of the more complex sequences of filters feeding a BiqBank. Most preset simply feed it LP filtered noise.
481
 waterphonie (Feedback Delay Network) – Colored to Better See Feedback Paths

Macro Controllers
Noise SL i: (bodyAmt)
ii: (bodyType)
Tap 1 iii: (harmonics)
iv: (timbre)
v: (percussion)
Noise SR vi: (modulation)
Master
Tap 2 Section
Recirculator Library Search:
OSC5 Reverb Category: Other
SL
Noise Extend Type: Atonal
Character: Big,
Tap 3 Metallic, reverberant,
Sound Design
Polyphony 5+
SR
Noise
Tap 4

MicroDelay 12.5 ms

Note: Feedback Network variant as there is no feedback filtering.

482
 wet feeling

Delay Macro Controllers

Noise i: (bubbles)
SL/SR ii: (brightness)
iii: (body)
Noise OSC 5 Voice Delay iv: (resonance)
Tap 1 v: (ATtune)
BP 1 800 ms SL
SL/SR Master vi: (delay)
Section
SR
Noise OSC 3 Tap 2 Recirculator
Reverb Library Search:
SL Category: Other
LP 4 ModMan 1 Tap 3 Extend
Type: Atonal
Ukelele 1 SR Character: Sound Design,
Tap 4 Reverberant, Shaking
Feedback Polyphony: 2+
SL/SR

483
 whorus
Noise
Macro Controllers
Mod i: (timbre)
ii: (envAmt)
OSC 2 SL iii: (cutoff)
Tap 1 iv: (envTime)
VoiceDelay
Mod LP 5 v: (vibrato)
50 ms SR Master
Tap 2 vi: (chorus)
Mod OSC 3 Section
Noise
Recirculator
Reverb Library Search:
OSC 4 Category: Keyboard
Type:
Character: Analog
WaveBank 1 Polyphony: 2+
Square

windotron Macro Controllers

i: (release)
Mod Mod ii: (ATtremolo)
iii: (breath)
Mod iv: (breathStructure)
Mod
OSC 2 v: (timbre)
SL
vi: (vibrato)
Mod Master
OSC 1 Mod Section
OSC 3 OSC 4 SR
Recirculator Library Search:
Mod Category: Keyboard,
Reverb
OSC 5 Mod Type: Flute
Extend Character: Acoustic, Soft,
Mod Woody, Stereo, FM
Mod Polyphony: 2+
Noise ModMan 1
Flute 1
SL/SR
484
Mod
 windtube double reed
Feedback Macro Controllers
Mod i: (body)
Noise OSC 1
ii: (attack)
SL/SR iii: (timbre)
BiqGraph 1 Master
Noise iv: (modulation)
48 Modes Section v: (mute)
Recirculator vi: (mechanism)
Reverb
Harman 2 Mod
Library Search:
Metal SL/SR
OSC 2 Category: Wind
Type: Double Reed
SL/SR
Character: Acoustic, Clean
Setting: Portamento 2nd
Polyphony: 2+
Note: Similarity to Woodwind, only now more complex adding the Harman component. Here Z controls 1A offsets, Y controls 2A offsets.

woodwind Macro Controllers

i: (body)
Noise ii: (darkness)
BiqGraph 1 SL/SR Master Note: Here Z controls 1A offsets (formula D), X controls 2A offsets (formula J). iii: (tongue)
48 Modes Section iv: (flutter)
OSC 1 Offsets 1A
Recirculator v: (harmoAmt)
Feedback Reverb vi: (harmoRatio)
Mod
SL/SR
OSC 2
Library Search:
Category: Wind
Main Graph Type: Single Reed
Offsets 2A Character: Acoustic, Airy, Clean, Woody
Polyphony: 2+

485
 woodybox
SL/SR Macro Controllers
i: (structure)
IOSC 2 SL ii: (mecanism)
Tap 1 iii: (body)
SL/SR iv: (resonance)
OSC 3 Summed v: (delayAmt)
SR
Delay Tap 2 vi: (delayTime)
Master
BiqBank 1 200 ms Section
Noise SL/SR
24 Modes Recirculator
SL/SR Reverb Library Search:
Mod BiqBank 2 Extend Category: Tuned Percussion
Noise OSC 1 8 Modes SL Type: Struck, Demo
Tap 3 Character: Acoustic, Woody,
SR Strumming
LP 4 Tap 4 Polyphony: 2+

Feedback

Macro Controllers
wopluk i: (structure)
ii: (brightness)
iii: (fmRatio)
SL/SR
iv: (resonance)
Noise LP 5 ModMan 1 SL v: (body)
String Tap 1 Tap 1 vi: (chorus)
Master
Summed
SR Section
Mod Delay Tap 2 Recirculator Library Search:
50 ms SL/SR Category: Strings
Mod Mod Reverb
Noise OSC 2 Type: Plucked
SL
OSC 1 Tap 3 Character: Acoustic, FM
Polyphony: 2+
OSC 3 SR
Tap 4

Note: Noise sent into HP 4 but its not output. Not displayed here. 486
 wow soul chords
Macro Controllers
i: (resonance)
ii: (envAmt)
SL/SR
iii: (attack)
WaveBank 1 iv: (decay)
Master
Square LP 4 Summed Delay SL v: (width)
Tap 1 Section vi: (cutoff)
50 ms Recirculator
IOSC 2 SR
Tap 2 Mod Delay
Library Search:
Category: Keyboard
Type: Brass
Character: Soft, Simple, Analog
Polyphony: 2+

Macro Controllers
Xpressive saw i: (cutoff)
ii: (resonance)
SL/SR iii: (attack)
OSC 1 iv: (detune)
Feedback
Master v: (shorDelay)
SL Section vi: (more) [Increases Wavebank into
OSC 2 LP 4 Voice Delay Tap 1 Recirculator LP4 and Tap Feedback]
HP 5 SR
200 ms Reverb
Tap 2 Library Search:
WaveBank 1 Extend Category: Classic
Square Feedback
Type: Lead
Character: Intimate, Airy, Soft,
Clean
Setting: Portamento Octave
Polyphony: 2+

487
 yfm Macro Controllers
Mod i: (feedback)
SL ii: (timbre)
iii: (modulation)
Mod OSC 1 iv: (release)
Master v: (fmRatio)
Summed Delay SL Section vi: (delay)
Sine Bank 1 400 ms Tap 1
SR Recirculator
8 Partials
Mod Mod Tap 2 Reverb
Mod Extend Library Search:
OSC 2 Mod Category: Keyboard
OSC 3 Feedback Type:
SR
Character: FM, Looping, Stereo
Polyphony: 2+

yokobue Macro Controllers

i: (breath)
ii: (fondamental)
iii: (tone)
iv: (body)
SineBank 2 BiqBank 1 SL/SR v: (attack)
Master
16 Partials 24 Modes vi: (vibraflutter)
Section
Recirculator
OSC 4 Mod Reverb Library Search:
Mod SL/SR Extend Category: Wind
BP 3 Mod Type: Flute
Noise OSC 1 OSC 5
HP 2 Character: Acoustic, Woody
Polyphony: 2+

488
 zazipad
Macro Controllers
i: (detune)
ii: (cutoff)
iii: (highring)
iv: (release)
In 1 SL/SR v: (modulation)
In 2 MULT 3 vi: (oldTape)
OSC 1

Library Search:
Master Category: Other
Mod Section Type: Pad
SL/SR Character: Airy, Echo, Ensemble, Noise,
Recirculator
OSC 2 LP 4 Swept Echo Reverberant, Synthetic
Polyphony: 2+^ (increased computation)
Extend
WaveBank 1
Square

SL/SR
HP 5

Note: Interesting usage where OSC1 feeds both multiplier inputs.

489
Osmose 10.09 System Presets
with Categories & Filters

490
Num Name Category Type Character1 Character2 Character3 Character4 Character5 Character6 Character7 Setting
1abyss lands Classic pad dark echo evolving layered reverberant
2acid bass Classic bass analog aggressive distorted
3acouskop Classic bass acoustic distorted fm
4acuitar Strings plucked acoustic Portamento
5aerials Keyboard, Classic analog
6after the rain Other demo, pad acoustic noise
7alacloud Tuned perc pad, struck acoustic echo looping
8alenvers Classic pad fm looping stereo
9algo call Classic pad fm stereo
10altersaw Keyboard, Classic lead analog
11ambiant analog 1 Keyboard analog big echo reverberant synthetic
12analog adsr Keyboard analog synthetic Rounding
13analog scream Keyboard, Classic Aggressive analog big distorted noise stereo warm
14anareed Wind single reed acoustic analog Portamento
15anatolianpad Classic pad analog chords
16another big one Classic demo, pad aggressive big reverberant synthetic
17anthophila organ Keyboard organ, pad acoustic ensemble Rounding
18aplassian Strings plucked acoustic electric
19aqueous feel Keyboard airy bright clean digital
20arcadiaPan Winds flute acoustic
21archer Strings bowed acoustic
22astral titans Classic pad analog distorted fm
23azure key Keyboard bright clean digital simple soft
24babrass Winds brass acoustic
25bacteria Other atonal airy metallic noise reverberant snd design
26badratios bell Tuned Perc atonal fm snd design
27balafun Tuned perc struck acoustic woody
28balloon from hanoi Strings plucked acoustic clean strumming
29bandrive paradise Classic lead analog distorted
30banjoy Strings plucked acoustic shaking
31bansuri Winds demo, flute acoustic soft woody
32bass distosine Classic bass acoustic synthetic
33bass monster Classic bass, pad agressive analog distorted
34bass pad Classic bass analog distorted synthetic Portamento, Rounding
35bazambar Strings plucked acoustic shaking
36bazikey Keyboard elec piano analog simple
37bella fm Keyboard, Tuned perc struck bright fm strumming
38bells of digul Tuned Perc struck acoustic metallic
39beny's territory Classic pad acoustic layered
40beyond felt Keyboard elec piano acoustic shaking strumming
41biquide hang Tuned Perc demo, struck metallic
42biquide harp Strings plucked acoustic clean soft
43biquide steel Tuned perc struck acoustic metallic
44biquige bell Tuned perc struck acoustic metallic
45bird whistler Other nature snd design
46bits organ Keyboard organ analog bright strumming
47blasiz Classic lead analog
48bleached organ Keyboard organ fm stereo simple woody
49blipkrieg Other atonal digital fm lo-fi snd design 491
50bouncing spray Tuned perc struck acoustic echo looping metallic Rounding
 51 bowedsymphfm Keyboard acoustic clean fm stero shaking soft
52 bowreal lights Strings bowed, demo acoustic layered reverberant
53 brass fm Winds brass acoustic fm Portamento
54 brass fm2 Winds brass, demo acoustic fm Portamento
55 brass fm3 Winds, Midi brass acoustic Portamento
56 brassimple Classic brass analog
57 brasswind Winds brass, flute acoustic Portamento
58 brassy Winds brass acoustic
59 brave fields Classic pad analog
60 bright organ Keyboard organ acoustic fm
61 brightbank Tuned perc struck acoustic shaking
62 canyon steel Strings plucked acoustic echo soft Portamento
63 carbon marimba Tuned perc, Midi struck acoustic looping warm woody
64 carifem Classic pad fm looping
65 celestial Tuned Perc struck acoustic
66 celestial basin Other atonal airy metallic revernerant snd design
67 cellove Strings bowed acoustic Portamento
68 cellovir Strings bowed acoustic
69 chamber mellobow Strings bowed acoustic ensemble lo-fi stereo
70 chamber strings Strings bowed acoustic clean ensemble Rounding
71 cherie fm Classic lead fm
72 chick s lead Classic lead, demo analog clean soft warm Portamento
73 choir Vocal pad synthetic
74 choir additive Vocal, Classic pad clean
75 chordead Classic bass analog chords
76 churchorgan Keyboard organ acoustic
77 claribreath Winds atonal, doublereed acoustic noise
78 clarinet Winds single reed acoustic clean warm woody
79 classicana key Keyboard analog simple
80 classicana lead Classic lead analog echo simple
81 classipad Classic pad analog ensemble simple
82 clavi 1 Keyboard Elec piano, demo electric
83 clavichord Keyboard struck acoustic clean
84 clavicorda Keyboard digital fm stereo shaking
85 clawha Keyboard Elec piano electric
86 clings Tuned Perc, demo struck acoustic intimate metallic stereo shaking
87 cold lead Classic lead, demo analog noise stereo simple warm
88 column of eternity Classic pad clean fm stereo simple
89 copey Keyboard Elec piano electric
90 copper club Keyboard, Classic lead analog
91 coridor Classic pad, demo fm reverberant
92 cork the bottle Other atonal dry electric snd design
93 cosmic blues Winds brass acoustic Portamento
94 cp eight Keyboard Elec piano electric
95 crackling things Other atonal snd design
96 creaker Other atonal acoustic intimate looping snd design
97 crossmod Classic pad fm stereo
98 crossynthar Strings plucked acoustic
99 crystal harmonics Tuned Perc struck acoustic airy shaking 492
100 cs80+ladder Keyboard, Classic pad analog big reverberant synthetic Rounding
101 cs80+ladder II Classic pad analog chords
102 cumulus Tuned Perc struck, demo acoustic bright echo looping metallic stereo Rounding
103 CVC 1 voice Utility
104 CVC 2 voices Utility
105 CVC 4 voices Utility
106 cycle and duty Classic pad analog stereo
107 dabka 2022 Classic lead, double reed acoustic digital
108 declanche Keyboard fm looping
109 deep corners Classic bass analog chords
110 delight lead Classic lead analog simple
111 deven Keyboard Elec piano electric
112 dfm Keyboard fm stereo
113 dirt acid Classic bass analog distorted
114 dirty osc pad Classic pad airy echo evolving lo-fi random synthetic
115 disco dawn Keyboard, Classic analog dry intimate simple
116 distortion guitar Strings plucked, demo acoustic
117 dolce cristallo Tuned Perc struck acoustic icy intimate metallic
118 double reed Winds double reed acoustic bright clean warm
119 double saw Keyboard analog chords simple
120 doubleslap Classic bass acoustic shaking warm woody
` duocello Strings bowed acoustic Portamento
122 dx1 Keyboard fm
123 dx2 Keyboard fm
124 dx3 Keyboard fm
125 dx4 Keyboard fm
126 dxim Keyboard fm
127 ebosin Strings bowed pad acoustic ensemble layered
128 edgy fm Classic bass fm
129 efferie Keyboard fm strumming
130 efmope Keyboard bright fm simple
131 eightiki Keyboard Elec piano electric
132 eighty neon Classic, Midi bass analog
133 ekeynox Keyboard analog
134 electric bass 1 Strings bass acoustic electric
135 electric bass 2 Strings bass acoustic electric
136 electric keys 1 Keyboard Elec piano, demo electric
137 electric keys 5 Keyboard Elec piano electric
138 electric keys 6 Keyboard Elec piano clean electric
139 electric wazoo Other atonal dry electric snd design synthetic
Mono int, Portamento,
140 electrical bacher Keyboard, Classic, Other struck acoustic dark metallic reverberant stereo Rounding
141 ellis guitar Strings plucked acoustic
142 elsynkey Keyboard analog
143 emancikey Keyboard, Midi analog
144 empty Utility
145 empyrean Winds double reed acoustic warm
146 entanglement Other atonal aggressive big echo revolving reverberant snd design
147 envinkin Keyboard analog
148 envinkon Keyboard analog
149 epiano1 Keyboard Elec piano electric 493
150 epiarom Keyboard Elec piano fm
151 erumi Strings bowed acoustic
152 essendar Classic lead analog echo simple soft
153 etalophone Tuned Perc struck acoustic
154 etherry Keyboard struck, demo acoustic
155 etines mk1 Keyboard Elec piano acoustic electric
156 expluck Strings plucked acoustic shaking
157 fancy brass Keyboard, classic brass., demo bright chords ensemble looping stereo
158 fat model d Classic bass big analog noise warm Portamento
159 fdn crazyness Other atonal agressive big electric evolving reverberant snd design Portamento
160 feleaz Keyboard fm stereo simple
161 feltgrains Tuned Perc struck acoustic airy noise shaking woody
162 fleme Keyboard fm
163 flip tube Winds acoustic airy echo looping
164 floppy disk lands Other pad fm lo-fi noise random stereo
165 flunkly Classic bass analog
166 flute transverse Winds flute acoustic airy clean
167 flutimut Winds flute, single reed acoustic fm
168 fm 2612 Classic pad fm
169 fm basic 4-ops Keyboard bright fm strumming
170 fm brassypoly classic brass clean digital ensemble fm stereo soft
171 fm clav 1 Keyboard Elec piano fm
172 fm darkness classic bass aggressive big dark digital dry ensemble fm, noise
173 fm doublebass Classic bass clean fm Portamento
174 fm dreampiano Keyboard demo airy fm strumming warm Rounding
175 fm glacier Tuned Perc struck digital clean digital echo, fm icy metallic reverberant
176 fm hang perc Tuned Perc struck digital fm noise woody
177 fm piano1 Keyboard Elec piano bright fm
178 fm reed Winds double reed acoustic fm Portamento
179 fm slapman Classic bass bright digital fm metallic stereo
180 fmwood&strings Strings, Keyboard acoustic metallic
181 fof variableRes Vocal, Keyboard synthetic
182 foming Keyboard bright fm
183 forgotten animal Classic bass analog fm
184 forty eight db Classic bass analog distorted
185 fourad Classic bass analog distorted
186 fretless bass Classic bass, demo acoustic
187 fruku Strings plucked acoustic
188 fukuel Tuned Perc struck acoustic metallic shaking
189 funky lead Classic lead analog simple
190 futazz Keyboard, Classic brass analog
191 futur engine Other digital snd design
192 gabber 21 Classic lead aggressive digital
193 game invader Keyboard digital lo-fi shaking
194 gamelan spinner Tuned Perc struck clean looping metallic
195 geiger insects Other atonal intimate looping nature sound design stereo
196 ghabla Percussion acoustic
197 ghost voice Vocal, Classic lead, demo lo-fi
198 gimmirez Keyboard brass analog
199 gowind Winds Flute acoustic clean 494
200 graceful integrated Keyboard analog fm simple soft
201 grains pluck Strings plucked acoustic metallic
202 grandfather clock Tuned Perc struck metallic
203 grandma's garden Classic pad evolving lo-fi layerd woody
204 granu osc Classic pad looping stereo
205 grittysaw Classic bass analog distorted
206 grubbead Classic lead aggressive distored fm
207 gypsy kinetar Strings plucked acoustic shaking
208 hammers brushed Keyboard elec piano acoustic shaking soft
209 hantpad Classic pad, demo dark
210 harmbrass Winds brass acoustic Portamento
211 harmod Strings bowed acoustic Portamento
212 harmolick Strings plucked acoustic metallic Portamento
213 harpsichord Keyboard struck acoustic clean
214 harpsytron Keyboard dry electric fm
215 hollowrez Classic bass analog
216 hoovasquare Classic lead, demo analog simple
217 horn ytorink Winds brass acoustic warm
218 howling sines Other atonal dark snd Design
219 hp tales Keyboard analog
220 hybrid harp Strings plucked, demo acoustic fm soft
221 hybrid strings 1 Strings bowed pad analog
222 hybrid strings 2 Strings, Classic bowed pad analog lo-fi noise
223 hybrid strings 3 Strings bowed acoustic analog
224 hyoshigi Percussion atonal acoustic
225 ikia Keyboard fm looping
226 insert coins Keyboard lead bright echo looping
227 interkin Classic pad analog
228 ishango bone Percussion atonal, demo woody
229 iziki Keyboard elec piano analog clean fm simple
230 jaymar toy piano Keyboard struck acoustic clean dry intimate Rounding
231 jenny choir Vocal, Classic pad ensemble
232 jenny fm Classic pad fm looping stereo
233 jenny pulse Classic struck analog echo looping reverberant synthetic
234 jennybrass Winds brass acoustic fm
235 jentenot Classic lead analog
236 juknow that bass Classic bass analog big clean
237 julia Classic lead analog simple
238 jumpare Keyboard, Classic analog looping
239 june sunset Keyboard, Midi demo analog
240 jupinard Keyboard, Classic analog dry intimate simple
241 jupipad Classic pad analog
242 jx10 1b Keyboard analog soft
243 kaitof Percussion acoustic noise
244 kakey Keyboard elec piano electric
245 karkup Strings plucked acoustic shaking
246 karplus & modman Strings plucked clean strumming warm
247 kick bass slide Percussion bass analog distorted simple
248 kinaflap Keyboard analog
249 kinafun Keyboard, Classic analog looping 495
250 kinespeech Vocal, Classic bass analog
251 kinetic analog Keyboard analog
252 kinetic anaseq Classic aggressive analog echo looping stereo synthetic
253 kinetic bowed fdn Other atonal dark reverberant snd design stereo
254 kinetic dragon Other atonal aggressive distorted reverberant snd design
255 kinetic micromotor Other atonal echo looping snd design synthetic
256 kinetic overtones Other atonal aggressive digital distorted reverberant snd design stereo synthetic
257 kinetic satpad Classic aggressive analog big distorted ensemble evolving reverberant Rounding
258 kinetic soundboard Strings plucked acoustic metallic reverberant shaking synthetic
259 klavunk Keyboard elec piano clean electric
260 koto String plucked, demo acoustic clean intimate strumming
261 labello Tuned perc struck acoustic fm
262 lacous bass Strings bass acoustic
263 ladagcer Keyboard analog
264 ladder bass Classic bass analog lfo looping synthetic Single Voice
265 lalalead Classic lead analog Portamento
266 lamellas Tuned perc struck acoustic metallic strumming
267 lampadaire Classic pad analog lo-fi
268 larekin Classic pad analog lo-fi
269 larekin 2 Classic pad analog
270 lavaya Keyboard fm
271 leadio Classic lead analog
272 legacy dx ep Keyboard, Midi elec piano clean digital Rounding
273 libellule Tuned perc struck acoustic fm strumming
274 lighthouse Classic lead analog
275 lililead Classic lead analog
276 lilly Keyboard acoustic fm stereo soft
277 lino Keyboard analog
278 lips steel Strings plucked acoustic Portamento
279 living pad Classic pad analog evolving looping
280 lonely data Other atonal digital intimate looping snd design synthetic
281 lonely square Classic lead analog reverberant simple
282 lost beacon Keyboard, Other airy analog intimate looping reverberant synthetic warm
283 lost choir Vocal pad airy ensemble evolving synthetic Rounding
284 lost ensemble Strings bowed, demo acoustic analog reverberant
285 lost operator Classic pad fm
286 lytiny Tuned perc struck, demo shaking
287 magic pluck Keyboard struck acoustic airy bright layered shaking
288 main square Classic lead analog
289 malabel Tuned perc struck acoustic shaking strumming
290 malgo Classic pad fm
291 marie s birds Other acoustic fm snd design
292 marlin perkins 1 Percussion clean intimate woody Rounding
293 marombox Tuned perc struck acoustic shaking
294 martine Tuned perc elec piano acoustic strumming
295 mattalo Tuned perc struck acoustic metallic
296 mbiraski Tuned perc struck clean intimate metallic
297 metarmonix Percussion acoustic analog metallic
298 microdelay pipeWG Winds flute acoustic airy clean Rounding
299 mild kisses Strings plucked, demo acoustic soft Portamento
300 minimando Strings plucked acoustic strumming 496
301minor de fond Classic lead analog chords
302model string wind Strings flute, demo acoustic airy morphing
303modowel Vocal, Other pad stereo soft
304mojo of fdn Other atonal acoustic echo reverberant snd design strumming
305montine Keyboard acoustic
306moving slate Classic pad stereo
307munsplen Classic pad, demo analog
308music box bells Classic struck acoustic dry intimate metallic
309mystaring Other atonal dark fm snd design
310nails on metal Other acoustic snd design shaking
311nband Keyboard airy noise
312neon key Keyboard analog
313neon key dreams Keyboard analog chords lo-fi
314ngoni Strings plucked acoustic clean strumming
315night bass Classic bass analog Portamento
316nimbus Tuned perc struck acoustic airy echo looping
317nofiad Other pad evolving lo-fi layered
318noisyman Strings, Tuned perc bowed acoustic
319noisypad Strings bowed acoustic noise
320noisything Strings struck acoustic
321nostalgia Classic lead, demo analog lo-fi
322notenstrum Keyboard analog strumming
323notiseq Classic pad chords fm looping
324numens strings Strings bowed acoustic
325nynx Classic pad fm looping stereo
326oblivion Strings bowed, pad ensemble evolving lo-fi layered stereo Portamento
327oboreed Winds double reed acoustic fm
328ocean triggs Tuned perc struck acoustic echo looping metallic Rounding
329ocherry Strings, Keyboard struck acoustic fm
330octalive drum Percussion atonal acoustic layered metallic
331octecho Keyboard analog echo
332old pad machine Keyboard organ analog ensemble evolving lo-fi synthetic Rounding
333op offset Classic pad fm looping stereo
334op repeat Keyboard fm looping stereo
335op2bell Tuned perc struck fm strumming
336opead Classic lead analog
337opeal Classic
338opikey Keyboard elec piano fm
339organ 1 Keyboard organ
340organ 2 Keyboard organ
341organ 3 Keyboard organ
342organ 4 Keyboard organ electric
343organ barbar Keyboard organ
344organ voxy Keyboard organ
345organo WereYouThere Keyboard organ electric reverberant Rounding
346os2dx Keyboard fm
347osc dcf Keyboard analog simple
348osc five Keyboard brass analog simple stereo
349outspoken Classic bass analog
350pad 101 Classic pad airy bright chords clean, echo icy, noise stereo simple 497
351pad awan Classic, Midi pad simple
352padding time Classic pad analog clean ensemble stereo soft warm
353padorama Classic pad layered
354padorgan Classic organ, pad lo-fi stereo
355pajestric Strings bowed layered
356paliakey Keyboard analog
357panpipe solo Winds flute airy clean noise
358paperheart Keyboard demo acoustic shaking
359paris texas Strings plucked acoustic metallic
360patacalbas Percussion acoustic
361pcs Dandelion Other bowed bright echo evolving icy synthetic Portamento
362perseus supernova Classic pad analog big reverberant
363petit carillon Tuned perc struck acoustic metallic shaking
364phase machine Classic pad, demo bright ensemble stereo
365pickope Classic lead analog Portamento
366piercing bass Classic bass aggressive big dark digital
367pine strummer Strings plucked acoustic shaking
368pinkphone Tuned perc struck acoustic
369pipopi Winds flute acoustic Portamento
370pitchoune Keyboard, Classic analog looping
371pl-bass Classic bass analog dry
372plastigorien Vocal, Other pad
373plinklies Tuned perc struck acoustic intimate looping metallic
374pluckead Classic lead analog clean simple Portamento
375pluckeon Keyboard analog lo-fi Portamento
376podracer Other digital snd design
377polys20 Keyboard analog distorted
378polysynthetix Keyboard, Classic analog big chords ensemble warm
379potendu Percussion atonal acoustic woody
380pressow Strings bowed plucked acoustic
381psy squelches Other atonal aggressive fm snd design
382pulse pluck Keyboard analog
383pulzz Classic bass analog
384pusher Strings plucked synthetic
385pxlize Keyboard, Classic bright digital fm layered stereo
386quiet carriers Classic pad fm
387radioactive zone Other analog dark fm snd design stereo
388random trigger Other atonal acoustic echo random reverberant snd design stereo
389rateanis Classic pad analog stereo
390reesotto Classic bass aggressive digital
391reesy rider Classic bass analog aggressive distorted stereo
392releasy Tuned perc struck acoustic fm shaking
393ren keyboard Keyboard elec piano, struck acoustic echo intimate
394replicants dreams Keyboard, Classic pad, demo analog fm reverberant
Mono int, Portamento,
395resizable guitar Strings plucked acoustic echo strumming Rounding
396reso nable Classic pad analog
397resonant drum 1 Percussion atonal, demo airy noise woody
398rewind time Classic pad chords echo evolving lo-fi looping
399ringad Classic pad analog 498
400ringmod harmonica Winds double reed acoustic distorted
401riseandbe Keyboard analog bright digital stereo simple soft
402rising pad Classic pad analog chords evolving simple
403roto string Strings bowed acoustic airy looping noise
404rusty bass Classic bass analog dark digital fm
405rusty square Classic bass distorted
406sawVI Keyboard analog simple
407saxoon Winds atonal, single reed acoustic noise reverberant
408scarlet Keyboard analog warm
409scie tard Strings bowed, plucked acoustic Portamento
410scratching fdn Other atonal acoustic reverberant snd design shaking
411sentimental mood Winds single reed acoustic airy clean woody
412seventies lead Classic lead, demo analog echo warm Portamento
413shakepad Strings struck acoustic shaking
414shpad1 Classic pad analog fm looping random stereo
415simple anakey1 Keyboard analog simple
416simple anakey2 Keyboard analog simple
417simple anakey4 Keyboard analog simple
418simple fm 2 ops Keyboard fm
419simple fmkey Keyboard fm simple
420simple lead even Classic lead analog simple Portamento
421simple lead odd Classic lead analog simple Portamento
422simple saw pad Classic pad analog stereo
423simple square pad Classic pad analog simple
424simpledecay Classic bass analog distorted
425simplephasemod Keyboard fm shaking simple
426simplerez Classic bass analog
427sinefeel Tuned perc struck fm
428sinespray pad Classic pad digital
429skoto Strings plucked acoustic
430slappinperc Percussion atonal acoustic woody
431smeeb Classic lead analog
432smooth mouth Winds, Vocal brass acoustic
433smooth operator Strings bass acoustic fm
434solid square Classic bass analog
435solima Classic pad analog
436sonogram Other atonal looping noise snd design stereo
Portamentp, Single
437soprano recorder Winds flute acoustic airy clean Voice
438soulfm Keyboard fm simple
439soundboard Other atonal acoustic aggressive reverberant
440souvenirs Vocal, Classic pad evolving lo-fi layered noise
441space flammenco Strings plucked acoustic shaking
442spracher Keyboard fm
443spring shimming bell Tuned perc struck intimate looping soft Rounding
444squaluk Keyboard analog
445squarynights Keyboard acoustic clean fm stereo shaking soft
446squazodia Keyboard analog lo-fi looping
447squeakysine Keyboard demo strumming
448st-rum dx Keyboard fm strumming
449stadium candy Keyboard analog
450stadoor Classic lead analog
499
451 stellaris Classic pad analog distorted echo reverberant
452 sterelead Classic lead analog looping stereo simple
453 steroids Classic bass analog noise
454 stormy weather Other atonal noise snd design
455 street pluck Keyboard analog
456 strings machine Strings pad analog ensemble stereo
457 strings machine 2 Strings pad analog ensemble stereo
458 stringtroen Strings bowed acoustic
459 sub bass 1 Classic bass analog
460 subway Classic bass analog clean dark fm simple
461 sweethrice Strings plucked acoustic shaking
462 syncat Classic bass analog
463 synclit Classic lead analog
464 tabec Winds flute acoustic Portamento
465 tablast Percusion atonal acoustic
466 tales of feathers Strings plucked, demo acoustic airy bright clean soft
467 talking kine Keyboard, Vocal analog
468 tap sitar Strings plucked acoustic clean reverberant Rounding
469 tape melody Keyboard, Classic airy analog clean lo-fi simple soft warm
470 taste of June Classic pad analog chords ensemble stereo soft warm
471 tender stuck Tuned Perc struck acoustic soft
472 terjintro Keyboard analog
473 testbench Utility
474 th x Other ensemble snd design stereo
475 the touch guitar Strings plucked, demo acoustic echo intimate reverberant Rounding
476 theo s bicycles Other metallic snd design
477 thick organ Keyboard organ digital dry simple soft
478 thoria Tuned Perc struck acoustic noise
479 three waves Classic pad big ensemble synthetic Rounding
480 thrilla bass Classic bass analog dry
Portamento, Single
481 tin whistle Winds flute, demo clean Voice
482 tine Keyboard elec piano acoustic clean dry electric intimate
483 tinolin Tuned Perc elec piano acoustic fm
484 tiny wish Classic lead analog Portamento
485 tinytine Tuned Perc struck fm
486 trepizcato Strings bowed acoustic
487 trumpey Keyboard brass analog
488 tubular bell Tuned Perc struck fm
489 twelve strings Strings plucked acoustic strumming
490 twobanks Classic pad analog
491 twozing Percussion atonal acoustic metallic
492 uki pizz 1 Strings plucked acoustic clean intimate Rounding
493 under the weather Classic pad dark distorted lo-fi
494 underwater Tuned Perc struck, demo acoustic dark
495 unstable sum Classic pad analog lo-fi noise
496 upibanks Keyboard elec piano acoustic
497 utopia Keyboard noise strumming
498 vbrass 1 Winds brass acoustic bright clean synthetic
499 velsquare Classic bass analog 500
500 versaille Keyboard acoustic analog
501 versailles brass Keyboard, Classic brass analog big ensemble simple soft warm
502 vibrim Tuned Perc struck acoustic simple
503 vinkeilyd Keyboard demo analog lo-fi
504 vintage wide bass Classic bass analog big dark stereo soft warm
505 viollaggio Strings bowed acoustic
506 violloiv Strings bowed acoustic echo
507 vln vla cel bass 2 Strings, Midi bowed, demo acoustic clean
508 vocalise Vocal brass clean synthetic
509 vorgaphone Keyboard organ
510 walking blues Strings bass acoustic
511 walking elephants Winds brass acoustic warm woody
512 wallface Classic bass, demo digital fm
513 wardrum Percussion acoustic analog big
514 waterphonie Other atonal, demo bright metallic reverberant snd design
515 wet feeling Other atonal echo reverberant snd design shaking
516 whorus Keyboard analog
517 windotron Keyboard flute acoustic fm stereo soft woody
518 windtube double reed Winds double reed acoustic clean
519 woodorgan Keyboard organ soft warm woody
520 woodwind Winds single reed acoustic airy clean woody
521 woodybox Tuned Perc struck, demo acoustic strumming woody
522 wopluk Strings plucked acoustic fm
523 wow soul chords Keyboard brass analog simple soft
524 xpressive saw Classic lead airy clean intimate reverberant soft Rounding
525 yfm Keyboard fm looping stereo
526 yokobue Winds flute acoustic woody
527 zapzap Other atonal analog looping snd design
528 zazipad Other pad airy echo ensemble noise reverberant synthetic Rounding
529 zenpercs Tuned Perc struck acoustic intimate soft

501
 Osmose System Presets
Firmware 10.09
Midi Access Codes – Alphabetical Order
Note 1: Do not use the Preset list output by the Haken Editor for Osmose.
Note 2: For CC0+CC32+PC code, send on Channel 16 (you can try channel 2).
Note 3: Program Change (PC) in this table is 1-128 based. Adjust 0-127 (subtract 1) for controllers that are zero based.
For example: Ableton Live uses 1-128 indexing. Arturia Beatstep uses 0-127 indexing, etc.
Note 4: CCs in the table are zero based. Your DAW or controller indexing may start at 1 so you will need to offset accordingly (for
example in Ableton).
Note 5: Send to USB Port 2 (MIDIIN2) if using USB. For sending to DIN port, set to “2/5 (dsp in)” or “4/5 dsp+thru”
Note 6: These codes can be sent two ways:
• CC0 (MSB) + CC32 (LSB) + Program Change = Standard Program Change Command
• 14-Bit Code: (Send channel 16). Subtract 1 from preset number to get actual 14 bit value to send.
• CC0=127
• CC32= High order 7 bits in 14 bot value mapping to Preset number as a 14 bit value
• Program Change = Low order 7 bit value mapping to Preset number as a 14 bit value

Expressive E Help Link on this subnet:

Selecting EaganMatrix presets with MIDI Program Change messages - Help Center (happyfox.com)

502
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
abyss lands 5 0 1 biquide harp 1 0 7 clavichord 4 0 18
acid bass 5 0 2 biquide steel 8 0 6 clavicorda 4 0 19
acouskop 5 0 3 biquige bell 8 0 7 clawha 4 0 20
acuitar 1 0 1 bird whistler 6 0 3 clings 8 0 11
aerials 4 0 1 bits organ 4 0 11 cold lead 5 0 24
after the rain 6 0 1 blasiz 5 0 14 column of eternity 5 0 25
alacloud 8 0 1 bleached organ 4 0 12 copey 4 0 21
alienvers 5 0 4 blipkrieg 6 0 4 copper club 4 0 22
algo call 5 0 5 bouncing spray 8 0 8 coridor 5 0 26
altersaw 4 0 2 bowedsymphfm 4 0 13 cork the bottle 6 0 6
ambiant analog 1 4 0 3 bowreal lights 1 0 8 cosmic blues 2 0 11
analog adsr 4 0 4 brass fm 2 0 5 cp eight 4 0 23
analog scream 4 0 5 brass fm2 2 0 6 crackling things 6 0 7
anareed 2 0 1 brass fm3 11 0 2 creaker 6 0 8
anatolianpad 5 0 6 brassimple 5 0 15 crossmod 5 0 27
another big one 5 0 7 brasswind 2 0 7 crossynthar 1 0 14
anthophila organ 4 0 6 brassy 2 0 8 crystal harmonics 8 0 12
aplassian 1 0 2 brave fields 5 0 16 cs80+ladder 4 0 24
aqueous feel 4 0 7 bright organ 4 0 14 cs80+ladder II 5 0 28
arcadiapan 2 0 2 brightbank 8 0 9 cumulus 8 0 13
archer 1 0 3 canyon steel 1 0 9 CVC 1 voice 13 0 1
astral titans 5 0 8 carbon marimba 11 0 3 CVC 2 voices 13 0 2
azure key 4 0 8 carifem 5 0 17 CVC 4 voices 13 0 3
babrass 2 0 3 celestial 8 0 10 cycle and duty 5 0 29
bacteria 6 0 2 celestial basin 6 0 5 dabka 2022 5 0 30
badratios bell 8 0 2 cellove 1 0 10 declanche 4 0 25
balafun 8 0 3 cellovir 1 0 11 deep corners 5 0 31
balloon from hanoi 1 0 4 chamber mellobow 1 0 12 delight lead 5 0 32
bandrive paradise 5 0 9 chamber strings 1 0 13 deven 4 0 26
banjoy 1 0 5 cherie fm 5 0 18 dfm 4 0 27
bansuri 2 0 4 chick s lead 5 0 19 dirt acid 5 0 33
bass distosine 5 0 10 choir 3 0 1 dirty osc pad 5 0 34
bass monster 5 0 11 choir additive 5 0 20 disco dawn 4 0 28
bass pad 5 0 12 chordead 5 0 21 distortion guitar 1 0 15
bazambar 1 0 6 churchorgan 4 0 15 dolce cristallo 8 0 14
bazikey 4 0 9 claribreath 2 0 9 double reed 2 0 12
bella fm 11 0 1 clarinet 2 0 10 double saw 4 0 29
bells of digul 8 0 4 classicana key 4 0 16 doubleslap 5 0 35
beny s territory 5 0 13 classicana lead 5 0 22 duocello 1 0 16
beyond felt 4 0 10 classipad 5 0 23 dx1 4 0 30 503
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
dx3 4 0 32 flunkly 5 0 39 grubbead 5 0 54
dx4 4 0 33 flute transverse 2 0 15 gypsy kinetar 1 0 27
dxim 4 0 34 flutimut 2 0 16 hammers brushed 4 0 60
ebosin 1 0 17 fm 2612 5 0 40 hantpad 5 0 55
edgy fm 5 0 36 fm basic 4-ops 4 0 52 harmbrass 2 0 19
efferie 4 0 35 fm brassypoly 5 0 41 harmod 1 0 28
efmope 4 0 36 fm clav 1 4 0 53 harmolick 1 0 29
eightiki 4 0 37 fm darkness 5 0 42 harpsichord 4 0 61
eighty neon 11 0 4 fm doublebass 5 0 43 harpsytron 4 0 62
ekeynox 4 0 38 fm dreampiano 4 0 54 hollowrez 5 0 56
electric bass 1 1 0 18 fm glacier 8 0 17 hoovasquare 5 0 57
electric bass 2 1 0 19 fm hang perc 8 0 18 horn ytorink 2 0 20
electric keys 1 4 0 39 fm piano1 4 0 55 howling sines 6 0 16
electric keys 5 4 0 40 fm reed 2 0 17 hp tales 4 0 63
electric keys 6 4 0 41 fm slapman 5 0 44 hybrid harp 1 0 30
electric wazoo 6 0 9 fmwood&strings 1 0 23 hybrid strings 1 1 0 31
electrical bacher 6 0 10 fof variableres 3 0 2 hybrid strings 2 1 0 32
ellis guitar 1 0 20 foming 4 0 56 hybrid strings 3 1 0 33
elsynkey 4 0 42 forgotten animal 5 0 45 hyoshigi 7 0 2
emancikey 11 0 5 forty eight db 5 0 46 ikia 4 0 64
empty 13 0 4 fourad 5 0 47 insert coins 4 0 65
empyrean 2 0 13 fretless bass 1 0 24 interkin 5 0 58
entanglement 6 0 11 fruku 1 0 25 ishango bone 7 0 3
envinkin 4 0 43 fukuel 8 0 19 iziki 4 0 66
envinkon 4 0 44 funky lead 5 0 48 jaymar toy piano 4 0 67
epiano1 4 0 45 futazz 5 0 49 jenny choir 3 0 4
epiarom 4 0 46 futur engine 6 0 14 jenny fm 5 0 59
erumi 1 0 21 gabber 21 5 0 50 jenny pulse 5 0 60
essendar 5 0 37 game invader 4 0 57 jennybrass 2 0 21
etalophone 8 0 15 gamelan spinner 8 0 20 jentenot 5 0 61
etherry 4 0 47 geiger insects 6 0 15 juknow that bass 5 0 62
etines mk1 4 0 48 ghabla 7 0 1 julia 5 0 63
expluck 1 0 22 ghost voice 3 0 3 jumpare 4 0 68
fancy brass 4 0 49 gimmirez 4 0 58 june sunset 11 0 6
fat model d 5 0 38 gowind 2 0 18 jupinard 4 0 69
fdn crazyness 6 0 12 graceful integrated 4 0 59 jupipad 5 0 64
feleaz 4 0 50 grains pluck 1 0 26 jx10 1b 4 0 70
feltgrains 8 0 16 grandfather clock 8 0 21 kaitof 7 0 4
fleme 4 0 51 grandma's garden 5 0 51 kakey 4 0 71
flip tube 2 0 14 granu osc 5 0 52 karkup 1 0 34 504
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
kick bass slide 7 0 5 main square 5 0 78 ocherry 4 0 87
kinaflap 4 0 72 malabel 8 0 26 octalive drum 7 0 8
kinafun 4 0 73 malgo 5 0 79 octecho 4 0 88
kinespeech 3 0 5 marie s birds 6 0 22 old pad machine 4 0 89
kinetic analog 4 0 74 marlin perkins 1 7 0 6 op offset 5 0 88
kinetic anaseq 5 0 65 marombox 8 0 27 op repeat 4 0 90
kinetic bowed fdn 6 0 17 martine 8 0 28 op2bell 8 0 33
kinetic dragon 6 0 18 mattalo 8 0 29 opead 5 0 89
kinetic micromotor 6 0 19 mbiraski 8 0 30 opeal 5 0 90
kinetic overtones 6 0 20 metarmonix 7 0 7 opikey 4 0 91
kinetic satpad 5 0 66 microdelay pipewg 2 0 22 organ 1 4 0 92
kinetic soundboard 1 0 36 mild kisses 1 0 41 organ 2 4 0 93
klavunk 4 0 75 minimando 1 0 42 organ 3 4 0 94
koto 1 0 37 minor de fond 5 0 80 organ 4 4 0 95
labello 8 0 22 model string wind 1 0 43 organ barbar 4 0 96
lacous bass 1 0 38 modowel 3 0 7 organ voxy 4 0 97
ladagcer 4 0 76 mojo of fdn 6 0 23 organo wereyouthere 4 0 98
ladder bass 5 0 67 montine 4 0 82 os2dx 4 0 99
lalalead 5 0 68 moving slate 5 0 81 osc dcf 4 0 100
lamellas 8 0 23 munsplen 5 0 82 osc five 4 0 101
lampadaire 5 0 69 music box bells 5 0 83 outspoken 5 0 91
larekin 5 0 70 mystaring 6 0 24 pad 101 5 0 92
larekin 2 5 0 71 nails on metal 6 0 25 pad awan 11 0 8
lavaya 4 0 77 nband 4 0 83 padding time 5 0 93
leadio 5 0 72 neon key 4 0 84 padorama 5 0 94
legacy dx ep 11 0 7 neon key dreams 4 0 85 padorgan 5 0 95
libellule 8 0 24 ngoni 1 0 44 pajestric 1 0 50
lighthouse 5 0 73 night bass 5 0 84 paliakey 4 0 102
lililead 5 0 74 nimbus 8 0 31 panpipe solo 2 0 24
lilly 4 0 78 nofiad 6 0 26 paperheart 4 0 103
lino 4 0 79 noisyman 1 0 45 paris texas 1 0 51
lips steel 1 0 39 noisypad 1 0 46 patacalbas 7 0 9
living pad 5 0 75 noisything 1 0 47 pcs Dandelion 6 0 27
lonely data 6 0 21 nostalgia 5 0 85 perseus supernova 5 0 96
lonely square 5 0 76 notenstrum 4 0 86 petit carillon 8 0 34
lost beacon 4 0 80 notiseq 5 0 86 phase machine 5 0 97
lost choir 3 0 6 numens strings 1 0 48 pi-bass 5 0 101
lost ensemble 1 0 40 nynx 5 0 87 pickope 5 0 98
lost operator 5 0 77 oblivion 1 0 49 piercing bass 5 0 99
lytiny 8 0 25 oboreed 2 0 23 pine strummer 1 0 52 505
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
pipopi 2 0 25 sentimental mood 2 0 28 steroids 5 1 1
pitchoune 5 0 100 seventies lead 5 0 114 stormy weather 6 0 35
plastigorien 3 0 8 shakepad 1 0 58 street pluck 4 0 128
plinklies 8 0 36 shpad1 5 0 115 strings machine 1 0 62
pluckead 5 0 102 simple anakey1 4 0 114 strings machine 2 1 0 63
pluckeon 4 0 104 simple anakey2 4 0 115 stringtroen 1 0 64
podracer 6 0 28 simple anakey4 4 0 116 st-rum dx 4 0 126
polys20 4 0 105 simple fm 2 ops 4 0 117 sub bass 1 5 1 2
polysynthetix 4 0 106 simple fmkey 4 0 118 subway 5 1 3
potendu 7 0 10 simple lead even 5 0 116 sweethrice 1 0 65
pressow 1 0 53 simple lead odd 5 0 117 syncat 5 1 4
psy squelches 6 0 29 simple saw pad 5 0 118 synclit 5 1 5
pulse pluck 4 0 107 simple square pad 5 0 119 tabec 2 0 30
pulzz 5 0 103 simpledecay 5 0 120 tablast 7 0 13
pusher 1 0 54 simplephasemod 4 0 119 tales of feathers 1 0 66
pxlize 4 0 108 simplerez 5 0 121 talking kine 3 0 11
quiet carriers 5 0 104 sinefeel 8 0 38 tap sitar 1 0 67
radioactive zone 6 0 30 sinespray pad 5 0 122 tape melody 4 1 1
random trigger 6 0 31 skoto 1 0 59 taste of June 5 1 6
rateanis 5 0 105 slappinperc 7 0 12 tender stuck 8 0 40
reesotto 5 0 106 smeeb 5 0 123 terjintro 4 1 2
reesy rider 5 0 107 smooth mouth 3 0 9 testbench 13 0 5
releasy 8 0 37 smooth operator 1 0 60 th x 6 0 36
ren keyboard 4 0 109 solid square 5 0 124 the touch guitar 1 0 68
replicants dreams 4 0 110 solima 5 0 125 theo s bicycles 6 0 37
resizable guitar 1 0 55 sonogram 6 0 33 thick organ 4 1 3
reso nable 5 0 108 soprano recorder 2 0 29 thoria 8 0 41
resonant drum 1 7 0 11 soulfm 4 0 120 three waves 5 1 7
rewind time 5 0 109 soundboard 6 0 34 thrilla bass 5 1 8
ringad 5 0 110 souvenirs 3 0 10 tin whistle 2 0 31
ringmod harmonica 2 0 26 space flammenco 1 0 61 tine 4 1 4
riseandbe 4 0 111 spracher 4 0 121 tinolin 8 0 42
rising pad 5 0 111 spring shimming bell 8 0 39 tiny wish 5 1 9
roto string 1 0 56 squaluk 4 0 122 tinytine 8 0 43
rusty bass 5 0 112 squarynights 4 0 123 trepizcato 1 0 69
rusty square 5 0 113 squazodia 4 0 124 trumpey 4 1 5
sawVI 4 0 112 squeakysine 4 0 125 tubular bell 8 0 44
saxoon 2 0 27 stadium candy 4 0 127 twelve strings 1 0 70
scarlet 4 0 113 stadoor 5 0 126 twobanks 5 1 10
scie tard 1 0 57 stellaris 5 0 127 twozing 7 0 14
506
Preset Name CC0 CC32 PC
under the weather 5 1 11
underwater 8 0 45
unstable sum 5 1 12
upibanks 4 1 6
utopia 4 1 7
vbrass 1 2 0 32
velsquare 5 1 13
versaille 4 1 8
versailles brass 4 1 9
vibrim 8 0 46
vinkeilyd 4 1 10
vintage wide bass 5 1 14
viollaggio 1 0 72
violloiv 1 0 73
vln vla cel bass 2 11 0 9
vocalise 3 0 12
vorgaphone 4 1 11
walking blues 1 0 74
walking elephants 2 0 33
wallface 5 1 15
wardrum 7 0 15
waterphonie 6 0 38
wet feeling 6 0 39
whorus 4 1 12
windotron 4 1 13
windtube double reed 2 0 34
woodorgan 4 1 14
woodwind 2 0 35
woodybox 8 0 47
wopluk 1 0 75
wow soul chords 4 1 15
xpressive saw 5 1 16
yfm 4 1 16
yokobue 2 0 36
zapzap 6 0 40
zazipad 6 0 41
zenpercs 8 0 48
507
 Osmose Preset Categories and Program Change Codes
Instructions:
• Send to Port2/MIDIIN2 or DIN 2/5 or 4/5 Categories:
• Send on Midi Channel 16 (can try channel 2) • 0 – User
• CC0 = Category • 1 – Strings
• CC32 = 0, 1st 128 presets in Category, • 2 – Winds
• CC32 = 1, 2nd set of 128 presets in Category, etc. • 3 – Vocal
• Program Change: 1-128 (or subtract 1 for 0-127 • 4 – Keyboard (needs CC32=1 for full access)
index-based controllers) • 5 – Classic (needs CC32=1 for full access)
• Adjust CC+1 if your controller starts at 1 (for • 6 – Other
example in Ableton). • 7 – Percussion
• 8 – Tuned Percussion
• 11 – Midi (only a few presets here)
• 13 – Utility (only a few presets here)

Note: Two Keyboard (category 4) presets appears to have firmware issues. When indexed they throw off
subsequent indexing unless MSB/LSB are reset.
• cs80+ladder
• tine
508
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
acuitar 1 0 1 minimando 1 0 42 brassy 2 0 8
aplassian 1 0 2 model string wind 1 0 43 claribreath 2 0 9
archer 1 0 3 ngoni 1 0 44 clarinet 2 0 10
balloon from hanoi 1 0 4 noisyman 1 0 45 cosmic blues 2 0 11
banjoy 1 0 5 noisypad 1 0 46 double reed 2 0 12
bazambar 1 0 6 noisything 1 0 47 empyrean 2 0 13
biquide harp 1 0 7 numens strings 1 0 48 flip tube 2 0 14
bowreal lights 1 0 8 oblivion 1 0 49 flute transverse 2 0 15
canyon steel 1 0 9 pajestric 1 0 50 flutimut 2 0 16
cellove 1 0 10 paris texas 1 0 51 fm reed 2 0 17
cellovir 1 0 11 pine strummer 1 0 52 gowind 2 0 18
chamber mellobow 1 0 12 pressow 1 0 53 harmbrass 2 0 19
chamber strings 1 0 13 pusher 1 0 54 horn ytorink 2 0 20
crossynthar 1 0 14 resizable guitar 1 0 55 jennybrass 2 0 21
distortion guitar 1 0 15 roto string 1 0 56 microdelay pipewg 2 0 22
duocello 1 0 16 scie tard 1 0 57 oboreed 2 0 23
ebosin 1 0 17 shakepad 1 0 58 panpipe solo 2 0 24
electric bass 1 1 0 18 skoto 1 0 59 pipopi 2 0 25
electric bass 2 1 0 19 smooth operator 1 0 60 ringmod harmonica 2 0 26
ellis guitar 1 0 20 space flammenco 1 0 61 saxoon 2 0 27
erumi 1 0 21 strings machine 1 0 62 sentimental mood 2 0 28
expluck 1 0 22 strings machine 2 1 0 63 soprano recorder 2 0 29
fmwood&strings 1 0 23 stringtroen 1 0 64 tabec 2 0 30
fretless bass 1 0 24 sweethrice 1 0 65 tin whistle 2 0 31
fruku 1 0 25 tales of feathers 1 0 66 vbrass 1 2 0 32
grains pluck 1 0 26 tap sitar 1 0 67 walking elephants 2 0 33
gypsy kinetar 1 0 27 the touch guitar 1 0 68 windtube double reed 2 0 34
harmod 1 0 28 trepizcato 1 0 69 woodwind 2 0 35
harmolick 1 0 29 twelve strings 1 0 70 yokobue 2 0 36
hybrid harp 1 0 30 uki pizz 1 1 0 71 choir 3 0 1
hybrid strings 1 1 0 31 viollaggio 1 0 72 fof variableres 3 0 2
hybrid strings 2 1 0 32 violloiv 1 0 73 ghost voice 3 0 3
hybrid strings 3 1 0 33 walking blues 1 0 74 jenny choir 3 0 4
karkup 1 0 34 wopluk 1 0 75 kinespeech 3 0 5
karplus & modman 1 0 35 anareed 2 0 1 lost choir 3 0 6
kinetic soundboard 1 0 36 arcadiapan 2 0 2 modowel 3 0 7
koto 1 0 37 babrass 2 0 3 plastigorien 3 0 8
lacous bass 1 0 38 bansuri 2 0 4 smooth mouth 3 0 9
lips steel 1 0 39 brass fm 2 0 5 souvenirs 3 0 10
lost ensemble 1 0 40 brass fm2 2 0 6 talking kine 3 0 11 509
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
aerials 4 0 1 elsynkey 4 0 42 nband 4 0 83
altersaw 4 0 2 envinkin 4 0 43 neon key 4 0 84
ambiant analog 1 4 0 3 envinkon 4 0 44 neon key dreams 4 0 85
analog adsr 4 0 4 epiano1 4 0 45 notenstrum 4 0 86
analog scream 4 0 5 epiarom 4 0 46 ocherry 4 0 87
anthophila organ 4 0 6 etherry 4 0 47 octecho 4 0 88
aqueous feel 4 0 7 etines mk1 4 0 48 old pad machine 4 0 89
azure key 4 0 8 fancy brass 4 0 49 op repeat 4 0 90
bazikey 4 0 9 feleaz 4 0 50 opikey 4 0 91
beyond felt 4 0 10 fleme 4 0 51 organ 1 4 0 92
bits organ 4 0 11 fm basic 4-ops 4 0 52 organ 2 4 0 93
bleached organ 4 0 12 fm clav 1 4 0 53 organ 3 4 0 94
bowedsymphfm 4 0 13 fm dreampiano 4 0 54 organ 4 4 0 95
bright organ 4 0 14 fm piano1 4 0 55 organ barbar 4 0 96
churchorgan 4 0 15 foming 4 0 56 organ voxy 4 0 97
classicana key 4 0 16 game invader 4 0 57 organo wereyouthere 4 0 98
clavi 1 4 0 17 gimmirez 4 0 58 os2dx 4 0 99
clavichord 4 0 18 graceful integrated 4 0 59 osc dcf 4 0 100
clavicorda 4 0 19 hammers brushed 4 0 60 osc five 4 0 101
clawha 4 0 20 harpsichord 4 0 61 paliakey 4 0 102
copey 4 0 21 harpsytron 4 0 62 paperheart 4 0 103
copper club 4 0 22 hp tales 4 0 63 pluckeon 4 0 104
cp eight 4 0 23 ikia 4 0 64 polys20 4 0 105
cs80+ladder 4 0 24 insert coins 4 0 65 polysynthetix 4 0 106
declanche 4 0 25 iziki 4 0 66 pulse pluck 4 0 107
deven 4 0 26 jaymar toy piano 4 0 67 pxlize 4 0 108
dfm 4 0 27 jumpare 4 0 68 ren keyboard 4 0 109
disco dawn 4 0 28 jupinard 4 0 69 replicants dreams 4 0 110
double saw 4 0 29 jx10 1b 4 0 70 riseandbe 4 0 111
dx1 4 0 30 kakey 4 0 71 sawVI 4 0 112
dx2 4 0 31 kinaflap 4 0 72 scarlet 4 0 113
dx3 4 0 32 kinafun 4 0 73 simple anakey1 4 0 114
dx4 4 0 33 kinetic analog 4 0 74 simple anakey2 4 0 115
dxim 4 0 34 klavunk 4 0 75 simple anakey4 4 0 116
efferie 4 0 35 ladagcer 4 0 76 simple fm 2 ops 4 0 117
efmope 4 0 36 lavaya 4 0 77 simple fmkey 4 0 118
eightiki 4 0 37 lilly 4 0 78 simplephasemod 4 0 119
ekeynox 4 0 38 lino 4 0 79 soulfm 4 0 120
electric keys 1 4 0 39 lost beacon 4 0 80 spracher 4 0 121
electric keys 5 4 0 40 magic pluck 4 0 81 squaluk 4 0 122 510
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
squazodia 4 0 124 chordead 5 0 21 juknow that bass 5 0 62
squeakysine 4 0 125 classicana lead 5 0 22 julia 5 0 63
stadium candy 4 0 127 classipad 5 0 23 jupipad 5 0 64
street pluck 4 0 128 cold lead 5 0 24 kinetic anaseq 5 0 65
st-rum dx 4 0 126 column of eternity 5 0 25 kinetic satpad 5 0 66
tape melody 4 1 1 coridor 5 0 26 ladder bass 5 0 67
terjintro 4 1 2 crossmod 5 0 27 lalalead 5 0 68
thick organ 4 1 3 cs80+ladder II 5 0 28 lampadaire 5 0 69
tine 4 1 4 cycle and duty 5 0 29 larekin 5 0 70
trumpey 4 1 5 dabka 2022 5 0 30 larekin 2 5 0 71
upibanks 4 1 6 deep corners 5 0 31 leadio 5 0 72
utopia 4 1 7 delight lead 5 0 32 lighthouse 5 0 73
versaille 4 1 8 dirt acid 5 0 33 lililead 5 0 74
versailles brass 4 1 9 dirty osc pad 5 0 34 living pad 5 0 75
vinkeilyd 4 1 10 doubleslap 5 0 35 lonely square 5 0 76
vorgaphone 4 1 11 edgy fm 5 0 36 lost operator 5 0 77
whorus 4 1 12 essendar 5 0 37 main square 5 0 78
windotron 4 1 13 fat model d 5 0 38 malgo 5 0 79
woodorgan 4 1 14 flunkly 5 0 39 minor de fond 5 0 80
wow soul chords 4 1 15 fm 2612 5 0 40 moving slate 5 0 81
yfm 4 1 16 fm brassypoly 5 0 41 munsplen 5 0 82
abyss lands 5 0 1 fm darkness 5 0 42 music box bells 5 0 83
acid bass 5 0 2 fm doublebass 5 0 43 night bass 5 0 84
acouskop 5 0 3 fm slapman 5 0 44 nostalgia 5 0 85
algo call 5 0 5 forgotten animal 5 0 45 notiseq 5 0 86
alienvers 5 0 4 forty eight db 5 0 46 nynx 5 0 87
anatolianpad 5 0 6 fourad 5 0 47 op offset 5 0 88
another big one 5 0 7 funky lead 5 0 48 opead 5 0 89
astral titans 5 0 8 futazz 5 0 49 opeal 5 0 90
bandrive paradise 5 0 9 gabber 21 5 0 50 outspoken 5 0 91
bass distosine 5 0 10 grandma's garden 5 0 51 pad 101 5 0 92
bass monster 5 0 11 granu osc 5 0 52 padding time 5 0 93
bass pad 5 0 12 grittysaw 5 0 53 padorama 5 0 94
beny s territory 5 0 13 grubbead 5 0 54 padorgan 5 0 95
blasiz 5 0 14 hantpad 5 0 55 perseus supernova 5 0 96
brassimple 5 0 15 hollowrez 5 0 56 phase machine 5 0 97
brave fields 5 0 16 hoovasquare 5 0 57 pi-bass 5 0 101
carifem 5 0 17 interkin 5 0 58 pickope 5 0 98
cherie fm 5 0 18 jenny fm 5 0 59 piercing bass 5 0 99
chick s lead 5 0 19 jenny pulse 5 0 60 pitchoune 5 0 100 511
Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC Preset Name CC0 CC32 PC
pulzz 5 0 103 xpressive saw 5 1 16 zazipad 6 0 41
quiet carriers 5 0 104 after the rain 6 0 1 ghabla 7 0 1
rateanis 5 0 105 bacteria 6 0 2 hyoshigi 7 0 2
reesotto 5 0 106 bird whistler 6 0 3 ishango bone 7 0 3
reesy rider 5 0 107 blipkrieg 6 0 4 kaitof 7 0 4
reso nable 5 0 108 celestial basin 6 0 5 kick bass slide 7 0 5
rewind time 5 0 109 cork the bottle 6 0 6 marlin perkins 1 7 0 6
ringad 5 0 110 crackling things 6 0 7 metarmonix 7 0 7
rising pad 5 0 111 creaker 6 0 8 octalive drum 7 0 8
rusty bass 5 0 112 electric wazoo 6 0 9 patacalbas 7 0 9
rusty square 5 0 113 electrical bacher 6 0 10 potendu 7 0 10
seventies lead 5 0 114 entanglement 6 0 11 resonant drum 1 7 0 11
shpad1 5 0 115 fdn crazyness 6 0 12 slappinperc 7 0 12
simple lead even 5 0 116 floppy disk lands 6 0 13 tablast 7 0 13
simple lead odd 5 0 117 futur engine 6 0 14 twozing 7 0 14
simple saw pad 5 0 118 geiger insects 6 0 15 wardrum 7 0 15
simple square pad 5 0 119 howling sines 6 0 16 alacloud 8 0 1
simpledecay 5 0 120 kinetic bowed fdn 6 0 17 badratios bell 8 0 2
simplerez 5 0 121 kinetic dragon 6 0 18 balafun 8 0 3
sinespray pad 5 0 122 kinetic micromotor 6 0 19 bells of digul 8 0 4
smeeb 5 0 123 kinetic overtones 6 0 20 biquide hang 8 0 5
solid square 5 0 124 lonely data 6 0 21 biquide steel 8 0 6
solima 5 0 125 marie s birds 6 0 22 biquige bell 8 0 7
stadoor 5 0 126 mojo of fdn 6 0 23 bouncing spray 8 0 8
stellaris 5 0 127 mystaring 6 0 24 brightbank 8 0 9
sterelead 5 0 128 nails on metal 6 0 25 celestial 8 0 10
steroids 5 1 1 nofiad 6 0 26 clings 8 0 11
sub bass 1 5 1 2 pcs Dandelion 6 0 27 crystal harmonics 8 0 12
subway 5 1 3 podracer 6 0 28 cumulus 8 0 13
syncat 5 1 4 psy squelches 6 0 29 dolce cristallo 8 0 14
synclit 5 1 5 radioactive zone 6 0 30 etalophone 8 0 15
taste of June 5 1 6 random trigger 6 0 31 feltgrains 8 0 16
three waves 5 1 7 scratching fdn 6 0 32 fm glacier 8 0 17
thrilla bass 5 1 8 sonogram 6 0 33 fm hang perc 8 0 18
tiny wish 5 1 9 soundboard 6 0 34 fukuel 8 0 19
twobanks 5 1 10 stormy weather 6 0 35 gamelan spinner 8 0 20
under the weather 5 1 11 th x 6 0 36 grandfather clock 8 0 21
unstable sum 5 1 12 theo s bicycles 6 0 37 labello 8 0 22
velsquare 5 1 13 waterphonie 6 0 38 lamellas 8 0 23
vintage wide bass 5 1 14 wet feeling 6 0 39 libellule 8 0 24 512
Preset Name CC0 CC32 PC
malabel 8 0 26
marombox 8 0 27
martine 8 0 28
mattalo 8 0 29
mbiraski 8 0 30
nimbus 8 0 31
ocean triggs 8 0 32
op2bell 8 0 33
petit carillon 8 0 34
pinkphone 8 0 35
plinklies 8 0 36
releasy 8 0 37
sinefeel 8 0 38
spring shimming bell 8 0 39
tender stuck 8 0 40
thoria 8 0 41
tinolin 8 0 42
tinytine 8 0 43
tubular bell 8 0 44
underwater 8 0 45
vibrim 8 0 46
woodybox 8 0 47
zenpercs 8 0 48
bella fm 11 0 1
brass fm3 11 0 2
carbon marimba 11 0 3
eighty neon 11 0 4
emancikey 11 0 5
june sunset 11 0 6
legacy dx ep 11 0 7
pad awan 11 0 8
vln vla cel bass 2 11 0 9
CVC 1 voice 13 0 1
CVC 2 voices 13 0 2
CVC 4 voices 13 0 3
empty 13 0 4
testbench 13 0 5

513
 Osmose System Presets
Firmware 10.09
Concordance
This list of the 10.09 presets will indicate what EaganMatrix resources and
techniques are used in each to help search for things to study.
Concordance Abbreviations:
• ^3 – Cubed row value • Inv-Mult – Invert then Multiple • UN/Undef – Used but not defined
• -100 – 100 ms, etc. (used in Delay spec) • Limit – Uses Active Limited • VNum – W Voice Number function
• 1LP, 1HP – Single Pole Low or High Pass Filter • LP (n) – Low Pass Filter, N = Cascade • X-Octave – (Uses X results proportional to Octave – many
• (Q) – Formula Q (etc.) • M, Rn – Indicates Recirc programmed Mix or Rn presets do)
• Anc-FxF – Ancillary Formula x Formula • nn – Uses Midi Note Number Conversion • Z-Off – Z function returns to Zero
• AP – All Pass Filter • NU – Defined but Not Used • Z-On – Z Function start 0, then jumps to max
• BP – Band Pass Filter • Port-8 – Pressure Glide-interval 8=Octave, 2=2nd, etc. • Z-Tap/Y-Tap – Z (or Y) Scaled Pulse (or other shape)
• BR – Band Reject (Notch) Filter • Post – Post Recirc Convolution creating tap Gesture
• Crv – X, Y, Z uses an S curve • Pre – Pre-Recirc Convolution
• DefMax – Maximum Deflation • Qnt – Quantization used
• Derv (Y+Z) – Derivative (Y & Z) • Rel – Relative Transfer function
• Dly – Delay • Rnd-Init – Rounding Initial On
• Dn – Down (as in Gentle Down SG) • S&H-Row, (N) – Sample and Hold of row or formula
• Ext – Extend • S&H-Form – Sample and Hold of Formula
• Finger-Avg – Finger Average/Touch Area • sLP, sHP – Shelving Low or High Pass filter
• FDel – Formula Delay • Sq – Squared Transfer function
• HP – High Pass Filter • Sqrt – Square Root function
• Int – Interpolation • T4 – Indicates Taps and how many if used in Delay
• Inc-Comp – Uses Increased Computation • Tn – Tap Number (used on 1LP)

Note: After about number 250, in Interesting Things column, start listing different techniques of interest (like Z-Tap, etc.) and remove a lot of the Ancillary settings
that you have plenty to search for in the first 250 presets cataloged. “Things of Note” are totally subjective on my part. Not intended to be a complete list of things. 514
Num Name OSC/Filter 1 OSC/Filter 2 OSC Filter 3 Osc Filter 4 OSC Filter 5 Bank A Bank B Bank C Recirc/Conv Ancillary Use & Things of Note
1abyss lands Phase (Sun7) OSC BP (4) OSC OSC Kinetic Summed Dly=400, T4 Reverb Ext-R1/ Pre S&H-Row
2acid bass OSC OSC OSC LP (3) HP (4) Summed Dly=400, T2 Reverb Ext
3acouskop OSC OSC OSC LP(2) OSC ModMan (Ukelele 1) Reverb / Pre Port-8, Derv (X, Y, Z)
4acuitar OSC OSC LP (1) LP (1) BR (4) ModMan (Sprong) Summed Dly=400, T4 Reverb Ext / Pre Port-2, Derv (X, Y, Z), SG-Phase RMS
5aerials OSC OSC OSC OSC Kinetic Summed Dly=100, T2 Swept Echo Ext Pow3, Pow2
6after the rain OSC BP (2) OSC BP (2) OSC BiqBank 16 Summed Dly=400, T2 Reverb Ext / Pre-Post S&H-Row, Qnt 1
7alacloud BR (3) OSC BR (3) LP (2) ModMan (Oboe2) Voice Dly=400, T4 Mod Dly Ext / Pre Qnt ½, Linear X
8alenvers OSC OSC OSC OSC OSC Voice Dly=400, T2 Mod Dly Ext-M Finger Avg, Quant ½, Blend-Sqrt
9algo call OSC OSC OSC LP (3) LP (3) Wavebank (Square) Summed Dly=100, T2 Mod Dly Ext Non-Zero Z, Pow2
10altersaw IOSC IOSC IOSC IOSC IOSC Kinetic Reverb X-Crv, Pow2, Derv Z, Pow ¼
11ambiant analog 1 OSC OSC OSC OSC OSC WaveBank (Square) Kinetic Analog Echo Ext-R4
12analog adsr OSC LP (4) OSC LP (4) WaveBank (Saw) WaveBank (Saw) Voice Dly Analog Echo, R4 Limiter, Pow4, S&H-Row, Y-Crv
13analog scream IOSC IOSC HP (1) LP (4) LP (3) WaveBank (Saw) WaveBank (Saw) Delay HPF Ext Pow2, Log 1, Qnt ½
14anareed LP (1) BP (1) HP (1) IOSC OSC WaveBank (Square) Reverb Ext / Pre Port-2
15anatolianpad OSC OSC OSC BP (1) HP (1) Voice Dly=200, T2 Reverb Qnt ¼
16another big one Phase (Sum7) OSC Kinetic Analog Echo Ext Qnt 1
17anthophila organ OSC OSC OSC OSC BR (4) Voice Dly=400, T2 Qnt 1
18aplassian OSC LP (2) LP (2) ModMan (Toy P. Strike) ModMan (Ukelele2) Mod Dly Ext / Pre Port-2, Derv (X,YZ)
19aqueous feel IOC IOC BP (4) LP (2) WaveBank (Square) Kinetic Mod Dly Ext Z invert scale
20arcadiaPan IOSC OSC BP (1) OSC LP (1) WaveBank (Triangle) BiqBank 8 Analog Echo / Pre Port-2
21archer OSC JOSC (Smooth) OSC OSC BP (2) HarMan (Viola Legato) ModMan (Viola Legato) Reverb Ext / Pre S&H-Row
22astral titans OSC OSC OSC Phase (Sum 7) Mult Kinetic Reverb Ext, R1 SubMix, Qnt 1, Blend Sqrt
23azure key OSC IOSC OSC JOSC (Sharp) OSC Kinetic Reverb SG Phase, RMS, SG Gen Up, Pow ½
24babrass LP (1) OSC OSC OSC OSC ModMan (Viola Legato) ModMan (Oboe 1) Reverb Ext / Pre
25Bacteria 1LP (1) 1LP (1) 1LP (1) 1LP (1) LP (4) BiqBank 48 Micro Dly=25, T4 Mod Delay-M / Post
26badratios bell OSC IOSC OSC IOSC Mult Mod Dly / Pre Qnt ¼ , Qnt ½
27Balafun OSC OSC LP (1) ModMan (Marimba Soft) HarMan (mBiraski) Reverb / Pre
28balloon from hanoi OSC 1HP (1) Kinetic BiqBank Var Reverb / Pre Port-2, X-Crv+Y-Crv, Qnt 1, Low Int
29bandrive paradise OSC JOSC (Smooth) BP (1) OSC LP (1) Summed Dly=400, T4 Reverb Inc-Comp, Blend-Sqrt
30Banjoy LP (1) OSC OSC OSC OSC ModMan (Ukelele1) ModMan (Ukelele1) Reverb / Pre Step-Z, Derv (X,Y), SG-Phase RMS
31Bansuri OSC OSC 1HP (1) LP (1) LP (1) BiqMouth Micro Dly=25, T1? Reverb Ext / Pre Port-8, Pow1, Pow2
32bass distosine OSC OSC OSC OSC LP (4) Reverb Port-3, Limiter, Blend-Sqrt, Z-Off
33bass monster OSC 1HP (1) OSC OSC 1LP (4) WaveBank (Saw) Analog Echo Port-3, Pow-3
34bass pad Phase (Sum 7) Phase (Sum7) Mult Kinetic Analog Echo Ext Y-Crv, Blend-Sqrt
35bazambar OSC OSC LP (1) LP (1) ModMan (String Tap) HarMan (String Tap) Analog Echo Ext
36bazikey OSC OSC OSC OSC LP (2) BiqBank 48 Voice Delay-50, T2 Reverb Pow2, Step-Z, Qnt ½, Blend-Sq
37bella fm OSC OSC OSC OSC Swept Echo Ext Qnt ½, Step-Z
38bells of digul OSC OSC Mult LP (1) SineBank 8 HarMan (Bell) Reverb / Pre Rnd-Init, Pow ¼, nn, Pow ½,Qnt ¼
39beny's territory OSC OSC OSC OSC BiqBank 48 Voice Dly=800, T4 Reverb Ext / Pre Qnt1, Qnt1/2, S&H-Row, Blend-Sqrt
40beyond felt OSC OSC OSC OSC LP (1) ModMan (Ukelele1) HarMan (Viola Legato) Reverb Ext / Pre Pow2, Qnt1, Derv (Z)
41biquide hang OSC OSC LP (1) LP (1) LP (1) ModMan (Marimba Soft) Micro Dly=25, T2 Reverb / Pre-Post Qnt ¼
42biquide harp OSC OSC LP (1) LP (1) LP (1) BiqBank 8 Micro Dly=12.5, T2 Reverb / Pre Qnt 1
43biquide steel OSC OSC LP (1) LP (1) LP (1) BiqBank 8 Micro Dly=25, T2 Reverb / Pre
44biquige bell OSC OSC LP (1) LP (1) LP (1) BiqBank 8 Micro Dly=25, T2 Swept Echo Ext / Pre Qnt 1
45bird whistler OSC SineSpray BiqBank 8 Summed Dly=200 Reverb High-Int
46bits organ LP (2) WaveBank (Square) Summed Dly=50, T4 Swept Echo / Pre Step-Z, Qnt1, Step-Y
47blasiz OSC OSC LP (4) WaveBank (Square) Kinetic Delay LPF Ext-R2 Port-2, Blend-Sqrt
48bleached organ OSC JOSC (Sharp) OSC OSC OSC SineBank 8 Kinetic Reverb / Pre
49blipkrieg OSC OSC OSC OSC Mult Micro Dly=200, T4 Analog Echo-R4 Derv(Z), Derv (Y+Z), Pulse-End, S&H-row
50bouncing spray IOSC OSC OSC LP(2) LP (1) SineSpray BiqBank 48 Voice Dly=800 Reverb Ext / Pre SubMix, SG-Phase RMS, 515
Qnt ½
51/ PreBowedsymphfm OSC OSC OSC LP (1) LP (1) Kinetic ModMan (String Tap 3) Reverb Ext Derv (Z), Clk
52bowreal lights OSC OSC Phase (Sum 7) OSC LP (1) ModMan (Viola Legato) HarMan (Viola Legato) Reverb Ext-R1 / Pre High-Int, Derv (Z), Blend-Sqrt
53brass fm OSC OSC OSC OSC BR (2) SineBank 8 SineBank 8 Reverb / Pre Port-2
54brass fm2 IOSC OSC BR (2) OSC BP (2) Reverb / Pre Port-2, Blend-Sq
55brass fm3 OSC OSC BR (1) OSC OSC HarMan (Brass) BiqBank 8 Reverb / Pre Port-2, S&H-Row,
56brassimple OSC OSC IOSC LP (4) WaveBank (Square) Summed Dly=50, T2 Reverb Ext Blend-Sqrt
57brasswind OSC OSC OSC LP (1) BiqBank 48 Voice Dly=400, T4 Reverb Ext-R1 / Pre-Post SubMix, Blend-Sq
58brassy IOSC IOSC LP (1) IOSC ModMan (Metal) Kinetic HarMan (Brass) SG-Phase RMS, FDel(K) undefined
59brave fields OSC OSC OSC BP (2) LP (3) WaveBank (Saw) Reverb Ext-R1 /Pre SubMix, Pow4
60bright organ OSC OSC OSC OSC LP (4) BiqBank 8 WaveBank (Square) Reverb SG-Phase RMS
61brightbank IOSC IOSC LP (2) LP (2) BiqBank 48 Voice Dly=400, T2 Reverb Ext High-Int. Derv (Y+Z)
62canyon steel IOSC OSC IOSC LP (1) ModMan (Viola Legato) Summed Dly=400, T2 Reverb Ext / Pre PScaler (B), High-Int
63carbon marimba LP (1) LP (1) BiqBank 48 BiqBank 48 Reverb / Post Pow4, SG Square, Qnt ½, Pow1
64carifem OSC OSC OSC OSC OSC Mod Dly Extend S&H-row, Qnt ½
65celestial OSC OSC OSC LP (1) LP (1) BiqBank 16 HarMan (Toy Piano 2 Strike) Reverb Extend / Pre Step-Z, Pow2, Qnt1
66celestial basin HarMan (Metal) BiqBank 48 Mod Dly / Pre
67cellove LP (2) OSC OSC Phase (Sum 7) LP (1) ModMan (Viola Legato) HarMan (Viola Legato) Reverb Ext / Pre S&H-Row, High-Int
68cellovir OSC OSC LP (4) HarMan (Viola Legato) ModMan (Viola Legato) Reverb Ext / Pre-Post S&H-Row
69chamber mellobow OSC OSC OSC LP (1) HarMan (Viola Legato) ModMan (Viola Legato) Reverb Ext / Pre VNum (H), S&H-Row
70chamber strings sHP (1) sHP (2) HarMan (Viola Legato) HarMan (Viola Legato) Reverb Ext-M / Pre Pow 1.5, Z-Crv, nn (H)
71cherie fm OSC OSC OSC OSC LP (2) WaveBank (Saw) Voice Dly=400, T4 Reverb Ext Port-8, Qnt ¼
72chick s lead OSC IOC OSC LP (4) WaveBank (Saw) Voice Dly=50, T2 Reverb Port-8, Log 1
73choir HP (1) LP (1) WaveBank (Saw) BiqMouth Summed Dly=200, T2 Mod Dly Ext / Pre Z-Off, nn, Pow 1.5, Min 2
74choir additive IOSC Additive Additive Mod Dly nn
75chordead OSC OSC OSC OSC OSC Kinetic Delay LFP Ext Port-8, Clk
76churchorgan OSC OSC LP (2) LP (1) BiqGraph 48 WaveBank (Saw) Summed Delay-50, T2 Reverb Ext / Pre Blend-Sqrt, fx10, Pow 2
77claribreath OSC OSC OSC LP (1) HarMan (Clarinet 2) ModMan (Clarinet 2) Reverb Ext / Pre port-8, Pow ½, Pow 2, Blend-Sq
78clarinet OSC OSC BiqGraph 48 Reverb / Pre Limiter, Pow 3, Qnt ½
79classicana key OSC OSC OSC OSC LP (1) Summed Dly=400, T4 Reverb Ext
80classicana lead OSC OSC LP (1) Summed Dly=400, T4 Reverb Ext High-Int, Blend-Sqrt
81classipad OSC OSC Phase (Sum 7) OSC LP (4) WaveBank (Saw) Summed Dly=50, T4 Reverb Ext-R1 Blend-Sqrt
82clavi 1 AP (4) AP (4) OSC BP (2) LP (1) ModMan (Ukelele 2) SineBank 8 Reverb Ext / Pre SG-Phase RMS, Derv (X+Y+Z), Pow2
83clavichord OSC BP (2) HP (1) BiqBank Var BiqBank 48 Reverb / Pre Derv (Y), Blend-Sq, nn,
84clavicorda OSC OSC OSC LP (1) OSC SineBank HarMan (Ukelele 1) Reverb / Pre SG-Phase RMS,
85clawha OSC BP (4) OSC OSC LP (1) BiqBank 8 SineBank Reverb / Pre Pow 3
86clings OSC LP (1) LP (1) BiqBank 32 BiqBank 32 Reverb Ext / Pre SG-Phase RMS, Clk, High-Int, Pows
87cold lead OSC OSC OSC LP (2) LP (4) Summed Dly=400, T1?
88column of eternity OSC OSC OSC OSC LP (1) Voice Dly=400, T4 Reverb Ext-R1 Pow 2
89copey OSC OSC OSC LP (4) LP (1) ModMan (String Tap 3) ModMan (Str Tap 2) Reverb / Pre Qnt 1, Step-Z
90copper club OSC OSC OSC OSC OSC Summed Dly=200, T4 Reverb High-Int
91coridor OSC OSC OSC OSC Phase (Sum 7) SineBank 8 Summed Dly=400, T4 Reverb-R4-R1
92cork the bottle OSC OSC HP (1) Summed Dly=50 Reverb Crv-Z
93cosmic blues OSC OSC OSC LP (2) BP (1) HarMan (Metal) Mod Dly Extend / Pre Blend-Sq
94cp eight OSC OSC OSC LP (4) LP (1) BiqBank 48 ModMan (Viola Legato) Reverb Ext / Pre Qnt 1, S&H-Row
95crackling things OSC OSC OSC HP (4) LP (4) Kinetic Reverb / Pre S&H-Form
96creaker OSC OSC Mult HP(3) HP (3) Micro Dly=400, T4 Reverb / Post
97crossmod OSC OSC OSC OSC OSC Summed Dly=100, T4 Reverb Ext Qnt ¼
98crossynthar OSC OSC OSC BP (3) LP (1) BiqBank 32 Reverb / Pre-Post Derv (X+Y+Z), Qnt ½
99crystal harmonics LP (3) LP (1) IOSC IOSC OSC ModMan (crystal) ModMan (Ukelele 3) Mod Dly Ext / Pre-Post Qnt 1, Qnt ¼
100cs80+ladder IOCS IOSC OSC OSC 1LP (4) Summed Dly=400, T2 Delay HPF-R1
516
Anc FxF, Pow 2, High-int
101cs80+ladder II OSC 1LP (4) WaveBank (Saw) Summed Dly=400, T2 Reverb Ext-R1 Qnt ¼, Blend-Sqrt, S&H-Row, nn. Pow 2
102cumulus IOSC LP (1) SineSpray BiqBank 48 Voice Dly=200 Mod Dly / Pre Z-Off, Mod 1, Qnt ½
103CVC 1 voice OSC CVC
104CVC 2 voices OSC CVC
105CVC 4 voices OSC CVC
106cycle and duty IOSC OSC 1LP (4) 1LP (4) WaveBank (Square) WaveBank (Square) Summed Dly=400, T4 Reverb Ext-R1 Derv (Y+Z), High-Int,
107dabka 2022 OSC OSC OSC OSC LP (2) WaveBank (Square) HarMan (Oboe 1) Mod Dly Extend / Pre Port-8, Bend-Sq, High-Int,
108declanche OSC OSC OSC OSC LP (1) WaveBank (Triangle) Summed Dly=400, T4 Reverb Ext Qnt ½, High-Int
109deep corners IOSC OSC Kinetic WaveBank (Square) Reverb Ext Qnt ¼
110delight lead OSC IOSC LP (1) OSC :LP (4) Summed Dly=400, T4 Reverb Ext Pow 2, Qnt ½
111deven OSC OSC OSC LP (4) LP (1) BiqBank 16 BiqBank 8 Reverb / Pre Step-Z
112dfm OSC OSC OSC OSC IOSC Analog Echo-R2 Qnt ½
113dirt acid OSC OSC OSC OSC LP (1) Kinetic WaveBank (Square) Reverb Ext Port-8, Blend Form
114dirty osc pad IOSC OSC OSC 1HP (1) OSC Kinetic Summed Dly=800, T2 Swept Echo Ext-M / Pre Finger-Avg (I,K,M), S&H-Row
115disco dawn OSC OSC OSC OSC Kinetic Analog Echo Ext Pow 3
116distortion guitar OSC OSC OSC HP (1) sLP (1) ModMan (Pizz Soft) ModMan (Pizz Loud) Analog Echo / Pre Port-2, Limiter (L), Anc W Offset (U)
117dolce cristallo OSC BiqBank 48 Reverb / Pre 81Hz SG (about as fast as ever used)
118double reed OSC LP (1) HP (1) HarMan (Oboe 1) BiqBank 8 Reverb / Pre Crv-Z, Min 3,
119double saw LP (1) LP (4) LP (4) WaveBank (Saw) WaveBank (Saw) Voice Dly=400, T4 Reverb Qnt ¼
120doubleslap OSC OSC LP (1) OSC OSC Kinetic ModMan (Flute 1) Reverb Ext / Pre-Post SG-Phase RMS (H,T), Qnt 1,
121duocello OSC JOSC (Smooth) OSC LP (1) Phase (Sum 7) BiqBank 32 HarMan (Viola Legato) Reverb Ext-R1 /Pre Port-M3, Qnt 1, (Anc f+0 – Why use this?)
122dx1 OSC OSC OSC OSC Mult Voice Dly=50, T2 Reverb Qnt ½, High-Int
123dx2 OSC OSC OSC OSC Mod Dly Ext Qnt ½
124dx3 OSC OSC IOSC IOSC Reverb / Pre
125dx4 OSC OSC OSC LP (1) Voice Dly=400, T4 Reverb Ext Qnt ½, High-Int
126dxim OSC OSC OSC OSC SineBank 16 Voice Dly=400, T4 Reverb Ext-R1-R2 Qnt ¼
127ebosin OSC OSC Phase (Sum 7) LP (4) LP (1) ModMan (Ukelele 1) HarMan (Viola Legato) Reverb Ext High-Int
128edgy fm OSC LP (2) sLP (2) sLP (2) OSC WaveBank (Saw) Voice Dly=50, T4 Mod Dly Ext Port-8, Qnt 1/4
129efferie OSC OSC OSC IOC LP (1) BiqBank 32 Voice Dly=50, T2 Mod Dly Ext Qnt 1, Step-Z
130efmope OSC OSC LP (1) SineBank 8 SineBank 8 Mod Dly Ext Qnt ½
131eightiki OSC IOSC OSC OSC IOSC Kinetic Summed Dly=50, T2 Reverb Ext High-Int
132eighty neon OSC LP (4) OSC OSC OSC SineBank 8 Voice Dly=100, T2 Reverb Ext Pow 3, High-Int
133ekeynox OSC OSC LP (4) WaveBank (Square) Voice Dly=50, T2 Analog Echo
134electric bass 1 OSC LP (4) OSC OSC OSC ModMan (Viola Legato) SineBank 8 Reverb / Pre Port-8, SubMix, Derv (Y+Z)
135electric bass 2 OSC OSC OSC LP (2) ModMan (String Tap 1) HarMan (Viola Legato) Reverb / Pre Port-8
136electric keys 1 OSC OSC OSC OSC LP (2) Harman (Toy Piano 1) BiqBank 8 Reverb / Pre Pow 3, Qnt 1
137electric keys 5 OSC OSC OSC OSC LP (2) ModMan (String Tap 1) BiqBank 8 Reverb / Pre Qnt 1, Step-Z
138electric keys 6 OSC OSC OSC OSC LP (2) ModMan (Ukelele 2) BiqBank 16 Reverb / Pre Qnt 1
139electric wazoo Phase (Sum 7) OSC Mult BiqBank 48 Voice Dly=200, T2 Reverb / Pre Pow 3
140electrical bacher OSC OSC OSC OSC OSC ModMan (Metal) Reverb Ext / Pre Qnt 1
141ellis guitar OSC LP (1) OSC OSC LP (1) ModMan (String Tap 3) Summed Dly=400, T4 Reverb / Pre-Post Port-2, Derv (X+Z), High-Int
142elsynkey OSC JOSC (Smooth) JOSC (Smooth) OSC LP (4) Summed Dly=50, T2 Delay LPF Ext
143emancikey OSC OSC OSC LP (2) LP (4) Summed Dly=400, T4 Reverb Ext-R1 High-Int, Qnt 1
144empty
145empyrean Phase (1..0) OSC Mult OSC OSC Voice Dly=50 Mod Dly / Pre Inv-Mult
146entanglement OSC OSC HP (1) LP (1) WaveBank (Saw) WaveBank (Triangle) Voice Dly=400, T4 Reverb Ext / Post High-Int
147envinkin OSC LP (1) OSC OSC OSC Kinetic Summed Dly=50, T2 Reverb Ext-R1 High-Int
148envinkon OSC LP (1) OSC OSC OSC Kinetic Summed Dly=400, T2 Reverb Ext-R1 High-Int
149epiano1 OSC OSC OSC OSC LP (1) BiqBank 8 SineBank 8 Reverb / Pre Pow 2, Qnt 1
150epiarom OSC OSC OSC OSC LP (1) BiqBank 8 Reverb / Pre Pow 3, Qnt 1 517
151erumi IOSC IOSC IOSC OSC LP (1) HarMan (Viola Legato) ModMan (Viola Legato) Reverb / Pre-Post Port-2
152essendar OSC OSC OSC OSC LP (4) Summed Dly=400, T4 Reverb Ext SG-Hann (H)
153etalophone OSC OSC OSC ModMan (Viola Legato) Reverb Ext / Pre Derv (Y+Z), Qnt ½, Qnt 1
154etherry OSC OSC IOSC OSC BP (1) ModMan (Kalimba Hard) Voice Dly=50, T4 Mod Dly Extend Qnt ½
155etines mk1 OSC IOSC OSC LP (4) LP (1) ModMan (Ukelele 1) ModMan (Toy Piano Strike) Reverb / Pre Step-Z
156expluck OSC IOSC OSC BR (3) LP (1) ModMan (Kalimba Hard) Kinetic Delay LPF Ext / Pre Qnt ½
157fancy brass IOSC IOSC LP (4) LP (3) WaveBank (Saw) WaveBank (Saw) Reverb Pow 2
158fat model d OSC LP (4) WaveBank (Saw) Reverb Log 1
159fdn crazyness 1LP (1) 1LP (1) 1LP (1) 1LP (1) OSC WaveBank (Saw) Micro Dly=200, T4 Reverb Ext 1LP Tn, Limiter, SG-Hann, Pow 2
160feleaz OSC OSC OSC OSC OSC SineBank 8 Summed Dly=50, T2 Reverb Ext-R1 Qnt ½
161feltgrains OSC OSC LP (4) BiqBank 24 BiqGraph 24 Reverb / Pre Derv (Z), SG-Gentle Dn, Qnt 1
162fleme OSC OSC OSC OSC LP (1) Summed Dly=400 Reverb Ext-R1
163flip tube LP (1) BiqGraph 8 BiqBank 8 Summed Dly=400, T2 Reverb / Pre PScaler (F), Pow 5, Pow 2, Qnt 1
164floppy disk lands OSC OSC OSC OSC OSC SineBank Midco Dly=400, T4 Reverb Ext / Pre S&H Form, Qnt 1, Qnt ½, High-Int
165flunkly OSC OSC OSC OSC LP (4) WaveBank (Saw) WaveBank (Saw) Reverb Port-8
166flute transverse OSC OSC OSC BiqGraph 32 Reverb Limiter, nn, SG-Hann, Pow 4
167flutimut OSC OSC OSC LP (1) LP (1) Harman (Clarinet 1) ModMan (Flute 2) Reverb / Pre Port-2
168fm 2612 OSC OSC OSC IOSC LP (2) SineBank 8 SineBank 8 Voice Dly=50, T4 Mod Dly Ext-r2-R4 Qnt ½, High-Int
169fm basic 4-ops OSC OSC OSC OSC Reverb Qnt ¼, Pow 1, Pow 4
170fm brassypoly OSC OSC OSC OSC OSC Reverb Crv-Z, Qnt 1
171fm clav 1 OSC OSC OSC BP (1) OSC SineBank 8 Voice Dly=200, T2 Reverb / Pre-Post Pow 2, Qnt ½, High-Int
172fm darkness OSC OSC OSC OSC Voice Dly=50, T2 Reverb Qnt 1
173fm doublebass OSC OSC OSC LP (1) LP (2) SineBank 8 BiqBank 8 Reverb Port-M3, Pow 2, Qnt ½
174fm dreampiano IOSC OSC IOSC OSC OSC SineBank 8 BiqBank 40 Reverb-R4 Pow 2
175fm glacier OSC OSC OSC OSC OSC Voice Dly=400, T2 Reverb Qnt Form (A), Qnt 1
176fm hang perc OSC OSC OSC OSC OSC Voice Dly=200, T1 Reverb Qnt 1, Lots of Z Pulse Tap
177fm piano1 OSC OSC OSC OSC OSC Analog Echo-R4 / Pre Pow 2, Qnt ¼, Qnt ½, Crv-Y, Pow 1
178fm reed OSC OSC IOSC Phase (0..1..0) BR (3) WaveBank (Square) Reverb / Pre Port-2, Blend-Sqrt, Blend Sq
179fm slapman OSC OSC OSC OSC OSC Delay HPF Port-8
180fmwood&strings OSC OSC OSC OSC Reverb Ext / Pre Qnt 1
181fof variableRes Phase (1..0) OSC Mult Mult OSC ^3, Pow 2, Inv-Mult
182foming OSC OSC IOSC IOSC Mult SineBank 8 Mod Dly Pow 2, Step-Z, Qnt 1/2,
183forgotten animal OSC OSC OSC LP (4) OSC Kinetic Delay LPF Port-M3, Pow 2
184forty eight db OSC OSC LP (4) LP (4) WaveBank (Saw) WaveBank (Square) Delay LPF Ext Port-8, Pow 2
185fourad OSC LP (4) OPSC OSC OSC SineBank 8 Summed Dly=50, T2 Reverb Pow 3
186fretless bass OSC OSC OSC LP (1) BiqBank 16 4 Taps used by not defined Reverb Port-8, Qnt ¼
187fruku BR (3) LP (2) OSC ModMan (String Tap 2) Voice Dly=50, T4 Reverb / Pre Port-2, Step-Z
188fukuel BR (3) OSC LP (2) BR (3) LP (1) ModMan (Ukelele 1) Voice Dly=400, T4 Reverb Ext / Pre Qnt ½, High-Int
189funky lead WaveBank (Saw) Kinetic WaveBank (Square) Reverb Ext Use of Bank C for WaveBank
190futazz OSC OSC OSC LP (4) LP (4) Mod Dly Clk (I), Blend Sqrt, S&H-Row
191futur engine OSC OSC Mult Voice Dly=100, T4 Swept Echo Ext Port-Max, High-Int
192gabber 21 OSC OSC OSC OSC LP (1) WaveBank (Square) Voice Dly=200, T4 Reverb Port-8
193game invader OSC OSC OPC Mult Phase (Sum 7) WaveBank (Square) WaveBank (Triangle) Voice Dly=400, T4 Reverb Derv (Y)
194gamelan spinner OSC IOSC Mult HP (1) LP (1) BiqBank 48 HarMan (Toy Piano 1 Release) Reverb nn
195geiger insects OSC OSC OSC HP (1) Voice Dly=50 Reverb SubMix, SG-Hann
196ghabla OSC LP (1) LP (1) LP (1) LP (1) BiqBank 8 Micro Dly=12.5, T3 Reverb Ext / Pre
197ghost voice OSC OSC OSC OSC SineBank 8 Voice Dly=100, T4 Reverb Ext / Pre Port-8, Qnt ¼, Blend-Sq
198gimmirez OSC OSC OSC Kinetic Analog Echo-R1-R2
199gowind OSC OSC BP (1) IOSC IOSC BiqBank 24 ModMan (Ukelele 1) Reverb Ext / Pre 518Blend-Sq
Step-Y, Blend-Sqrt,
200graceful integrated IOSC IOSC IOSC BP (1) SineBank 8 Summed Dly=200, T4 Delay LPF Ext-R1-R2 / Pre High-Int
201grains pluck OSC BR (4) ModMan (Spiccato loud) Reverb Ext / Pre nn, Qnt ½, Step-Z
202grandfather clock BiqGraph 48 Reverb / Pre Qnt 1
203grandma's garden BP (4) OSC OSC OSC LP (1) ModMan (Metal) ModMan (Metal) Mod Dly Extend / Pre Pow 2, Qnt 1, S&H-Row
204granu osc OSC OSC OSC OSC OSC Mod Dly Clk (C), S&H-Row, Blend-Sqrt
205grittysaw OSC OSC OSC LP (2) LP (4) WaveBank (Saw) Reverb Port-8
206grubbead OSC OSC OSC OSC LP (1) SineBank 8 Summed Dly=50 T2 (NU) Reverb Ext-R1 Qnt ½
207gypsy kinetar OSC HP (1) OSC BP (1) AP (1) Kinetic ModMan (Pizz Loud) Reverb / Pre Port-2, SG-Phase RMS, Qnt 1
208hammers brushed HP (1) LP (3) OSC OSC OSC ModMan (mBiraski) HarMan (String Tap 3) Reverb Ext / Pre Derv (Z), Pow 2, Qnt 1, Gentle Dn
209hantpad OSC OSC OSC BP (1) OSC WaveBank (Triangle) Summed Dly=100, T2 Reverb Ext-R1 / Pre Port-Off?, SubMix, S&H-Row, Pow 3
210harmbrass OSC BR (1) OSC HarMan (Alto Sax) Reverb / Pre Port-2
211harmod OSC OSC OSC BP (1) HarMan (Viola Legato) ModMan (String Tap 2) Reverb Ext / Pre Port-2, VNum (E, G), S&H-Row
212harmolick OSC OSC OSC BR (3) LP (1) ModMan (Spiccato Loud) BiqBank 48 Reverb Ext / Pre Port-2
213harpsichord OSC HP (2) 1LP (1) BiqBank Var BiqBank Var Reverb / Pre Pow 1.5, nn, Blend-Sqrt
214harpsytron OSC OSC OSC OSC OSC SineBank 8 BiqBank 8 Delay LPF / Pre Qnt 1
215hollowrez OSC OSC OSC OSC Kinetic Reverb-R1 Port-8, Crv-Z
216hoovasquare OSC AP (4) AP (4) BP (1) LP (1) WaveBank (Square) Kinetic WaveBank (Square) Reverb Port-Off, Log 1.5, Crv-Y, Blend-Sqrt
217horn ytorink OSC OSC OSC BP (1) OSC Harman (brass) Reverb / Pre Port-2, SG-Hann
218howling sines OSC OSC OSC OSC LP (4) SineBank 8 Reverb Ext / Pre Derv (X) V shape (I,J)
219hp tales OSC HP (2) LP (2) OSC OSC WaveBank (Saw) Mod Dly Ext-R2 Pow 2, Pow 3
220hybrid harp OSC OSC OSC OSC LP (1) BiqBank 24 Reverb / Pre
221hybrid strings 1 OSC OSC Phase (Sum 7) LP (2) LP (1) ModMan (String Tap 1) Voice Dly=100, T4 Mod Dly
222hybrid strings 2 OSC Phase (Sum 7) OSC Kinetic HarMan (Viola Legato) Reverb Ext-R1 / Pre Pow 2
223hybrid strings 3 OSC OSC OSC LP (2) LP (2) ModMan (String Tap 1) WaveBank (Saw) Mod Dly Ext / Pre High-Int
224hyoshigi LP (1) OSC HP (1) LP (1) ModMan (mBiraski) ModMan (Kalimba Hard) Analog Echo / Pre Rel X, Qnt 1, nn
225ikia OSC OSC OSC IOSC LP (1) WaveBank (Triangle) Summed Dly=400, T4 Reverb Pow 2, Qnt ½
226insert coins LP (3) LP (4) LP (1) WaveBank (Square) WaveBank (Square) Summed Dly=400, T4 Mod Dly SG-Square
227interkin IOSC OSC Kinetic WaveBank (Saw) Reverb Ext-R1 Pow 2, Qnt ¼
228ishango bone OSC HP (1) LP (1) BiqBank 48 BiqBank 8 Reverb / Pre Qnt 1, nn
229iziki OSC OSC OSC OSC SineBank 8 BiqBank 8 Summed Dly=50, T4 Reverb Qnt 1, Step-Z
230jaymar toy piano OSC HP (1) LP (1) HarMan (Toy Piano Strike) HarMan (Toy Piano Release) Reverb Initial-Z, Release-Z, nn, Z-Off, Pow 5
231jenny choir IOSC JOSC (Smooth) Phase (Sum 7) LP (1) BiqMouth Voice Dly=50, T4 Reverb Ext S&H-Row
232jenny fm OSC OSC JOSC (Sharp) OSC Kinetic Kinetic Mod Dly Ext
233jenny pulse OSC JOSC (Smooth) OSC Analog Echo Ext Clk (G), Inv-Mult, Pow 2
234jennybrass OSC JOSC (Hann) OSC BR (3) OSC Mod Dly Ext / Pre Pow 2
235jentenot OSC JOSC (Smooth) LP (2) LP (1) Voice Dly=400, T4 Reverb Ext / Pre-Post High-Int
236juknow that bass IOSC IOSC OSC LP (4) LP (2) WaveBank (Square) Voice Dly=50, T2 Delay HPF Port-8, Log 1, SG-Hann
237julia OSC LP (2) HP (1) IOSC OSC WaveBank (Square) Summed Dly=50, T2 Delay LPF Ext-R2 Low-Int
238jumpare LP (2) LP (2) WaveBank (Square) WaveBank (Saw) Delay LPF Ext-R2 SG-Square, Qnt ½
239june sunset OSC OSC OSC HP (2) LP (3) Kinetic Summed Dly=50, T2 Reverb Ext-R1
240jupinard OSC IOSC IOSC IOSC Kinetic Summed Dly=100, T2 Reverb Ext Pow 3, Pow 2
241jupipad OSC OSC OSC OSC LP (1) Summed Dly=100, T2 Reverb Ext Blend-Sqrt, Pow2
242jx10 1b OSC JOSC (Hann) OSC JOSC (Hann) LP (4) WaveBank (Square) Kinetic Voice Dly=100, T2 Reverb Ext / Pre Pow 3, Pow ½
243kaitof HP (1) LP (4) OSC ModMan (mBiraski) Reverb Ext / Pre Pow 2, Gentle-Dn,
244kakey OSC OSC OSC LP (1) LP(1) BiqBank 8 BiqBank 8 Micro Dly=12.5, T1 Reverb / Pre Qnt 1, Step-Z
245karkup 1LP (1) 1LP (1) 1LP (1) 1LP (1) 1LP (1) BiqBank 48 Micro Dly=50, T4 Reverb Ext / Pre Derv (X+Y+Z)
246karplus & modMan OSC OSC 1HP (1) 1LP (4) LP (4) ModMan (Pizz Loud) Voice Dly=50 Reverb Ext / Pre-Post Clk (D), Crv-Z, Cross Detect (V)
247kick bass slide OSC OSC OSC LP (4) OSC Reverb Port-Max, Pow 2
248kinaflap OSC OSC OSC OSC HP (2) Kinetic Voice Dly=200, T4 Reverb-R1 Crv-Z, High-Int
249kinafun OSC OSC OSC OSC Kinetic Summed Dly=50, T4 Reverb-R1 Crv-Z, High-Int
250kinespeech IOSC OSC OSC IOSC OSC Kinetic Delay LPF-R1-R2 Pow 2, Pow 1.5519
251kinetic analog Kinetic WaveBank (Saw) Analog Echo Ext High-Int, Crv-Z, Pow 1, Pow 2
252kinetic anaseq IOSC LP (4) LP (4) Kinetic WaveBank (Saw) Analog Echo Ext Clk (J) High-Int, Pow 2, Pow 1, Qnt 1
253kinetic bowed fdn 1LP (1) 1LP (1) 1LP (1) 1LP (1) 1HP (4) Kinetic Micro Dly=25, T4 Analog Echo Ext Initial-X, Pow 2
254kinetic dragon 1HP (1) 1LP (1) OSC Kinetic Micro Dly 12.5, T4 Reverb Ext / Pre Inv-Mult, Crv-Y, Unique Crv-Z
255kinetic micromotor 1HP (1) 1LP (1) OSC Kinetic Micro Dly 12.5, T4 Reverb Ext / Pre Inv-Mult, Crv-Y, Pow 4
256kinetic overtones IOSC 1 HP (1) sHP (4) sHP (4) Kinetic Kinetic Voice Dly=50 Analog Echo Inv-Mult
257kinetic satpad IOSC IOSC IOSC IOSC IOSC Kinetic Summed Dly=100, T1 Delay HPF Ext Release-Z (N) Pow 2, Qnt 1,
258kinetic soundboard IOSC BR (2) 1HP (1) 1LP (4) LP (4) Kinetic Voice Dly=50 Reverb Ext / Pre Inv-Mult, Derv (Y+Z)
259klavunk OSC OSC OSC LP (1) LP (1) ModMan (Pizz Loud) ModMan (Pizz Loud) Reverb / Pre Step-Z, Qnt 1
260koto LP (2) ModMan (Pizz Snap) Reverb / Pre Derv (Z), Blend-Sq
261labello OSC OSC OSC OSC LP (1) BiqBank 16 SineBank 8 Mod Dly / Pre Port-Off?,
262lacous bass OSC BR (1) OSC ModMan (String Tap 2) Mod Delay-50, T2 Reverb Ext / Pre Port-8, Derv (X+Z)
263ladagcer IOSC IOSC OSC OSC LP (2) Summed Dly=50, T2 Mod Dly
264ladder bass OSC 1 HP (1) 1LP (4) WaveBank (Saw) Analog Echo Port-8, Limiter, Pow 3
265lalalead OSC LP (4) OSC OSC HP (4) WaveBank (Square) Summed Dly=400, T4 Reverb Port-2
266lamellas OSC LP (1) OSC LP (1) ModMan (Kalimba Hard) ModMan (Metal) Reverb Ext-R1-M / Pre Rounding-24?, Step-Z, Qnt 1/4
267lampadaire OSC OSC BP (1) OSC OSC Kinetic Summed Dly=400, T4 Reverb Ext-R1-M / Pre Qnt 1, High-Int
268larekin OSC OSC OSC OSC Kinetic Summed Dly=400, T4 Reverb Ext-R1 / Pre Crv-Z, High-Int, Blend Sqrt
269larekin 2 OSC OSC OSC Kinetic Summed Dly=50, T2 Mod Dly=R1 Crv-Z, High-Int, Blend Sqrt
270lavaya OSC OSC OSC OSC LP (2) Voice Dly=50, T2 Delay LPF-R2-R4 Qnt ½
271leadio OSC BR (4) OSC OSC LP (3) WaveBank (Square) Voice Dly=200, T4 Reverb Port-8
272legacy dx ep IOS OSC IOSC OSC sHP (4) Reverb Log 1, Pow 2, Qnt 1
273libellule OSC OSC OSC BP (1) LP (1) ModMan (Ukelele 1) Mod Dly / Pre Derv (Z), Qnt 1,½&¼, Pow 2, Step-Z
274lighthouse OSC JOSC (Hann) LP (4) OSC LP (1) Summed Dly=400, T4 Reverb-R4 High-Int, Pow 3
275lililead LP (2) IOSC IOSC IOSC WaveBank (Triangle) WaveBank (Square) Delay LPF Ext Pow 2
276lilly OSC OSC OSC IOSC LP (1) HarMan (Drum) Reverb Ext / Pre Derv (Z), NoteOff
277lino OSC JOSC (Sharp) LP (3) WaveBank (Square) Voice Dly=50, T2 Mod Dly Port-Off?, High-Int
278lips steel OSC OSC OSC LP (2) ModMan (String Tap 1) Summed Dly=200, T2 Reverb / Pre Port-2, High-Int
279living pad OSC OSC Phase (Sum 7) WaveBank (Saw) Analog Echo-R2 Port-2,Round-80, S&H-Row, Crv-Y
280lonely data OSC OSC Mult Reverb
281lonely square OSC OSC LP (1) LP (2) WaveBank (Square) Summed Dly=400, T4 Reverb Ext-R1 Port-8, SG Gentle-Dn, Blend Sqrt
282lost beacon Noise (from seed) OSC OSC BP (2) BP (2) Mod Dly SG Steep-Up, Min ½
283lost choir IOSC Phase (Sum 7) 1LP (1) ModMan (Clarinet 1) BiqMouth Summed Dly=100 Reverb Initial-Z, PScaler, High-Int
284lost ensemble LP (1) OSC OSC Phase (Sum7) LP (2) ModMan (Viola Legato) HarMan (Viola Legato) Reverb Ext / Pre Reverb Ext / Pre High-Int
285lost operator OSC OSC LP (1) LP (3) LP (3) SineBank 8 SineBank 8 Voice Dly=400, T4 Reverb Ext Qnt ¼
286lytiny IOSC OSC OSC OSC LP (1) ModMan (Viola Legato) ModMan (Viola Legato) Reverb / Pre Derv (Y), Min 0, Crv-Y, X+Y+Z Scale
287magic pluck OSC BP (2) OSC OSC ModMan (Toy Piano 1 Strike) BiqBank 48 Mod Dly Ext Qnt 1, S&H-Row, Z-Tap
288main square OSC OSC OSC LP (1) LP (4) WaveBank (Square) Voice Dly=200, T4 Reverb Port-8
289malabel OSC OSC OSC OSC LP (1) ModMan (Noise2) ModMan (Noise 2) Mod Dly Step-Z, SG-Phase RMS, X+Y+Z
290malgo OSC OSC OSC OSC LP (2) Voice Dly=50, T2 Delay LPF Ext-R2-R4 X-Scaled, Y-Scaled, Z-Scaled
291marie s birds OSC OSC OSC OSC LP (1) Summed Dly=400, T4 Reverb Ext Blend Form
292marlin perkins 1 OSC LP (1) BiqBank 8 Reverb-M 2 Pulses added (A,L)
293marombox BP (1) LP (1) IOSC IOSC LP (2) Harman (Metal) ModMan (Ukelele 2) Swept Echo/ Pre interesting +/- X-Shift (q)
294martine OSC IOSC OSC LP (2) LP (1) ModMan (Marimba Hard) BiqBank 8 Reverb / Pre Step-Z, Qnt ½
295mattalo LP (1) IOSC IOSC LP (1) Summed Dly=400, T4 Reverb Ext / Pre Qnt ½, High-int
296mbiraski BR (1) sHP (1) HP (1) LP (1) ModMan (mBiraski) HarMan (mBiraski) Reverb / Post SubMix, X-Scale (E), Pow 2
297metarmonix 1LP (1) 1LP (1) LP (1) BiqBank 48 Micro Dly=50, T2 Reverb / Pre Derv (Y), Z-Tap
298microdelay pipeWG 1HP (1) IOSC 1HP (1) 1LP (3) LP (2) BiqMouth Micro Dly=12.5, T2 Reverb Ext / Pre ^3, Inv-Mult, High-Int
299mild kisses OSC OSC OSC LP (2) LP (1) ModMan (Ukelele 1) Summed Dly=200 Reverb Extend / Pre Port-2, Derv (X+Y+Z),Z-Tap, Pow3
300minimando BR (3) LP (1) OSC ModMan (Ukelele 1) ModMan (Ukelele 1) Reverb / Pre-Post 520
Derv (Z), Step-Z, Z-Tap
301minor de fond OSC OSC OSC OSC Kinetic Summed Dly=100, T2 Reverb-R4-R1 Port-8, Chords, Z-Tap Output Scaling
302model string wind OSC HP (1) BiqBank 8 Reverb / Post Y Ctrl ModMan C (I) pitch shifting
303modowel IOSC IOSC OSC Phase (Sum 7) LP (2) BiqMouth Voice Dly=50, T4 Mod Dly Ext S&H-Row, X+Y+Z Scale (U)
304mojo of fdn 1LP (1) 1LP (1) 1LP (1) 1LP (1) LP (4) Micro Dly=25, T4 Analog Echo Ext Limiter, Derv (X)
305montine OSC OSC OSC OSC LP (2) BiqBank 24 Summed Dly=200, T2 Reverb Ext / Pre High-Int
306moving slate OSC OSC OSC OSC LP (1) SineBank Voice Dly=400, T4 Reverb Ext-R1-R2
307munsplen IOSC IOSC IOSC LP (2) LP (2) WaveBank (Square) Summed Dly=400, T4 Reverb Ext
308music box bells AP (2) ModMan (mBiraski) Reverb / Pre Initial-Z
309mystaring OSC Mult OSC OSC Mult SineBank 8 Reverb Ext-R1-M / Pre Derv (X)
310nails on metal LP (2) HP (1) LP (1) LP (1) BiqBank 48 Kinetic Micro Dly=50, T2 Reverb Ext / Pre Derv (Y+Z)
311nband IOSC IOSC BP (1) BR (2) OSC SineBank 8 Summed Dly=400, T4 Reverb Ext-R1 X+Y+Z Scaling, Interesting Z scaling
312neon key OSC LP (4) OSC OSC OSC SineBank 8 Summed Dly=50, T2 Reverb Ext Z-Tap, Pow 3
313neon key dreams OSC LP (4) OSC OSC OSC SineBank 8 Summed Dly=50, T2 Analog Echo-R1 / Pre Neon Key with Echo
314ngoni LP (1) OSC ModMan (Spiccato Loud) BiqBank 16 Reverb / Pre Derv (Z), Crv-Z, Pow 2
315night bass OSC OSC OSC JOSC (Sharp) OSC Kinetic Reverb Z-Tap
316nimbus OSC OSC OSC OSC HarMan (Toy Piano 1 Strike) BiqBank 8 Mod Dly=R4-R2 / Pre X+Y+Z Scale (A), S&H Form & Row
317nofiad Phase (Sum 7) LP (2) OSC OSC LP (2) BiqBank 8 Summed Dly=50, T2 Mod Dly Ext / Pre Derv (X), X+Y+Z Scale, Pow 5
318noisyman BR (3) OSC OSC LP (1) LP (2) ModMan (Clarinet 1) Voice Dly=400, T4 Reverb Ext / Pre Derv (X+Z)
319noisypad OSC LP (2) BR (1) HP (1) BR (3) ModMan (Ukelele 1) Summed Dly=400, T4 Reverb Ext / Pre Initial-Y
320noisything BR (1) OSC OSC LP (2) BR (2) BiqBank 8 BiqBank 8 Summed Dly=200, T4 Reverb / Pre S&H-Row, X+Y+Z Scale,
321nostalgia OSC LP (2) OSC OSC OSC Summed Dly=200, T4 Analog Echo-R2 / Pre Port-5, Log 1, S&H-row, High-Int
322notenstrum OSC OSC OSC OSC WaveBank (Saw) Summed Dly=50, T2 Analog Echo Offset Z output, Stepped-Z SG Freq
323notiseq OSC OSC OSC OSC LP (1) Voice Dly=400, T4 Reverb Ext / Pre Z-Tap, S&H-row, Pow 4
324numens strings Phase (Sum 7) OSC OSC OSC LP (1) ModMan (String Tap 2) HarMan (Viola Legato) Reverb / Pre Z-Tap, X+Y+Z Scale
325nynx OSC JOSC (Smooth) OSC LP (3) LP (3) WaveBank (Triangle) SineBank 8 Mod Delay Pow 2
326oblivion OSC HP (1) BP (1) OSC OSC BiqBank 24 BiqBank 8 Summed Dly=200, T2 Reverb Ext-R1-M / Pre
327oboreed OSC OSC OSC OSC BP (1) ModMan (Brass) HarMan (Oboe 1) Reverb / Pre Port-8
328ocean triggs OSC LP (2) Kinetic ModMan (String Tap 1) Mod Dly Ext / Pre X Scale lower octaves (N)
329ocherry OSC IOSC BP (1) OSC LP (2) ModMan (Ukelele 2) WaveBank (Triangle) Analog Echo-R2-R1 / Pre Derv (Y+Z), Z-Tap, S&H-Row
330octalive drum OSC OSC 1LP (1) 1LP (1) LP (1) BiqBank 8 BiqBank 48 Micro Dly=50, T2 Reverb Ext / Pre Derv (Y), Relative-X, Z-Tap
331octecho LP (3) LP (1) OSC LP (1) OSC WaveBank (Square) WaveBank (Square) Voice Dly=800, T4 Reverb Ext W+X+Y+Z, Z-Tap
332old pad machine Phase (Sum 7) Phase (0..1) OSC LP (1) LP (1) BiqBank 48 Summed Dly=50, T2 Reverb / Pre X+Y+Z Scaling
333op offset OSC IOSC IOSC OSC LP (1) Kinetic Kinetic Reverb Ext-R1` Z-Tap
334op repeat OSC OSC OSC OSC OSC Delay LPF Ext-R2
335op2bell OSC OSC OSC OSC Mult Summed Dly=200, T4 Mod Dly Extend Z-Tap, Z-Step,
336opead OSC OSC OSC OSC LP (4) Reverb Port-8.
337opeal OSC OSC OSC OSC OSC Reverb Mono:Legato-T?, Pow 2, Qnt 1
338opikey OSC OSC OSC OSC OSC SineBank 8 Summed Dly=200, T4 Reverb Ext-R1 S&H Form & Row, High-Int
339organ 1 OSC IOSC OSC OSC LP (2) BiqGraph 8 WaveBank (Saw) Reverb / Pre
340organ 2 IOSC OSC IOSC OSC IOSC SineBank BiqGraph 8 Summed Dly=50, T4 Reverb / Pre Z-Tap
341organ 3 OSC OSC OSC OSC OSC BiqBank 8 Summed Dly=50, T2 Reverb
342organ 4 IOSC IOSC IOSC IOSC OSC Kinetic WaveBank (Triangle) Reverb / Pre Z-Tap, Pow 2, Qnt ½, Offset vibrato
343organ barbar OSC OSC OSC OSC OSC BiqBank 8 BiqMouth Summed Dly=50 Reverb / Pre Port-Off?, Crv-Z
344organ voxy IOSC BP (1) OSC OSC LP (2) WaveBank (Triangle) WaveBank (Triangle) Voice Dly=50, T2 Reverb / Pre
345organo WereYouThere OSC IOSC IOSC IOSC LP (1) Summed Dly=800, T2 Mod Dly=M / Post? Z Scale X (F), W+X+Y+Z
346os2dx OSC OSC OSC OSC OSC SineBank 8 Summed Dly=100, T4 Reverb Ext-R1 Log 1, Step-Z
347osc dcf OSC OSC OSC OSC OSC Summed Dly=400, T4 Reverb-R1 Z-Tap, High-Int
348osc five OSC OSC OSC IOSC IOSC Reverb Ext Good Example of (Y+Z) scaling
349outspoken OSC OSC LP (4) WaveBank (Square) SineBank 8 Mod Dly Ext Good Example of (Y+Z) scaling
350pad 101 OSC OSC OSC LP (2) LP (2) WaveBank (Square) Voice Dly=400, T1 Reverb Z Constants 521
351pad awan OSC IOSC LP (2) Voice Dly=400, T4 Reverb Ext-R1
352padding time IOSC HP (4) IOSC Kinetic Summed Dly=50, T2 Reverb X+Y+Z Scaling
353padorama OSC OSC Phase (Sum 7) LP (2) OSC HarMan (Viola Legato) HarMan (Viola Legato) Reverb Ext-R1 / Pre X+Y+Z Scaling
354padorgan OSC OSC OSC BP (1) BP (1) WaveBank (Square) BiqBank 8 Summed Dly=50, T2 Mod Dly Ext / Pre Z-Tap, S&H Row
355pajestric OSC OSC Phase (Sum 7) LP (4) OSC HarMan (Viola Legato) Voice Dly=50, T4 Reverb Ext Uses Constants for Tap output
356paliakey OSC AP (3) AP (3) OSC LP (4) WaveBank (Square) WaveBank (Square) Reverb Ext
357panpipe solo 1HP (1) OSC OSC 1LP (3) LP (2) Micro Dly=12.5, T2 Reverb Ext / Pre ^3, Inv-Mult, Crv-Y,
358paperheart OSC OSC BP (1) OSC LP (1) BiqBank 8 Voice Dly=800, T2 Reverb Ext / Pre Z-Tap
359paris texas OSC IOSC OSC OSC LP (1) BiqBank 48 BiqBank 48 Summed Dly=200, T2 Reverb Ext / Pre Derv (X), Port-2, Z-Tap
360patacalbas BP (1) OSC OSC LP (1) LP (2) ModMan (Drum) ModMan (mBiraski) Reverb / Pre Derv(Stepped Y),Z-Tap, SG-Phase RMS
361pcs Dandelion Phase (1..0) OSC Mult OSC OSC Delay HPF Ext / Pre
362perseus supernova Phase (Sum 7) JOSC (Smooth) OSC OSC JOSC (Smooth) Kinetic Summed Dly=400, T4 Reverb Ext-R1
363petit carillon LP (1) Harman (Sprong) BiqBank 24 Reverb Ext-R1 / Pre Derv (Z)
364phase machine Phase (Sum 7) HP (1) HP (1) BR (4) BR (4) Mod Dly VNum (L, M),
365pickope OSC OSC OSC LP (1) Kinetic Voice Dly=400, T4 Reverb Port-8, Z-Tap
366piercing bass OSC OSC OSC LP (4) OSC WaveBank (Saw) Summed Dly=50, t2 Reverb
367pine strummer LP (1) ModMan (Ukelele 1) ModMan (Ukelele 2) Reverb (Pre) Derv (Z), Z-Tap, Y-Tap
368pinkphone OSC LP (1) LP (1) BiqBank 16 BiqBank 16 Summed Dly=50, T2 Reverb Ext / Pre Derv (z), Z-Tap
369pipopi OSC OSC OSC OSC BP (2) BiqBank 8 BiqBank 8 Reverb / Pre Port-2,
370pitchoune OSC OSC LP (3) LP (3) Voice Dly=50, T4 Mod Delay Ext Clk x 2, Internal Taps, S&H-Row
371pl-bass OSC WaveBank (Square) Kinetic Reverb Port-Max, Pow ¼
372plastigorien LP (1) Phase (Sum 7) OSC LP (1) OSC BiqMouth BiqMouth Summed Dly=50, T2 Reverb Ext Port-2
373plinklies LP (2) LP (1) BiqBank 8 BiqBank 8 Reverb SG-Square, Z-Tap, Y-Tap
374pluckead OSC OSC OSC OSC LP (4) WaveBank (Square) Summed Dly=50, T2 Mod Dly Port-8
375pluckeon OSC LP (4) OSC LP (1) LP (1) WaveBank (Triangle) Mod Dly / Post Z-Tap, Pow 5
376podracer OSC OSC 1LP (4) WaveBank (Triangle) WaveBank (Square) Summed Dly=50, T4 Reverb Ext / Pre Port-Max, Invert X (T)
377polys20 OSC HP (2) LP (2) OSC OSC WaveBank (Square) Analog Echo-R2 Z-Tap, Pow 3
378polysynthetix IOSC IOSC LP (4) LP (4) WaveBank (Square) Voice Dly=50, T2 Reverb
379potendu OSC LP (1) ModMan (mBiraski) Reverb / Pre Initial-Z, Z-Tap, Step-X
380pressow OSC OSC LP (1) LP (1) ModMan (String Tap 2) Reverb / Pre Derv (X)
381psy squelches OSC OSC OSC LP (1) BP (4) Mod Dly Ext
382pulse pluck OSC Kinetic WaveBank (Square) Mod Dly Ext Z-Tap
383pulzz IOSC OSC OSC Kinetic WaveBank (square) Reverb-R1 Mono:Legato-T-8va, Pow 2
384pusher OSC OSC OSC HP (4) BiqBank 8 Voice Dly=50 Port-2, Rounding?, Z-Tap
385pxlize OSC OSC OSC OSC Voice Dly=400, T2 Reverb Z-Tap
386quiet carriers OSC OSC OSC OSC OSC SineBank 8 SineBank 8 Mod Dly Ext
387radioactive zone OSC OSC OSC OSC OSC Reverb Ext
388random trigger BiqBank Delay HPF S&H Form & Row, Pow 2
389rateanis Phase (Sum 7) OSC OSC 1LP (2) 1LP (2) WaveBank (Square) WaveBank (Saw) Summed Dly=400, T2 Analog Echo Ext-R1-R2 Port-Off, Derv (Z)
390reesotto OSC OSC BR (3) OSC LP (4) WaveBank (Saw) Summed Dly=50, T4 Reverb Port-Max
391reesy rider LP (4) BP (2) OSC OSC OSC WaveBank (Saw) Summed Dly=50, T4 Mod Dly Ext Port-8
392releasy OSC OSC OSC LP (1) LP (2) BiqBank 48 Summed Dly=50, T2 Mod Dly Ext / Pre Derv (X+Y+Z), Step-Z
393ren keyboard OSC JOSC (Hann) BR (1) ModMan (Marimba Hard) Summed Dly=800, T2 Reverb Ext / Pre Crv-X, SG Steep Up, Pow 4
394replicants dreams OSC LP (1) OSC OSC OSC SineBank 8 Summed Dly=100, T4 Reverb Ext-R1 Five inputs to Summed Delay
395resizable guitar IOSC LP (3) 1LP (1) 1LP (1) BiqBank Delay LPF / Pre Port-2, Z-Tap
396reso nable OSC OSC IOSC LP (1) LP (4) Kinetic Summed Dly=50, 2T Reverb Ext Z-Tap, Pow 4
397resonant drum 1 OSC HP (3) BiqBank 8 Reverb / Pre Uses X Qnt-12 (I), Y-Tap
398rewind time OSC OSC OSC OSC Voice Dly=800, T4 Swept Echo Ext / Pre High-int
399ringad OSC OSC Mult LP (4) OSC Kinetic Summed Dly=400, T4 Reverb Ext / Pre 522
400ringmod harmonica OSC Mult BR (3) BP (1) LP (1) Summed Dly=400 Reverb Ext / Pre
401riseandbe IOSC IOSC LP (4) LP (4) WaveBank (Triangle) WaveBank (Square) Voice Dly=50, T2 Reverb Pow 2
402rising pad IOSC IOSC HP (1) LP (4) LP (3) WaveBank (Saw) WaveBank (Saw) Reverb
403roto string Kinetic BiqBank Reverb / Pre
404rusty bass OSC OSC OSC OSC OSC Voice Dly=50, T2 Reverb Port-8
405rusty square OSC LP (2) OSC OSC Kinetic Summed Dly=50, T2 Reverb Port-Max
406sawVI IOSC WaveBank (Saw) Kinetic Reverb Derv (Z)
407saxoon OSC OSC OSC LP (1) OSC HarMan (Viola Legato) ModMan (Alto Sax) Reverb Ext / Pre Port-2, Pow 3
408scarlet OSC OSC OSC WaveBank (Saw) Kinetic Reverb / Pre SG-Phase RMS, Derv (Z)
409scie tard OSC OSC LP (1) LP (1) ModMan (String Tap 2) HarMan (Noise 1) Swept Echo Ext-R1 / Pre Port-2, Derv (X+Y)
410scratching fdn 1LP (1) 1LP (1) 1LP (1) 1LP (1) LP (4) Micro Dly=12.5, T4 Reverb Ext / Pre FDN Preset
411sentimental mood OSC OSC BiqGraph 48 Reverb / Pre Uses both sets of BiqGraph Offsets
412seventies lead OSC IOSC LP (2) LP (4) WaveBank (Square) Voice Dly=800 Reverb Port-8
413shakepad IOSC IOSC ModMan (Toy Piano Release) ModMan (Toy Piano 1 Strike) Summed Dly=100 Reverb Ext-R1 / Pre-Post Crv-Y, Derv (X), Anc (f+0)?
414shpad1 OSC OSC OSC LP (3) LP (3) WaveBank (Square) Delay LPF Ext-R2 S&H-Row, Y+Z Scaling (common)
415simple anakey1 IOSC IOSC IOSC IOSC LP (2) Summed Dly=50, T4 Reverb Ext Z-Tap, Pow 3
416simple anakey2 OSC OSC OSC LP (2) LP (2) BiqBank 48 Summed Dly=50, T2 Reverb Ext Z-Tap, Y-Tap
417simple anakey4 OSC LP (2) OSC OSC OSC Summed Dly=50, T2 Reverb-R1 W+X+Y+Z Cutoff, Z-Tap
418simple fm 2 ops IOSC OSC IOSC OSC sHP (4) Analog Echo Ext Pow 2, Qnt 1
419simple fmkey OSC OSC OSC OSC Mod Dly
420simple lead even OSC OSC LP (2) LP (4) Summed Dly=400 Reverb Port-8
421simple lead odd LP (2) LP (3) WaveBank (Square) Summed Dly=400 Reverb Ext Port-8, Z-Tap (Hann)
422simple saw pad OSC OSC OSC LP (4) LP (4) WaveBank (Saw) Summed Dly=50 Reverb
423simple square pad IOSC LP (1) LP (4) WaveBank (Square) Summed Dly=50 Reverb
424simpledecay OSC OSC OSC LP (4) LP (4) WaveBank (Square) WaveBank (Saw) Reverb Z-Tap
425simplephasemod OSC OSC OSC OSC Swept Echo Ext / Pre
426simplerez IOSC OSC OSC OSC Kinetic Reverb-R1 Z-Tap (Triangle)
427sinefeel OSC Mult SineBank 32 SineBank 32 Mod Dly Ext Z-Tap
428sinespray pad OSC Mult OSC HP (1) LP (4) SineSpray Voice Dly=50, T2 Reverb Ext-R1 Z-Tap, Pow 3
429skoto BR (3) HP (1) ModMan (Ukelele 1) ModMan (Ukelele 1) Reverb / Pre
430slappinperc OSC LP (1) OSC ModMan (Kalimba Soft) ModMan (Kalimba (Soft) Reverb Ext Derv (Z), Z-Tap (Crv-Z), SG-Steep Up
431smeeb OSC OSC OSC LP (1) Kinetic Voice Dly=400, T4 Reverb Ext / Pre Z-Tap (Triangle)
432smooth mouth OSC OSC OSC BiqMouth Reverb Ext / Pre-Post Pow3, Qnt Form,
433smooth operator OSC OSC OSC LP(1) LP (2) HarMan (Viola Legato) Delay LPF Ext / Pre-Post Port-8, Derv (X+Y+Z), Z-Tap
434solid square OSC Kinetic WaveBank (Square) Analog Echo Ext Port-8
435solima BP (2) BP (2) OSC Phase (Sum 7) LP (2) WaveBank (Saw) WaveBank (Saw) Summed Dly=100, T4 Reverb Ext Complex SG Cutoff Envelope (J)
436sonogram OSC HP (1) LP (2) SineSpray Voice Dly=200 Mod Dly Ext
437soprano recorder 1HP (1) OSC 1LP (1) LP (2) BiqGraph 8 BiqBank 8 Micro Dly=12.5, T2 Reverb Ext / Pre Port-Max, ^3, SG Steep Dn
438soulfm OSC OSC OSC OSC OSC SineBank 8 BiqBank 8 Reverb Initial-Z, Z-Tap
439soundboard OSC LP (1) Micro-Dly=12.5, T4 Mod Dly / Pre Z-Off (C)
440souvenirs OSC BP (2) OSC Phase (Sum 7) OSC BiqMouth BiqBank 48 Mod Dly Ext / Pre X+Y+Z Scale ((M)
441space flammenco OSC OSC 1LP (1) 1LP (1) 1LP (1) ModMan (mBiraski) Micro-Dly=50, T4 Reverb Ext / Pre Derv (Y+Z) Scaling (L), Z-Tap
442spracher OSC OSC OSC OSC LP (1) SineSpray Voice Dly=400, T2 Reverb Ext
443spring shimming bell OSC OSC OSC Kinetic Kinetic Reverb S&H-Row, Z-Tap
444squaluk OSC OSC LP (4) OSC LP (2) WaveBank (Square) Summed Dly=200, T4 Reverb
445squarynights OSC OSC OSC LP (1) OSC BiqBank 8 Delay HPF Ext / Pre Derv (Z) in 3 places, Step-Y
446squazodia OSC OSC IOSC LP (1) LP (2) WaveBank (Square) Voice Dly=400, T4 Reverb Ext Derv (Y+Z), SG Phase 0, .5 & .75
447squeakysine IOSC IOSC LP (1) LP (1) IOSC ModMan (mBiraski) Kinetic Delay HPF Ext / Pre SG-Phase RMS, Derv (Z), Step-Y, Z-On
448st-rum dx OSC OSC OSC OSC LP (1) BiqBank 8 Voice Dly=200, T4 Reverb Ext / Post Step-Z, Z-Tap
449stadium candy OSC HP (2) OSC OSC LP (2) WaveBank (Saw) Voice –Dly=200, T4 Reverb-R4-M Z-Tap
450stadoor OSC OSC OSC LP (4) LP (4) WaveBank (Square) Reverb Ext 523
451stellaris OSC OSC OSC 1HP (1) OSC Kinetic Summed Dly=400, T2 Reverb Ext-R1
452sterelead IOSC IOS OSC Voice Dly=50, T4 Mod Dly Ext Port-8, S&H-Row
453steroids IOSC OSC IOSC Kinetic Reverb
454stormy weather OSC BP (3) OSC BP (1) OSC Kinetic Summed Dly=200, T2 Reverb Ext / Pre-Post S&H-Row (4 uses), X+Y+Z Scaling
455street pluck OSC Kinetic WaveBank (Saw) Mod Dly
456strings machine LP (2) LP (2) OSC Phase (Sum 7) Phase (Sum 7) Reverb Sine Vibrato (used in many presets)
457strings machine 2 LP (2) LP (2) WaveBank (Saw) WaveBank (Saw) Summed Dly=100, T4 Reverb Y+Z Scaled SG Sine Freq Offsets (Q)
458stringtroen IOSC OSC LP (1) ModMan (Viola Legato) HarMan (Viola Legato) Reverb Ext / Pre Z-Tap, Step-Z
459sub bass 1 OSC OSC IOSC LP (1) Reverb Port-Max, Z-Tap (Triangle)
460subway OSC OSC OSC OSC LP (4) Reverb Port-8, Step-Z, Z-Tap (Triangle)
461sweethrice OSC OSC LP (1) BiqBank 48 BiqBank 48 Mod Dly Ext / Pre Step-Z, Z-Tap, Y start non-zero (B)
462syncat OSC JOSC (Smooth) JOSC (Hann) OSC LP (4) SineBank Summed Dly, T2 (UN) Mod Dly Ext
463synclit OSC JOSC (Smooth) JOSC (Smooth) OSC LP (4) Summed Dly=50, T2 Mod Dly Ext
464tabec OSC OSC LP (1) BP (2) OSC BiqGraph 8 Reverb Ext / Pre Port-m3, Sine Tremolo (V)
465tablast OSC OSC OSC LP (1) ModMan (Metal) Reverb / Pre Sg-Phase RMS, Derv-Y, Z-Tap on Freq
466tales of feathers OSC OSC LP (1) LP (1) BiqBank 8 HarMan (Viola Legato) Micro Dly=12.5, T1 Reverb Z-Tap, Step-Z, NoteOff on Y, Derv (Y)
467talking kine Phase (Sum 7) OSC OSC HP 1) HP (1) Kinetic Voice Dly=50, T2 Delay LPF Derv (Y+Z), X+Y+Z Scaling
468tap sitar OSC IOSC IOSC HP (2) OSC HarMan (Viola Legato) BiqBank 48 Mod Dly / Pre-Post Port-m3, X-Octave, Pow 4
469tape melody IOSC IOSC IOSC LP (3) LP (4) Summed Dly=400, T2 Reverb / Pre Z+Y Tap (L), Z-Tap, Log 1
470taste of June IOSC IOSC IOSC LP (4) LP (2) WaveBank (Square) Voice Dly=50, T2 Reverb Z-Tap (Ramp Up), Y-Scale
471tender stuck OSC IOSC OSC OSC LP (1) Voice Dly=50, T2 Reverb / Pre Derv (Y), Z-Tap, Z+Y Tap
472terjintro IOSC OSC OSC IOSC OSC Kinetic Summed Dly=200, T2 Reverb-R2-R1
473testbench OSC OSC Output Testing, Freq Constant used
474th x OSC OSC Mult LP (2) LP (2) WaveBank (Saw) Voice Delay-50, T4 (fixed) Reverb Ext 8 Formulas use (iv) Release Blend
475the touch guitar OSC OSC IOSC HP (1) 1LP (1) ModMan (Pizz Soft) ModMan (Pizz Loud) Analog Echo Ext-R4 / Pre Initial-Y, Derv (X+Y+Z), X-Octave
476theo s bicycles OSC Mult BiqBank 8 HarMan (Metal) Reverb / Pre
477thick organ IOSC OSC OSC IOSC OSC Kinetic Reverb / Pre
478thoria OSC OSC OSC IOSC LP (1) ModMan (Pizz Snap) Summed Dly=50, T4 Reverb Ext-R1 / Pre Z-Tap, Z+Y Tap, Y Scaling (common)
479three waves IOSC IOSC IOSC LP (1) BP (1) SineBank 8 Summed Dly=800, T4 Mod Dly=M / Pre X-Octave, X+Y+Z Scaling,
480thrilla bass IOSC IOSC Phase (Sum 7) HP (1) LP (1) WaveBank (Square) Reverb Port-Max
481tin whistle 1HP (1) OSC OSC 1LP (1) LP (1) BiqGraph 8 Micro Dly=12.5, T2 Reverb Ext / Pre Port-Max
482tine IOSC BP (1) 1LP (1) 1LP (1) BiqGraph 48 HarMan (mBiraski) Reverb / Pre Z-Off, Crv-X, X+Y+Z Scaling
483tinolin OSC OSC OSC OSC LP (1) ModMan (Toy Piano 1 Strike) Summed Dly=50, T2 Reverb / Pre Z-Tap
484tiny wish OSC OSC IOSC LP (4) SineBank 8 Summed Dly=400, T4 Reverb Ext Port-8, Z-Tap scaling outputs (M)
485tinytine OSC IOSC OSC LP (2) SineBank 8 BiqBank 8 Reverb Z-Tap
486trepizcato OSC JOSC (Smooth) LP (1) HarMan (Viola Legato) ModMan (Viola Legato) Reverb Ext / Pre Port-2, X+Y+Z SG Scaling, Z-Tap
487trumpey OSC OSC OSC Kinetic Summed Dly=50, T2 Analog Echo-R2 Summed Dly input (T)+(K)+(C:Crv-Z)
488tubular bell OSC OSC OSC OSC LP (1) BiqBank 8 Voice Dly=50, T2 Reverb-R1 / Pre Derv (Z)
489twelve strings OSC OSC LP (1) ModMan (Noise 2) ModMan (Noise 2) Reverb Ext / Pre Step-Z, Derv (X+Z), W+X+Y+Z
490twobanks OSC LP (3) LP (3) IOSC Mult WaveBank (Square) WaveBank (Saw) Mod Dly
491twozing OSC OSC OSC Mult LP (1) ModMan (mBiraski) ModMan (mBiraski) Reverb / Pre Relative-X, Z-Tap
492uki pizz 1 OSC 1HP (1) HarMan (Ukelele 1) HarMan (Ukelele 1) Reverb / Pre SG-Phase RMS, Pow 4
493under the weather OSC OSC OSC OSC LP (1) WaveBank (Triangle) Voice Dly=50, T2 Mod Dly Ext S&H Form & Row, Z-Tap
494underwater OSC OSC OSC OSC LP (1) Kinetic Voice Dly=200, T4 Reverb Derv (Y+Z)
495unstable sum OSC Phase (0..1) Phase (Sum 7) Phase (Sum 7) OSC Kinetic Summed Dly=100, T2 Reverb Ext-R1 / Pre S&H-Row
496upibanks OSC OSC AP (2) OSC LP (1) BiqBank 16 BiqBank 16 Reverb Ext / Pre Derv (Y+Z)
497utopia OSC HP (1) LP (1) BiqBank 8 Kinetic Analog Echo Ext / Pre SG-Phase RMS
498vbrass 1 OSC OSC OSC HP (2) Reverb / Pre
499velsquare OSC OSC OSC OSC LP (4) WaveBank (Square) Reverb Z-Tap
500versaille OSC OSC LP (1) LP (4) HP (1) WaveBank (Square) Micro Dly=25, T2 524
Crv-Y, Z-Tap, Crv-Z
501 versailles brass OSC IOSC IOSC LP (4) LP (3) Reverb
502 vibrim OSC OSC OSC OSC LP (1) ModMan (Marimba Hard) HarMan (Metal) Reverb Ext
503 vinkeilyd OSC LP (4) OSC OSC OSC WaveBank (Saw) Summed Dly=50, T2 Z-Tap, X+Y+Z Scaling
504 vintage wide bass IOSC IOSC IOSC LP (4) LP (3) WaveBank (Triangle) WaveBank (Saw) Voice-Delay-50 Delay HPF / Pre Port-8, Log 1
505 viollaggio OSC BP (1) OSC OSC OSC HarMan (Viola Legato) ModMan (Viola Legato) Reverb / Pre Z-Tap, S&H-Row
506 violloiv OSC HP (1) sHP (1) Harman (Viola Legato) Summed Dly=800, T2 Reverb / Pre Port-2, PScaler, Inc-Comp,
507 vln vla cel bass 2 OSC sHP (1) Harman (Viola Legato) BiqBank 48 Reverb / Pre Port-2, X-Octave
508 vocalise OSC 1LP (1) BiqMouth BiqMouth Mod Dly / Pre Port-7, Inc-Comp, SG-Phase RMS
509 vorgaphone LP (1) OSC OSC LP (4) ModMan (Ukelele 2) ModMan (Ukelele 2) Reverb / Pre
510 walking blues OSC IOSC OSC OSC LP (2) ModMan (Ukelele 1) Reverb / Pre Port-8, Derv (X+Z)
511 walking elephants IOSC OSC LP (1) IOSC ModMan (mBiraski) DefMax Kinetic HarMan (Clarinet 2) Reverb Ext / Pre Port-M3, Derv (Z), SG-Phase RMS
512 wallface OSC OSC OSC LP (4) Voice Dly=50, t2 Reverb Port-8, Z-Tap
513 wardrum OSC OSC BR (2) LP (2) HP (3) BiqBank 32 WaveBank (Triangle) Reverb Ext / Pre Z-Tap
514 waterphonie OSC Micro Dly=12.5, T4 Mod Dly / Pre Z-Off, Derv (Y+Z)
515 wet feeling BP (2) OSC OSC LP (2) OSC ModMan (Toy Piano 2 Strike) Voice Dly=800, T4 Reverb Ext / Pre Derv (Z)
516 whorus OSC OSC OSC LP (4) WaveBank (Square) Voice Dly=50, T2 Reverb
517 windotron OSC OSC OSC OSC OSC ModMan (Flute 1) Reverb Ext Derv (Z), OSCs with 5 mod inputs
518 windtube double reed OSC OSC BiqGraph 48 HarMan (Metal) Reverb / Post SG-Phase RMS
519 woodorgan OSC OCS OSC Reverb / Pre Derv (Z)
520 woodwind OSC OSC BiqGraph 48 Reverb / Pre Z-Tap (Down Ramp) for envelope
521 woodybox LP (1) OSC OSC LP (2) LP( 1) BiqBank 24 BiqBank 8 Summed Dly=400, T4 Reverb Ext-R1, Pre Step-Z, Z-Tap
522 wopluk OSC OSC OSC HP (1) LP (1) ModMan (String Tap 1) Summed Dly=50, T4 Reverb / Pre Derv (Y), Z-Tap
523 wow soul chords IOSC LP (4) LP (2) WaveBank (Square) Summed Dly=50, T2 Mod Dly Crv-Z
524 xpressive saw IOSC IOSC LP (4) HP (4) WaveBank (Square) Voice Dly=200, T2 Reverb Port-8
525 yfm OSC OSC OSC Summed Dly=400, T2 Reverb Ext Z-Tap
526 yokobue OSC HP (1) BP (1) OSC OSC BiqBank 24 SineBank 16 Reverb Ext / Pre Port-8, Derv (X), Blend Z Linear (F)
527 zapzap OSC OSC OSC OSC OSC Kinetic Summed Dly=50, T2 Mod Dly Ext (x) x (Y+Z)
528 zazipad Phase (Sum 7) OSC Mult LP (1) HP (1) WaveBank (Square) Swept Echo Ext / Pre S&H Form & Row
529 zenpercs Kinetic BiqBank 48 Mod Dly Ext Derv (Z)

525
 Transposed Presets in 10.09
A number of presets set a transposition other than octave. If brought up in the editor, Middle C is set
other than on a C. This may be by intend in some that have a very flexible pitch , but others like neon
key will not sound in the expected key.

• claribreath – Middle C set up P4

• dirt acid – Middle C set down M3
• music box bells – Middle C set down M3 (may be by design as this has a very flexible pitch)
• neon key – Middle C set down m2
• rusty square – Middle C set up M7 Note: If you want to transpose any preset to a
desired key, you can use this technique of
• wow soul chords – Middle C set up M2 resetting Middle C in the editor and storing the
preset. Hopefully Osmose will support on-board
As of firmware 1.1.3, you can not transpose a preset directly on the Osmose. You must do that in the
transposition in a future firmware release.
editor by setting the Middle C indicator to the desired transposition. Note if Middle C is set down a
half step, that will in effect transpose the preset up a half step.

To transpose a preset, bring it up in the editor and adjust the middle C indicator as desired and save
the preset to a user position. For the presets here set that back to C if the preset if playing at an
unexpected pitch. For example, to set “neon key” to be transposed to play as expected:

Note: Expressive E is aware of these

transpositions and some of them may be
set back to expected transposition in a
future firmware release.

526
 Glide Setup on Osmose vs. Setup in Editor vs. Setup using Midi Control
As of Haken 10.09 and Osmose 1.1.3 firmware 2. Setting Glide on Osmose 3. Freezing Glide Mode (making it global)
The Pressure Glide Controls vs Mono Mode • Press playing button – rightmost (4th) button in Sound • To freeze the current Glide setting, press the top left rotary to
Engine Mode). engage the freeze function (the white “unfrozen” snowflake
Portamento settings in editor work as follows:
• Turn Bottom Leftmost Select rotary to Glide if its not icon will change to yellowish to indicate “frozen”)
1. Creating Presets with Glide Enabled in Editor already set and press rotary to enter Glide play mode. • The current glide setting will now be active and override
• In editor, set Mono Mode: Portamento to a desired It will likely be on None option. Yellow “press Glide” anything you set in the editor or any Midi Mono Mode
Mono Interval. Here Perfect 4th. Then save the preset to should appear. options you set. When you change presets, the frozen glide
disk and store in a user position for access. • Use leftmost Top Rotary to select Glide interval mode function will be used.
(default to Semitone unless you have it frozen).
• Use bottom left rotary to set your Glide interval. Note
that the editor will not change the Interval as they are
not synced. However, If you save and reload the preset
in the editor it will be set to your new Glide Interval. • Click the top left rotary in the glide menu again to unfreeze.
• Glide will now be active for your current preset at the The current preset will still use glide at the interval set, but
• When you load the preset Glide will be active unless interval set. It will override any interval setting you any new preset you load will not use glide unless it is
you set it off on Osmose in the Play menu (set None have set in the editor. already set in that preset.
option). • Select play option None to turn off glide. This will disable it
even if you have the Freeze option set.
• You can turn Mono Mode glide on and off with this
control as you like while playing. This control can not 4. Changing Glide Options over Midi
set with Midi and Global Preserve option for Osmose • As long as you do not have the Glide enabled with Freeze
to make the Glide global (Use Osmose playing Freeze option you can send the following commands with a Midi
control for that). Also, if you have the Osmose Glide controller to change the glide parameters.
menu up and set interval in the editor, it will not show • CC9, Channel 1. Set to 0 to turn off Glide (Mono Mode Port
up on the Osmose. in editor).
• CC9, Channel 1. Set to 48 to turn on Glide at the currently
set interval
Note: Setting Glide options on the Osmose will not show • CC48, Channel 16. Set Glide (Mono Mode Port) Interval.
up in the editor if you have that running. You need to exit • Value = 0. Turn off Glide
the editor and reenter to see the Mono Mode/Glide • Value = 1-49. Set Glide to desired interval (note
settings. If the editor does not turn the Glide mode on keyboard only has 49 keys but number can go to 96
Note: Setting Pedal to Mono Control in Editor as you do and Off, exit and reenter the editor. for full Continuum fingerboard support)
for Continuum does not apply to Osmose which does not • Value = 96. Set Glide to full keyboard
yet support this feature. Note: You may have to recycle power on Osmose for the Midi
options to take effect using an external controller. 527