Clavia Nord Lead 3 Owner's Manual

Advanced subtractive performance synthesizer, software version 1.2x

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Supplementary manual (16 pages)

Service manual (14 pages)

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Table of Contents

Summary of Contents for Clavia Nord Lead 3

Page 1 1.2x Sof tware V tware V tware V ersion 1.2x ersion 1.2x ersion 1.2x b b b b b y C l a C l a C l a C l a C l a v i a v i a...
Page 2: Important Safety Instructions
9. Care should be taken so that objects do not fall, or liquids are not spilled into the enclosure through openings. 3. This product should be used only with a cart or a stand that is recommended by the manufacturer.
Page 3 Overview ........................................ 8 8 8 8 ..............Nord Lead 3 and Rack 3 front panels Nord Lead 3 and Rack 3 front panels Nord Lead 3 and Rack 3 front panels Nord Lead 3 and Rack 3 front panels........
Page 4 ..........................................23 Storing without changing the Program name ................. 24 Storing with the possibility to select Category and/or change the Program name ....24 Searching for and loading Programs Searching for and loading Programs................26 Searching for and loading Programs Searching for and loading Programs ........
Page 5: Table Of Contents
LFO 1 & 2.................................................................... 42 Rate ............................42 Waveform..........................44 Destination..........................45 Amount ..........................46 Env/KB snc ..........................46 Mono .............................46 LFO behavior in Mono mode....................46 LFO modulation table ......................48 Modulation Envelope Modulation Envelope Modulation Envelope Modulation Envelope .................................................... 49 Attack .............................49 Decay/Release.........................49...
Page 6 .............97 ............. Arpeggio ..........................97 Vibrato ..........................105 Glide (portamento)......................106 Voice mode.......................... 106 Polyphonic Legato with polyphonic Glide ................108 Unison..........................109 Keyboard Split ........................110 Octave Shift......................... 111 Note Trig (Nord Rack 3)..................... 112 Chord Memory........................112 Stack ............................ 113 KB Hold..........................
Page 7 Bank Select ...........................139 MIDI SysEx (System Exclusive)....................139 Using Nord Lead 3 with a sequencer Using Nord Lead 3 with a sequencer Using Nord Lead 3 with a sequencer Using Nord Lead 3 with a sequencer ......................139 ........Connections .........................139 Local On/Off........................139...
Page 9 L L L L A A A A V V V V I I I I A A A A O O O O N N N N T T T T H H H H E E E E...
Page 10 F F F F R R R R O O O O N N N N T T T T P P P P A A A A N N N N E E E E L L L L...
Page 11 L L L L O O O O T T T T B B B B U U U U T T T T T T T T O O O O N N N N S S S S...
Page 12 O O O O N N N N N N N N E E E E C C C C T T T T I I I I O O O O N N N N S S S S...
Page 13 U U U U B B B B T T T T R R R R A A A A C C C C T T T T I I I I V V V V E E E E...
Page 14 A A A A S S S S I I I I C C C C S S S S E E E E T T T T T T T T I I I I N N N N G G G G S S S S If you are controlling the Nord Lead 3 from an external MIDI keyboard, the Nord Lead 3 must be set to receive on the same MIDI channel that the MIDI keyboard transmits on.
Page 15 P P P P E E E E L L L L E E E E C C C C T T T T I I I I N N N N G G G G R R R R O O O O G G G G R R R R A A A A M M M M S S S S Programs are single sounds that are stored in the internal memory of Nord Lead 3.
Page 16 S S S S C C C C T T T T I I I I V V V V A A A A T T T T I I I I N N N N G G G G L L L L O O O O T T T T S S S S You can play more than one Program at a time.
Page 17 P P P P E E E E T T T T T T T T I I I I N N N N G G G G T T T T H H H H E E E E...
Page 18 L L L L O O O O M M M M B B B B I I I I N N N N I I I I N N N N G G G G P P P P L L L L I I I I T T T T A A A A N N N N D D D D...
Page 19 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 20 T T T T I I I I C C C C K K K K A A A A N N N N D D D D O O O O D D D D U U U U L L L L A A A A T T T T I I I I O O O O N N N N...
Page 21 MIDI O O O O D D D D U U U U L L L L A A A A T T T T I I I I O O O O N N N N H H H H E E E E E E E E L L L L A A A A N N N N D D D D...
Page 22 E E E E X X X X P P P P R R R R E E E E S S S S S S S S I I I I O O O O N N N N...
Page 23 D D D D I I I I T T T T I I I I N N N N G G G G R R R R O O O O G G G G R R R R A A A A M M M M S S S S...
Page 24 T T T T H H H H E E E E B B B B U U U U T T T T T T T T O O O O N N N N S S S S Press a B to select between functions printed in white.
Page 25 P P P P T T T T O O O O R R R R I I I I N N N N G G G G A A A A R R R R O O O O G G G G R R R R A A A A M M M M Storing is done identically regardless if you are saving an edited Program or if you have used ‘Sound Init’...
Page 26 R R R R O O O O G G G G R R R R A A A A M M M M N N N N A A A A M M M M E E E E...
Page 27 E E E E S S S S C C C C R R R R I I I I P P P P T T T T I I I I O O O O N N N N...
Page 28 C C C C E E E E A A A A R R R R C C C C H H H H F F F F O O O O R R R R A A A A...
Page 29 P P P P E E E E A A A A R R R R C C C C H H H H F F F F O O O O R R R R A A A A...
Page 30 O O O O W W W W N N N N L L L L O O O O A A A A D D D D I I I I N N N N G G G G...
Page 31 O O O O R R R R P P P P H H H H G G G G R R R R O O O O U U U U P P P P S S S S...
Page 32 Morph range will light up. A Morph range can be either negative or positive according to your choice. The “zero” Morph value is the parameter’s initial setting. 1. As soon as you assign the first parameter in a Morph group the green LED above the M ORPH button will light up to indicate that the Morph group is now active.
Page 33 E E E E A A A A S S S S S S S S I I I I G G G G N N N N P P P P A A A A R R R R A A A A M M M M E E E E T T T T E E E E R R R R S S S S F F F F R R R R O O O O M M M M A A A A O O O O R R R R P P P P H H H H G G G G R R R R O O O O U U U U P P P P 1.
Page 34 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 35 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 36 S S S S E E E E Y Y Y Y B B B B O O O O A A A A R R R R D D D D P P P P L L L L I I I I T T T T The Keyboard Split function allows you to split the keyboard in two sections, each playing separate sounds.
Page 37 P P P P E E E E T T T T T T T T I I I I N N N N G G G G T T T T H H H H E E E E...
Page 38 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 39 Performance is saved. The above point means that there is no need to store the Programs separate- ly. As soon as you save the Performance, all Programs that it uses are also saved, within the Perform- ance. This also means that if you later change any of your Programs, in Program mode, the Programs in the Performances are not affected in any way.
Page 40 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 41 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 42 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 43 O O O O W W W W N N N N L L L L O O O O A A A A D D D D I I I I N N N N G G G G...
Page 44 A A A A N N N N E E E E L L L L R R R R E E E E F F F F E E E E R R R R E E E E...
Page 45 “Master Clock” on page 117 for more info about synching to internal Master Clock or to MIDI Clock. When editing the LFO1 or LFO2 Rate parameters, a ‘*’ or ‘/’ sign and a number is shown next to the parameter name in the D .
Page 46 W W W W A A A A V V V V E E E E F F F F O O O O R R R R M M M M This is used to set the shape of the LFO waveform. Press the W...
Page 47 E E E E S S S S T T T T I I I I N N N N A A A A T T T T I I I I O O O O N N N N...
Page 48 B B B B E E E E H H H H A A A A V V V V I I I I O O O O R R R R I I I I N N N N...
Page 49 KB S KB S O O O O N N N N O O O O A A A A N N N N D D D D N N N N C C C C The first note you play will start the LFO cycle at its initial level. The following notes will jump in at the current LFO level if you’re playing Legato.
Page 50 M M M M O O O O D D D D U U U U L L L L A A A A T T T T I I I I O O O O N N N N...
Page 51 E E E E O O O O D D D D U U U U L L L L A A A A T T T T I I I I O O O O N N N N...
Page 52 E E E E S S S S T T T T I I I I N N N N A A A A T T T T I I I I O O O O N N N N...
Page 53 7. Panel reference: Modulation Envelope If Attack and Decay are both used and you have a positive Amount setting, the sound will start at normal pitch when you press the key, rise to maximum Amount and then fall back to the initial pitch.
Page 54 7. Panel reference: Modulation Envelope NORD LEAD 3 V1.2x R R R R E E E E P P P P E E E E A A A A T T T T Hold down S and press the D...
Page 55 1 & 2 S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R W W W W...
Page 56 T T T T R R R R I I I I A A A A N N N N G G G G L L L L E E E E The triangle waveform has only odd and not very strong harmonics. It is suitable for flute sounds and similar.
Page 57 The sine wave is the simplest waveform there is. I has no additional harmonics. It is suitable for very soft sounds or for use with FM. In Nord Lead 3 the sine wave also has adjustable feedback which can be used to add harmonics to the signal.
Page 58 O O O O I I I I S S S S E E E E S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R With noise selected, the oscillator produces noise rather than a pitched waveform.
Page 59 I I I I N N N N E E E E S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R The Dual Sine is a special feature of Nord Lead 3.
Page 60 7. Panel reference: Oscillator 1 & 2 NORD LEAD 3 V1.2x base for 2 or 4 operator FM synthesis described below. Below is a block diagram of how the signals are routed when using the Dual Sine mode of Oscillator 1:...
Page 61 I I I I N N N N E E E E S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R...
Page 62 S S S S S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R Y Y Y Y N N N N C C C C On Nord Lead 3 two oscillators can be synchronized.
Page 63 7. Panel reference: Oscillator 1 & 2 Example 1: a sawtooth wave synched by a sync oscillator. The sawtooth wave is restarted every time the sync oscillator begins a new cycle. The resulting signal gets deep resonance in its harmonics.
Page 64 7. Panel reference: Oscillator 1 & 2 NORD LEAD 3 V1.2x Example 2: a square wave synched by a sync oscillator. The square wave is restarted every time the sync oscil- lator begins a new cycle. The resulting signal gets deep resonance in its harmonics.
Page 65 2 2 2 2 S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R...
Page 66 I I I I N N N N E E E E S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R The Dual Sine is a special feature of Nord Lead 3.
Page 67 I I I I N N N N E E E E S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R...
Page 68 Dual Sine FM mode in Oscillator 2, the 3-character LED switches to show sine wave DISPLAY 2A’s (Carrier) pitch to the left of the dot and sine wave 2B’s (Modulator) pitch value to the right. See page 67 for more info about the LED D...
Page 69 C C C C O O O O A A A A R R R R S S S S E E E E T T T T U U U U N N N N E E E E The C knob is used to adjust the coarse tuning of Oscillator 2, relative to Oscillator 1.
Page 70 U U U U A A A A L L L L I I I I N N N N E E E E A A A A N N N N D D D D U U U U A A A A L L L L...
Page 71 ’ ’ ’ ’ I I I I S S S S P P P P L L L L A A A A Y Y Y Y O O O O F F F F O O O O F F F F F F F F...
Page 72 M M M M S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R...
Page 73 Oscillator 1 and 2 FI FI FILT FILT stands for Filter Frequency Modulation and is special feature of Nord Lead 3. In Filter FM mode the signal of Oscillator 2 frequency modulates the cutoff frequency parameters Frequency1 and Frequency2 in the Filter section.
Page 74 Filter FM can be used for all sorts of sounds, from weird effects to vocal like or resonant sounds. Note that since it’s the cutoff frequency that is modulated, the sound is also very much affected by the Reso- nance setting of the Filter.
Page 75 NORD LEAD 3 V1.2x 7. Panel reference: Oscillator Modulation If both oscillators are in Dual Sine FM mode you can combine them into a 4 operator FM engine. With the M knob you control the FM or DFM amount from Oscillator 2 to Oscillator 1.
Page 76 M M M M O O O O D D D D U U U U L L L L A A A A T T T T I I I I O O O O N N N N...
Page 77 NORD LEAD 3 V1.2x 7. Panel reference: Oscillator Modulation Ring Modulation, RM, is a function where the signals of the two oscillators are multiplied. The result is a disharmonic sound that is great for metallic or bell-like timbres. When trying out Ring Modulation, make sure you set the O knob mainly to Oscillator 1, since it’s the oscillator that is affected by...
Page 78 7. Panel reference: Oscillator Modulation NORD LEAD 3 V1.2x Below is a picture of how two simple sinewave signals are used for amplitude and ring modulation The Oscillator 1 signal The Oscillator 1 signal’s frequency spectrum The Oscillator 2 signal used for modulating the The Oscillator 2 signal’s frequency spectrum...
Page 79 M M M M S S S S C C C C I I I I L L L L L L L L A A A A T T T T O O O O R R R R...
Page 80 E E E E M M M M P P P P L L L L I I I I F F F F I I I I E E E E R R R R N N N N V V V V E E E E L L L L O O O O P P P P E E E E An amplifier is most often used at the final stage of a synth signal chain, to control volume.
Page 81 NORD LEAD 3 V1.2x 7. Panel reference: Amplifier Envelope A A A A T T T T T T T T A A A A C C C C K K K K Linear Attack characteristics Exponential Attack (default) characteristics...
Page 82 S S S S U U U U S S S S T T T T A A A A I I I I N N N N This is the level the sound will reach after the Decay phase is finished. Once this has happened, the sound will stay steady at this level until the key is released.
Page 83 (Programs). This parameter can EVEL also be used when you want to mix the levels of several (up to 4) Programs in a multi Slot configuration. The Output L parameter sends out and responds to MIDI CC#71.
Page 84 I I I I L L L L T T T T E E E E R R R R O O O O V V V V E E E E R R R R V V V V...
Page 85 I I I I E E E E L L L L O O O O C C C C I I I I T T T T Y Y Y Y N N N N V V V V...
Page 86 I I I I N N N N V V V V E E E E R R R R T T T T Hold down S and turn the E button clockwise to invert the Filter Envelope amount.
Page 87 I I I I L L L L T T T T E E E E R R R R S S S S L L L L O O O O P P P P E E E E...
Page 88 Filter Frequency (cutoff frequency), making the sound thinner. Further raising the Resonance will make the sound resonant to a point where the filter adds a ringing quality to the sound. Exactly where in the frequency spectrum this “ringing” occurs, depends on the Frequency1 value.
Page 89 F F F F I I I I L L L L T T T T E E E E R R R R T T T T Y Y Y Y P P P P E E E E Press the F button to switch between the different types of Single Filters.
Page 90 LASSIC The Classic lowpass filter type is a special feature of Nord Lead 3. It’s based on a lowpass filter with a 24 dB/octave slope but has several unique characteristics. First of all, the roll-off isn’t linear but varies be- tween 12 and 24 dB/octave along the slope.
Page 91 M M M M E E E E Y Y Y Y B B B B O O O O A A A A R R R R D D D D R R R R A A A A C C C C K K K K I I I I N N N N G G G G B B B B Y Y Y Y U U U U S S S S I I I I N N N N G G G G...
Page 92 U U U U L L L L T T T T I I I I I I I I L L L L T T T T E E E E R R R R O O O O D D D D E E E E S S S S In Multi Filter Modes several filters are combined to form more complex filter types.
Page 93 I I I I N N N N P P P P A A A A R R R R A A A A L L L L L L L L E E E E L L L L...
Page 94 I I I I N N N N P P P P A A A A R R R R A A A A L L L L L L L L E E E E L L L L...
Page 95 P-LP I I I I N N N N S S S S E E E E R R R R I I I I E E E E S S S S The third Multi Filter type is a combination of a 12 dB highpass filter and a 12 dB lowpass filter in series.
Page 96 I I I I N N N N P P P P A A A A R R R R A A A A L L L L L L L L E E E E L L L L...
Page 97 The Multi Peak filter type is an allpass filter with feedback. It features three allpass filters which displace the phase of the signal 180 degrees each. The Multi Peak filter type can be used for phaser effects and also for formant-type of effects. Set the center frequency with the F...
Page 98 FM sound in Oscillator 2 and a filtered subtractive sound in Oscillator 1 at the same time. However, if Noise3 is selected in the OscMix section then this noise is routed alone through the filter and both Oscillators are bypassed. Hold down S...
Page 99: Left (Top) Panel Section
P P P P A A A A N N N N E E E E L L L L S S S S E E E E C C C C T T T T I I I I...
Page 100 U U U U B B B B R R R R P P P P E E E E G G G G G G G G I I I I O O O O As you know, an arpeggiator is used to repeatedly play single notes in a held chord. Since the basic ar- peggiator patterns (up, down, up&down and random) are quite limited we decided to expand the func-...
Page 101 NORD LEAD 3 V1.2x 7. Panel reference: The left (top) panel section Now, let’s create a similar arpeggio but with the Arpeggio Range increased to 3 octaves and see what hap- pens: 1. Create a sound and activate the Arpeggio by pressing the Arpeggio R button.
Page 102 M M M M R R R R P P P P E E E E G G G G G G G G I I I I O O O O A A A A S S S S K K K K To create even more variations to arpeggio patterns there is the Arpeggio Mask function.
Page 103 OTARY ARP Range Mode 3 Oct Mask 4. Press the D button twice to get to the ARP Mask menu. Here you can set the AVIGATOR length of the Mask and enable/disable (mute/skip) steps. 5. Press the L buttons until the cursor is below the L. Turn the R...
Page 104 Now, let’s see how the arpeggio behaves according to the settings we made above. Let’s play a 4 finger chord with the notes C, E, G and A (the black dots on the keyboard below). The Arpeggio Range is set to ‘3 Octaves’...
Page 105 - even if you start the sequencer in the middle of the sequence. You can also choose to sync the Master Clock to key presses. This is very useful if you are controlling both the Arpeggiator and the LFOs from the Master Clock.
Page 106 H H H H R R R R P P P P E E E E G G G G G G G G I I I I O O O O O O O O L L L L D D D D Normally, the arpeggio will continue for as long as you keep any keys pressed.
Page 107 V V V V I I I I B B B B R R R R A A A A T T T T O O O O Using the Vibrato function is an easy way to add vibrato to your sound without needing to route an LFO to the Oscillator(s) pitch.
Page 108 P P P P O O O O R R R R T T T T A A A A M M M M E E E E N N N N T T T T O O O O...
Page 109 If you play one key and then a second key without releasing the first key, the last note will sound. If you now release the last key, the first one will retrig and start sounding again.
Page 110 G G G G O O O O L L L L Y Y Y Y P P P P H H H H O O O O N N N N I I I I C C C C...
Page 111: Polyphony
I.e. the new notes will not retrig the Envelopes (Am- plifier and Filter). Note that this is true only if the new chord has the same number of notes as the pre- vious chord.
Page 112 S S S S E E E E Y Y Y Y B B B B O O O O A A A A R R R R D D D D P P P P L L L L I I I I T T T T The Keyboard Split function allows you to split the keyboard in two sections, each playing separate Pro- grams/sounds.
Page 113 P P P P E E E E T T T T T T T T I I I I N N N N G G G G T T T T H H H H E E E E...
Page 114 S S S S L L L L O O O O B B B B A A A A L L L L C C C C T T T T A A A A V V V V E E E E...
Page 115 HIFT HORD Note that if you play the same note several times, they will be stacked “on top” of each other with the number of times shown within parenthesis in the D . This makes it possible to create really fat ISPLAY sounds, for example.
Page 116: Unison
T T T T A A A A C C C C K K K K E E E E T T T T U U U U N N N N E E E E As from OS V1.06 it’s possible to detune stacked notes (if it’s the same note) without using the Unison effect.
Page 117 I I I I T T T T C C C C H H H H B B B B E E E E N N N N D D D D R R R R A A A A...
Page 118 W W W W O O O O D D D D U U U U L L L L A A A A T T T T I I I I O O O O N N N N...
Page 119 E E E E N N N N U U U U F F F F U U U U N N N N C C C C T T T T I I I I O O O O...
Page 120 S S S S E E E E Y Y Y Y B B B B O O O O A A A A R R R R D D D D Y Y Y Y N N N N C C C C You can also choose to sync the Master Clock to key presses.
Page 121 L L L L O O O O T T T T H H H H A A A A N N N N N N N N E E E E L L L L S S S S Slot Channels Here you set the MIDI channel for each of the four Slots of Nord Lead 3.
Page 122 MIDI MIDI MIDI L L L L O O O O B B B B A A A A L L L L MIDI Global Channel:16 Here you set the Global MIDI Channel of Nord Lead 3. The Global MIDI Channel should be used for sending and receiving MIDI Program Change messages when in Performance mode (see Chapter "6.
Page 123 O O O O N N N N T T T T R R R R O O O O L L L L L L L L E E E E R R R R S S S S...
Page 124 E E E E N N N N S S S S T T T T R R R R U U U U M M M M E E E E N N N N T T T T...
Page 125: Master Tune
I I I I T T T T C C C C H H H H B B B B E E E E N N N N D D D D R R R R A A A A...
Page 126 E E E E D D D D A A A A L L L L P P P P O O O O L L L L A A A A R R R R I I I I...
Page 127 U U U U D D D D I I I I O O O O O O O O U U U U T T T T I I I I N N N N G G G G...
Page 128: The Buttons
R R R R R R R R O O O O G G G G R R R R A A A A M M M M A A A A N N N N K K K K...
Page 129 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 130 Y Y Y Y S S S S T T T T E E E E M M M M E E E E T T T T T T T T I I I I N N N N G G G G S S S S System Settings Press >...
Page 131: Editing
E E E E M M M M O O O O R R R R Y Y Y Y R R R R O O O O T T T T E E E E C C C C T T T T Memory Protect Here you can choose to write-protect all Programs and Performances.
Page 132 M M M M A A A A N N N N G G G G E E E E A A A A N N N N D D D D O O O O D D D D E E E E...
Page 133 NORD LEAD 3 V1.2x 7. Panel reference: Menu functions Note! For the Sub Arpeggio to work you must have selected either ‘Sub’ or ‘Sub+M’ in the main Ar- peggio menu above. ARP M ARP M ARP M ARP M A A A A S S S S K K K K Press the D button to enter the ARP Mask menu.
Page 134 R R R R O O O O G G G G R R R R A A A A M M M M A A A A T T T T E E E E G G G G O O O O R R R R Y Y Y Y...
Page 135 O O O O P P P P Y Y Y Y A A A A N N N N D D D D P P P P A A A A S S S S T T T T...
Page 136 U U U U T T T T I I I I N N N N G G G G P P P P A A A A R R R R A A A A M M M M E E E E T T T T E E E E R R R R S S S S E E E E C C C C T T T T I I I I O O O O N N N N S S S S When you’re editing a Program it may sometimes be convenient to temporarily mute certain parameter...
Page 137 P P P P E E E E C C C C I I I I A A A A L L L L I I I I N N N N F F F F O O O O R R R R M M M M A A A A T T T T I I I I O O O O N N N N I I I I N N N N T T T T H H H H E E E E I I I I S S S S P P P P L L L L A A A A Y Y Y Y...
Page 138 M M M M E E E E Y Y Y Y B B B B O O O O A A A A R R R R D D D D O O O O R R R R P P P P H H H H Keyboard Morph lets you control the morphed parameters differently depending on where on the key- board you play.
Page 139 L L L L A A A A S S S S H H H H M M M M E E E E M M M M O O O O R R R R Y Y Y Y...
Page 140 O O O O N N N N T T T T R R R R O O O O L L L L L L L L E E E E R R R R S S S S...
Page 141 O O O O N N N N N N N N E E E E C C C C T T T T I I I I O O O O N N N N S S S S...
Page 142: For Each Slot
O O O O N N N N T T T T R R R R O O O O L L L L L L L L E E E E R R R R S S S S...
Page 143 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 144 D D D D E E E E C C C C E E E E I I I I V V V V E E E E A A A A U U U U L L L L K K K K...
Page 145: Rate
L L L L O O O O N N N N T T T T R R R R O O O O L L L L L L L L E E E E R R R R...
Page 146: Waveform
10. MIDI implementation: MIDI Controller List NORD LEAD 3 V1.2x Nord Lead 3 Parameter MIDI Controller # MIDI Controller Name LFO 1 parameters: LFO 1 Rate General Purpose #4 LFO 1 Waveform Undefined LFO 1 Destination Undefined LFO 1 Amount...
Page 147: Amount
LSB for Controller 3 Osc 1 Shape Sound Controller 10 Osc 1 Sync Detune Osc 1 Sync Noise Timbre Osc 1 FM Amount (in Dual Sine FM) Oscillator 2 parameters: Osc 2 Coarse Tuning Osc 2 Fine Tuning Osc 2 Waveform...
Page 148: Attack
• Amplifier Level responds to both Controller 71 and Controller 7. Only Controller 71 is transmitted from the Nord Lead 3. • If the Expression Pedal input is used with an expression pedal, this is transmitted and received as Con- troller 11.
Page 149 E E E E S S S S S S S S A A A A G G G G E E E E F F F F O O O O R R R R M M M M...
Page 150 $20) R R R R O O O O G G G G R R R R A A A A M M M M U U U U M M M M P P P P T T T T O O O O...
Page 151 $21) R R R R O O O O G G G G R R R R A A A A M M M M U U U U M M M M P P P P T T T T O O O O...
Page 152 E E E E Q Q Q Q U U U U E E E E S S S S T T T T F F F F R R R R O O O O M M M M...
Page 153 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 154 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 155 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 156 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E...
Page 157 O O O O N N N N T T T T R R R R O O O O L L L L L L L L E E E E R R R R S S S S...
Page 158 D D D D U U U U M M M M P P P P F F F F O O O O R R R R M M M M A A A A T T T T...
Page 159 Off or On mod_env_exp_attack Off or On filt_env_exp_attack Off or On filt_mode Selects Single or Dual Filter mode filt2_env Selects if Filt2 is controlled by Filt_Env filt2_type filt_bypass Off or On lfo1_clocksync Off or On lfo2_clocksync Off or On arpeggiator_clocksync...
Page 160 O O O O R R R R P P P P H H H H G G G G R R R R O O O O U U U U P P P P P P P P A A A A R R R R A A A A M M M M E E E E T T T T E E E E R R R R L L L L I I I I S S S S T T T T This list shows the parameters sent for each of the four Morph groups:...
Page 161 E E E E R R R R F F F F O O O O R R R R M M M M A A A A N N N N C C C C E E E E D D D D A A A A T T T T A A A A F F F F O O O O R R R R M M M M A A A A T T T T Size (bits) Name Comment version_number Decimal OS version number (# x 100) enabled_slots focused_slot midi_channel_slot_a 0 = Off...
Page 162 M M M M P P P P L L L L E E E E M M M M E E E E N N N N T T T T A A A A T T T T...
Page 163 Filter control pedal Advanced Subtractive Synthesis connecting aftertouch Morph MIDI transmission and reception technical requirements Morph using Amplifier using for controlling a Morph group attack controllers decay list (MIDI) release 121, MIDI transmission and reception sustain request arpeggio copy...
Page 164: Fine Tune
Oscillator 2 connecting Oscillator Modulation Morph different combinations technical requirements FM Init using Freq2/Dist (Filter) using for controlling a Morph group frequency Filter 1 F F F F Filter 2 modulation (FM) factory presets Vibrato restoring Frequency1 (Filter)
Page 165: Mode
Bank Select customize recording in sequencer Filter basic settings Oscillator 2 channel knobs Global using Slot channels L L L L using with sequencer Clock layer connections with keyboard split controllers Lead (sound category) "chasing" when using a sequencer Page 163...
Page 166 Keyboard Morph Morph group parameter list keyboard range Performance dump keyboard velocity format selecting source for Morph group 3 from memory location Mute (parameter sections) from Slot N N N N Performance dump request from memory location Navigator buttons...
Page 167: Sustain
Performance Morph groups solo in a Performance parameters 24, 26, sorting Programs storing pdf file (reading the manual as...) Program Change (MIDI) pedals connecting Q Q Q Q control/expression sustain Q-value (Filter) Performance creating and editing...
Page 168: Sustain
Filter Envelope selecting Morph solo vibrato using 105, amount Solo a Program (in a Performance) control source Song Position Pointer (MIDI) frequency sort voice mode (Mono, Legato) 24, 26, Programs Sort Mode sound categories Sound Init Sound menu...

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